GLEITZEIT INTERACTIVE VII
I am the full time chief editor of an imaginary magazine.
I found your works transparent.
Yustas weaves an intricate lace, the paradoxical dialogue about mystery of Paul Jaisini through the many voices of real people. They express many opposing opinions interested and intrigued with the elusive artist who is considered by the art establishment to be the most original artist of our times.
Paul Jaisini, indeed surpassed many with his unique vision of the new art of New Millennium in most captivating adventure as we search to uncover the mystery of invisible art.
Are these articles pranks? Someone asked.
The other responds: An invisible painting may not be anything, but it could be the way you look at things.
Is this an imagined painting, brought forth from the words?
Is there really an artist by the name of Paul Jaisini, or did you just
make him up through your writing?
What is invisible painting?
Does Paul Jaisini actually exist? Or is he a surrogate, or even an alter ego who makes art?
There is an invisible Jaisini and his invisible paintings “Marble Lady” and others. And it’s haunting your mind.
Why else would you repeat asking yourself a question, what exactly could the
invisible painting look like.
Is Paul Jaisini a real person or invention of the writer who created him?
Yustas created a dialogue of many voices vital and engaging in opposition of opinions and search for something that explains mystery of Paul Jaisini’s invisible art.
There is a flurry of surprising interpretations, reactions, emotions and personal revelations all directed to solve the puzzles of Gleitzeit art, also known as Invisible, asking how much of this is fact and how much is fiction?
It’s challenging. What if invisible painting was real?
Such a possibility yielding an extremely controversial discussion.
Art finally enters a new unknown dimension and the book about
it keeps someone in suspense, while someone is inspired to break through
the barriers of unknown, and someone craving for more of
the mysterious puzzles of Paul Jaisini.
Peter: didn’t feel like reading the critique of some art, especially
when just looking at the text.
June 11, 2003
Josh: Am I to assume that the artwork is directed at the imagination rather
than the Eye, forcing the viewer to create their own image around the
suggested themes? Therefore creating a greater understanding between the
recipient and the artist’s intentions.
ART, CREATIVE. Congrads on your visual-symbol self-reflection analysis
of the world mind! All new art looks crazy to the insane but to us normal
people buried under heaps of irrecognition you’re just fine dust leading
mini pion mites across the cosmos into greater summaries of the…
I really enjoyed reading your Gleitzeit-text. There are only few people
I can talk about art, it was a nice surprise to receive your description
of Gleitzeit style. A lot of passages go together with my understanding of art.
You managed to put thoughts in words I am not able to express in such a way.
Please let me read the complete version of the Gleitzeit Manifesto.
Last Flight By John Klawitter
This industry sneek-peek of Last Flight is dedicated to the
hard work and perseverance of Yustas Kotz-Gottlieb and the continuing
effort to bring recognition to the theory of invisible art as evinced
in the work of Paul Jaisini.
Your essays have proved interesting. I am still studying them.
GYGNycgroup comPaul Jaisini is the beginning and the end of Invisible Movement. P J can show the way into the premise of the invisible art and out of invisible to visible. The metaphysics of the Invisible creativity of P J is the only mythology that is currently forming into a prevalent all-encompassing direction in every aspect of human condition. It is the formation of a new visual, new verbal and new sensory.
outreach that the email comes from someone who #
doesn’t know much about art and is interested in this form of
art to write similar stories. 2013
The first concerns the Paul Jaisini movement. Is it a movement
as big as the Romantic or Victorian visions that produced
those two ages, or is it smaller, more comparable to
Impressionism; maybe not big enough to define an era, but enough
to make a dent in the total conceptionalized aura of the art world?
Is the Paul Jaisini art movement big enough to define an era?
Is the term Flexi-new neo-anti-post modern terminology part of
the Paul Jaisini movement or is the Paul Jaisini movement classified
in this terminology?
The term anti-post modernism makes me think of some resurgence of
How does the P.J movement differ other forms and hybrids
of modern romanticism that have been created in the past thirty years?
Also, aspects of the P.J. movement make me think of many of the
characteristics of modernism. One characteristic that comes to mind is
the tendency of the modernists to redefine the ancient myths in newer
terms for a modern generation.
How does the P J movement differ from modernism, and is it just another
form of modernism attempting to be anti-post modern?
Or is it a romantic movement attempting to rebel against the constrictions
of the post-modern age?
As with movements, are writers of literature becoming involved in the Paul Jaisini?
Is there such a movement in literature?
As a poet and writer, I would be interested in writing some stories that abide with-in
the realms of such a movement.
Could you tell me more of Paul Jaisini? Is he from New York? I haven’t
heard of all of the modern artists, and am interested in which he is.
Paul Jaisini is the beginning and the end of Invisible Movement.
The only one to show the way into the premise of the invisible art
and out of invisible to visible.
The metaphysics of the Invisible creativity of P J is the only
mythology that is currently forming into a prevalent
all-encompassing direction in every aspect of human condition.
It is the formation of a new visual, new verbal and new sensory.
Riaz: he would like to receive more mail pertaining to the arts.
Paul Jaisini negates to non-existence every art movement from the past.
Paul Jaisini is empowered with such artistic style that has full authority
over every visual image. What was art of the declining decadent
time doesn’t present any valid option or power to be contradicted.
Paul Jaisini would differ an art style that have any potency in the present time.
August 07, 2003
Ricardo: You have to ask the right question. And the question is not
who is Paul Jaisini. It’s who is Yustas Kotz-Gottlieb.
The American pop art was very influential on world fashion at large
and whether you or I like it or not, it’s historical.
I dislike pop art myself but as an educated person would not deny that influence is what makes art history and one thing develops from another. I even more dislike Brit Pop but what does it matter, when the Brit Pop fetches high prices at the auction.
I am sure there would not be De Kooning if he hadn’t arrived to the US and contributed to history as first artist whose work was sold for $ 20 million while he was alive.
The notion of suffering is very familiar to me as I have close friends who are true artists, such as Paul Jaisini. And that is exactly why I write about the artist. The opinions such as of the previous poster from Portugal about the US is more indicative about this person’s own problem than of those in the US. Where is the perfect society? If you show me the real paradise for people I might believe that the US is the worse cage for rats. There are places on earth that people consider the US a heaven on earth. Judging about people and even countries is provincial and has nothing to do with art and literature. Thank you for your interesting comment. Yustas Kotz-Gottleib
Vinay: he cannot comment on paintings unless he sees them or that he could appreciate art…