by Vladimir Umanets / drafts

6 comments / by Marcin Lodyga

1.Art was not my aim but a means to an aim. Through art I reached to Yellowism. The transition to another level - but not like in a computer game. It is rather a transition from one game to another game. 
2.The only difference between those who defined the context of yellowism (who wrote the Manifesto of Yellowism) and are "doing something" in this context,  and those who did not define it (but rather they "got it") and also are "doing something" in this context, lies in the fact that the latter did not define it. To make yellowism is enough to be aware of the context of yellowism.
3.The same person may exhibit works in art galleries and also in yellowistic chambers. He/she does not need to give up the art to do something in Yellowism. This person must only separate and distinguish these two contexts. She/he can even show the same thing in either of the contexts. In the art gallery a film about war in Afghanistan will be about war in Afghanistan (and probably also about something else) but in a yellowistic chamber the same film will be about yellow and nothing more.
4. Hypothetically: the work of art shown in the yellowistic chamber is no longer a work of art, but it becomes a piece of yellowism.
5.The piece of yellowism shown in the art gallery or anywhere except the yellowistic chamber is no longer a piece of yellowism, but it becomes a work of art or simply disappears in reality.
6.The yellow homogeneous mass is not for the masses.

Ghetto / by Marcin Lodyga

Yellowism is an area that is located outside the field of art. Perhaps it is parallel to it, maybe it is its yellow flat shadow... in any case it's beyond the art and this is its strength. It is an autonomous territory. The yellow ghetto is not inside the city of art, but outside of it. 

All and everything / by Marcin Lodyga

Imagine that you are a guide in an art gallery similar to Tate Modern in London; people follow you and you explain: this work here is about yellow and expresses yellow and nothing more, the next work made by X is about yellow and expresses yellow and nothing more, and this work of art made by Y is about yellow and expresses yellow and nothing more, and the work made by Z is about yellow and expresses yellow... After the tour it turns out that according to you all of the (let's say a thousand) different exhibited works which are derived from different periods of art and were created for various reasons are about yellow and express yellow and nothing more, so people ask: "are you blind and stupid?" You equated, as some dictator, the whole richness of meanings, symbols, references (and also the lack of meanings and  the whole abstraction) to a single expression, so... fuck off! Immediately after this indictment they would kill you :-) It could not happen in a large yellowistic chamber where in the same way you would explain a thousand variously-looking pieces of  yellowism (every piece done by someone else); it can be pieces of yellowism visually very simmilar to the works of art that you have explained in the gallery.  In the yellowistic chamber, people aware of the context in which they are located would say that you are right - all pieces in the chamber are about yellow and express yellow and nothing more.

In art, unlike in yellowism,  ALL and EVERYTHING is not flattened to yellow; therefore yellowism is not art.*

*Of course this is not the only reason, from which yellowism is not art. Ask me and I will give you more...

The necessity of Manifesto of Yellowism / by Marcin Lodyga

The word "language" and "sentence", "grammar" etc. I use in this text only to metaphorically explain  the new context - yellowism. Yellowism should not be considered from linguistic perspective or only from linguistic perspective.
To perceive piece of yellowism as a piece of yellowism, you must first know the manifesto of yellowism. Manifesto of yellowism will be "visible" in each yellowistic chamber. Perhaps, in the future, manifesto presented on the yellow wall in the yellowistic chamber will be no longer necessary; everyone will know in what context is located when one sees the yellow walls around something resembling a work of art. But now the presentation of the manifesto on the wall of the yellowistic chamber is indispensable. 
Imagine that you accidentally crossed the border of a foreign country and you didn’t notice that; you didn’t see the information sign; there was no fence, no lines, etc. After a while you meet people who speak a foreign (totally different than yours) language and you already know that (perhaps) you are in another territory.
What happens if two “countries” use the same “language”? Imagine: you crossed the boundary of yellowistic chamber but you don’t know yet that this is a yellowistic chamber. The "language" seems familiar; you are even sure that you know this “language” very well and undoubtedly you are on contemporary art exhibition; “you are at home”. It is clear - some artist painted the walls yellow and putted some objects inside. But pretty soon, fortunately, you see the manifesto of yellowism on the wall. Manifesto from which you will learn that the examples of yellowism can look like works of art but are not works art. Now you know that you were wrong. You are not on an art exhibition.
Although you already know all the "words" and the whole "grammar" but you need to learn these things from scratch because in this "country" (Yellowism) all the possible expressions ("sentences") are about yellow. Therefore, this "new language" is very easy to learn, in fact, after reading the manifesto you already know this “foreign language" - each piece of yellowism is about yellow and expresses exactly the same as other pieces. It is simple. The truncated cow head with eyes painted turquoise blue hanging from the ceiling is about yellow and the video projection on which you see the white woman kissing a black man is about yellow; and next piece: the flag of North Korea stuck in the bread lying on the floor is also about yellow and nothing more. This is yellowism .
Another way to inform about this new context (yellowism) should be a little similar to the transfer of information via genetic code…

Last form before yellowism / first yellowistic form by Marcin Lodyga

Last form reached before yellowism is now the first yellowistic form. I use this "ready" form in a new context. My pieces of yellowism are based on this form.
To see how I reached this form go to:
To see how I first time used this form in the context of yellowism go to:

Y font by Vladimir Umanets

At the end of June 2010 I began to work on the Y font to use it in my pieces of yellowism. Some of the characters have been already used in my previous pieces (Jamon Jamon and piece from 15/12/10). I still continue to work on it and will keep you updated.