The Third Exhibition of Yellowism Coming Soon

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Series Nine has announced the forthcoming third exhibition of yellowism ‘No One Lives Forever′. The exhibition will take place at Natalia Vodianova Yellowistic Chamber in London in 2012. More about the project alongside details or where and when exactly the event will be held you can find here www.noonelivesforever.info soon.

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Natalia Vodianova Yellowistic Chamber is moving to London

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Series Nine (S9) is pleased to announce the changing of localization of nomadic Natalia Vodianova Yellowistic Chamber (NVYC). Vodianova Chamber was the first of nine yellowistic chambers of S9. It was opened in Cairo (Egypt) on 15 November 2010 and now is moving to the capital of Great Britain. The grand opening of NVYC in London is planned for October/November 2011.

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An Oak Tree
2011, Marcin Lodyga
Metal cage

2011, Vladimir Umanets
Double window glass
45 x 111 x 3 cm

(Photography John Manzano)

By Vladimir Umanets / Pieces

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Next piece about yellow color by Vladimir Umanets. Available to touch and see at Carmen Kass Yellowistic Chamber in London. 22nd of June 2011. (Photography John Manzano).

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The Opening of Carmen Kass Yellowistic Chamber London

S9 CKYC London Announcement

"We have come to something what nobody can ever take away from us. The utopia, which exists. To which we have just arrived. Many would like to have what we have now. But they are unable to do it."
Vladimir Umanets / 8 April 2011

Series Nine
Carmen Kass Yellowistic Chamber London
Saturday, 28 May 2011

If you would like to watch S9 CKYC video announcement, please go here.

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All And Everything / Natalia Vodianova Yellowistic Chamber Cairo

Zbigniew Karkowski, Marcin Lodyga, Vladimir Umanets
All And Everything / The Second Exhibition of Pieces of Yellowism
(Managed by Kamila Metwaly)

2 March 2011 / 7 pm

Series Nine
Natalia Vodianova Yellowistic Chamber
Cairo
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Yellowistic Form / The Oak Tree
2011, Marcin Lodyga
Meat and ribs
4,5 kg
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2011, Vladimir Umanets
Mineral glass wool
4 x (55 x 120 x 55 cm)
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Carmen Kass Yellowistic Chamber Coming Soon

S9 CKYC London
Coming soon


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What is behind this door?

If you know what is behind this door, send the answer with subject "behind the door" to yellowistify@gmail.com

The best answers will be rewarded. Don't be afraid! Use your imagination!
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Photography by Marwan Abd El-Alim

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The most important words in yellowism

In yellowism, all and everything is flattened to yellow, therefore yellowism is not art.

FLATTEN verb
flat·tened, flat·ten·ing
transitive verb
: to make flat: as
a : to make level or smooth
b : to knock down; also : to defeat decisively
c : to make dull or uninspired
d : to make (as paint) lusterless
e : to stabilize especially at a lower level
intransitive verb
: to become flat or flatter: as
a : to become dull or spiritless
b : to extend in or into a flat position or form
c : to become uniform or stabilized often at a new lower level

YELLOW noun
a : a color like that of egg yolk, ripe lemons, etc.; the primary color between green and orange in the visible spectrum, an effect of light with a wavelength between 570 and 590 nm

EVERYTHING pronoun
a : all that exists

Why are we a destiny?

Because we are yellowists.

Why are we so clever?

Because we are yellowists.

Why are we so wise?

Because we are yellowists.

All And Everything / The Second Exhibition of Pieces of Yellowism

Zbigniew Karkowski, Marcin Lodyga, Vladimir Umanets.

All And Everything / The Second Exhibition of Pieces of Yellowism

(Managed by Kamila Metwaly)

2 March 2011 / 7 pm

Natalia Vodianova Yellowistic Chamber

15 Damascus Street / Mohandessin,

Giza — Egypt

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Piece of yellowism by Zbigniew Karkowski

Zbigniew Karkowski is the first person, except the authors of the Manifesto of Yellowism, who presents his piece in the context of yellowism. Zbigniew Karkowski has prepared the piece of yellowism for the "All and Everything" exhibition:

COMBINER (Colorimetric tone matching)

Zbigniew Karkowski 2011 - duration unlimited

Experiment in conversion of lightwaves (color yellow) into soundwaves.
/both waves are energy (vibrations) and energy can be transformed from any form
into another/
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more info about Zbigniew Karkowski:
http://en.wikipedia.org/wiki/Zbigniew_Karkowski
http://www.myspace.com/zbigniewkarkowski
http://disquiet.com/2000/10/29/sounding-floor/
http://www.desk.nl/~northam/oro/zk2.htm
http://www.discogs.com/artist/Zbigniew+Karkowski
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more info about "All and Everything" exhibition:
http://yellowism.blogspot.com/2011/02/karkowski-lodyga-umanets-all-and_20.html

A season in Cairo / by Arthur Rimbaud and Marcin Lodyga

The introduction to my book about Yellowism has already been written :

My turn now. The story of one of my insanities.
For a long time I boasted that I was master of all possible landscapes and I thought the great figures of modern painting and poetry were laughable.
I dreamed of Crusades, voyages of discovery that nobody had heard of, republics without histories, religious wars stamped out, revolutions in morals, movements of races and continents: I used to believe in every kind of magic.
I invented color for the vowels! - A yellow, E yellow, I yellow, O yellow, U yellow, Y yellow - I made rules for the form and movement of every consonant, and I boasted of inventing, with rhythms from within me, a kind of poetry that all the senses, sooner or later, would recognize. And I alone would be its translator.
I made the whirling world stand still.

Post-Mubarak era dawns on Egypt

...but does not  touch theYellowism. The unshakable expansion.

Revolution! / by Marcin Lodyga

The transition from art to yellowism was a revolutionary decision. But shortly after that, came the time for another revolution. On 25 of January 2011 the revolution began in Egypt and until now people are fighting to overthrow the Mubarak regime. The whole world watches the Egyptians who fight for their freedom and democracy. Yellowists are surrounded by a revolutionary atmosphere and since yesterday, did not leave the yellowistic chamber because of the recent attack attempts targeting foreigners. A few days earlier, armed with sticks, we were ready to defend the island of Zamalek. I've been also on Tahrir square...
I can say that in Egypt, I experienced three revolutions. The first is the abandonment of art for yellowism. The second, which I sincerely support, is the ongoing self-sacrificing struggle with Mubarak governments.
The third revolution? This third revolution is perhaps the most romantic...

Karkowski, Lodyga, Umanets / All And Everything / The Second Exhibition of Yellowism

On 15th Nov 2010 in Giza, in Natalia Vodianova Yellowistic Chamber was opened the first exhibition of yellowism called “Flattened to yellow”, on which, for the first time, the Manifesto of Yellowism was presented. Now during / after the egyptian revolution we are still working on the preparation of the second exhibition of yellowism.

Zbigniew Karkowski, Marcin Lodyga, Vladimir Umanets.

All And Everything / The Second Exhibition of Pieces of Yellowism

(Managed by Kamila Metwaly)

2 March 2011 / 7 pm

Natalia Vodianova Yellowistic Chamber

15 Damascus Street / Mohandessin,

Giza — Egypt

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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: http://yellowism.blogspot.com/p/before-yellowism-odyga.html

To see how I first time used this form in the context of yellowism go to: http://yellowism.blogspot.com/2010/11/flattened-to-yellow_26.html

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.