- Tytuł:
-
Czar wahania się pomiędzy tym, co wirtualne, a tym, co możliwe. Sztuka efemeryczna we współczesnej estetyce i myśli o sztuce na przykładzie wybranych prac współczesnych artystów słowackich
The Attraction of Hesitating Between the Virtual and the Possible. Ephemeral Art in Contemporary Aesthetics and Thoughts on Art with the Example of Selected Artworks by Contemporary Slovakian Artists - Autorzy:
- Cseres, Jozef
- Powiązania:
- https://bibliotekanauki.pl/articles/424488.pdf
- Data publikacji:
- 2012
- Wydawca:
- Akademia Sztuk Pięknych w Gdańsku
- Tematy:
-
ephemeral
intermedia
performance
signature
social happening
intermedia art - Opis:
- In his paper “The Attraction of Hesitating Between the Virtual and the Possible” Jozef Cseres reflects upon four different ephemeral art strategies in Slovak intermedia art – the social happening of Stano Filko (b. 1934), the visual and action music of Milan Adamčiak (b. 1946), the simulated art museum of Michal Murin (b. 1963), and the extreme performances of József R. Juhász (b. 1963). Dealing with these fragile manifestations of conceptual and performance art, he finds interesting affinities between the extreme social positions of the actual art and the poststructuralist discourse of humanities, mainly reflected by a process of interpretations of the world coined by Gilles Deleuze and Félix Guattari. This kind of art is ephemeral and fragile not only in terms of its forms but also in terms of communication and presentation. That’s why it often requires and uses specific institutional frameworks, ways and means. Often it is difficult or even impossible to integrate this kind of art into the conventional cultural running of establishments. Moreover, the ephemeral art forms played and still play an important role in political life due to their ability to reflect actual social issues in an unbiased way, using inventive persuasive means that attract people frustrated by corrupted politics and sordid mass media games. Ephemeral art is open-minded and resists the current art world consolidated and corrupted by technocratic and trendy curators and their commissioned “art” commodities. Whether this resistance will survive a global crisis of representation is of course questionable, but hope in the ability of art to transform itself to new kind of sensibility, corresponding with our postmodern condition, still lives.
- Źródło:
-
Sztuka i Dokumentacja; 2012, 7; 44-53
2080-413X - Pojawia się w:
- Sztuka i Dokumentacja
- Dostawca treści:
- Biblioteka Nauki
Artykuł