It is the only thing that took the previous post-modern trends of modernism not to make fun of and despised, and to develop and grooming. Is that led him to develop as much more, all the way, clearing of any of the traditional "artistic" and bringing up forms that are due to its blatant aggression on the part of a clean look hooliganism. Ter-Oganyan, chopping with an ax icon, Brener, at the Pushkin gadyaschy do not remember what the picture what a genius he is, sprayed with a dollar sign on Malevich's square and the opening in the face slashing a visiting curator of a bouquet of roses (with thorns), prepared for the alleged presenting, Kulik naked on all fours as a bad dog, biting passers-by a group of "War", overturning a police car; Pussi Riot, hauls down in the temple of the Mother of God to be a feminist and interfere with our political situation is already not to mention, for example, using a huge photographic corpses - let's say fashionably dressed - and many other such "harmless", which was not considered. I'm not trying to put here evaluate this or other undertaking or all of them en masse, and as an observer, included in the contexts in all (except for turning machines) distinguish creative task - let it always seems to me worthy, and its decision is not satisfied. The thing is that the products and the stock - units of the same chain that distortion of persons Cubists, dyushanovsky urinal as an exhibit art exhibition or a black square of Malevich as a work of art. By virtue of the shocking, shocking impact on the audience, "they" and the current challenges are comparable. Just to maintain the degree of shock in an increasingly hardened and accustomed to such treatment manners "philistine," and the artist had to constantly increase the "dose" - here she is now and then death: not for the layman, but for art.
But it's not just that the resources of nihilism and shocking to the actual artistic field is nearly exhausted, and in pursuit of their alkali increasingly they go "to the winds." The very idea of "revolutionary" permanent slaps philistinism, the bourgeois, faith, the idea of throwing provocative challenges to the public in every way "to get" it is largely conceptually outdated, especially, seems to be in this world, who share much more sane and the insane at, rather than on the right and left, the modest self-satisfied bourgeois and all bullying disgruntled artist. Moreover, irresponsible, shall prevail, and just among the inhabitants, so that the pose of "left" very little or not a creator, fiercely challenging boredom measured and respectable "right" or the existence of "all the saints," is to put it mildly, neorganichno, inadequate. Around, and so too little kindness and participation - the light, in a word, too much anger and violence, harassment and raids to throw more fuel to those by "artistic challenges." "Podmahivat" calls - this is absurd: ridiculous, living in an insane asylum, face it, building of a madman.
Somewhat apart from the "critical" negativism 60-80s, whether it's pop art, making fun of the ideals of Western society's consumption of goods, or Sots Art and Moscow Conceptualism, a little later and rebuilt in Soviet society, the consumption of ideas. There constructive and reflective prevail over destructive. Although one-sided, clearly mocking and humiliating attitude towards life, social and political realities, and so is a prerequisite and the rule of the game. In the first half of the 80 I am in my painting offered less lapidary way of opposition to a miserable and frightening reality. In addition it includes a critical life-affirming home - through the overcoming of material life, perceived as "a great fear." The answer to these innovations was a friendly whistle of a reference group of Soviet non-conformist. So, with a whistle, I was kicked out of the context of contemporary art and social conservatives, and recorded in the provincials, and with the stigma of "fotorealist."
Then we gradually move to a different constant of modern art - the persecution of all positive, positive things that are not hard to see clearly correlated with the rate on the negativity. For centuries, the art of the inherent themes of love, humanity, compassion, faith, compassion, hope, throughout the XX century were driven carefully, and were driven to the reservation of pop, saying that it's snot for the vulgar. Who would argue that the good has gone, but that does nothing more than evil! Nevertheless, in the postmodern artifact made evil (including creeping indifference - it perhaps the most dangerous manifestation of) good, and good (including non-indifference, and any kind of participation) is completely pulled the plug. I am not to make, now that times are changing, pull the plug negativity, and to ensure that age-old taboos finally removed on life-affirming statements. That would be a challenge: postmodern "dictatorship of freedom" simply supported (like any dictatorship) on the bayonets of the prohibitions to replace genuine, and thus create real prerequisites for cooperation rather than confrontation between tradition and innovation, to destroy the last - on the basis of that understanding the art does not contradict the feeling, as we have long claimed, and builds on it - man-made obstacles, to disavow really missing now the contradiction between "serious" conversation that being plastic language and appeals to the sense of form and so on "high" feelings of the audience and appeals to his intellect, reflection, and irony, a sense of humor.
I do not see any today, the more "intractable" conflict between traditional craftsmanship, is widely understood artistic quality and finding new resources, languages and technologies statements. These and many other cultivated in contemporary art controversies and quarrels, and it's time to debunk as artificial. It is necessary not to get rid of contradictions - it is not possible, and to the place of some others stood: more relevant and less far-fetched, which will be the motor, not a brake to further development. Dialectic of high and low, beautiful and terrible, ironic and epic, momentary and enduring, love and hate, funny and sad, attractive and repulsive, etc. seems much more productive and nilpotent basis for artistic expressions - especially if we add three or more component - an end in itself rather than a game to discredit any of values through Chernukha, humiliating, even if the fun, or just vystebyvanie ordinary hooliganism. "New Synthesis", opening the way for further development, not in words but in deeds, would seem to be the most radical revolution in contemporary art for the time of its existence.
artist Simon Faibisovich
http://www.mn.ru/newspaper_culture/2...313299831.html
13.03.2012, 00:57
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