Criticism of modern art Catherine meslin

[Vladimir]

Сообщение от LCR

Socialist realism and the West called socialist realism. But really, nothing prevents to use the term "Neo" in relation to some future socialist realists of the older generation.

That "New Moscow" Pimenov well does not want to be called socialist realism. Although the problem - it is Socialist Realism. By execution - impressionism. Masterpiece, one of the favorite things in figurative painting.

[LCR]

A few chapters from the book meslin:

How to distinguish "Actual Art" from the modern?

"84%of amateur artists, some of which reach the fame ignore Actual art ...». This sociological this means that the actual art is not the art of our contemporaries. A prestigious name of "modern art" - a trap: a certain part of today's art assigned to it, and pretends to be a living art in general. So nazyvaetmoe Actual Art Circadian BP rhythm also shows their ambitions - a dominant position - and the methods of linguistic-manipulation.

Another lie: as the founder of this art was Marcel Duchamp, the origins of modern art would have upsurges to the First World War. But in reality, the term "Actual Art" refers to one of aesthetic categories, one of the genre, which emerged after 1960, this aesthetic category currently dominates and is recognized by official bodies in the sphere of culture.

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At first glance, Actual art open to all innovations: it does not exclude any material, no technology - from video to "installations", including the "happenings" and other "performances". Henceforth, in the name of modern art can make a bomb, to invent a drug to open a restaurant, to participate in the race with obstacles placed in the museum of the cage for breeding oysters. Actual art interested in everything from comic books to medicine, from semantics to the environment, ranging from philosophy to sacred ... And if it seems that his greedy hands, it is because it is conceptualized: in fact, if the idea of the work is more important than the work itself, and if the idea can cover everything, then Actual art is ubiquitous. This conceptual framework explains the profusion of literature devoted to contemporary art and intensive theorization of the art. Belonging to the prestigious brand "modern art" is determined primarily on the basis of theoretically, and then - on the declaration of the artist, which replaces his professionalism. We will see that this art is thoroughly imbued with the spirit of totalitarianism, and that it calls for a complete break with their recent findings prior art.

Often "Actual Art" is understood as the most lively part of contemporary art. However, in reality Actual art is not his heir, although it has inherited part of contemporary art. Marcel Duchamp (1887-1968), father of modern art, belongs to the same generation as Pablo Picasso (1881-1973), hero of modern art. These movements do not follow each other, they coexist simultaneously. Misleading the fact that Picasso quickly became known, while Duchamp's fame came much later. It should be noted that all significant hudozhesvennye direction of the twentieth century were born before 1914 - Expressionism, Ayustraktsiya ... is the most conceptual art, which feeds on actual art. Everything is already there, but the balance of forces is not yet determined. While contemporary art is emerging, while the followers of Duchamp and Dada are not proclaimed the most important artists of our time, they were a minority and marginalized within the periphery of Contemporary Art. And only in the 60's. When Duchamp and his followers occupied the dominant position, the difference between "modern" and "actual" art has become obvious.

/.../

The twentieth century, a century of domination of the consumer society and the triumph of technology, was marked by the worship of novelty to such an extent that in English the term appeared «moving», which can be translated as "dvizhennichestvo. Arts & Humanities - both modern and relevant - not avoid it influences. In regard to his relationship to time, Actual is the successor of Contemporary Art, and not only chronologically, but also metaphysically.

Darwinism art schools

The history of modern art are usually from Impressionism, liberation of painting from photographic realism. For Impressionism followed by a series of deconstructed language of plastic arts, in which some element of the artistic process or atstsentirovalsya (color in fauvists), or vice versa, depreciated (the prospect of a Cubist). In search of the essence of painting, some artists even went beyond the limits of figuration, opening an abstract painting - Apogee desire to make art independent of reality. This phenomenal formal revolyutsiyai we owe a large number of masterpieces.
However, after to experiment all possible combinations, the update is not possible, art, reduced to a formal game, it is not related to life, does not receive from her momentum - then talk about the death of art. Painters, which opened a new and felt like pioneers, were at an impasse, the White square on white background? Why not, but it is clear that it is - the limit of painting, which can not be beat. Malevich returned from the white square to figurative painting, as Pollock before he died ... The crisis of contemporary art of the late 50's. allowed to contemporary art to take his place.

The idea that today's art is much better than yesterday, but tomorrow will surpass the art of today, it is fundamental to the era of the Impressionists. Of course, technological progress has had influence on the development of this idea - perhaps an impetus to the emergence of Contemporary Art after the invention of photography as an artistic avant-garde can appear only when the painting, freed from the need to portray reality, looking for new opportunities: to survive, it must resist technical reproduction. This "bolba for survival" artistic genres leads to a certain Darwinism: If there is only a new and more adapted, will experiment! Tradition, the fruit of the experience of bygone days, when technology did not threaten the painting looks like a dinosaur, an endangered species, which urgently need to disown. The fact that we were given for the progress, in fact nothing more than "retreat ahead.

But how to find the plastic forms, which would not be associated with forms of the past? Deconstruction of the form - this is the response of Contemporary Art. Chiaroscuro is eliminated in favor of the stroke (Impressionism), and then swab is treated with almost scientific precision (neo-impressionism). Tone relationships are replaced by color (Fauvism), three-dimensional space loses its meaning (cubism), develops the art of collage, a taste for materialngosti component picture, and finally, the concrete forms disappear, and artists are beginning to be interested only verticals, horizontals and simple colors (Mondrian even quarreled with his friend Wang Duisburg, who believed that the diagonals also have the right to exist) ... Now we see that this deconstruction of all components of pictorial language followed a certain logic that give the history of modern art element of determinism. Vain every artistic direction has announced in his numerous manifestos, that "his" deconstruction - the best and, more importantly, the latter - she wiped off deconstruction, invented the following directions.

«new is always perfectly" and other sophistries

This is a "flight forward" was made possible only through elementary sophistry, to adopt: the premise (not unobjectionable): "Any great work of art contains elements of novelty", it was concluded that "any work of fine, if it is new."

Actual art continues to this idea, declaring: "The beauty - this is the novelty," that is independent essence of beauty is denied, it becomes synonymous with innovation.

Such intellectual balancing act is typical for modern art - so on the understanding that the invention of each new product generates a shock, it concludes: "All innovation is shocking. The fact that new phenomena often give rise to misunderstanding, leads to surprising consequences: "I buy a piece of art, which I am most unclear" - recognizes one collector. Based on the fact that the genius inherent frustration, the eternal hesitations, superhuman traits, it is argued that any throwing of any dissatisfaction proved genius.
Giving the novelty value is accompanied by giving momentary value. Accordingly, the duration, the notion of effort, the work loses appeal and value. When momentary perception is impossible to form an opinion based on aesthetic criteria, in extreme sluyaae, it will be based on the test pleasure /displeasure. But some works of art are revealed to us in time (often the ones who will be most important for us), require consideration. One of the leading ideas of modern art proclaims that appears above the momentum of contemplation. The joy of culture is only possible in over time - it requires the formation of taste, knowledge - but Actual art finds all these categories of "prejudice" and accuses the audience that operate them, as it accuses the artist who owns their craft.

Revised the past or Mozart - what a crap »

Do not think that the tyranny of novelty extends only to modern and contemporary art. Boomerang effect is the perception spread throughout the history of art. Historians have different directions trying to identify and glorify the past, any formal innovation. The logic of modern art is a sense of history and the existence of the ancestors justified the existence of only subsequent generations: every artist is useful only to the next artist, and he himself does, he is of no interest.
Discredited the entire culture of the past: Mozart used the formal language of his predecessors, not inventing anything, therefore, for modern art, he is deprived of whatever value. Mozart - what a crap! "- Hear a whisper at dinner parties. The conclusion that "lousy" Mozart man, brought up on the concept of "modernity" does not on the basis of what he hears, but based on speculation ...

The postulate of linear evolution of the art comfort, contemporary, who received him, feels a sense of omnipotence - he is on top of this evolution. But it has to pay: the historical determinism distorts the past, shutting out from him all that was not to adopt the (as yet not been taken), our modern, despising and forgetting everything that does not serve the topic of the day. In our ancestors, we see only ourselves.

This passion for innovation was entirely alien to our ancestors. Creators of the Renaissance worshiped Antiquity, many believed that it can not be exceeded. Is standing in front of cave paintings in Lascaux, we will repeat: "as a primitive '? No, art is born perfect.


Chredvychayno repetitivnoe art

In 1917 Marcel Duchamp bought in a big department store BHV stand for bottles, one of the first "assignment", which replaced the artistic gesture. Ninety-seven years later BHV pays homage to modern art. Bernard Lave, one of the stars of modern art in France, the film took the same stand for bottles, and video system throughout the day showed his film in the store. Regular visitors to the shop and stop waiting for that on the screen something happens, but nothing happens. Contemplation of the stationary stand for bottles impression only dealing with - just think of it, the product of the Marcel Duchamp!
Another example: Manzoni exhibited in 1961 box, which was called «Merda d'artista» (artist's shit) - in Italian it sounds more blagozvuchno.Tsentr Pompidou purchased this product, as Manzoni - an artist of extraordinary depth, he plays with plozheniya psychoanalysis that artistic activity - a sublimation naitrivialneyshey physiological activity. After forty years, Francois Bouillon founded on a piece of shit his entire career! He was even appointed a member of quite a serious and authoritative advice on the procurement of the National Fund of modern art. The cultural center Issoire Bouillon in 1995 put his project in 2000 with photographs and explanatory text. I quote the text of the catalog: "The project is to mark the contour of the shadow of St. Ostremuana Issuarskogo daily net Friday 2000, at 3 o'clock in the afternoon, and fix this image forever by setting the contour of the seven gold-plated kakashek. I still kept the letter directress of the cultural center, in which she complains of mossy reactionaries, because of which the project was not implemented.

Other artists go without a tribute of respect to his predecessors. Thus, with the 60-ies. Buren "makes" the strip, and repeats Toroni small square - this unwavering loyalty cost him the 1995 National Grand Prix of painting.

But stop at the works, svyazvnnyh over time. "81 Years» - is a film, continuing 81 years old, therefore, to see it completely impossible: "It offers the image, changes in which, like the movement of watch hands, almost imperceptible. It extended to the extreme measures the time "...

In December 1981 g.prestizhny magazine Art Press published an article entitled: "The Art of the end of art ... ten years, and in February 1986 - "From the death of art to fashion to art, how to get out of the situation" ... seems that out of this situation is not ...

It should be noted that Western civilization is marking time was unprecedented - in contrast to other civilizations, for example, Egyptian art, which changes very slowly over 3 thousand years of its existence, Western art is characterized by great ingenuity. Art schools succeed each other: Van Eyck - a contemporary Fra Angelico. In the nineteenth century observed the same diversity: Fragonard died in the beginning of this century, Picasso began operations at its end. What a contrast to the immobility Duchamp! Postmodernism denies any continuous development, and sometimes he quotes the art of the past, but never develops it for real.

The Art of the closed mind

Visitors to the exhibition, which surprised that the artists of modern art is constantly repeated, indignant at the museum said: "Sir, but these artists - adherents of the concept repetition!"
Any system which is closed on itself, creates contempt for everything that is not the system, and the adherents of modern art ever shown their contempt and their hatred for all who do not share their views. So, Jean Clair, while director of the Picasso Museum, critically related to the actual art on the colloquium portrayer of the Academy of Arts named "Hitler". In his book "Masters of censorship" Elizabeth Levy has devoted a chapter entitled "The Art of hatred", such methods disqualification. Criticism of Contemporary Art, according to his followers, is not opinion, but a criminal offense, and it frees them from having to respond to it differently than insults at "criminals".

Phobia past

Actual art is not limited to walking along a closed circle. It must avoid what awaits societies have lost their memory: those who forget the past are condemned to perezhit.Kak that reappeared Rembrandt or Delacroix? Monstrous prospect for Contemporary Art, which hates the past, which has been a real phobia of the past.
The fact that the relevance of art belongs to the past, as to the plight House. Thus, in some texts, love for the beauty of the past is defined as "a nostalgic temptation", and infers that he who feels it is on the verge of losing mental balance.
Actual Art believes that someone who is rooted in the past, can not be modern. We must kill the father, to avoid comparisons with him, so society should abandon all traditions, from the transmission of values from one generation to another.

Unable to destroy the past, Actual Art commits fraud in an attempt to replace the past of his specially manufactured for the occasion ersatz.