Art Show Names

Sunday, January 17th, 2010 at 4:16 pm

Theoretical Priciples of De-aestheticized Art

"Art is a lie that makes us realize truth.â € - Pablo Picasso

What type of lying is compatible with contemporary art today?
What kind of truth we realize through contemporary art?

The contemporary visual art scene is like the space full of broken mirrors, where images reflect each other in the multidimensional field of media circus. The technique of cataloging and classification, category creation, could serve as the key to mapping and understanding of the complexity of the multitude of approaches and streams that exist in today € ™ s global art scene. Criteria for both the creation and selection are taken from the random structures, and, theoretically, are questioning the relevance of the evolution of art.

The initial categories for the entire system are those of the matter and consciousness. They provide the trunk of the various branches of the other categories of the stem. All the elements are so interconnected that, each only can be understood as an element of the set. "Dialectical Materialism (A. Spirkin)

Determining the importance of the styles or trends, current Main art, groups or any other structure, it is irrelevant in the near future. œAnything Goesa € â € was replaced by â € œAnd What? â € With all the information and tools available today, everyone could become an artist. People of all professions are playing with new media. Does Garage Band to make a musician or a designer of graphics software, or digital camera with a photographer? New technologies create a game where competitively therefore everyone wants to win. Winning in the art, the experience also means â € œ15 minutes world-fame and become a € € â € œsuperhero.â consumer society deals with the replacement of superficial happiness. Who going to watch the game if everyone plays. Fortunately, we can play at once. Public vary from small groups (family members and friends) to large social groups. In the broader social communities, as national structures, the demand œheroes-artists â € € decreases and the culture is broken into small pieces of individualized activities of regional character. Investigates the behavioral tendencies of the art scene in the context of contemporary philosophy art which tend to accept a concept that everyone is or can be an artist. The meaning, significance and consequences of the stream of mind are profound and have significant impact on cultural and social live. Why? It requires abandoning the notion of conceptual thought.

My approach to art is created on these bases. It is I would be able to perform non-dualistic processes, but I'm trying to make a little futuristic speculative forecasts era after the end of art. Sooner or later, this trend will identify with some kind of art Unthinkable. Historically, the realization of that road becomes a paradox to common sense (especially collective level), however, these trends are reflected in the air in the post-postmodern rain, and soon will appear in the sky like a rainbow.

Today € ™ s Conservatives are looking for unique angles and interesting to do at their best when used selection techniques for the art exhibit. The use of approaches traditional loop system ensures the art of creation to distribution, and protects the cultural capital of the office. Even more obscure scenes (Technologies vs Art, or other forums of so-called â € œnew mediaa €) are not the solution to the question of the founding of the role of art in cultural platform the contemporary world, as they are based on the traditional curatorial, and preconceived selective mechanisms. What do I mean by that? I mean the study of processes designation of the mind in relation to the definition of what the label: The Art. In reference to the dialectical philosophy is an example of demonstrating the potential the idea made by A. Danto, art into philosophy. Such ideas would be adopted not only by the artist themselves, but especially reformulated by structures that officially supports broader cultural platforms.

What are the results of the conference held in Tehran in 2001? Art is being presented to the public in the presentation of early 20th century. Support structures such static views certainly do not raise awareness and public awareness of issues of contemporary art world. Mark Kostabi The artist alludes to the idea, the art of being a marketer. Some conservatives are warbled by this statement. In the global picture of Westernization, M. Kostabi € ™ s phenomenon is becoming a guide â € "a hero, who is the ideal combination of qualities, which must have contemporary artist. It is also the best proof of the lie that helps us understand the truth on the art of today.
Like a flash of neon, art is reflected from the pieces of mirrors everywhere.
Looks like a new quality of the question have emerged from Arthur Danto published his ideas in the book called â € œAfter the end of art, 1998. â € œOver a decade ago, Arthur Danto announced that art ended in the sixties. Since this statement, which has been at the forefront of a radical critique of the nature of art in our time.â € Art becomes a philosophy.

I have always believed in finding the answers in the space between, seeking the middle ground. Neither postmodernism nor Responses new media approaches to understanding the position of art in the morning. Postmodern world is a world of entertainment. Itâ € ™ s like a park of entertainment, where are endless possibilities and we feel overwhelmed for a while, but we need a break from information overload and go home.
Kostabi is one of those, who understand the art market, and because of his intelligence to penetrate the system, took advantage of him, so he can do whatever he wants. We we pay dearly for tickets in our pockets. I admire him because he realized that the dream of every artist. Art or not a dream of every artist to gain recognition and sell work worldwide?
If not, what is?

Is it still appropriate to ask question such as, what is art? How deal with him? What is the nature of beauty? I would refer to the discussion between Einstein and Tagore, 1930.

Einstein: There are two different about the nature of the universe - the world as a dependent unit of humanity, and the world as an independent reality of the human factor.
Tagore: When our universe is in harmony with man, the eternal, we know the truth, I feel like beauty.â €
E: If there were no more human beings, the Apollo of Belvedere would no longer be beautiful?
T: No!
E: I agree with this conception of beauty, but not with respect to the truth.
T: Why not? The truth is made through men.
E: I can prove my concept is correct, but that is my religion.
T: Beauty is in the ideal of perfect harmony, which is in the universal being, the truth is the perfect understanding of the universal mind. We individuals approach through our own mistakes and blunders, through our experience, through our illumined consciousness. What else can we know the truth?
- By Dmitri Marianoff, published in The New York Times, August 10 1930

â € œContemporary artists never would approach new horizons. One reason for this failure seems to be the separation of artistic activity from speculative thinking.â € œ
2001 Tehran Museum of Contemporary Art, International Conference on Philosophy of Art.

What has passed since the time of the conference? How to overcome the speculative thought, if it arises as a result of cultural values with the support of the society we live in?
How to identify or place of individual artwork in the world art scene and so complicated and diverse, without compromising the originality, respecting the evolution in the art? How to deal with the rapid move from one minute to change the trends of art? How does the individual artist contributes to the art of his life, not only contributes the rate of 15 minutes of history? What are the values, the reasons for the art of tomorrow? Is there an analogy in the history of art to the status of our time? What are the future forms of visual exploration? What will be the production of art will be in the near future, 10 years from now? What is the role of new media? Artist must be involved in the philosophy of art? Individually they can create works of art created in the insulation? If so, How they are structured art processes individually and in the world?
It is intriguing to think about becoming a pioneer of the new era of art. My motivation is to explore the field of possibilities. In no interest in the issues inherent in the art and I'm not interested in the evolution of the possibilities of artistic thought. In 1999 have graduated from the Academy of Fine Arts in Bratislava, with the installation inspired by I. Kabakov, where I presented my work area with drawings and engravings on the floor and white cloth, with the intention of questioning the meaning of art itself. White canvas was there to raise the question of the reason for the continued mark-making and end of narrative art. I have seen closed circle of possibilities. If anything was possible, and it was an art, was an art than anything else, so that art was death. But I realize now that was just the beginning of my long journey to the realization of the truth about art.

The Incredibles (2004) updates the feelings about the end of art.
â € œWhen everyone is a superhero who is anyone superhero €.

In order to continue in activities that lead to products labeled as an art, had to formulate and revise the following facts:
1. Analysis of the situation.
2. Behind self error and evil motivations.
3. The formulation of solutions and strategies.
4. Making continuous visual symbiosis with reality.

1. ANALYSIS OF THE SITUATION
From Teheranâ ™ € s Conference: Post-Modernism and Contemporary Art,
April 27 to May 1, 2002

Problems of Contemporary Art:
- Aesthetics in Contemporary Art
- The fine line between artistic and non-artists
- The language and expression Contemporary Art
- Contemporary Literature and Art
- Contemporary Art and Technology
- Globalization and Contemporary Art
- Post-Modern Art: Features and Specifications
- The end of art

Post-modernism and contemporary art trends:
- Minimalism
- Art Concept
- Land Art
- Video Art
- Body Art
- Anti-Art
- Local Art
- Feminism
- Post-Modern Architecture

Theoretical Origins of Post-Modern Art
Theoretical principles of modernity from the standpoint of modern philosophers:
- Humanism
- Rationalism
-- Subjectivism
- Nihilism
- Aesthetics
- Lighting

2. SELF-GOVERNING ERRONEOUS AND MOTIVATION
I'm a little touched topics of dilemmas traditional dualistic mind. Acceptance of the dual aspect of things, leads to critical thinking, not only in art. Creating categories is from the tragedy of the era after the end of art. This is why beauty and any other category that could be defined, leading to continuous labeling.
Definition of other grounds of error is based on the juxtaposition of Malraux Nietzcheâ € ™ s € ™ s art models and processes of creation.

Nietzche
a. One seeks for itself a less artistic public. The superstitious belief in the "genius"
b.One harangues the dark instincts of dissatisfied spirits, he was always ambitious, disguised in a democratic age: the importance of poses.
c. One such transfer of proceedings an art to the other arts, confuses the aims of art with the knowledge or the church or racial interests (nationalism), or philosophy.
d.One flatters women, victims, outrage, etc. False "intensification".

André Malraux
Art is a universal sign of creativity the individual. Through art work man was, and is opposed and transcend their physical limitations, their personal and social (historical) destination. Malraux refuted to explain the works of art in connection with the biographies of their creators, and was against this method in the explanatory statement and content of art.

3. Formulation of the solution and strategy / VISION-utopia

a. Iconic Revival of quality.
Because of the degenerate age of spiritual values and to the times of ancient gods, that migration and multicultural mix is responsible, I'm looking for possibility of new forms of sacrum. This is not a transcendental art creation. It is a quest for artistic form that allows content to observe the dialectical evolution of social wisdom, where the essence of the secret sacred is highly respected. This is a new level in the field of new colors, shapes and structures. The renewal of art forms is based on the reassessment of sacred attributes of history and the rise of the forces of the modern era, which defines the grounds and the outlook to redefine the sacred ways. It resurgence of existing symbols, at world. It is a creation of a new religion, but a new level of social consciousness. Form remains the same, the mind is different. Technology, art and philosophy are integrated into ongoing symbiosis.

b. Role of Artists, Galleries and Cultural Industries. Combination of two worlds. New Culture Wisdom. Utopia.
This would be the end of â € œâ € | marketing game governed by art dealers, gallery owners and publishers, who must manage the business Culture Industry.â €
The global society is governed by New Culture Wisdom. Creation of art is regarded as the act of creation. â € œThe art is spontaneous as € breathing.â artist is producing form, which is instantly and naturally blend with the environment environment, so that the subconscious is directed by wisdom that eliminates the dilemma of the hierarchical model. Gallery space is no longer necessary and the whole space is becoming a showcase. All space does not require the raises. It is an art of conscious representation of the American image, the experience of the retina, or selection of the picture frame in the consciousness and the aesthetics required placement in it. The artists are making art that is already blended into the environment as part natural space and serves as a perceptual possibility of public performance. Cultural knowledge is defined by human consciousness that offers unlimited potential for the definition pictorial elaboration of reality and its limits are the limits of understanding the phenomenon of reality.

c. Clash of Civilizations. Culture global. Meta-code, and new artistic expressions Religion.
We have experience in shaping the new global culture based on qualities that shocks cultural. (Example: the overall cultural experience is at home in LA, my friends listen to Persian and Mexican Japanese techno music, eating cheese with bread Bulgarian Arabic Russian pickles and drinking French wine while talking of Slovak culture, or the latest fashion trends in London.) East and West, or process meets the north south have not been completed yet, and it is difficult to predict the results of culture shock. But we have to look at the presence and formation of universal space, where cultural identities will be redefined. This lead to a temporary crisis of individual identities but will eventually lead to the identity of world consciousness.
Americanization of the world can be a model of globalizing world with its positive and negative aspects. Migration to the caves is limited. SJLewy

4. MANUFACTURING VISUAL continuous symbiosis
I want to scratch the surface beyond the point of A. Dantoâ € ™ s philosophical questions about the purpose of art. Not that I would â € œThe € Gutsa to develop their ideas from the philosophical perspective, but I just want to reflect on some fragments and articular strictly, as an artistic vision.

"A philosophical question arises whenever we have two objects that appear relevant in every particular to be alike, but belong important to different philosophical categories.
â € | and this is no less the case when it comes to explaining the differences between art and things only actual occurring exactly like them.
â € | for example, refers to paintings as objects of very complex perception. So they are, but as objects You can imagine perfectly consistent with those that are not works of art, these should have the equivalent complexity at the level of perception. After all, the problem arises first, because there is no difference in perception can imagine, finally relevant. Nor can the possession of the "aesthetic qualities' serve, as it would be unusual for a work of art were beautiful, but something just as, if not a work of art were not. Indeed, it has been a major effort of philosophy from art to aestheticize the concept of "art. It was Marcel Duchamp, an artist much deeper than Warhol, who introduced himself as "readymade" objects chosen for their lack aesthetic qualities - grooming combs, hat racks, and, well, spare toilet fittings. "Aesthetic pleasure is the danger to be avoided" Duchamp wrote his most controversial work, Fountain, 1917. It was precisely Duchamp's effort to make clear that art is an intellectual activity, a firm conceptual and not merely something that the senses and the feelings involved. And this should be true of all art, even more than determined to meet the eye or ear, and not only those works that are considered especially "philosophical" as the Raphael school of Athens or the Mann's Magic Mountain. Is someone to choreograph Plato's Republic, not simply because of their high content more philosophical than Coppelia or Petrouchka. In fact, these might be more philosophical, employment as they do real dolls dancers imitating the dancers imitating dance indeed!
Where are the components of a theory of art are you? I think a first step can be done in recognition that works of art are representations, not necessarily resemble the old sense of his subjects, but in the sense wider than ever legitimately ask what it is.
Now of course not all things are works of representational art, so the definition has only begun. I will take the next steps here. Everything I wanted to show is how the philosophy of art has deeper issues to consider, issues representation and reality, the structure, truth and meaning. In considering these things, moving from the periphery to the center of philosophy, and in doing so, curiously incorporates two things that lead to it. For when art attains the level of self-consciousness has come to achieve in our time, the distinction between art and philosophy becomes as problematic as the distinction between reality and art. And the extent to which the appreciation of art becomes a question of philosophy applied can hardly be overestimated. "- A. Danto

I believe that art should reach the level where its own representation would represent the pure existence. What do I mean by pure existence? II is the purification in terms of creating not. All creation is pregnant with their causes. Therefore purify the causes of the creation of atonement for the act of creation itself.
The global awareness of the level of cultural knowledge will create the platform, where all things, the performance will be a work of art. It would be the conscience and its ability to frame the piece of reality and apply the aesthetic quality of she. The reality on the level of cultural knowledge is ultimately de-aestheticized. Marcel Duchamp € ™ s the idea of the danger of aesthetic delight would removed and their completeness of vision.
Every aspect of reality could become the art, culture, but wisdom does not allow the reality in dualistic (trial) the sense of becoming art or the collective level, or at any regional level. It would exist only as a vision of the potential at the level of Oneâ € ™ s consciousness. However, at later stages of development of culture of wisdom, in the final stage of equanimity, non-critical aesthetic experience of reality as the final art could take place simultaneously in more than one person. Evolution of collective experience could follow. The result of parallel experience shows the evolution of the human species to subtle spiritual qualities and the realization of the inseparable character of the beauty of existence itself. It is the experience the highest aesthetics. This will result in the formation of the new social structure, where € â € œshamansâ protect the global sanctuary.
The essence of the sanctuary is present in all aspects of reality that keeps the door to the possible establishment, where the seed of the nature of beauty is found.

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