By Mario Perniola
Artwork and its Shadow is a unprecedented research of the country and which means of up to date artwork and picture. Ranging around the paintings of Andy Warhol, cyberpunk, Wim Wenders, Derek Jarman, considering on distinction and the potential of a philosophical cinema, Mario Perniola examines the newest and most annoying trends in art.Perniola explores how paintings - significantly in posthumanism, psychotic realism and severe paintings - keeps to outlive regardless of the hype of the artwork marketplace and the realm of mass communique and replica. He argues that the which means of paintings within the sleek international now not lies in aesthetic worth (above the artwork work), nor in well known flavor (below the paintings work), yet beside the art, within the shadow created through either the paintings institution and the area of mass communications. during this shadow is what's disregarded of account through either industry and mass media: the trouble of paintings, an information that may by no means be absolutely printed, and a brand new aesthetic destiny.
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Additional resources for Art and Its Shadow (Athlone Contemporary European Thinkers)
According to Barthes, the inﬁnity of desire, which has seemed to many a guarantee of its philosophical character, in fact only generalizes the delusion. Difference is not absence! As long as I think of the alternative to Western metaphysics in terms of lack, I remain prisoner of a mode of thinking opposites (already foreseen in Aristotle’s metaphysics) which is lesser not greater than dialectical contradiction. The second idea of the text as thing, although not formulated explicitly, seems to me to be contained in Barthes’s distinction between representation and symbolization ( ﬁguration).
Art loses its distance with respect to reality and acquires a physical and material character that it never had before: music is sound, theatre is action, the ﬁgurative arts have a consistency both visual, tactile and conceptual. They are no longer imitations of reality but reality tout court, no longer mediated by aesthetic experience. They are extensions of the human faculty that no longer have to account to a subject because this is completely dissolved in a radical exteriority. This artistic trend oriented toward an always more crude realism seems to have had origins in the nineteenth century.
Viewed from the outside, the postmodern seems opposed to the modern even if it seems incapable of being really such. Its opposition seems overambitious, its antagonism bound to remain subordinate. It is as if it lacked the courage and the dignity of the struggle, as if it were not capable of being the real enemy of the modern. 39 In fact, in his view, the postmodern is part of the modern. They are both removed from the past and regard it as suspect, but while the former remains a prisoner of those ideals of emancipation of humanity, which turned out to be pious illusions, the latter is removed from facile consolations and proceeds to a kind of re-elaboration not unlike that of psychoanalytical analysis.
Art and Its Shadow (Athlone Contemporary European Thinkers) by Mario Perniola