By Mario Perniola
Paintings and its Shadow is a rare research of the nation and which means of up to date artwork and picture. Ranging around the paintings of Andy Warhol, cyberpunk, Wim Wenders, Derek Jarman, pondering on distinction and the opportunity of a philosophical cinema, Mario Perniola examines the newest and most annoying traits in art.Perniola explores how artwork - significantly in posthumanism, psychotic realism and severe artwork - keeps to outlive regardless of the hype of the paintings marketplace and the area of mass conversation and replica. He argues that the that means of paintings within the glossy international not lies in aesthetic worth (above the artwork work), nor in well known style (below the paintings work), yet beside the art, within the shadow created by means of either the paintings institution and the realm of mass communications. during this shadow is what's ignored of account through either marketplace and mass media: the trouble of artwork, a data which could by no means be totally published, and a brand new aesthetic destiny.
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Extra resources for Art and Its Shadow (Athlone Contemporary European Thinkers)
As long as the work is simply considered the bearer of an historical, political, cultural, or psychological meaning, we conceive the work in its identity, as a product endowed with a logical and moral identity. The entry of the work in the problematic of difference breaks up its object-like completeness. That is, it is no longer an object entirely determined by its author such that it cannot be minimally scratched by its fruition. In fact, the reader continues the generative activity of the author in a process without end.
12 There is ﬁrst of all a simple stupidity, honest 10 Art and its Shadow and naive, that derives from a certain weakness of reason. It is often close to poetry and art because in the idiot there is something poetic, because of his manner of expression which is extraneous to everyday commonplaces. The second type of stupidity is more interesting because it is strictly related to an unstable and unsuccessful use of intelligence. The claim of today’s art to grasp the real without any mediation is close to this type of stupidity.
A question of capital importance now emerges with respect to which postmodernism had an attitude of denial (Verleugnung): value. In fact, on the one hand, postmodernism denies the reality of Warhol and the Postmodern 33 a value difference among cultural products, on the other it becomes aware of the existence of a remainder, a plus and minus, something that we do not succeed in cancelling with an arithmetic operation whose result is zero. As we know, Freud elaborated the notion of denial on the basis of the privileged example of fetishism.
Art and Its Shadow (Athlone Contemporary European Thinkers) by Mario Perniola