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Image by jean louis mazieres
Naomi Maury 1991 Lyon
Institut d’Art Contemporain (IAC) Villeurbanne (Lyon)


Today we conceive of no different artwork than of contestation, it is among the indicators of our decomposition. After all there was nice artwork on command, there was even solely artwork on command : Egypt, Mesopotamia, Greece, Byzantium, Maya, Chinese Art, India, our Christian West, Renaissance, Baroque and even traditional. It was stunning, it was ordered, however the artists believed in him.
Jean DUCHE. The Shield of Athena.

"You can make to people swallow anything," says one knowledgeable: MARCEL DUCHAMP (interview on the specific 23 July 1964) Under the identify of artwork, for greater than 100 years now, individuals have been made to swallow something. We are within the midst of unreality, what’s formally thought of to be the artwork of the twentieth century and the start of the present century has no reference to artwork, it’s anti-art, non-art, hoax.
JEAN LOUIS HARROUEL Contemporary Art, Great Falsification Jean Cyrille Godefroy 2009

Art is what you imagine in. And artwork makes you imagine in what you imagine. Art additionally makes you imagine in what you would not imagine in the event you had been free to imagine. What in the event you do not imagine in something anymore? Not even in man? Only in your self, in defiance of all others? That’s official up to date artwork.
The ugliness and absurdity of Official Contemporary Art are lethal viruses, destroying collective cultures and individuals. It’is Covid-Art. It is self-confined in magnificent buildings the place no public goes, aside from a couple of vaccinated, constrained, adventurous or naive individuals.

Official up to date artwork is an anti-art, commissioned, globalist, state and supra-state, private and non-private, which mixes seven constants present in virtually all European museums:
He is ugly, absurd, provocative, botched, unhappy, uprooted, obsessional, and on account of all this, completely synthetic.

1° The Ugly Art
This is what artwork historian Ernst Gombrich notes: "Western art has become an adventure on the edge of the impossible, and the art of the ugly".
The ugly Art is a significant invention of the West within the second half of the twentieth century. Ancient Fine Arts (Belle Arti, Schönen Künste, Fine Arts) and Modern Art, which works from 1830 to 1950, have sometimes paint the ugliness of life and demise. The ugliness of the Passion of Christ, the Devil, the Underworld, War, illness and epidemics, insanity, demise and so on….. But the ugly was by no means a purpose in itself, it was solely a technique to specific the ugliness of sure realities.
In official up to date artwork, this crucial of the ugly considerations each summary and figurative artwork.
When the Ugly turns into a criterion of official artwork, a purpose of the painter, and a vital situation for coming into a museum of portray, or sculpture, then the period of Contemporary Art undoubtedly begins.
The ideological, doctrinal, systematic adherence of Contemporary Art to ugliness is a really banal remark, which has been made many occasions, and which has been absolutely claimed by its theorists and practitioners.
The artwork critic Michel Tapié (1909-1987) famous within the Fifties and Sixties that "Modern Art – understand Contemporary Art – was born the day the idea of Art and Beauty were separated". Michel Tapié doesn’t criticize this disjunction, quite the opposite he notes it and justifies it. "we have changed our values". Indeed, ugliness has change into a optimistic worth in aesthetics!
It could be very important that Europe and the West of Museums distinguish, the Museums of "Fine Arts" (Belle Arti, Schönen Künste, Fine Art), from the "Museums of Contemporary Art". It is the officialization of the divorce of Art and Beauty. This institutionalization, this systematization of the anti-esthetic is a primary within the historical past of civilizations.
It is crucial to not confuse Modern Art (1830–1950) with the Contemporary Art, that prevails within the West in official circles from the Fifties onwards. The important distinction, however quite simple to grasp, is that this: Modern Art is an aesthetic, Contemporary Art is, and proclaims to be, an anti-aesthetic.
Just a few questions are so as:
Should man be pleased with having renounced magnificence in his official artwork?
Is it necessary to think about that this can be a vital and inevitable evolution? A Progress even?
What if ugly artwork was, quite the opposite, a degrading artwork, a regression? An Involution?

2° The Absurd Art.

During the entire interval of the Ancient Fine Arts (Belle Arti, Schönen Künste, Fine Arts) artwork was by no means absurd. He at all times had a that means, he was the bearer of a instructing very clearly perceptible by the best quantity, even by the illiterate, particularly in non secular artwork. From the Renaissance onwards, an artwork impressed by Greco-Roman antiquity appeared, the that means of which was solely accessible to a cultivated elite of European society. But artwork continues till the up to date period to be significant, to carry a transparent discourse designed to persuade and convey peoples collectively.
In trendy occasions, round 1900, with non-figurative, summary artwork, a novelty appeared: the artwork of non-sense. The non-sense, understood as the dearth of that means, the absence of an intelligible discourse, carrying a exact message, simply identifiable by the populations or by the elites. This is when works "without title" or with meaningless titles seem: "Composition N°…"
But it’s only with official up to date artwork, after the Second World War, that nonsense, the absence of serious discourse, evolves, is exacerbated, and turns into synonymous with absurdity.
Abstract trendy artwork is a blue triangle and a crimson dot on a white background.
Official up to date artwork is a pair of sneakers sporting glasses, a pile of stones, a mattress suspended from the museum ceiling, or a mop…
This attribute of absurdity, in contrast to that of ugliness, isn’t explicitly claimed by the dogmatics of the Anti-Art. On the opposite, the theorists of Official Contemporary Art completely wish to make imagine that Anti-Aesthetics is superiorly clever, carrying a extremely refined counter-discourse, superlatively "conceptual", that solely a customer initiated to the mysteries of up to date thought may perceive. Hence the significance in up to date artwork museums of the Discourse on Art, which is usually displayed in a bigger format than "works of art". In actuality, the really knowledgeable public, not the falsely enlightened public, should perceive that there’s nothing to grasp about every of those "works of art". The discourse on artwork is there to deceive the general public, to amaze them, to intimidate them, to ban them from contesting. On the opposite hand, it’s vital to grasp the why this "art", which one, on the identical time, shows its absurdity and hides it behind an entire justification discourse. It can also be vital to grasp the worldwide, political, ideological and social significance of this completely sophistic aesthetic and moral deconstruction. We are within the presence of a Sophist artwork, to which we should firmly oppose the knowledge of Socrates. At the chance of getting to drink hemlock, after condemnation by a misguided "Republic".

3° The Provocative Art.

Throughout the interval of the Ancient Fine Arts (Belle Arti, Schönen Künste, Fine Arts) artwork was by no means provocative. Art’s perform and intention was to transmit a transparent instructional message, comprehensible by the bulk, and its means had been to seduce populations as an entire, or extra particular clienteles, by carrying a consensual discourse, which brings the recipients collectively round a collective tradition, and a typical excellent. Art was a sharing between the members of the entire society conceived as a centripetal neighborhood. Art was inter-social, that’s, it needed to be appropriate for all courses of society, to be accepted by them as a typical good and to foster communication inside the neighborhood.
With the official Contemporary Non-Art seems a scientific reverse doctrine, of a complete intolerance: the dogma of artwork that should disturb the peoples. Art is not made to induce the adherence of the populations, however to disturb them, to impress damaging reactions of opposition, of rejection. The official discourse on artwork continuously proclaims the alleged must "question" all traditions. Thus the "initiate" will distinguish himself by spreading reward on this so-called catharsis, and the uninformed, the zombie, can be stigmatized when he dares to criticize the absurdity of dogmatic violence made to magnificence and that means.
This dogma of "the art that must disturb" has all of the traits of the illiberal language of sure non secular doctrines of which fanatics are unable to confess and perceive {that a} religion in a real God can cross by means of paths aside from their very own, and expose truths aside from these wherein they imagine.
There is not any query of religion in a revealed God for the supporters of the "Enlightenment", however this doctrine of artwork, which has the obligation to disturb peoples, is in actuality the expression of a religion in a better and revealed Human Reason, requiring a secret initiation. This doctrine is the interpretation within the area of aesthetics of an elitist, sectarian and dogmatic ideology. Fanaticism has desacralized itself within the West, nevertheless it stays an identical to itself, and it’s nonetheless as harmful to freedom
Provocation is among the founding rules attribute of official up to date artwork. If we wish to perceive official up to date artwork and even a sure road artwork (that of vandal tags) we should assume on the identical floor as him. Oppose provocation and specific contempt to the provocation and implicit contempt for peoples that’s attribute of official up to date artwork. This is why official up to date artwork, state artwork and even supra-state artwork, globalist, an artwork attribute of our present Western civilization, reveals a worrying way of thinking of the elites, an apparent overestimation of themselves, and poses a really actual social and politic drawback.

4° The Botched Art.

The botched Art begins from the sketch, it’s born from its abusive systematization.
The Sketch was primarily a preparatory examine within the historical past of portray, which allowed the artist to make sure the coherence and steadiness of his completed portray. In this case, most frequently, the approximation of the drawing, the blur of the illustration is barely a draft, a challenge, an incomplete artwork that must be accomplished.
Many artists, over the previous centuries, have absolutely understood that the sketch may, typically, exceptionally, be a completed work. In different phrases, a piece about which a big majority of spectators, consultants or not, felt compellingly that NOTHING needs to be added to it. It isn’t a mathematical definition, not even philosophical, however it’s the greatest, as within the case of magnificence: the frequent feeling, the bulk, enlightened by the opinion of the elites, however broadly shared inside a society.
The sketch is a completed work solely when it creates a singular environment, significantly suggestive, carrying a poetry of its personal, distinctive. When it turns into clear that extra precision in drawing would shut the doorways to the creativeness, to thriller, and would destroy a refined steadiness between dream and actuality.
But it’s an alchemy whose secret can solely be penetrated by nice artists.
It is true that the sketch can launch a sure expressive energy, have an evocative energy, a poetry of the unfinished. An expressive drive that the portray, effectively completed, effectively drawn and effectively painted, effectively completed, can certainly lose. But the poetic magic of the artwork of the blur can’t be systematic and loses all its seduction when it turns into a behavior of doing and a conformity of the gaze.
Since the Impressionists, what number of artists have blurred sketchs and paint stains, with out artwork and for ease?
The aesthetics of our time has centered far an excessive amount of on the sketch. The blur, the sketch, the stain have change into a style, an compulsory tradition. Always the identical remark: good concepts, progressive and artistic practices, change into unhealthy and sterile after they change into systematized
In actuality, artists will not be the one ones liable for this case. In the nineteenth century Western society entered a tradition that product of the materials and financial success , and of the cash, its important values. Since then, sketches, which might not have come out of the artist’s private recordsdata in earlier centuries, have change into commodities for revenue. These items are even present in museums.
Picasso, a painter in transition between trendy and up to date artwork, had an excellent understanding of this financial mechanism.
Of course this evolution is wearing Great Principles: It isn’t about Money, however in regards to the Artist, the Freedom of Creation, the Progress of the Arts, a "new sensitivity", "living with the times" and so on….
This omnipresence of the sketch, the blur and the tachism displays not solely habits of the gaze but in addition moral and cultural values. The Art of sketching, blurring and symbolic and poetic suggestion has change into, by spirit of each system and provocation, and in addition a lot by comfort and conformity to style, the simple Art, and the botched Art. The artwork of constructing a status and cash as shortly as doable. We are on the reverse of the portray of earlier centuries, at a time when artwork was a occupation. A occupation that may very well be discovered at size, with problem, and that required infinite meticulousness.

5° The Sad Art

For centuries, European portray, European artwork on the whole, was designed to make peoples dream, or of an essential a part of a inhabitants: aristocracy, bourgeoisie or in style courses. When European portray painted monsters, ailments or conflict, it was solely what was essential to formulate a reminder to the realities of the world.
Apollo skinned Marsyas alive, Prometheus had his liver eaten on Zeus’ orders, Adonis died, Orpheus didn’t deliver Eurydice again from the underworld. But Europe was not sad to be kidnapped, Aphrodite (Venus) was born and have beloved, and spring recurrently got here again, like Persephone from the Underworld.
The Crucifixions, Burials, and Pietas had been at all times accompanied by an Annunciation, a Nativity and a Resurrection. And after the Death of the Virgin come her Assumption and Coronation.
seventeenth century Dutch artwork, secular and secular, untiringly proclaims the easy joys of household life, the seascape, the altering skies, village festivals, wedding ceremony dances and materials abundances: meat, greens, cheese and flowers in abundance. A profusion that the skulls couldn’t cover. Even with out their tooth, farmers sang, definitely by consuming a bit an excessive amount of.
All the neoclassical, romantic and impressionist artwork of the nineteenth century has made you dream with landscapes from Italy or Europe: meadows dotted with poppies, recent and pleasant rivers, forests filled with beneficial shadows, mysterious castles, herds of sheep and cattle, shepherds musicians…… And other than a couple of shipwrecks in a tough sea, on the entire, European portray was joyful and provoking the peoples.
Dream of God, dream of religious or sensual Love, dream of everlasting life, dream of goodness, purity and sweetness, dream of motherhood, dream of paradise, on earth or within the air, dream of idyllic panorama, dream of profitable looking, dream of abundance. The Dream isn’t missing in European portray throughout centuries, that are rather more than a thousand years previous. And this dream continues to be perceived right this moment, even when it not corresponds to beliefs which can be presently alive and shared. It is when ideologues and politicians, who impose on artists what artwork should be, have determined to color a world that doesn’t make peoples dream, that up to date artwork has began: The Urinal of Marcel Duchamp is among the archetypes of this "revolution".
The "Enlightened" have certainly invented the unhappy artwork. They are fully fallacious, as soon as once more regardless of their conviction that they’re the Eye that illuminates your entire social pyramid from above: Art is what makes peoples dream. Not what provides them nightmares.
There is little doubt that throughout the twentieth century in Europe, then within the West, a pessimistic, tragic and absurd view of life turned widespread within the area of portray and sculpture
Are up to date artists completely happy to have to provide this New Mandatory Art?
We don’t see within the Contemporary Art rooms an artwork that breathes the Joy of Living and the Blossoming of Self.
Fra Angélico’s works testify that this painter was completely happy to color as he did. All in all, he was free! The identical goes for the works of Pierre Paul Rubens or the Impressionists.
Looking at Van Gogh’s works, one factor is for certain: this tormented painter had the enjoyment of releasing himself by means of his artwork from his difficulties in dwelling.
What is the aim of Art, if to not make individuals completely happy, or at the least assist them to dwell?
What is an Art that isn’t an enchantment?
Why a disenchanted Art? Systematically and ostensibly disenchanted?
The Hell of Enguerrand Quarton or Hieronymus Bosch was filled with flames and horrible demons.
The Hell of our up to date world has rationally evacuated all of the obscurantist horrors of faith: it’s as clean, unhappy and absurd as white, yellow or black squares, plywood bins, coal piles, cement beams, papier-mâché, piled up or suspended garments and soiled cardboard.
It is the artwork of a globalist elite who refuse to speak with their fellow human beings, and who’re additionally unable to really feel and make optimistic feelings really feel. No magnificence, no pleasure, no good. The artwork of constructing individuals dream has change into the artwork of constructing them nightmares. It’s greater than unhappy, it is alarming. Would Democritus himself nonetheless have the ability to snigger about it?

6° The Rootless Art: The Art of the Tower of Babel

The attendance on the Museums of Contemporary Art reveals a phenomenon that shortly turns into apparent and haunting, from the second the customer turns into conscious of it: the previous of mankind and the historical past of civilizations are completely absent. It is as soon as once more the identical remark: it’s the reverse of Fine Arts (Belle Arti, Schönen Künste, Fine Arts). An atemporal Anti-Art, the place all reminiscence of the previous is absent, is displayed within the Museums of Contemporary Art.
Official Contemporary Art is a cluster of numerous "things" that represent a show case of current, an omnipresent current, completely minimize off from any spatial or temporal setting:
Plain canvases, colored or not, traces, dots, strokes and circles, squares or rectangles of assorted colors, and naturally stains, particularly stains. Rubble, pipes, broomsticks, mops, ladders, beds, chairs and wobbly tables, piles of assorted issues: coal, stone, cardboard, paper, plastics. Rusty, twisted, damaged, bent, damaged beams, assembled cardboard bins, stacked garments and rags, open or closed bins, damaged or crushed equipment, pipes, cement beams, rubble, cinder blocks, tiles, complete or pulverized bricks, neon tubes, empty luggage or full luggage (evidently conceptually it is vitally completely different), all types of pipes (iron, cement, plastic), rubber, buckets, jugs, pots; fences, telephones, typewriters, packaged or not, sinks, urinals, bicycles, fruit and greens, an entire number of flea markets, however absurd the place they’re uncovered: within the artwork museums.
A mess of artwork colleges declare to be impressed by up to date society, particularly its sciences and methods: Conceptual artwork, video artwork, laptop artwork, digital artwork, bio artwork, there isn’t a scarcity of names, however the ensuing installations, other than their systematic ugliness, far faraway from the fact of right this moment’s laboratories or factories, are completely devoid of any that means truly associated to the human sciences and methods as they’re practiced. In the identical manner that these installations are on no account associated to the precise city life of a big a part of the Western inhabitants. Fortunately, our cities don’t resemble our museums of up to date artwork.
Objects with out a actual identification, with out "personality", with out empathetic capability, as a result of they don’t match into any credible context.
Contemporary artwork museums are a accumulation of objects with out a actual identification, with out "personality", with out empathetic capability, as a result of they don’t match into any credible context.
nor the context of utility, as a result of the objects offered are completely out of their actual use.
nor the geographical context, as they aren’t consultant of any tradition attribute of a area of the planet.
nor the historic strategy, as a result of these objects don’t have any reference to the historical past and previous of human societies.
There is nothing in these museums that may root the customer within the historical past of his or her neighborhood or a specific neighborhood.
By observing Institutional Contemporary Art, by finding out its discourse, it’s clear that Western man isn’t both on the trail of rapprochement with Nature. Nature, animals, and humanity – besides when it’s ugly and absurd – have virtually completely disappeared from Western institutional artwork. The rapprochement with Nature is nonetheless a theme that each one Western media geared toward most people recurrently develop. The theme of the animal has not disappeared from road artwork or from native, regional or nationwide non-public business artwork both. It is omnipresent in images.
Why this divorce between the Official Globalist Art, artwork reserved for the enlightened elite, completely synthetic and counter nature, and the humanities or media geared toward most people?
Why is that this Institutional Art uprooted not solely from the completely different human cultures, but in addition from Nature?
The spectator is locked in a relentless, haunting, terrifying current by his anonymity and his absence of any identification reference level. Contemporary artwork is Alzheimer’s illness on the dimensions of the entire society: every second follows each other with out being linked to the second earlier than, and even much less to a distant previous. An anthill artwork wherein generations succeed each other with none memorable hyperlink, solely the chain of intuition stays energetic.

The official up to date artwork is clearly designed to erase the reminiscence of males and be higher capable of information the stays of intelligence that can survive this therapy. It is simple to grasp why the principle viewers of those up to date artwork museums are college students from colleges, schools and excessive colleges.
This state of affairs is certainly not the results of likelihood however of a political will based mostly on a wonderfully identifiable ideology: The "Enlightenment" ideology contained some essential, well timed, artistic and dwelling truths. But these truths have been interpreted in paroxysm of their extremism, and settled in absolute, systematic, distinctive and common Truth, denying all of the values and experiences of previous civilizations. This new totalitarianism carries, like all totalitarianisms, tragic Shadows, and at last Death. When man claims himself to be the "Lights"", the lights of his solely motive, it’s fairly constant that he results in the deep shadow of error, of ignorance, ugly and absurd. What official up to date artwork show.

Official up to date artwork, that of the museums that bear this identify, places into apply, within the area of aesthetics, a basic precept of the Enlightenment ideology: "La Table Rase" (the clear slate). The European previous and that of all civilizations is retrograde and obscurantist, it’s the time of the Shadows. He should disappear fully in order that the brand new Humanity can flourish within the Modernity, that the "Lights" alone signify. In the USSR, in Maoist China, this ideology of the "Table Rase" was imposed by an explicitly violent democratic totalitarianism, a single celebration claimant as reputable "the dictatorship of the proletariat". In the capitalist nations the strategies are completely different: totalitarianism is hidden behind the appearances of the supposedly plural liberal democracy. His strategies are these of a disguised violence, underlying, impressed and arranged by organizations hidden from the eyes of most people: these of the manipulation of the opinions and the spirits.
The roots of peoples, the hyperlinks of countries with their previous should be completely severed in an effort to permit solely the true and solely doctrine to stay, that to the glory of universality. According to the High Priests of Globalism, this might be the worth to pay to ensure, by means of the disappearance of countries, ethnic and cultural teams and the creation of a single authorities on a worldwide scale, a vivid future, peace and paradise on earth. The disappearance of human roots is certainly the identical challenge because the disappearance of countries. From the forgetting of the roots to the destruction of the roots, the space is minute: that is what the formally involuntary fireplace of Notre Dame de Paris reveals. The centuries-old oaks body of Notre Dame de Paris can burn, as by chance, it’s not in any respect a catastrophe, it’s even an fascinating alternative. She can be rebuilt in a couple of years. She will even be higher: will probably be product of concrete, and model new. She can at all times be saved on the World Heritage List. What are the retrograde spirits complaining about who’re obscurely connected to the previous?
Official up to date artwork is an artwork specifically designed for uprooted, emigrated, immigrant, combined peoples: Nothing reminds of their origins, their particular cultures, their former territories. Their symbols, even the costliest ones, can be destroyed, intentionnaly burned down. It is the globalist challenge whose ideology and politics are mirrored within the official up to date anti-aesthetics.

7° The Obsessional Art.

The obsession we’re speaking about right here is that of Modernity, the New, Change, Revolution, Progress. It is necessary to color, sculpt, set up, every little thing and something, on the only real situation that it has by no means been carried out earlier than! Toilet paper rolls on the ground? That’s an ideal thought! On one situation: you must ensure that this has not already been carried out! And if this has been carried out, it’s doable to do the identical factor, however with actual or synthetic soiling, as well as. It can be much more novel and an actual enchancment!
This obsession with novelty right here too is in step with the dogma of the "Table Rase" and is impressed by the doctrine of the denial of the Past, which is a basic level of the catechism of the extremist Enlightenment. The direct consequence of this monomania is clearly the over-valuing of the current and the long run: a everlasting agitation, a feverish irritation, with none actual goal, with out prudence, with out good sense, a sterile effervescence and even harmful of the foremost balances wanted. It is "le Bougisme" (The Febrile Agitation), by Pierre André Taguieff (Résister au Bougisme. Fayard 2001). In inventing this neologism, Pierre André Taguieff rightly denounced the morbid cult of change for change. This absurd ideology of necessary novelty, at any value, clearly causes its devastation in artwork, as elsewhere in Western society.
Even if the start of the twenty first century is starting to boost alarm bells about human nuisance, the obsession with Change and Progress by means of human motion stays a relentless in all official speeches and one of many first commandments of ideological and "artistic" catechism.

Conclusion: The Artificial Art. The Dead Art.

The seven-point specs which can be imposed on up to date artists decided to construct a status in official artwork have an apparent consequence: Official Contemporary Art is a very no honest artwork, a summit of artifice and conformity. European artwork in addition to common artwork has at all times been commissioned artwork for 1000’s of years. In your entire historical past of civilizations, certainly, artwork has solely existed on fee. It is at all times the ideological and political elites who’ve impressed, guided and financed the artwork of various civilizations. With one notable exception, in Europe, throughout the Modern Art interval. We have mentioned why in different texts: in a phrase, ideological range. But artwork on fee, in historic occasions, even when a single ideology dominated, didn’t exclude that artists may create with sincerity, and due to this fact freely, an artwork that was commissioned, however genuine and shared. The whole historical past of European portray since medieval occasions is proof of this

This is what has clearly modified with official up to date artwork for the reason that second half of the twentieth century. To be compelled to create the ugly, the absurd, the unhappy, to be compelled to impress and disturb the peoples on the base of the pyramid, is clearly very overwhelming for the official artists themselves. Even when honors and earnings are on the finish of the street. Their artwork is synthetic, it doesn’t carry any dwelling fact. An artwork on command, however a lifeless artwork.
The sincerity, the nice religion, of the artist is a situation, definitely not ample, however completely vital for artwork. We see effectively within the historic arts, when the painter, even proficient, not believes in what he paints. This feeling could be very clearly present in non secular artwork, at sure occasions, in some artists even of nice expertise. In historic artwork, it’s a person or cyclical phenomenon.
On the opposite hand, in official up to date artwork museums, the dearth of sincerity, inauthenticity, falsity, duplicity is basic and structural: the spectator is immersed in an environment of fixed lies, constrained artifice, hypocritical affectation, lethal boring complacency. This is strictly the that means of the title of Aude de Kerros’ e book "L’Imposture de l’art contemporain" Eyrolles 2017.
Official Contemporary Art is an Imposture as a result of it’s an imposed posture, an compulsory behaviour, a lethal constraint for the liberty of creation.
A Beautiful artwork that’s comprehensible by peoples, the sharing of a dwelling and optimistic emotion with the general public, this isn’t the issue of the "artists" of official up to date artwork. Their solely curiosity, apparent to the customer, is their social success. These artists paint, sculpt or "install" to enter the museums. All sincerity is dismissed as harmful for the success of this firm. It is critical to satisfy the circumstances to be accepted by decision-makers : to do in any respect prices, the brand new one and ugly, and to realize probably the most absolute provocation.
It is evident that authenticity, sincerity, stay alongside of this street imposed on inventive creation. Some opportunists are completely comfy with these constraints , as a result of it’s a demanding set of specs, nevertheless it doesn’t require any strictly inventive expertise. Others many artists are constraining themselves, in an effort to acquire public recognition. Still others refuse to play this recreation and don’t enter the good museums. These constraints and refusals definitely have an aesthetic value on the degree of the worldwide society.
Sincerity was a criterion of the European aesthetic of the previous. It didn’t matter whether or not the idea was false or true, or kind of true, not in conformity with rationality as we perceive it right this moment. It is a historic reality that each one the good religions have been, for millennia, on the origin of genuine, honest, stunning, important arts, shared with peoples and acknowledged by time. The proof is that with Official Contemporary Art, authenticity is lifeless, and the sharing it with it after all. The attendance of up to date artwork museums reveals that there isn’t a present between artists, their official patrons and nearly all of the general public, who can freely resolve on its actions.
"The majority of opponents of contemporary art are totally invisible and voiceless. Artists and amateurs who compose it act as if Contemporary Art does not exist. They consider it so void that it is not necessary to pay any attention to it, nor to make any critical effort."
Aude de Kerros L’Art Caché. Eyrolles 2013.
These opponents are proper in regards to the aesthetic nullity of official up to date artwork. But they’re fallacious to stay speechless, as a result of this artwork is a revelation of the way of thinking of the ruling elites. The ruled should pay very shut consideration to the visions of artwork, and due to this fact of the world, of their rulers, as a result of they concern them immediately. The "Massacre of the Innocents" is a present state of affairs, not simply an anecdote from the New Testament. An ideological and political elite that has made a occupation of religion to bloodbath magnificence, that means, sincerity, artwork on the whole, and proclaims its proper to disturb peoples, is suspect. The bloodbath of portray, the bloodbath of artwork is the announcement, the prefiguration of the bloodbath of peoples (the "Yellow Vests") by their ideological and political elites. Recent historical past has proven that explicitly totalitarian, Nazi and communist, genocidal societies have been unable to create an genuine and honest artwork. The overwhelming majority of artists have fled them.
The liberal capitalist society, triumphant in our time, has acted in a way more politically refined manner by creating an Official Mandatory Anti-Art. Is it an efficient and ample antidote towards totalitarianism, that this society has allowed reserves for magnificence, that means, sincerity in different fields comparable to images or road artwork, or in a non-public artwork not accredited, adventitious? It can be clever to significantly doubt this.

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