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moderní :: postmoderní :: současné umění


"My favorite art is the art I don't understand." Pae White
"Umění chce tvořit konečnost, která vrací nekonečno." Deleuze a Guattari
"The ‘value’ of particular artists after Duchamp can be weighed according to how much they questioned the nature of art; which is another way of saying “what they added to the conception of art” or what wasn’t there before they started. Artists question the nature of art by presenting new propositions as to art’s nature. And to do this one cannot concern oneself with the handed down ‘language’ of traditional art, since this activity is based on the assumption that there is only one way of framing art propositions. But the very stuff of art is indeed greatly related to ‘creating’ new propositions. That there is no ‘truth’ as to what art is seems quite unrealized." Peter Coffin z rozhovoru

než začneš diskusi o tom, o co je to umění, čti: 1, 2, 3, 4, 5 - krátký a čtivý úvod do kritiky umění

Máte k tomu co říct? Vložte se do diskuze.
VYKUTALENA --- 17:06:08 30.6.2008
chantal joffe jedeeee
MIKRON --- 20:25:11 29.6.2008
KHALAVERA: to je fantastický!
PASHWAKA --- 18:42:39 29.6.2008
KHALAVERA: ja ten "blesk" miluju
UNCLEAN --- 18:13:45 29.6.2008
KHALAVERA: hej tak tohle me ted rozsekalo, dik !
PASHWAKA --- 13:42:41 29.6.2008
uryvek z:

Paul McCarthy's 40 years of hard work


In McCarthy’s kitchen we discuss the physical invasiveness and looming danger of the enormous installation The Underwater World. McCarthy who has periodically made a living as a construction worker and knows about the forces involved, says that many museum visitors today don’t realise that they need to be cautious when they approach an enormous mechanical work such as this. I mention Chris Burden’s monumental sculpture with a balancing steam roller, and some of the works by Bruce Nauman and Richard Serra, and ask if he believes these overwhelming sculptures which evoke physical sensations are typically American. McCarthy refutes this and insists that he is not a macho artist. But he relates a short anecdote about an encounter with a sculpture by Richard Serra, and the gist of the story, I believe, has some relevance to his own work:

In an almost empty museum McCarthy enters a square gallery with doors at both ends. From each corner of the room a mighty iron sheet juts out diagonally to the middle of the gallery. They don’t quite meet but leave a relatively narrow passageway. In the gallery he meets one other visitor, who sniffs and shakes his head disdainfully, looks at McCarthy and asks, “Is this supposed to be art?” McCarthy replies, “What I find interesting is that it appears to me that the only thing holding these enormous iron sheets upright is the corners of the room.” The man stops dead, regards the iron sheets that probably weigh several tons, sees how they are wedged into the corners of the gallery – turns on his heel and runs out. “I think he got it!” McCarthy chuckles.

Perhaps this physical reaction, the realisation that the work before us is potentially dangerous – is a veritable sign of actually having understood the work – and perhaps this also applies to the feelings of disgust, terror and laughter – that most of us experience immediately when confronted with many of McCarthy’s works. While being redolent with art historic influences and current political references, more than anything they hit you right in the guts.