The paradigm of contemporary art
|
Variables |
Factors |
|
|
How art is considered (as…) |
EXPRESSION |
PRODUCTION |
|
How we judge it (in terms of…) |
SINGULARITY |
BEAUTY |
|
CLASSICAL ART: |
Expression / Beauty |
|
MODERN ART: |
Expression / Singularity |
|
CONTEMPORARY ART: |
Production / Singularity |
FROM THE OBJECT (painting, sculpture…) TO THE PROJECT
FROM ONE TRADITIONAL MEDIA TO MANY TRADITIONAL AND NEW MEDIA
- Interdisciplinarity
- Questioning the boundaries, expanding what can be considered art
- Dematerialization of the artwork
FROM AUTOGRAPHIC TO ALLOGRAPHIC ART (Nelson Goodman)
- The artist might not produce their art by his own hand
> manager or movie director
- Optionally, the discredit of craftsmanship
FROM SPACE TO TIME
- Visual arts > performing arts / cinema / literature
- The importance of context
> physical: installation / social-cultural: web of references
THE NEED OF A “STORY“.
- Justification is as important as the artwork
- The explanation / the interpretation
> “user guide” (to give meaning/how to read, experience)
The artwork is not a single object any more:
It is a device -and a story- that provokes experiences / sensations
Artwork> DISCURSIVE (TELLING) DEVICE
REFERENCE:
Spanich edition: HEINICH, Nathalie. El paradigma del arte contemporáneo. Estructuras de una revolución artística. Casimiro Libros, Madrid, 2017.
Original French edition: HEINICH, Nathalie. Le paradigme de l’art contemporain. Structures d’une révolution artistique. Gallimard, Paris, 2014.