Art – aesthetic and critical potential of innovativeness
The article presents point of view on the modern art as the field for innovations of the artists. The author critically describes main features of the modern art, investigates its background, analyse its main techniques and finds the place of “the new” in the art.
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Інститут філософії імені Г.С. Сковороди НАН України
2012
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irk-123456789-407052013-01-25T12:13:17Z Art – aesthetic and critical potential of innovativeness Pastuszek, A. Культурологія The article presents point of view on the modern art as the field for innovations of the artists. The author critically describes main features of the modern art, investigates its background, analyse its main techniques and finds the place of “the new” in the art. У статті презентується погляд на сучасне мистецтво як поле для інновацій митців. Автор критично описує головні риси сучасного мистецтва, досліджує передумови його виникнення, аналізує його головні прийоми та знаходить місце “нового” в мистецтві. 2012 Article Art – aesthetic and critical potential of innovativeness / A. Pastuszek // Світогляд - Філософія - Релігія: Зб. наук. пр. — Суми: ДВНЗ "УАБС НБУ", 2012. — Вип. 2. — С. 258-266. — Бібліогр.: 8 назв. — англ. XXXX-0108 http://dspace.nbuv.gov.ua/handle/123456789/40705 130.2 en Світогляд - Філософія - Релігія Інститут філософії імені Г.С. Сковороди НАН України |
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Культурологія Культурологія |
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Культурологія Культурологія Pastuszek, A. Art – aesthetic and critical potential of innovativeness Світогляд - Філософія - Релігія |
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The article presents point of view on the modern art as the field for innovations of the artists. The author critically describes main features of the modern art, investigates its background, analyse its main techniques and finds the place of “the new” in the art. |
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Art – aesthetic and critical potential of innovativeness |
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Інститут філософії імені Г.С. Сковороди НАН України |
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2012 |
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Art – aesthetic and critical potential of innovativeness / A. Pastuszek // Світогляд - Філософія - Релігія: Зб. наук. пр. — Суми: ДВНЗ "УАБС НБУ", 2012. — Вип. 2. — С. 258-266. — Бібліогр.: 8 назв. — англ. |
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Світогляд – Філософія – Релігія
258
Література
1. Берман Гарольд Дж. Западная традиция права: Эпоха формирования / Д. Г. Бер-
ман. – М. : 1994. – С. 137–139.
2. Ілюстрована енциклопедія історії України : в 3-х т. / авт. тексту О. Кучерук ; іл. та
худож. оформ. Л. та С. Голембовських, С. Білостоцького. – Вид. переробле-
не, доповнене. – К. : Спалах, 2004. – Т. 1: (від найдавнішого часу до кінця
XVIII ст.). – 216 с.
3. Попович М. В. Нарис історії культури України / М. В. Попович. – К. : АртЕк,
1999. – 728 с.
4. Ситник Г. Національні цінності як основа прогресивного розвитку особистості,
суспільства і держави / Г. Ситник // Вісник Національної академії державного
управління при Президентові України. – 2004. – № 2. – С. 329–337.
5. Словарь иностранных слов. – 7-е изд., перераб. – М. : Русский язык, 1980. – 624 с.
Отримано 01.02.2012
Summary
Medvedev Igor, Pshenychna Ljubov. Public administration of the univer-
sities’ development: theoretical and applied aspects.
The paper considers the idea of a modern university and its influence on
education. The author dwells on the issues of developing recommendations for pub-
lic sector management of higher education in the current global crisis. The attempt
is made to analyse the impact of the Bologna process on universities structure.
Keywords: philosophical-management aspect, state-management, realization,
idea of university.
УДК 130.2
Artur PASTUSZEK©
ART – AESTHETIC AND CRITICAL POTENTIAL
OF INNOVATIVENESS
The article presents point of view on the modern art as the field for innovations of
the artists. The author critically describes main features of the modern art, investigates
its background, analyse its main techniques and finds the place of “the new” in the art.
Keywords: modern art, innovations, novelty, aesthetics.
Problem statement. For the modern man “the new” has become in-
triguing not only because of expansive (and compulsive) character of cog-
nition but also in the context of existing aesthetization processes. It is not
known if the desire for “the new” originally contributed to the modification
of aesthetic criteria, or aesthetic perspective prejudged of innovativeness
charm – what is important is that the criterion of originality, apart from
strengthening of creation of newer and newer class of objects dynamics,
has led to distancing oneself towards something which is traditional and
routine generating a critical potential of a discourse.
© Artur Pastuszek, 2012
Збірник наукових праць. 2012. Випуск 2
259
It has also been noticed that the alluring novelty had started to oust a
banal monument – growing dynamics of civilization changes caused that
disproportion between the innovative and original and this which is the or-
dinary and stereotyped has increased. Faster and faster “getting old” of
some objects, which the man is surrounded by, has become another phe-
nomena which is symptomatic and assisting the chase for innovativeness.
The time when they stay attractive is shorter and shorter – as a consequence
they become redundant earlier. It happens before they stop being useful,
before they become completely used and obsolete. In place of them there
appear newer objects – not necessarily more original or unconventional –
and therefore desired.
Previous research. The problem of modern art was highlighted in
works of such scholars as Barthes R., Bauman Z., Bürger P., Douglas M.,
Clair J., Rancierre J., Welsch W., but still the issue of innovativeness and
aesthetic in moder art was not studied enough so it needs further and more
detailed review.
The main aim of the paper is to describe critically main features of
the modern art, to investigate its background, to analyse its main techniques
and to find the place of “the new” in the art.
Main body. Innovation polarizes therefore the area of things separat-
ing what is original from what is up-to-date and these objects which retain
their value, functionality and attractiveness from those which independ-
ently of their physical features are becoming useless. In this way a part of
objects receive the status of unnecessary surplus, waste – and so their story
comes to an end.
As a result of such dynamic changes, satisfaction which was con-
nected with possession of some class of objects has transformed into distress
resulting from discovering of their status’ instability – liquidity connected
with not with using up but with the change of context in which they function.
The pressure of innovation has therefore increased a discomfort of com-
munion with these objects. This ambivalent character of redundant things
has decided about inconvenience connected with using them.
However – which was pointed out by Mary Douglas in Purity and
Danger – not always everything which is becoming ambiguous, as a result
of dynamics and modification of use, must be repulsive or troublesome for
us. The distress which is conventionally bound with such a situation may
be replaced by some kind of aesthetic satisfaction, when related to not articu-
lated forms [6, p. 78–79]. That kind of objects is found in the field of re-
flection of new art, which has therefore found another aesthetic niche.
Modern art seems to have a basis just on this which is ambiguous,
arise from the experience of maladjustment, disorder or original discomfort.
Світогляд – Філософія – Релігія
260
And its interest in the subjects pushed aside at the margin of life may bear
in itself, apart from aesthetic, also critical potential, because again it makes
trouble for easily accepted polarization of the world. At the same time, art
would confirm its innovative power – would arise from the same pressure
of looking for the new (as unconventional and attractive), which profiles
modern culture. However, it would not prejudge the status of objects, reaching
for even those which have become outdated and redundant. As a conse-
quence, this would be make it different from other forms of activity because
such an attitude would not only oblige to constant redefining of objects’
status but would also generate creativity and critical caution (alertness),
reaching for the background of used requisites of modern culture.
Artist, creating a work of art out of useless things, may draw from this
seemingly unattractive and barren part of the world, may bestow a form to
something that has already lost it as a result of ordering strategies. She or
he is able to extract new content out of what is redundant – in this way,
he/she may make the object of reflection out of what has been marginal-
ised. In this sense art is a critical activity. We can also formulate it, as Mary
Douglas does, as a renewing of the system, restoring what is ordinary and
unnecessary to the ritual as well as another change – through aesthetical
frame – the status of objects out of place31. At the same time exposing of
“consumed” objects, unnecessary, which only express instability and re-
dundancy with their condition, and placing them again in the area of sig-
nificant artefacts is becoming a creative activity.
However, such a reversal must be accompanied by a new set of artistic
means. Hence, there is an increasing interest of modern artists in reaching
for ready products, modifying the existing forms, using of casual materials,
mixing any components, stratifying or combining, using the remnants,
scraps and fragments. This recycling has become, however, not only intro-
duction of redundant objects again in the space of culture but also polemic
exhibition of instability and conventionality of their status. In general, art-
ists using this arsenal of new means do not cover the original form of used
objects leaving them legible, recognizable although they are the compo-
nents of other structures giving a new meaning to them.
The sources of such artistic attitudes should be searched for in the area
of avant-garde art. Its protest, aimed at the previous reception standards and
therefore transforming critically a modernistic norm of not engaged creation
and dominant artistic and aesthetic stereotypes, was the first of symptoms of a
new situation. It concerned what was conventional and not attractive – to any
canon. In this sense violation of traditional order has become an expression of
331 One should remember that objects highly valued before, like literary texts, works of art or inventions
status may also be entitled such a status.
Збірник наукових праць. 2012. Випуск 2
261
protest against fossilized artistic conventions and also stability of social order
and revealed mechanisms of power. It was also located in the frames of
postulated broadening of freedom space.
At the same time the way in which artists perceive the surrounding
world has changed. There has been stressed the diffusion of modern life
and destabilization connected with it, liquefying which achieves the shape
of late modern ambivalence. They have already demanded consolidating
and synthesizing actions. It was originally thought that art may provide
such consolidating strategy, that we can restore in its area the lost unity of
existence even if it would be realized only in the area of imaginative perform-
ances. However, trust towards constructive power of artistic practices has
disturbed the experience of cultural consequences of such unifying actions.
After all, artistic transformation might also be perceived as violating of things’
durability, liquefying of its status, depriving of unequivocal foundation.
Such strategy was meant to serve successive destruction of traditional
image of art and existing reception habits. It has enabled the access to not
only various ways of expression for the artists but also previously margin-
alized matter – mass produced goods, forgotten texts, deserted objects have
made the work of art constructed with them a problem.
An earlier dominant tendency was, as Peter Bürger noticed, a desire to
present the whole even if it was not directly available and one could only
assume its existence on the basis of the revealed fragment. The fragment
represented at the same time the wholeness – as if announcing it. An avant-
garde artist longed for something different – uniting, compiling and collocat-
ing of extracts was leading him/his to such a reinterpretation in which one
would not find a place for the wholeness and the meaning was associated
with the part [4, p. 90]. To make such a reinterpretation, the very matter
had to be treated by an avant-garde artist in a different way. Traditionally,
the meaning was searched for in it – now the meaning has been implanted
by composing, connecting or putting source neutral elements together.
Thereby, artistic universum has revealed fragmentation and dispersion
along with exposed episodic character of existence. It refers to fine arts as
well as literature or the culture of sound. In this way durability and stability,
deeply rooted in modern discourses, have been displaced. Up till now dura-
bility of things surrounding the man has guaranteed constancy and stability
of the world. Modern culture directed towards attractiveness of novelty and
episodic character of presence has disturbed this apparent balance.
Such liquefying, destabilization and as a consequence confusion forced
to look for new and more reliable tools of regulation in order to regain
power over resistant matter of the world, re-ordering and capturing of the
lost territory. It extorted the increase of inner mechanisms of control and
Світогляд – Філософія – Релігія
262
led to much clear pressure of ordering of life space, achieving a repressive
character. At the same time technological development, appearance of new
tools and common access to them have determined the quality of participation
in culture.
Although these processes have largely been connected with the flow
of information, they also influenced the change of art perception’s model
and significant transformation of modern artistic reality. Technological pro-
gress has also been correlated with artistic workshop and results in constitut-
ing of a new creative attitude as well as receiving one being a symptom of
deeper changes in anthropological sphere. The ability to use new communica-
tion and processing devices has become indispensable in active participation
in culture. It was to be accompanied by the knowledge concerning function-
ing of these devices and possibilities and ways of its use. Creative use of
these new means has largely resolved to processing of the content, processing
of available elements and also edition, which in artistic space means using
of technical apparatus used to record, reproduction and distribution both of
the pictures and words and sounds.
Art is undergoing a metamorphosis similar to that of a whole social
space but all tensions, dilemmas, controversies in its area gain a special –
as it is aesthetically framed – attitude. Simultaneously, it has to be noticed
that the very way of perceiving of art has changed. For the activities de-
scribed, the work of art’s status has changed, as well as position of the artist
and as a result of aesthetic and artistic modifications – the situation of the
recipient.
The aesthetics of creative assimilation and processing, which has been
constituted at a new position of both creator and preceptor required there-
fore a new look at the role of the artist and “consumer” of art. Changed,
traditionally leading role of the creator and an author of the work of art, until
now superior to a passive recipient, had to be redefined because of an active
character of the latter. He/she has become an equal participant of culture
and aesthetic reproduction. Mastering of new technologies and common
access to them along with broadening of media repertoire have not only
multiplied the potential of artists but also gave the recipients a possibility of
active participation in culture, increasing their creative opportunities, allowing
for a critical reference, their own comment and statement. Therefore in the
range of competences of modern culture participant there are orientation and
selection, the need of a critical approach to the received contents – creation,
however, similarly to any cultural activity, has become an establishing of sig-
nificant order. In this way evoking, referring or copying have been assimilated
as tactics of appropriation and reorganization of this territory.
Збірник наукових праць. 2012. Випуск 2
263
As I have already pointed out modern artistic strategies, which are
largely based on processing, have been elaborated by modern authors. They
were originally aimed against academic understanding of art. An avant-garde
artist was more of an experimenter, constructor than an inspired creator,
and his art, radical in form, was to perform important social tasks. The art-
ist has elaborated a new form of unlimited work of art, based on a novelty
which is abolishing and reinterpreting the canon, which was looking for its
originality in reconstruction. This form was contrasted with modernistic and
organic work of art which – as Peter Bürger noticed [4, p. 92] – camouflaged
the source of creation trying to suggest some universal order with its totality.
The idea of unlimited work of art was a consequence of appearing of
new avant-garde means of expression, inspired by science, civilization and
technological progress. It helped to redirect the attention, exposing the
elements which were ignored until now. Hence, using the fragment of
the work of art already functioning in the artistic circle as a matter of new
creation has been considered as original artistic strategy.
Nowadays, there is no indignation at realizations which base on bor-
rowing and processing of elements extracted from the world of art, and
compounded on the rule of assembling and compiling of a selected parts.
They may originate from the area of so called high culture as well as from
this degraded class of objects meaning “hollow”, which constitute common
things or redundant ones. Work of art created in such a way may have a revi-
talizing character – serve as a refreshment, reminder of old contents, themes,
motifs, forms, styles, works.
One can use this strategy as a form of reinterpretation – then new
qualities are created, previous forms gain new contexts, new arrangements
which often take on rebellious character in relation to the original meaning.
This recontextualization brings critical content which might be helpful to
overcome the borders, leaving tradition and conventional way of thinking.
A radical form of such artistic practices is “provocative” reduction of
source content – this way of processing in which the prototype, original
undergoes its effacing. In this case not only aesthetic but also ethical or
even formal and legal status of such realizations is becoming problematic.
However, modern culture has established such a model of life in which
manipulating which demonstrates its creative power in assembling and con-
structing, has drawn our attention, in a tricky way, from pejorative meaning
combined with this notion. What is more, its aesthetic dimension has received
a common approval, confirming, at the same time, some social valorization. In
this way operational sense hiding behind this notion has somehow reduced its
psychological or also social and technical context – any political or ethical
consequences have been reduced to pragmatic sphere of expected profits,
Світогляд – Філософія – Релігія
264
while manual aspect (dexterity, ability to use tools and efficiency) have
neutralized suspicions of persuasion, misleading, indoctrination. Therefore,
attractiveness of innovation has covered this ethical or political dimension.
Only deconstructing of original context of manipulation has started
revealing critical potential of artistic manifestation. They were uncovered
as manipulative procedures of cultural output’s reproduction and phenomena
serving dynamic multiplication and enriching of social life space. At the same
time these technologically mediated artistic strategies have become an effec-
tive way of accustoming of hybrydic nature of cultural reality. They have
enabled filtering and selecting of meanings.
This common manipulative tendency to construct and compose a new
order, placing itself not only in the area of artistic practices, is also accom-
panied by decomposing, having a subversive potential, introducing the
elements behind its context in the area of ordered form, and which is incoher-
ent, incongruous disturbing the inner order. However, one can understand
these attempts of destabilization also as a specific aesthetic test in which re-
dundant, chaotic or accidental things are to make a recipient of refined mod-
ern art and literature sensitive again or to sublimate his/her taste. One can –
as by Jean Clair [5, p. 32–33] – describe these practices as nearly homeo-
pathic anaesthetic therapy, anesthetizing at what is unattractive, tasteless,
or simply repulsive. Then, things which in social space would reveal the
need of order by exposing incoherent redundant elements would correlate
with aesthetic desire for attractiveness and satisfaction.
Art and literature would be in such a comfortable situation that their
imaginative – or as by Jacques Rancière, “phantasmagoric” [7, p. 98–99] –
power would enable to isolate the chosen fragments of reality and modify
established hierarchies. However, it has nothing to do with illusiveness but
rather a specific distance and aesthetic framing which is enabled by artistic
practice, exposing at the same time and critically transforming reality. One
can also, referring to Roland Barthes’s suggestion [1, p. 12–13], appoint
“two edges” for a modern work of art – the first one: learned, reproductive,
reaching for the canon and the second one: rebellious, destructive and liq-
uefied, abolishing any ready pattern.
Hence, such a work of art would be placed between indicated borders
(“edges”), ensuring a pleasure of communing with them. However, the
affirmative pleasure would be opposed to subversive delight, which would be
placed not on the side of dialectics of repetition and rupture but opposing
the old to the new, ousting of sentiment for past achievements and desire for
an absolute innovativeness42. Therefore the new would be an escape from
442 One can refer to the category jouissance, introduced by Jean Lacan, which originally described delight
of erotic nature and which was spread to all satisfaction submitting to desire and allowing for
Збірник наукових праць. 2012. Випуск 2
265
stereotype and repetitiveness of the language of power [1, p. 58–60], from the
pleasure to repressed delight. As Barthes points out, repetitiveness deprives
things from charm (magic) and that is why the power of delight is combined
with the novelty and the rule of modification.
Yet, does any repetition annihilate magic aura shrouding originally the
world of objects? However, on the other hand, all artistic strategies referring
to assembling of the work of art out of ready made fragments, evoking past
contexts, revealing hidden dependencies which resemble some magic prac-
tices. The same analogy is also pointed out by Jean Clair, when he notices
the traces of original magic in compiling works of art out of remnants, scraps,
mana which would serve to again submit resistant reality [5, p. 48–49]. In this
way magic could help to recreate a pleasant thread linking the scattered
world in one unit, as it would possess the power of synthesis.
Conclusions. Thus, the new does not necessarily possess this rebellious,
abolishing character – it may be created also by the repetition of what is
obsolete. Especially in the world which exhausts the potential of originality
so fast, innovation may take on the form of evoking (repeating), recontex-
tualization or “recalibrating” (change of perspective). These ways are the
result of modern artistic practices which again made interesting both what had
seemed banal up till now, and necessary what had been qualified as redun-
dant, and satisfaction has been already found at the level of fragment leaving
the ambition of a total approach.
References
1. Barthes R. Przyjemność tekstu / transl. A Lewańska / R.Barthes. – Warszawa :
Wydawnictwo KR, 1997. – Р. 12–60.
2. Bauman Z. Życie na przemiał / transl. T. Kunz / Z. Bauman. – Kraków : Wydawnictwo
Literackie, 2006.
3. Bauman Z. Płynna nowoczesność, transl. T. Kunz / Z. Bauman. – Kraków :
Wydawnictwo Literackie, 2006.
4. Bürger P. Teoria awangardy / transl. J. Kita-Huber / P. Bürger. – Kraków : TAiWPN
Universitas, 2006. – Р. 90–92.
5. Clair J. De Immundo / transl. M. Ochab / J. Clair. – Gdańsk : słowo / obraz terytoria,
2007. – Р. 32–33.
6. Douglas M. Czystość i zmaza / transl. M. Bucholc / M. Douglas. – Warszawa :
Państwowy Instytut Wydawniczy, 2007. – Р. 78–79.
7. Rancierre J. Dzielenie postrzegalnego. Estetyka i polityka / transl. J. Sowa ;
J. Rancierre. – Kraków : Korporacja Ha!art, 2007. – Р. 98–99.
8. Welsch W. Estetyka poza estetyką. O nową postać estetyki / transl. K. Guczalska /
W. Welsch. – Kraków : TAiWPN Universitas, 2005.
Отримано 01.02.2012
individual not entangle in the space of the other , manifesting of me. Then jouissance would rather be
a radical affirmation of individual. life in its imperfection. It would also be life’s disturbance, emphasis of
its incoherence, while pleasure constitutes the attempt of its synthetic remedial unification.
Світогляд – Філософія – Релігія
266
Анотація
Пастушек Артур. Мистецтво – естетичний і критичний потенціал
інноваційності.
У статті презентується погляд на сучасне мистецтво як поле для
інновацій митців. Автор критично описує головні риси сучасного мистецтва,
досліджує передумови його виникнення, аналізує його головні прийоми та
знаходить місце “нового” в мистецтві.
Ключові слова: сучасне мистецтво, інновації, новинки, естетика.
УДК 75.01:7.071.1
Сергій ПОБОЖІЙ©
ПСИХОЛОГІЧНІ ОСОБЛИВОСТІ ТВОРЧОСТІ І. РЄПІНА
У статті аналізується полотно видатного художника І. Рєпіна “Запорожці”
в контексті сміхової культури. Відзначається, що художньо-образна система
цього твору відобразила еволюцію художника. Висувається гіпотеза, згідно з якою
пояснюється творчість митця з психологічної точки зору.
Ключові слова: І. Рєпін, живопис, психологія, сміх, культура.
Постановка проблеми. У статті під лаконічною назвою “Рєпін” з
нагоди кончини видатного художника історик мистецтва О. Бенуа відмі-
чав в еміграції, що пройде якийсь час і творіння художника, “чудові
у суто мистецькому відношенні”, стануть і культурно-історичною па-
м’яткою того часу. Пройде час, продовжував О. Бенуа, “… коли Рєпін
оживе, коли його знімуть з полиці й поглянуть на нього по-новому…
Його знову відкриють як живописця, як художника” [1, с. 193]. Ці слова
збулися. Відходячи від соціальної заангажованості, перестаючи вбачати
у творчості Рєпіна тільки ідейну спрямованість його творів і розглядаю-
чи їх у широкому культурному контексті, сучасне мистецтвознавство
дедалі більше розкриває і висвітлює нові грані творчості видатного
художника.
Аналіз актуальних досліджень. Однією з культурних подій в
Україні першої половини 60-х рр. ХХ ст. слід вважати вихід монографії
Ю. Бєлічка “Україна в творчості І. Ю. Рєпіна”. На думку її автора, твор-
чу біографію Рєпіна не можна вважати повною без висвітлення його
зв’язків з Україною. Так само неповною є історія українського образо-
творчого мистецтва без урахування на неї впливів рєпінської творчості.
Автор книги вперше зробив спробу систематизації творів митця на укра-
їнську тематику, подаючи музейний опис творів.
Наприкінці ХХ ст. ми ніби дослухалися до слів О. Бенуа і зняли
Рєпіна з полиці, поступово усуваючи хрестоматійний глянець з його
© Сергій Побожій, 2012
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