By Mario Perniola
Artwork and its Shadow is a unprecedented research of the kingdom and which means of latest paintings and movie. Ranging around the paintings of Andy Warhol, cyberpunk, Wim Wenders, Derek Jarman, considering on distinction and the potential for a philosophical cinema, Mario Perniola examines the most recent and most annoying trends in art.Perniola explores how paintings - particularly in posthumanism, psychotic realism and severe paintings - maintains to outlive regardless of the hype of the paintings industry and the realm of mass communique and replica. He argues that the which means of paintings within the smooth global now not lies in aesthetic worth (above the paintings work), nor in renowned flavor (below the artwork work), yet beside the art, within the shadow created through either the artwork institution and the area of mass communications. during this shadow is what's skipped over of account by means of either industry and mass media: the trouble of artwork, an information that could by no means be absolutely printed, and a brand new aesthetic destiny.
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Additional info for Art and Its Shadow (Athlone Contemporary European Thinkers)
In fact, a quarrel is transformed into an insoluble dissensus when there is no single rule of judgement that can be applied to both parties. In the suit that the postmodern brings against the modern, the charge of the former ends in a paradox. To introduce repetition and mimesis as something new, that breaks the logic of innovation typical of modernity, means falling into a logical antinomy that Lyotard deﬁnes, precisely, with the technical term dissensus. By extending the paradoxical logic of the dissensus to the question of postmodernism, I would like to offer this alternative.
Those who grasp only the abjection of extreme art without seeing the splendour remain prisoners of a naive idea of the real. In the most meaningful and important works of psychotic realism there is an extreme beauty, for which it is necessary to reinstate a concept of the philosophical tradition now forgotten for more than two centuries, magniﬁcence. It is precisely in the eighteenth century that the place of magniﬁcence was taken by the sublime and by luxury. 17 2 Feeling the Difference 1. Aesthetics and Difference In the title of this chapter merge two different problematics.
Once again, it is Barthes who can point the way. First of all neuter does not mean neutralization. In a brief text based on the course he gave at the Colle`ge de France, Barthes explains that neuter does not mean the abolition of conﬂictual data of discourse but, on the contrary, their preservation and indeﬁnite proliferation. ’34 In other words, I access the neuter when I realize that the opposition Feeling the Difference 25 put up by current opinion (for instance, between masculine and feminine) is inadequate to describe my experience, not because a possibility of reconciliation has emerged between the two terms, but because a third term has intervened (for instance, the feeling of inorganic sexuality), that is, different with respect to the way in which sexuality has been thought so far.
Art and Its Shadow (Athlone Contemporary European Thinkers) by Mario Perniola