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- Interview 1889 – Assange is Free, But Speech…? Not so much. (NWNW 559)
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- ‘Alleluia’: Exploring the Depth of the Shortest Doxology
- Judge Rules in Historic CHD Lawsuit Challenging Fast-tracking of Wireless Infrastructure in Los Angeles
- CHD Supports the Motion Against U.S. Department of Health and Human Services Alleging Fraud in Omnibus Autism Proceeding
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- A brutal crush and a dark Ecclesiastical secret!
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- 41 Testimonies: on Sergianism and the "ecclesial" status of the Soviet Church
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Arta de dragul puterii | ![]() | ![]() | ![]() |
Polemici |
Scris de Ninel Ganea |
Marţi, 24 Mai 2011 10:36 |
Spectacolul absurd infatisat de o galerie contemporana este completat de obicei de prezenta criticului. Din principiu el are rolul de a complica si mai mult lucrurile, actionand ca un fel de saman pe langa “divinitatea” creatoare. Mesajul este camuflat intr-un limbaj abscons, cu fraze ermetice, totul fiind premeditat sa blocheze accesul la mecanismele din spatele geniului. Descifrarea devine o misiune imposibila. M-am intrebat de multe ori cum a fost posibil ca o astfel de arta, care sfideaza programatic orice ratiune si intelegere, sa se impuna.
In principal cred ca sunt doua raspunsuri complementare. In primul rand ceea ce numim arta moderna are drept origine divortul romantismului de legaturile cu traditia clasica si cea crestina, cu abandonul oricarui control asupra imaginatiei si impunerea senzatiei drept criteriu suprem in evaluare.
Consecinta pe termen mediu a acestei filozofii este degenerescenta dupa cum indica foarte clar fragmentul urmator despre miscarea literarara romantica din Franta: “Judged by any standard Rousseau is a man of intellectual power, and he seems especially great when compared to Chateaubriand. Chateaubriand in turn appears an intellectual giant compared with Lamartine. Lamartine’s ideas begin to look serious when compared with those of Hugo. Hugo himself strikes one as intellectually active compared with Verlaine. In these last anaemic representatives of the school we arrive at something approaching a sheer intellectual vacuum – the mere buzzling of the romantic chimera in the void. Such is the result of divorcing literature from rational purpose and reducing it to the quest for sensation” (Irving Babbitt)
Al doilea motiv al succesului de care se bucura arta moderna provine din sustinerea financiara a unor grupuri cu interese mai putin transparente, de cele mai multe ori elite statale. Cotidianul britanic “The Independent” a publicat un lung si documentat articol despre finantarea oferita de CIA “expresionistilor abstracti”, Pollock, De Kooning &co. “The connection is not quite as odd as it might appear. At this time the new agency, staffed mainly by Yale and Harvard graduates, many of whom collected art and wrote novels in their spare time, was a haven of liberalism when compared with a political world dominated by McCarthy or with J Edgar Hoover's FBI. If any official institution was in a position to celebrate the collection of Leninists, Trotskyites and heavy drinkers that made up the New York School, it was the CIA”.
In aceiasi ordine de idei trebuie amintita si crearea MOMA (Museum of Modern Art) din New York de catre familia Rockefeller, un paradis al artistilor contemporani favorizati de mai marii zilei. In haosul si dezordinea romantica era absolut normal ca unicul criteriu de selectie sa fie capriciile si vointa de putere anticipata de nihilistii moderni.
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