Download Art and Its Shadow (Athlone Contemporary European Thinkers) by Mario Perniola PDF

By Mario Perniola

Paintings and its Shadow is a rare research of the nation and that means of latest paintings and movie. Ranging around the paintings of Andy Warhol, cyberpunk, Wim Wenders, Derek Jarman, pondering on distinction and the potential of a philosophical cinema, Mario Perniola examines the newest and most annoying developments in art.Perniola explores how paintings - particularly in posthumanism, psychotic realism and severe paintings - maintains to outlive regardless of the hype of the paintings marketplace and the realm of mass communique and copy. He argues that the which means of artwork within the sleek international now not lies in aesthetic worth (above the paintings work), nor in renowned flavor (below the paintings work), yet beside the art, within the shadow created through either the paintings institution and the realm of mass communications. during this shadow is what's disregarded of account by means of either marketplace and mass media: the trouble of paintings, an information which could by no means be absolutely printed, and a brand new aesthetic destiny.

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But with regard to the ‘small other’ Lacan elaborates a more interesting and original theory, especially starting from the moment when, in 1957, he thinks of it under the name of objet (petit) a. Starting from 1963, this expression begins to acquire the character of the real. The objet (petit) a is the object that by definition can never be reached. It is the thing in its mute reality inaccessible both to language and the unconscious. What the extreme realism of today’s art claims to have reached is precisely the objet (petit) a of which Lacan speaks.

I become an extraneous body, I de-subjectivize experience, I expel from me my organs and my feeling and localize them in something external. I become the difference. 5. Psychotic Realism Beside the ‘Egyptian’ and ‘Cyberpunk’ versions there is a third version of the sex appeal of the inorganic that seems to me to be more disquieting than the first two. If one of the essential characters of inorganic sexuality is that of abolishing the borders between the I and the not-I, the proper and the extraneous, the self and not-self, it reveals itself to be very close to madness, in fact, close to that particular type of madness that has been defined as psychosis.

With respect to art, fashion is always late, it lives by imitation and recovery. The second temptation for art today is its dissolution in communication. In fact, the disturbing character of the messages transmitted by the experience of the real is, precisely, what exalts their communicative value. At first, gaining access to wider communicative circuits, such as advertisement and information, may seem attractive for an artistic activity which usually unfolds in rather dull and asphyxiating micro-environments.

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