By Mario Perniola
Paintings and its Shadow is a rare research of the country and that 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 newest and most annoying trends in art.Perniola explores how artwork - particularly in posthumanism, psychotic realism and severe paintings - maintains to outlive regardless of the hype of the artwork industry and the realm of mass communique and copy. He argues that the which means of artwork within the glossy international not lies in aesthetic price (above the artwork work), nor in renowned style (below the artwork work), yet beside the paintings, within the shadow created by way of either the artwork institution and the area of mass communications. during this shadow is what's ignored of account via either industry and mass media: the trouble of paintings, a data that could by no means be totally published, and a brand new aesthetic destiny.
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Extra resources for Art and Its Shadow (Athlone Contemporary European Thinkers)
While it placed stress on simulation and synthesis, the physiological turn focuses on the ‘being thing’ in all its nonconceptuality and incomprehensibility. We live by now in a cultural context that is no longer postmodern. A question of capital importance now emerges with respect to which postmodernism had an attitude of denial (Verleugnung): value. In fact, on the one hand, postmodernism denies the reality of Warhol and the Postmodern 33 a value difference among cultural products, on the other it becomes aware of the existence of a remainder, a plus and minus, something that we do not succeed in cancelling with an arithmetic operation whose result is zero.
Warhol’s Cynicism This suspension of the emotional dimension, however, is a lot more than a personal trait of Warhol. 42 According to Warhol, it goes back to the 1960s which is that period, precisely, in which people forgot the emotional aspect of life and has no longer remembered it since. The German writer Peter Sloterdijk has focused his attention on this problematic. In his view, the postmodern experience qualiﬁes above all for its cynicism. He differentiates between present cynicism, in which critical awareness of contemporary society supports unprincipled and dishonest actions, and the ancient cynicism of Diogenes and his followers in which the critique of social conventions was inseparable from a coherent practice of refusal to compromise.
Thus, bliss seems a mixture of frivolity and death instinct. This is how Barthes liberates aesthetic feeling from that ascetic and sublimated dimension that seemed so essential to it, Feeling the Difference 17 ﬁnding it a place in contemporary experience. 21 A similar strategy is applied by Barthes in the shift from the notion of work to that of text. But what does it mean, feeling the text as body? Through what perversion can a work of art become text? The ﬁrst condition of this shift is its liberation from its ideological aspect.
Art and Its Shadow (Athlone Contemporary European Thinkers) by Mario Perniola