The contemporary artwork

Inn Gallery
Aug 15, 2017 9:16PM

The selection of artworks presented in the book Brazilian Art in the Contemporaneity II (available at Inn Gallery) illustrates the transgression of the aesthetic character of the artistic languages describing an instigating reflection upon looking. In varying modes of expression, they establish a disenfranchisement of the traditional concept of art. Since the incorporation of marginal cultures from the counterculture movements of the 1960s, the decorative nature of art has been challenged by its values linked to the Beauty Ideal. Modern functionalism modified the old concept of art by allowing multiples and reproduction in series, the synthesis of the arts incorporated the industrialized objects by making artistic, and the predominance of mass culture introduced art into everyday consumption. The rupture with the hegemonic power of erudite culture has led to the enlargement of the concept of art, relating it not only to aesthetics, but to other systems of knowledge such as anthropology, social sciences, philosophy, politics, psychoanalysis, etc. Contemporary metamorphoses have brought an abundance of artistic forms and a wide-ranging approach to themes where their modes of discourse have transformed the fluid locus of art, sharing sensitivity, social engagement, and world perception. Noble works, exquisite and permanent, destined for contemplation and ecstasy, do not allude to the existentialism of the present day. Interactivity marks the artistic creation, where the architectural and theatrical work stands as an event, a discovery of what we see from what looks at us. Sensitive experience stimulates the viewer in the face of the shuffled situation, the disordered metaphor, or the unusual intervention, to bring the gaze closer to his or her understanding. Art emerges not only as painting, sculpture, drawing and engraving, but from photography and technological multimedia, creative research gives rise to processes of miscegenation, combinations of techniques, appropriation of materials, and grouping of procedures – the simultaneity of resources evokes, in its apparent form, the construction of a place that does not end. The artistic interventions, in uncertain places, open the perception to the surroundings, to the exchange with symbols written in the space. Contemporary photography has greatly contributed to the profusion of images with the formation of social consciousness. Looking at contemporary works claims the place of the lived in their engagement with the artistic. Subversion establishes another focus on artistic scripts, it inserts a process of critical reflection. The specificities and ways that each artist has exhibit the dissonant and unfinished relationship of the artistic situation, introducing relations of meaning along the way. Anonymous and desacralized, the experience offers a fragmented, biased, and often perverse narrative to be captured by the seeker. The overlapping and clashing of meanings instigate the processes of signification, mirroring how contemporary manners are articulated. They suggest to the onlookers an organization among the elements that disturb its continuity, creating possible links of approximation and understanding to memory. The absence of conventional rules in artistic work has demonstrated how art is constructed through a system of circulation between cultural institutions, in which the work has its place in collections, through the circuit of art, means that make up the diffusion and reception, and through their respective markets. From the conceptual demand (curatorial project) to mis en scène (solution or practice), through ambiences and scenographies that give the visuality and the criticism and mediation that provide information, the contemporary interventions insert themselves in cultural proposals.

SILVIA MEIRA

Contemporary Art Curator

Inn Gallery