By Mario Perniola
Paintings and its Shadow is a unprecedented research of the country and that means of latest artwork and picture. 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 traits 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 verbal exchange and copy. He argues that the which means of paintings within the sleek global not lies in aesthetic worth (above the artwork work), nor in renowned style (below the paintings 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 omitted of account by way of either industry and mass media: the trouble of paintings, a data which may by no means be totally printed, and a brand new aesthetic destiny.
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Additional resources for Art and Its Shadow (Athlone Contemporary European Thinkers)
It seems to me that he is, rather, someone who introduces a strategic play different not only from the traditional logic of political conﬂict (which considers the enemy as an alter ego), but also from unfair competition (that wants to reach the same objective as the competitor by any means). Now, Warhol does not believe at all that art can represent a real opposition to bourgeois society, or that it can provide a product that even partially could take the place of the cultural industry. The images, the schemes, the modalities are those of advanced capitalism and there are no others.
To be sure, art is similar to fashion since they share not only the thrill of novelty and challenge, but also the intoxication that ensues from feeling in gear with the spirit of the times. Art, however, is never current in the same sense as fashion is, that is, sociologically prevalent. Already the fact that art is ahead of its time makes it already essentially ‘outdated’. Furthermore, what increases this ‘outdatedness’ is the ambition to escape the wear and tear of time and to constantly arouse surprise and wonder.
In fact, they initiate a new theoretical trend that cannot be reduced to either Kant or Hegel. Their extraneity with respect to the modern aesthetic tradition does not depend at all on exclusive attention to theoretical problems, on disinterest with respect to feeling. In fact, just the contrary is the case. It is precisely from the study of feeling that they were led to put aside post-Kantian and post-Hegelian aesthetics as epigonic and tardy. In fact, it is doubtful that the notion of ‘difference’ can be considered a true concept analogous to ‘identity’, around which revolves Aristotle’s logic, or ‘contradiction’, around which revolves Hegel’s dialectic.