Arte por Excelencias - - Cuba -

In a pro­per dis­cus­si­on about what hap­pens in the art of our ti­me we would ne­ces­sa­rily ha­ve to ad­mit that to­day the­re is not only one ty­pe of ar­tist, but many. The ex­ten­si­on of the me­diums, tech­ni­ques, met­hods, forms, are­as and pur­po­ses of ar­tis­tic pro­duc­ti­on has mul­ti­pli­ed, in the pro­cess, the spe­ci­fic va­ri­ants of that pro­fes­si­on that we call plas­tic ar­tist or vi­su­al ar­tist. Hen­ce, it is in­ac­cu­ra­te to use a nar­row and ex­clu­si­ve desig­na­ti­on to re­fer to that cre­a­tor of vi­su­a­lity, whet­her he be­longs to the tra­di­ti­o­nal, mo­dern or the open ex­pres­si­ve mo­saic ty­pe that, due to su­per­fi­ci­a­lity and dis­cur­si­ve in­ca­pa­city, we usu­ally call "con­tem­po­rary". Saying AR­TIST is no lon­ger enough, so it is ne­ces­sary to spe­cify which one of the many do­ers of the aest­he­tic "uni­ver­se" we are re­fer­ring to.

The twen­ti­eth cen­tury, with its non-stop­ping sci­en­ti­fic-tech­no­lo­gi­cal re­vo­lu­ti­on and the fre­e­dom of the agent spi­rit, in­terwe­a­ved va­ri­ous ar­tis­tic ma­ni­fes­ta­ti­ons, and the­se with ot­hers of ma­te­ri­al and spi­ri­tu­al cul­tu­re. The art and ex­tra-ar­tis­tic fi­elds ac­hi­e­ved com­bi­na­ti­ons that be­ca­me chan­nels of in­di­vi­du­al sub­jec­ti­vity. Ci­ne­ma­to­graphy, cos­tu­mes, the body, the most va­ri­ed shows and ri­tu­als, the mass me­dia, the ur­ban con­text, the vi­deo and the im­ma­te­ri­al as­sump­ti­ons of hu­man oc­cur­ren­ce ga­ve way to new va­ri­ants of vi­su­al and au­di­o­vi­su­al ex­pres­si­on.

Beyond the clas­si­fi­ca­ti­ons that res­pond to par­ti­cu­la­ri­ti­es of the ar­tis­tic mo­dus ope­ran­di are tho­se of a psyc­ho­lo­gi­cal, so­ci­al, ide­o­lo­gi­cal, et­hi­cal and eco­no­mic na­tu­re, fre­quently used in in­ter­per­so­nal com­mu­ni­ca­ti­on: avant-gar­de, con­ser­va­ti­ve, me­di­o­cre, rich, fal­se, su­per­fi­ci­al , phi­lo­sop­hi­cal, ro­man­tic, sen­su­al, ero­tic, com­mer­ci­al, op­por­tu­nis­tic, re­be­lli­ous, sa­ti­ri­cal, in­for­mal, sc­he­ma­tic, un­happy, po­or, me­ga­lo­ma­ni­ac, ru­ral, ur­ban, cal­cu­la­ting, re­pe­ti­ti­ve, re­no­va­ting, neu­ro­tic, mi­me­tic, pe­des­tri­an, eclec­tic, de­pen­dent, ori­gi­nal, uns­ta­ble, re­cur­rent, si­mu­la­tor and ico­no­clast ar­tist, among ot­hers. Tho­se are no­mi­na­ti­ons that por­tray uni­ver­sal at­tri­bu­tes of the be­ha­vi­or and es­sen­ce of the ar­tists in re­la­ti­on to their con­text, ori­gin, vi­tal links, back­ground and pur­po­ses. The lat­ter al­so cons­ti­tu­te a de­mons­tra­ti­on that to say AR­TIST is a va­gue ge­ne­ra­li­za­ti­on, every ti­me the term en­com­pas­ses a gre­a­ter num­ber of me­a­nings.

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