Članek prikaže, kako se z osebnim spominom najlaže približamo kolektivnemu spominu. Takšno je tudi sporočilo francoskega umetnika Christiana Boltanskega (roj. l. 1944). Njegove instalacije sugerirajo ...tragično usodo žrtev druge svetovne vojne, in sicer tako, da so na njih razstavljeni predmeti, ki vzbudijo empatijo do kolektivnih spominov na osebni ravni prek čustvenega spomina (nošena oblačila, stare fotografije in knjige itd.). Na drugi strani platna nemškega slikarja Anselma Kieferja (prav tako roj. l. 1944) spomine na drugo svetovno vojno obudijo na podlagi kolektivnih (germanskih) mitov in osebnih spominov na povojni čas. V zadnjem delu članka avtorica obravnava opus slovenskega slikarja Zorana Mušiča (1909–2005), zlasti serijo del Nismo poslednji (1970–1987), ki jih je umetnik ustvaril na podlagi svojih bolečih izkušenj v koncentracijskem taborišču Dachau. Članek se zaključi z razmislekom o simbolni vrednosti umetnosti, o tem, ali simbolno vrednotenje neke umetnine zmanjšuje njeno konkretno vrednost.
The article shows how to access collective memory via personal memory. Such is the message by a French artist Christian Boltanski (born 1944). His installations imply the tragic destiny of the World ...War II victims by showing objects that arouse our empathy towards collective memories on a very personal level such as clothes, old photographs and books, etc, although they were not artist's own property. On the other hand the paintings by Anselm Kiefer, a German painter (also born 1944), awake the memories of the World War II more directly. They are linked to the collective Germanic myths. Kiefer also expressed his personal memories of the post-war time. At the end of the article the author talks about the opus of the Slovene painter Zoran Mušič (1909–2005), especially the series called We are not the Last (1970–1987), which the artist created based on his personal painful experience of living at the Dachau concentration camp. The article ends with a deep reflection on the symbolic value of art itself and whether the symbolic evaluation of a masterpiece would diminish its particular value.
Kontemplacija lepega pri Kantu Sorcan, Valentina Hribar
Primerjalna književnost,
01/2015, Letnik:
38, Številka:
1
Journal Article
In Kant's Critique of judgment, contemplation denotes perception of an object (either through sensory perception or reflection) that the subject judges to be beautiful. The original (ancient Greek) ...meaning of the concept of contemplation is 'theoretical observation', whereas in his aesthetics Kant emphasizes exactly the opposite: that in aesthetic judgment contemplation is not based on concepts and therefore this judgment is not cognitive or logic, nor practical or moral. If it were based on a concept, it would follow a certain objective purpose, which would go against its subjective nature. But what is this subjectivity actually like? Kant's argumentation of subjectivity in aesthetic judgment does not highlight the subject's personal, intimate, or even exceptional relationship to the beautiful in nature because the subject is allowed to say that something is beautiful only when he is convinced that others would agree with his judgment. When the subject refers to his feelings about the beautiful, he has to legitimize them through the views and feelings of all others. For Kant, this does not mean a loss of subjectivity because he believes that the value of subjective judgments increases if other subjects agree with them. This is the essence of his Enlightenment, universalistic attitude. The article also draws attention to the important role of the concept of contemplation in Kant's analysis of the teleological power of judgment. In this regard, it critically reflects on the argumentation that Kant uses to presuppose the possibility of understanding nature even as being objectively purposive. The author considers also the ethical significance of aesthetic contemplation in order to deepen a process of subject's cultivation.
Članek prikaže, kako se z osebnim spominom najlaže približamo kolektivnemu spominu. Takšno je tudi sporočilo francoskega umetnika Christiana Boltanskega (roj. l. 1944). Njegove instalacije sugerirajo ...tragično usodo žrtev druge svetovne vojne, in sicer tako, da so na njih razstavljeni predmeti, ki vzbudijo empatijo do kolektivnih spominov na osebni ravni prek čustvenega spomina (nošena oblačila, stare fotografije in knjige itd.). Na drugi strani platna nemškega slikarja Anselma Kieferja (prav tako roj. l. 1944) spomine na drugo svetovno vojno obudijo na podlagi kolektivnih (germanskih) mitov in osebnih spominov na povojni čas. V zadnjem delu članka avtorica obravnava opus slovenskega slikarja Zorana Mušiča (1909–2005), zlasti serijo del Nismo poslednji (1970–1987), ki jih je umetnik ustvaril na podlagi svojih bolečih izkušenj v koncentracijskem taborišču Dachau. Članek se zaključi z razmislekom o simbolni vrednosti umetnosti, o tem, ali simbolno vrednotenje neke umetnine zmanjšuje njeno konkretno vrednost.
According to the last book of Peter V. Zima Modern/Postmodern (2010) modernism/modernity, postmodernism/postmodernity is once again a subject of reflection in contemporary aesthetics. It attempts to ...examine those concept not only in artistic, stylistic way, but also from the other points of view: historical, political, social, ideological. I would like to reveal a thesis that a distance of last decade or two we recognise that we are more and more from the spirit of postmodernism/postmodernity and that we open some problem once again that modernity had in the centre of its reflection: identity of subject, sense of existence, the feeling of crisis: the art of crisis. Does it mean a return of some points of modernism/modernity? I will try to answer to this questions by inviting to a discussion also other contemporary thinkers (Jean-Luc Nancy, Alain Badiou, and Jacques Rancière).
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