Art... It can revive a person’s soul from its ashes, make him experience simply incredible emotions and feelings. Art is a means by which authors try to convey their thoughts to people, to accustom them to beauty.
The author talks about the need for art in our lives, he focuses on the fact that “beauty must be learned and appreciated, just as one must learn to feel high music" Yuri Bondarev cites as an example Mozart’s work “Requiem”, which has an unimaginable impact on listeners, “people openly shed tears in the episode where the life of the great composer was cut short.” Thus, the author shows that art can touch the subtle strings of a person’s soul and make him experience extraordinary feelings.
Bondarev claims that art can greatly influence a person, because it is the most beautiful thing in his life. Art can change a person, his inner world. This is something you definitely need to learn. Indeed, one cannot but agree with the author. I believe that art can make us feel joy and sadness, sadness and excitement, happiness and many other emotions.
Thus, in the work of I.A. Goncharov “Oblomov” the main character’s attitude to music is vividly described. Oblomov, visiting Olga Ilyinskaya, heard her play the piano for the first time. The author shows us how music can influence a person’s inner world and his emotions. Listening to the magnificent performance, the hero could hardly hold back his tears, he felt strength and vigor, a desire to live and act.
However, the attitude of the protagonist of I. S. Turgenev’s work “Fathers and Sons” towards art is very negative. Bazarov does not perceive it as an integral part of a person’s life, he does not see its benefits and advantages. This was the limitation of his views. But a person’s life without art, without a “sense of beauty” is very boring and monotonous, which, unfortunately, the hero never recognized.
In conclusion, I would like to conclude that art is the most important part in the life of each of us. You just need to let it into your heart and soul, and it can conquer the whole world.
Option 2
Any type of art for a person is the highest reward for the efforts that he made to take part in it - either by being the creator of a masterpiece, or simply admiring its results from the outside.
Musical compositions, mysterious paintings, and elegant sculptures arose thanks to human knowledge, a natural gift, or the desire to achieve such perfection.
In the process of creating any masterpiece of art, a person uses his talent, showing his full potential. Art develops and does not allow you to remain in one place, in a state of inaction. Due to this, people improve. Those who to any extent relate to this area are creative people who are in constant search. Immersing themselves in this world, they actively develop spiritually.
Thus, through demonstrated imagination, determination, fantasy, and patience, art helps in affirming life position, influences a person’s worldview, helps to find oneself, to form one’s own way of thinking.
If we are talking about music, then after listening to classical works, a person’s emotional, mental and even physical state improves. Depending on the rhythm and content of the melodies and songs, you can either get a charge of incredible vivacity or calm down.
Under the influence of art, a person’s inner world is transformed. Any of its types - graphics, theater, painting, etc. contains so much deep meaning and passions that are expressed through peculiar expressive means that they make you think about yourself, the meaning of life, and allow you to look at the world in a new way.
Any work of art helps to distinguish between good and evil, good and bad. Literary works have enormous power that can act on a person, transporting him to another world. By becoming a hero of the events depicted in books, people learn new information, on the basis of which they become better, correct mistakes after meeting its characters, sympathize and rejoice with them. Literature can radically change a person's worldview.
Under the influence of painting, the formation occurs spiritual world person. Participation in this type of activity promotes self-expression and enhances impressions. In sculptures, people embody their aesthetic desires, and for outside observers they are educational.
Thus, art educates in a person only best features character, increases intelligence, identifying and developing those qualities that were previously invisible.
Several interesting essays
- Characteristics and image of Ilyusha from the story Bezhin Meadow by Turgenev essay
Ilyusha is one of the main characters in the story “Bezhin Meadow” by Ivan Sergeevich Turgenev. The author calls him Ilyusha, using soft sign. He is twelve years old.
- Do you need to make your dreams come true? Final essay grade 11
What are dreams? Do they need to be implemented or should they be implemented? We can say that dreams are one of the beautiful and indestructible particles in our existence. Each of us treats them differently. For example, Vasya really wants to fulfill his dream
- The theme of military feat in Russian literature of the second half of the 20th – beginning of the 21st centuries.
The theme of war and everything connected with it will not leave anyone indifferent. This topic has been relevant at all times. However, when this topic concerns you personally and your loved ones, everything is perceived completely differently.
Every man says certain words, almost everything is carried out with the help of actions and words. The word gives birth to a word, the third runs itself. Be careful: any word you utter can determine
Autumn is coming. The city turns yellow-orange. Schoolchildren put on their schoolbags and go to school. For adults, vacation time is coming to an end.
- Music can help a person feel beauty and relive moments of the past.
- The power of art can change a person's life
- The paintings of a truly talented artist reflect not only the appearance, but also the soul of a person.
- In difficult situations, music inspires a person and gives him vitality.
- Music can convey thoughts to people that cannot be expressed in words.
- Unfortunately, art can push a person to spiritual degradation
Arguments
L.N. Tolstoy “War and Peace”. Nikolai Rostov, who lost a huge amount of money for his family at cards, is in a dejected, depressed state. He doesn’t know what to do, how to confess everything to his parents. Already at home he hears the beautiful singing of Natasha Rostova. The emotions evoked by the music and singing of the sister overwhelm the hero’s soul. Nikolai Rostov realizes that there is nothing more important in life than all this. The power of art helps him overcome his fear and confess everything to his father.
L.N. Tolstoy "Albert". In the work we learn the story of a poor violinist with outstanding talent. Once at the ball, the young man begins to play. With his music he touches the hearts of people so much that he immediately ceases to seem poor and ugly to them. Listeners seem to be experiencing again best moments their lives, return to what is lost irretrievably. Music influences Delesov so much that tears begin to flow down the man’s cheeks: thanks to music, he is transported to his youth, remembering his first kiss.
K.G. Paustovsky “The Old Cook”. Before his death, the blind old cook asks his daughter Maria to go outside and call any person to confess to the dying man. Maria does this: she sees a stranger on the street and conveys her father’s request. The old cook confesses young man, that he committed only one sin in his life: he stole a golden saucer from Countess Thun’s service to help his sick wife Martha. The dying man's desire was simple: to see his wife again as she was in her youth. The stranger begins to play the harpsichord. The power of music has this effect on an old man strong influence that he sees moments from the past as if in reality. The young man who gave him these moments turns out to be Wolfgang Amadeus Mozart, a great musician.
K.G. Paustovsky “Basket with fir cones.” In the forests of Bergen, the great composer Edvard Grieg meets Dagny Pedersen, the daughter of a local forester. Communication with the girl prompts the composer to write music for Dagny. Knowing that a child cannot appreciate all the charm of classical works, Edvard Grieg promises to make a gift for Dagny in ten years, when she turns eighteen. The composer is true to his word: ten years later, Dagny Pedersen unexpectedly hears something dedicated to her piece of music. The music evokes a storm of emotions: she sees her forest, hears the sound of the sea, the shepherd's horn, the whistling of birds. Dagny cries tears of gratitude. Edvard Grieg discovered for her the beautiful things that a person should really live with.
N.V. Gogol “Portrait”. The young artist Chartkov, quite by accident, uses his last money to acquire mysterious portrait. Main feature This portrait has incredibly expressive eyes that seem alive. Unusual picture haunts everyone who sees her: everyone thinks that the eyes are watching him. Later it turns out that the portrait was painted very talented artist at the request of a moneylender, whose life story is striking in its mystery. He made every effort to convey these eyes, but then he realized that these were the eyes of the devil himself.
O. Wilde “The Picture of Dorian Gray.” Basil Hallward's portrait of the handsome young Dorian Gray - best work artist. The young man himself is delighted with his beauty. Lord Henry Wotton tells him that it won't last forever because all people age. In his feelings, the young man wishes that this very portrait would grow old instead of him. Later it becomes clear that the wish comes true: any act committed by Dorian Gray is reflected in his portrait, and he himself remains the same. The young man begins to commit inhumane, immoral acts, and this does not affect him in any way. Dorian Gray does not change at all: by the age of forty he looks the same as in his youth. We see a magnificent picture instead beneficial influence destroys personality.
A.T. Tvardovsky “Vasily Terkin”. Music can warm a person's soul even in difficult times. wartime. Vasily Terkin, the hero of the work, plays the slain commander on the accordion. Music makes people feel warmer, they follow the music like they walk into fire, and start dancing. This allows them to forget about adversity, difficulties, and misfortunes at least for some time. The comrades of the killed commander give the accordion to Terkin so that he can continue to amuse his infantry.
V. Korolenko “The Blind Musician.” For the hero of the work, the musician Petrus, music became true meaning life. Blind from birth, he was very sensitive to sounds. When Petrus was a child, he was attracted by the melody of the pipe. The boy began to be drawn to music and later became a pianist. He soon became famous, and much was said about his talent.
A.P. Chekhov “Rothschild’s Violin”. People tried to avoid Yakov Matveevich, a gloomy and rude man. But the accidentally found melody touched his soul: Yakov Matveevich for the first time felt ashamed for offending people. The hero finally realized that without anger and hatred the world around us would be simply wonderful.
According to A.P. Chekhov. During Holy Week, the Laptevs were at the art school at an art exhibition... The problem of perception of art
(1) During Holy Week, the Laptevs were at the art school at an art exhibition.
(2) Laptev knew the names of everyone famous artists and never missed a single exhibition. (3) Sometimes in the summer at the dacha he himself painted landscapes with paints, and it seemed to him that he had wonderful taste and that if he studied, he would probably come out of it good artist. (4) At home he had all the pictures large sizes, but bad; the good ones are hanged badly. (3) It happened to him more than once to pay dearly for things that later turned out to be crude fakes. (6) And it is remarkable that, timid in general in life, he was extremely bold and self-confident at art exhibitions. (7) Why?
(8) Yulia Sergeevna looked at the paintings, like her husband, through her fist or through binoculars and was surprised that the people in the paintings looked like they were alive, and the trees looked like real ones; but she didn’t understand, it seemed to her that there were many identical paintings at the exhibition and that the whole purpose of art was precisely so that in the paintings, when you look at them with your fist, people and objects stand out as if they were real.
(9) “This is Shishkin’s forest,” her husband explained to her. (10) - He always writes the same thing... (11) But pay attention: such purple snow never happens... (12) But this boy left hand shorter than the right one.
(13) When everyone was tired and Laptev went to look for Kostya to go home, Yulia stopped in front of a small landscape and looked at him indifferently. (14) In the foreground is a river, behind it is a log bridge, on the other side is a path disappearing into the dark grass, a field, then on the right is a piece of forest, near it there is a fire: they must be guarding it at night. (15) And in the distance it’s burning out evening dawn.
(1b) Julia imagined how she herself was walking along the bridge, then along the path, further and further, and all around was quiet, sleepy twitchers were screaming, a fire was blinking in the distance. (17) And for some reason it suddenly began to seem to her that she had seen these same clouds that stretched across the red part of the sky, and the forest, and the field many times a long time ago, she felt lonely, and she wanted to go and walk along the path ; and where the evening dawn was, rested the reflection of something unearthly, eternal.
(18) - How well it is written! - she said, surprised that the picture suddenly became clear to her. (19) - Look, Alyosha! (20)Do you notice how quiet it is here?
(21) She tried to explain why she liked this landscape so much, but neither her husband nor Kostya understood her. (22) She kept looking at the landscape with a sad smile, and the fact that others did not find anything special in it worried her. (23) Then she again began to walk through the halls and examine the paintings, she wanted to understand them, and it no longer seemed to her that there were many identical paintings at the exhibition. (24) When she returned home, for the first time in all the time she paid attention to big picture hanging in the hall above the piano, she felt enmity towards her and said:
(25) - I would love to have such pictures!
(26) And after that, golden cornices, Venetian mirrors with flowers and paintings like the one that hung above the piano, as well as her husband’s and Kostya’s discussions about art aroused in her a feeling of boredom, annoyance and sometimes even hatred.
(According to A.P. Chekhov)
Text information
Composition
Have you noticed that it happens that one picture leaves you indifferent, and in front of another you freeze in reverent silence, some melody sounds without hurting your feelings at all, while another makes you sad or happy. Why is this happening? How does a person perceive art? Why do some people immerse themselves in the world created by the artist, while others remain deaf to the world of beauty? An excerpt from A.P. Chekhov’s story “Three Years” made me think about the problem of perceiving art.
A.P. Chekhov talks about how the Laptev family visits an art exhibition. The head knows the names of all famous artists, does not miss a single exhibition, and sometimes paints landscapes himself. His wife at the beginning of the passage “looked at the paintings like her husband,” it seemed to her that the purpose of art was to “make people and objects stand out as if they were real.” The husband notices only negative things in the paintings: either “such purple snow never happens,” or the boy’s left arm is shorter than his right. And only once did Yulia Sergeevna discover the true essence of art. In front of her was an ordinary landscape with a river, a log bridge, a path, a forest and a fire, but suddenly she saw that “where the evening dawn lay, a reflection of something unearthly, eternal.” For a minute, the true purpose of art was revealed to her: to awaken special feelings, thoughts, and experiences in us.
A.P. Chekhov is one of those writers who does not give us ready-made solutions, he forces us to look for them. So, reflecting on the passage, I understood, it seems to me, his position on the problem of the purpose of art, its perception. Art can tell a sensitive person a lot, makes him think about the most mysterious and intimate, awakens the best feelings in him.
I agree with this interpretation of the impact of art on a person. Unfortunately, I have not yet had the opportunity to visit big museums, at classical music concerts, so I will allow myself to refer to the opinion of writers, because there are many works in which the authors try to unravel the mystery of human perception of art.
One of the chapters of D. S. Likhachev’s book “Letters about the Good and the Beautiful” is titled “Understanding Art.” In it, the author talks about the great role of art in human life, that art is “amazing magic.” In his opinion, art plays great role in the life of all humanity. Likhachev argues that we must learn to understand art. Awarded with the gift of understanding art, a person becomes morally better, and therefore happier, because rewarded through art with the gift of a good understanding of the world, the people around him, the past and the distant, a person is easier to make friends with other people, with other cultures, with other nationalities, he life is easier.
A. I. Kuprin writes about how art can influence the human soul in “ Garnet bracelet" Princess Vera Sheina, returning after saying goodbye to Zheltkov, who committed suicide, so as not to disturb the one he loved so much, asks her pianist friend to play something for her, having no doubt that she will hear Beethoven’s
a piece that Zheltkov bequeathed to her to listen to. She listens to music and feels that her soul is rejoicing. She thought about what passed her by great love, which is repeated only once every thousand years, words were composed in her mind, and they coincided in her thoughts with music. “Hallowed be it your name“, - as if the music was telling her. The amazing melody seemed to obey her grief, but it also consoled her, just as Zheltkov would console her.
Yes, great is the power of real art, the power of its impact. It can influence a person’s soul, ennobles it, elevates thoughts.
More arguments.
IN a short story V. P. Astafieva “Distant and close fairy tale” tells the story of how music is born and what impact it can have on a person. As a little boy, the narrator heard a violin. The violinist played Oginsky’s composition, and this music shocked young listener. The violinist told him how the melody was born. The composer Oginsky wrote it, saying goodbye to his homeland, managed to convey his sadness in sounds, and now it awakens the best feelings in people. The composer himself is no longer there, the violinist, who gave the listener wonderful moments of comprehending beauty, died, the boy grew up... One day at the front he heard the sounds of an organ. The same music sounded, the same Oginsky polonaise, but in childhood it evoked tears, shock, and now the melody sounded like an ancient battle cry, calling somewhere, forcing someone to do something, so that the fires of war would go out, so that people would not huddle close to the burning ruins , so that they go into their home, under the roof, to their relatives and loved ones, so that the sky, our eternal sky, does not throw up explosions and burn with hellish fire.
K. G. Paustovsky tells in the story “Basket with Fir Cones” about the composer Grieg and his chance meeting with the little girl Dagny. The sweet little girl surprised Grieg with her spontaneity. “I will give you one thing,” the composer promises the girl, “but it will be in ten years.” Ten years passed, Dagny grew up and one day at a concert symphonic music I heard my name. Great composer kept his word: dedicated to the girl musical piece who became famous. After the concert, Dagny, shocked by the music, exclaims: “Listen, life, I love you.” But last words story: “...her life will not be in vain.”
6. Gogol “Portrait”. The artist Chartkov in his youth had quite a talent, but he wanted to get everything from life at once. One day he comes across a portrait of an old man with surprisingly lively and scary eyes. He has a dream in which he finds 1000 ducats. The next day this dream comes true. But the money did not bring happiness to the artist: he bought his name by bribing the publisher and began painting portraits powerful of the world this, but he had nothing left of the spark of talent. Another artist, his friend, gave everything to art, he is constantly learning. He lives in Italy for a long time, spending hours standing by the paintings of great artists, trying to comprehend the secret of creativity. The painting of this artist, seen by Chartkov at the exhibition, is beautiful, it shocked Chartkov. He tries to paint real pictures, but his talent is wasted. Now he buys up masterpieces of painting and, in a fit of madness, destroys them. And only death stops this destructive madness.
According to I. Bunin. Based on the story Book. Lying on the threshing floor in the sweeper, I read for a long time... About the purpose of art
(1) Lying on the threshing floor in a sieve, I read for a long time - and suddenly I was outraged. (2) I’ve been reading again since early morning, again with a book in my hands! (3) And so day after day, since childhood! (4) He lived half his life in some kind of non-existent world, among people who never existed, made up, worried about their destinies, their joys and sorrows, as if he were his own, until the grave connecting himself with Abraham and Isaac, with the Pelasgians and Etruscans, with Socrates and Julius Caesar, Hamlet and Dante, Gretchen and Chatsky, Sobakevich and Ophelia, Pechorin and Natasha Rostova! (5) And how can I now sort out among the real and fictitious companions of my earthly existence? (6) How to separate them, how to determine the extent of their influence on me?
(7) I read, lived with other people’s inventions, but the field, the estate, the village, men, horses, flies, bumblebees, birds, clouds - everything lived with its own, real life. (8) And so I suddenly felt this and woke up from my book obsession, threw the book into the straw and with surprise and joy, with some new eyes, I look around, I acutely see, hear, smell, - most importantly, I feel something unusually simple and at the same time unusually complex, that deep, wonderful, inexpressible thing that exists in life and in myself and which is never properly written about in books.
(9) While I was reading, changes were secretly taking place in nature. (10) It was sunny and festive; now everything is dark and quiet. (11) Little by little, clouds and clouds gathered in the sky, in some places, especially to the south, still bright and beautiful, but to the west, behind the village, behind its vines, rainy, bluish, boring. (12) Warm, soft smell of distant field rain. (13) One oriole is singing in the garden.
(14) A man is returning from the graveyard along the dry purple road that runs between the threshing floor and the garden. (15) On his shoulder is a white iron shovel with blue black soil stuck to it. (16) The face is younger, clear. (17) The hat is pushed off the sweaty forehead.
(18) - I planted a jasmine bush on my girl! - he says cheerfully. - Good health. (19) Do you read everything, make up all the books?
(20) He is happy. (21) What? (22) Only because he lives in the world, that is, he does something most incomprehensible in the world.
(23) An oriole is singing in the garden. (24) Everything else became quiet, silent, you couldn’t even hear the roosters. (25) She sings alone, slowly making playful trills. (26) Why, for whom? (27) Is the garden, the estate for oneself, for the life that has lived for a hundred years? (28) Or maybe this estate lives for her flute singing?
(29) “I planted a jasmine bush on my girl.” (30) Does the girl know about this? (31) The man thinks he knows, and maybe he’s right. (32) By evening the man will forget about this bush - for whom will it bloom? (33) But it will bloom, and it will seem that it is not for nothing, but for someone and for something.
(34) “You read everything, you invent all the books.” (35) Why invent? (36) Why heroines and heroes? (37) Why a novel, a story, with a beginning and an ending? (38) The eternal fear of seeming not bookish enough, not similar enough to those who are famous! (39) And eternal torment is to remain silent forever, not to speak precisely about what is truly yours and the only real thing, which requires the most legitimate expression, that is, trace, embodiment and preservation, at least in words!
Composition
What an amazing story by A.P. Chekhov! As always with this writer, you don’t immediately understand what he wanted to say with his work, what questions he invites you to think about.
Summer day. Lyrical hero reads a book, which he suddenly throws away with indignation: “I lived half my life in some non-existent world, among people who never existed, made up, worried about their destinies, their joys and sorrows, as if it were my own...” It seems to him that he has woken up from the book obsessions and looks with new eyes at “the deep, wonderful, inexpressible things that exist in life.” There is wonderful nature all around, an ever-changing landscape. A new face appears: a man with a clear, rejuvenated face. “I planted a jasmine bush on my girl,” he says. We understand that he planted this bush on his daughter’s grave. So why be happy? We are perplexed along with the hero. And then an understanding comes: the girl will not know about this bush, but it will bloom “not without reason, but for someone and for something.” And again a return to previous thoughts: why write novels and stories? And this is where the insight comes: the problem that worries both Chekhov’s hero and the writer himself so much is the problem of the purpose of art. Why does a person need to express himself in books, in poetry, in music, in a painting? This is how I would formulate the question arising from the thoughts of the lyrical hero.
And the answer to it is in the last sentence of the text: “And eternal torment is to remain silent forever, not to speak about what is truly yours and the only real thing, which requires the most legitimate expression, that is, trace, embodiment and preservation, at least in a word! » Author's position, if expressed in other words, is this: the purpose of creativity, the purpose of art is to tell people what worries you, to express the feelings that you experience, to leave a “trace of embodiment” on earth.
The question of the purpose of art worried many writers. Let's remember
A. S. Pushkin. In the poem “Prophet”, “God’s voice” appealed to the poet:
“Rise up, prophet, and see and listen,
Be fulfilled by my will,
And, bypassing the seas and lands,
Burn the hearts of people with the verb."
“To burn the hearts of people with a verb” means to awaken in them a thirst for a better life, for struggle. And in the poem “I erected a monument to myself not made by hands...”, written shortly before his death, the poet asserts the greatness of a poetic monument in comparison with other ways to perpetuate merit.
A person to whom God has given the talent to say something of his own to people cannot remain silent. His soul demands to leave a mark on the earth, to embody and preserve his “I” in words, in sound, in paintings, in sculpture...
In the section " Trivial question“We ask stupid or ridiculous at first glance questions to experts and cultural figures, but always because of this “childish” curiosity we manage to get for our readers fresh, interesting and non-trivial philosophical thoughts that can destroy existing stereotypes about modern culture and help us better understand art.
This issue is dedicated to the problem of misunderstanding of the meanings embedded in works of contemporary art, which the viewer often faces. One of the founders of Moscow conceptualism, Andrei Monastyrsky, believed that if the artist’s work is immediately understandable, then the viewer has “no aesthetic work not in consciousness or feelings.”
Ekaterina Frolova spoke with such famous and influential artists as Olga Sviblova, Alexandra Obukhova and Vasily Tsereteli to find out whether misunderstanding really affects the viewer no less than understanding.
Michael Landy, installation Doubting Thomas (saints alive)"
Olga Sviblova, founder and director of the Multimedia Art Museum of Moscow
Misunderstanding generally has a bad effect on people. But misunderstanding is the basis for the development of communication, as Yuri Lotman (famous Russian culturologist - Note “365”) said. Contemporary art is a language that changes extremely quickly. Therefore, if I try to talk to the Chinese and do not understand them, this is not a reason to be angry with the Chinese. Not understanding the Chinese language can also complicate our orientation in Beijing or lead to us ordering the wrong thing on the menu. But this is not the fault of the Chinese or the Chinese language, but our ignorance of the Chinese language. Therefore, if we do not understand a language, we either try to learn it or choose situations where we can do without it. That is, relatively speaking, we don’t go to China and don’t order Chinese dishes in a Chinese restaurant there. The viewer has a choice: either try to understand the language and make certain efforts associated with this, or simply not go to contemporary art exhibitions, because he is not obliged to go to them. Misunderstanding of modern art does not affect the viewer in any way, because art itself is a symbolic object, and it does not affect anyone if safety precautions are observed in a museum or any other exhibition space.
Installation "Artist's Explosion" by Ai Weiwei at the 55th Venice Biennale
Alexandra Obukhova, director scientific department Museum of Modern Art"Garage"
Misunderstanding is the most powerful driver of understanding the meaning of a work of art. Once open, sincere person says: “I don’t understand what’s in front of me,” he thereby announces his intention to figure it out, to understand the subject. And then art is revealed to him in all its fullness. As for people who are not ready for the new, closed, intolerant people, a lack of understanding of what they see, in particular, a lack of understanding of the foundations and essence of modern art, simply closes the topic for them once and for all. The opacity for understanding, the hermetic nature of a work of modern art, is in fact one of its most important qualities. To a large extent, contemporary Russian artists perceived misunderstanding as one of the positive properties of work. Andrei Monastyrsky, a classic of Moscow conceptualism, said, commenting on his objects: “If when handling them the question arises: “What is this? I don’t quite understand what’s going on here,” or best of all, “Finally, I don’t understand what this is” - then good, then they work as they should.” This is the effect of “positive misunderstanding”, which should be inherent in any good work contemporary art. If the viewer is ready for something new, ready to think about what looks like something alien, unfamiliar, and feel something about what is beyond the ordinary, then he has a chance to break through to more high level understanding of reality, not just contemporary art.
Contemporary art is not created to be admired. His things are not objects of joyful recognition. Nothing is further from simple pleasures than contemporary art. It's about using as much as possible. human resources, that is, not only the eye (that is, feeling), but also the mind. It is designed to make the viewer think. On the other hand, does the viewer understand everything when he looks at Rublev’s “Trinity” or Dürer’s “Melancholia”? I admit that I myself do not always understand what I see at contemporary art exhibitions. And when everything is clear to me, then I’m not interested.
Thomas Hirschhorn, "Cut"
Vasily Tsereteli, executive director of the Moscow Museum of Modern Art (MMOMA)
In my opinion, educated person must understand the environment that surrounds him, the situation and reality. Art today is what we breathe contemporary artists, what permeates the reality that surrounds each of us. A person who strives to be free, educated and intelligent, wants to achieve success in his career and in his personal life, does not necessarily have to understand and be a professional in art. He just has to visit museums, read a lot, be interested in art in general, modern music, literature. Of course, you can ignore everything and not go anywhere, not work on yourself, but this is simply an indicator of a person’s level, his development. Therefore, it is very important that children develop from childhood, in schools and educational institutions courses were created on integration into contemporary art and culture, in principle into the history of art in general, so that a person knows and understands culture. Awareness and experience of such things makes us kinder, smarter, more adaptable to any situation in life. Otherwise, we see many examples where people become easily motivated to take wrong actions, and how people do not appreciate what was created before and what is being created now, and do not appreciate the work and talent that surrounds them. Such a society will inevitably turn into barbaric and cultureless.
Yulia Grachikova, curator and deputy head of the department educational programs Museum of Moscow
For recent years institutions experienced several stages of strategies for interacting with viewers. Speaking about the Russian context, it is worth recalling that for a long time the audience for art projects were professionals and the artistic community. In the 2010s and even a little earlier, Moscow institutions experienced an increase in interest in contemporary art as a leisure format, a necessary fashionable attribute of the life of the “secular” public. This process launched “popularization” tools, including those related to simplifying the “language” of interaction: armies of mediators and guides, the most accessible concepts, star names, “selfie spots” at exhibitions, etc. Has contemporary art become clearer and more accessible due to this? controversial issue. Simplification in this case works not “for”, but “against” artistic projects. Contemporary art uses large number information sources, appeals to philosophy, art history and history in general, to political, social and economic processes. For the viewer, interaction with art is no less work than for the artist. Misunderstanding in this case provokes a desire for analysis, formulation of a position, attitude not only to a specific artistic work or statement, but also to specific issues or ideas addressed by this work. The elitism of art does not lie in its “closedness” from the general public, but in its demands for intellectual preparation, in its demands for working with consciousness and cognition. And in this case, misunderstanding gives more than understanding. Modern culture suffers from a “popcorn policy” in which a person makes no effort in intellectual consumption. Refusal from the “incomprehensible” and complex becomes the cause of degradation. The other side of this issue is that “misunderstanding” leads to rejection, refusal to interact and harsh criticism of contemporary art. But I have already said more than once that traditional classical art also requires preparation and in the same way can provoke misunderstanding. And the effect that this “misunderstanding” causes directly depends on the “quality” of the viewer and audience. So I am entirely in favor of “misunderstanding” as an effective tool for stimulating consciousness and cognition.
Ai Weiwei, FOUNTAIN OF LIGHT
Natalya Litvinskaya (Grigorieva), founder and curator of the Lumiere Brothers Center for Photography
Probably, we can only be responsible for the misunderstanding of specific exhibition projects by our viewers and visitors. Misunderstanding of art in general, I hope, does not happen in this world. An exhibition is not just a group of works hung like a museum. Any exhibition, like any work, has an idea that we are trying to convey, and this is exactly why we are doing this exhibition. Misunderstanding or misunderstanding can only arise when the exhibition simply did not realize the very idea it dreamed of. The curator either created an exhibition for himself and his close audience, or was simply incapable of realizing it. As a result, the viewer was left hostage to expectations with a purchased ticket to the exhibition in his hands and with the feeling that he had wasted his time, and sometimes with more sorrowful feelings. I don’t really agree with any rigid gradations between non-contemporary and contemporary art, especially when we're talking about about a pronounced misunderstanding of the latter. I cannot remember a period in my childhood when everyone understood the art that the Tretyakov Gallery showed in its main halls or everyone’s favorite Pushkin Museum. In addition, at that time museums were not so open to their visitors in the field of their education, but today everything that happens around the museum space is a colossal positive stage in Moscow life. Art doesn’t even walk, but runs to the Moscow visitor, bringing him something that won’t be said or written about, trying to be honest and relevant. The artist becomes in demand, his ideas and statements are the one building material, which the curator brings to the visitor who is open to it. It is the curator who must make the visit to the exhibition harmonious, and I would leave the artist alone and give him the opportunity to do what he cannot do, otherwise art will disappear, and only beautiful and funny pictures, although understandable to everyone, but no one needs.
Aristarkh Chernyshev and Alexey Shulgin, installation “Big Talking Cross”
Anatoly Osmolovsky, laureate of the 2007 Kandinsky Prize in the category “Artist of the Year”, one of the most prominent representatives of Moscow actionism, rector of the Moscow Institute of Contemporary Art “Baza”»
Contemporary art, like everything else fine arts, differs from all other types such as literature, theater, music and cinema in that it deals with the creation of unique objects. This gives him greater independence from the public. For an artist to live and work, he must have one or three wealthy fans who will buy his works of art and give him the opportunity to work. Independence from the public is the main reason that contemporary art is the most experimental of all other types that exist in at the moment. Naturally, experimentation and the creation of unusual objects entails the creation of a complex scientific language to describe them. Many viewers, faced with incomprehensible objects of contemporary art, hope to receive clarification in various texts, which also turn out to be “hermetically sealed” from understanding. Contemporary art is a very strict discipline, it is impossible to practice here, as they say, “what you want, do it.” IN contemporary art, as in science, physics or mathematics, there are certain solution algorithms, but in art there is more freedom and space for solutions. If people want to look into it, they can. I believe this will take about two years. Firstly, an analytical understanding of the history of art is necessary, and secondly, observation. There is no strong difference between modern art and classical art. These are interconnected things - modern art emerged from classical art and is its integral part. Therefore, observation is very important in classical art. You need to know classical art well, understand the principles of its development and historical transformation. Art has a very high rate of return if you invest in promising artists. Their work may be cheap at first, but after 10 years, it may cost 1000 or 10,000 times more. “Closedness” and “obscurity” play a very important role in screening out various speculators, people who want to make easy money on art.
Yin Xiuzhen, installation Temperature
Konstantin Grouss, artistic director, director of the international cultural project "Art Residence" and the projectZERODanceGallery
I would like to answer this: the viewer runs to the library or to his teacher with the question “What was that?” However, not everyone runs. Personal experience and cultural baggage determine the reaction to misunderstanding. It is possible to understand everything and everyone - it depends on the artist whether he can arouse this “I want to understand” in the minds of the audience from the consonance of cultural codes. Art is the language of the artist, so it is not the What and How, but the Who that determines the power of the medium that the artist is, connecting various fields of knowledge. The viewer differs from the viewer in terms of visual and hearing acuity, the totality of life experience and mood in the moment. Many attempts to predict the viewer's unambiguous reaction have failed, even among the most impeccable artists. Both in the field of visual art and in the fields of theater, dance, music. Therefore, the reaction to art depends on the reaction to the medium (the total cultural code the artist and his works. - Approx. Grouss.), including the personality of the artist himself, who in art, especially modern art, is more important than his language. The best response, in my opinion, would be for the viewer to try to convey the artist's message in his own words. Therefore, the statement “I can do this too!” I consider it a completely worthy consequence of misunderstanding, because it raises a counter question inside - “Can I?”
Russian Pavilion of the XIII Venice Biennale
KRYLOV SERGEY NIKOLAEVICH
Postgraduate student of the Department of Art History and Cultural Studies of the St. Petersburg State Academy of Arts and Industry named after. A. L. Stieglitz"
Annotation:
The article reveals the main factors that impede mutual understanding between the artist and the public. The author believes that contemporary art is a system with its own encrypted language, which has evolved over the past century and a half. Starting from the middle of the 19th century, a gradual change in the values of Western society occurred, which was reflected in art as a departure from the aesthetic ideal in favor of the conceptual one. The author believes that the public, well acquainted with contemporary art, is also not always able to fully assess the value work of art without any special explanation from the author, which is undoubtedly a sign of the growing conflict between society and the culture of postmodernism. If earlier a work evoked emotions through aesthetic impact, then modern art is looking for original ways to influence the public.
Culture as a whole expresses the spiritual state of society, while art
is a reaction to an emotional outburst. How long has art history existed?
There are so many debates: is any innovative phenomenon in art considered progress?
or constant degradation of culture. In the field humanities it is forbidden
ignore the fact of difficulty, and sometimes even impossibility, of constructing an integral logical
systems. The vocabulary used to describe contemporary art is gradually
becomes special language- difficult, often frightening in its complexity. However
less, “in the science of art the theoretical approach does not really have
alternatives, and it doesn’t matter whether we are talking about modern or classical art. Any
a new publication on the history of art has value only as an argument in
any theoretical dispute, as part of intellectual history" Until the middle
Of the 19th century, few artists make attempts to formulate their own system,
capable of justifying the originality of creative activity.
It is believed that E. Manet made the first attempts at self-identification of art,
the first among painters to begin the search for the formal complexity of a work. to his
by the desire to create new principles in solving everyday problems, he indirectly
anticipates almost all avant-garde creativity, in the most reactionary forms
capable of leaving the Western cultural system based on ancient Greek
understanding of aesthetics and beauty.
Due to the simplicity of the solution in realistic artistic practice, the question
theoretical justification for a work rarely arises, even in comparison with
decorative or ecclesiastical art. A.V.Makeenkova deduces the complexity of the “language
works" as one of the problems of difficulty in understanding art. Undoubtedly,
the author's language may be incomprehensible, however, this cannot in any way depend on
direction of the work. The complexity of perception is more likely to be influenced by formal
signs, namely: the means used by the artist, for example, are not traditionally
characteristic of art: new technical capabilities, multimedia - that is, those
qualities in which form-creativity tries to isolate itself and establish itself. I liked it
Whether the work is for us or not, we can understand what it is about, but here is how it
fulfilled - not always.
The development of culture in a modern globalist society is impossible
considered outside the context of ideologies created ruling layers. Original
artists - no matter what they create - will be regarded as radical
tuned. Consider a striking example: “conservative politicians and art critics in
USA during cold war attack abstract art as
“communist””, 20 years later L. Reinhardt proves that exactly
realistic art in the West is protest art, not abstract art, which is
that time is already becoming a symbol of capitalist culture. K. Marx also notes
the fact that when making a purchase, we acquire not just things, but objects,
filled with ideology. By managing mass ideology, one can deliberately
manipulate feelings social groups. In Western civilization people are accustomed
receive pleasure from a work of art first of all: visual,
aesthetic, moral and intellectual. Over the last century we
we observe a gradual shift away from the division into types of art that has developed
for thousands of years; there is a fusion of visual static art with poetry,
music, dance, video and, finally, the “hard” sciences, both formal and
ideologically. An audience culturally prepared to contemplate the new
art, receives from the artist a certain puzzle aimed at active work
imagination, erudition, intuition and intelligence, receiving the greatest pleasure in this.
Admiration aroused by the purely visual and aesthetic qualities of the work,
fades into the background, since the public is presented with only the embodiment of an idea
artist. Contemporary art calls on the viewer to temporarily distance himself from
social masses, to see something more; through popular culture criticism
there is a critique of ideology and art itself.
The technical reproducibility of art has undoubtedly changed attitudes
society to the artist, with the invention of the reproducibility of paintings, to attract
interest of the viewer, the painter needs to put into the work what he cannot convey
photography, for example, the maximum emotional component, new technical
means that simultaneously affect different senses. To some extent at all times
there was a synthesis of arts, but only at the beginning of the twentieth century did polymedia
works that affect all the senses of the viewer, which are
the most complex in structure creations, actions, events. Dadaists force the public
accept new approach to an understanding of art: not wanting to please, they still offer
give up passive admiration and become part of the action. A work of art
can become an object borrowed from life: environment or ready-made, - an idea,
which is based on the emphasis of perception, that is, contemplating an object, a work
art is made by the viewer himself. After M. Duchamp, all art by nature becomes
word or concept. At the same time, classical mimetic theory is experiencing
crisis and is unable to justify the diversity of visual representations. Formerly human
I am used to receiving pleasure from contemplating a work of art. Society
took for granted that it was the cannotative character, complexity and richness
aesthetic sign or even language gave the work the status of art, now
there is practically no distance between the images in the work and their referents.
Over the past half century, art has turned to those themes that were previously even
were not remotely interested in art history. Embodying the idea of synthesis, morphological
the framework of art falls apart, exposing the figure of the artist in the face of society. WITH
with the advent of new means of communication, perception itself has changed - from visual orientation
to multisensory. Art can subjugate all human faculties
the desire for unity creative imagination. The trend of socialized
art in Western countries develops independently, in Europe it is a group
“Situationist International”, in the USA - neo-Dadaists and “Fluxus”, who believe in
rescuing art from commercialization, which threatens to turn it into an extremely
prestigious consumer item. Free-thinking artists work
on projects, involving musicians, poets, dancers. A result of this kind
activity is becoming a new multidisciplinary aesthetics based on mutual
inspiration, enrichment and experimentation. The performance allowed artists
to finally erase the boundaries between means of expression, between art and
life. Performative practice was a protest questioning
generally accepted values and behavior patterns, they could not exist without dialogue with
viewer. Artists directly connect themselves with other people, their lives
experience and behavior. The fusion of art and life, as the main idea acquired
extreme and curious forms among the Englishmen Gilbert and George. Manzoni turned into
“living sculptures” of those around them, they turned themselves into “living sculptures”, and
indirectly made their life a subject of art.
B.E. Groys, from the position of a 21st century theorist, highlights the task of art in demonstration
different images and lifestyles through practical knowledge. Means
the message itself becomes the message. “We recognize that one of the most significant
artistic trends of the last 10 - 15 years are the spread and
institutionalization of group and socially engaged creativity",
the expression of which we find in the special popularity of the art of interaction.
M. Kwon considers new uniform art as a "community specification"
K. Basualdo is an “experimental community”, G. Kester defines it as a “dialogical
art." Kester's idea is that the task of art is to confront a world in which
people find themselves reduced to an atomized pseudo-community of consumers whose
emotional experience is determined by the society of the performance and rehearsals. If cooperation with
previously organized groups reveals an exploitative character, it does not
may reflect a pattern of social interaction. In a joint confrontation
capitalism, artists unite among themselves, calling on outside audiences,
who should confidently feel like a participant in the work. Unlike
television, art does not destroy, but unites relationships, becoming a place
creating a specific space for communication. If G. Hegel called one of
the most important reasons for the crisis of art is the loss of human ability to directly
experience of a work of art (“Freedom of works of art, which
proud of their self-awareness and without which they would not exist - this is the cunning of their own
mind. If works of art are answers to their own questions, then
because of this, they themselves become questions."), then the advantage of the dialogical
type artistic practice is that critical analysis stereotypes
carried out in the form of exchange of views and discussion, rather than shock and destruction.
Collaborative art strives for accessibility rather than exclusivity; V
Reflection is inevitable in dialogue, since by itself it cannot construct
work.
In practice, the idea of uniting the artist and the public itself sets a barrier,
interfering with rapprochement, undoubtedly becoming the most actual problem. Public,
little familiar with art trends, biased towards all manifestations
modern creativity and tries to avoid contact. Refusal to dialogue becomes
the original cause of the misunderstanding. The artist expresses self-sacrifice,
renouncing authorial presence in favor of relationships, allowing participants
speak through yourself. This idea expresses the sacrifice of art as such and its desire
complete dissolution in social practice.
The only element of perception remains feelings - the main criterion
the emergence and existence of a work of art, the beginning of which is
experiences and emotions. As V.P. Bransky notes: “He in whom the object does not cause
no feelings, does not notice in this object even a tenth of those features that
open to a person who is under a strong impression of the object. So
Thus, paradoxically, you can look at something and see nothing.”
The root cause of any art is not so much context as free feeling, in
past constrained by the framework of philosophy, aesthetics, beauty, proportion and others
cultural traditions. Postmodern art is based primarily on
feelings, and it is impossible to measure it by any other criterion!
LITERATURE
1. Rykov A.V. Western art XX century: Educational and methodological manual. - St. Petersburg: New Alternative
Polygraphy, 2008. P. 3.
2. Dempsey, Amy. Styles, schools, directions. Guide to Contemporary Art. - M.: Art -
XXI century, 2008. P. 191.
3. Bishop, Claire. Social turn in contemporary art - M.: Art magazine, 2005, №
58/59. S. 1.
4. Adorno, W. Theodor. Aesthetic theory / Transl. with him. A.V. Dranova. - M.: Republic, 2001. P. 12.
5. Bransky V.P. Art and philosophy. The role of philosophy in the formation and perception of art
works based on the example of the history of painting. - Amber Tale, 1999. P. 6.