What proportion of free time do people devote to self-education? Hundredth, thousandth? The human mind becomes stale over the years and becomes less receptive to new knowledge. Why does this happen, where does the former activity disappear? Internal baggage is something that is replenished by us throughout our lives, we “put some things out” from the chest of knowledge and take them with us, and some things remain there “until better times,” sit and are forgotten. But why do people always put off going to a museum, gallery, theater? Art. Has it really lost its influence? In the 18th and 19th centuries noble society it was fashionable to speak French. Many say this is one of the dumbest trends. Wait. But it’s wonderful to be on the same wavelength with those who strive for personal development. Is not it so? So, let's look at the problems of art in the arguments confirming their existence.
What is real art?
What is art? Are these paintings majestically displayed in the gallery or the immortal “Seasons” by Antonio Vivaldi? For some, art is a bouquet of wildflowers collected with love; it is a modest master who gives his masterpiece not to auction, but to the one whose heartbeat awakened a genius, allowed the feeling to become the source of something eternal. People imagine that everything spiritual is subject to knowledge, they read a countless number of books that can make them experts in a special society, in a society where not understanding the depth of Malevich’s square is a real crime, a sign of ignorance.
Let's remember famous story Mozart and Salieri. Salieri, “...he tore apart music like a corpse,” but guiding star illuminated the path for Mozart. Art is subject only to the heart, living with dreams, love, and hope. Fall in love, then you will undoubtedly become part of the art called love. The problem is sincerity. The arguments below confirm this.
What is it, the crisis of art? The problem of art. Arguments
Some people think that art today is no longer what it was in the times of Buonarroti and Leonardo da Vinci. What changed? Time. But the people are the same. And during the Renaissance, creators were not always understood, not even because the population did not have a high level of literacy, but because the womb of everyday life greedily absorbs feelings, youthful freshness and good beginnings. What about literature? Pushkin. Was his talent really worthy only of intrigue, slander and 37 years of life? The problem with art is that it is not appreciated until the creator, who is the embodiment of heaven's gift, stops breathing. We allowed fate to judge art. Well, here's what we have. The names of composers are alien to hearing, books gather dust on the shelves. This fact most clearly represents the problem of art in arguments from literature.
"How difficult it is to be happy these days,
Laugh loudly, out of place;
Don't give in to false feelings
And living without a plan is at random.
To be with someone whose crying can be heard for miles,
Try to avoid enemies;
Don’t repeat that I’m offended by life,
For those worthy, open your heart wide."
Literature is the only art form that talks about problems in such a way that you immediately want to fix everything
The problem of art, arguments from literature... Why do authors raise it so often in their works? Only a creative nature can trace the path spiritual fall humanity. Let's take as an argument famous novel Hugo "Cathedral" Notre Dame of Paris" The story was generated by one word “ANA”GKN (from Greek “rock”). It not only symbolizes the doom of the heroes’ destinies, but also the cyclical destruction of the inviolable: “This is exactly what they have been doing to the wonderful churches of the Middle Ages for two hundred years now... The priest repaints them, the architect scrapes them; then the people come and destroy them.” In the same work, the young playwright Pierre Gringoire appears before us. What a low fall was destined for him at the very beginning of his journey! Lack of recognition, vagrancy. And death seemed like a way out for him, but in the end he was one of the few who expected a happy ending. He thought a lot, dreamed a lot. Mental tragedy led to public triumph. His goal is recognition. It turned out to be more realistic than Quasimodo’s desire to be with Esmeralda, than Esmeralda’s dream of becoming the only one for Phoebus.
Is packaging important in art?
Probably everyone has heard the combination “art form”. What is your idea of its meaning? The issue of art itself is ambiguous and requires a special approach. Form is a peculiar state in which an object resides, its material manifestation in environment. Art - how do we experience it? Art is music and literature, architecture and painting. This is something that is perceived by us on a special spiritual level. Music - the sound of keys, strings; literature is a book whose smell is comparable only to the aroma of freshly baked bread; architecture - rough surface of walls, centuries-old spirit of the times; painting is wrinkles, folds, veins, all the beautiful imperfect features of a living thing. All of these are forms of art. Some of them are visual (material), while others are perceived in a special way, and in order to feel them, it is not at all necessary to touch them. Being sensitive is a talent. And then it will not matter at all in what frame the “Mona Lisa” is in, and from what device it sounds “ Moonlight Sonata"Beethoven. The issue of art form and argument is complex and needs attention.
The problem of the influence of art on a person. Arguments
I wonder what the essence of the problem is? Art... It would seem, what impact, other than positive, can it have?! What if the problem is that it has irretrievably lost control of human mind and is no longer able to make a strong impression?
Let's consider all possible options. As for the negative impact, let us remember such paintings as “The Scream”, “Portrait of Maria Lopukhina” and many others. It is unknown why they were so attached Mystic stories, but it is believed that they can have a negative impact on people who look at the paintings. The injuries caused to people who offended E. Munch's painting, the crippled fates of barren girls who looked at the unfortunate beauty with tragic story, depicted by Borovikovsky shortly before her death. What is much worse is that art today is soulless. It cannot even awaken a negative emotion. We marvel, admire, but after a minute, or even earlier, we forget what we saw. Indifference and lack of any interest is a real misfortune. We humans are created for something great. Everyone, without exception. The choice is only ours: to be the same or not. The problem of art and the arguments are now understood, and from now on everyone will promise themselves to live from the heart.
Firstly, the time period separating us from the works of art of the past, and the absence of such in the perception of modern art, leaves an inevitable imprint on the understanding of the latter. We are deprived of the opportunity to objectively evaluate and correctly interpret modernity, because we ourselves create it. Or rather, we are able to understand the deep, momentary meaning of a certain work, the one that was inherent in it from the very beginning. Perhaps we will understand him better than subsequent generations, as, say, Baudelaire or Gürnberg were understood more clearly by their contemporaries then, and not by us now. But at the same time, we will not be able to assess the significance of this or that modern work. This takes time.
Secondly, modern Art(we'll talk about cinema and music) is extremely diverse. To complicate matters further, each self-contained genre is itself quite eclectic. One might even say that now there is no need to talk about any separate genre, in line with which the artist creates (in broad terms), but now every artist, every musician (musical group), every director is a separate individual genre. Everyone creates at the intersection. Therefore, no one can classify themselves into any specific genre. Hence another difficulty in interpreting contemporary art.
Thirdly, it is worth noting that contemporary art is developed extremely unevenly. For example, music, cinema, photography, and possibly painting are actively developing. Less active and successful is literature. This is due to the fact that the first of the listed areas of art are characterized by extreme emotionality. It is very difficult for a modern person to concentrate, to gather at one point, which is necessary, for example, to write or read a serious novel. Music, instant photography, drawing, film as compressed visual literature - all this is perfectly suited to the ability of modern man to perceive. It cannot be said that our consciousness has become “clip-like”. It must be remembered that a song or film is a complete work of art, which we perceive as a whole and in no way a clip image. But the amount of time that we can devote to this or that work has changed. Hence, the form of this work also changed - it became more concise, precise, shocking, etc. (depending on the author's goals). This is important to consider when analyzing contemporary art.
In general, we can say that the main problem consists in identifying contemporary art as art in general. You are often faced with the absence of any guidelines with which to compare the work of modern authors. It has become impossible to compare with the classics, because it is practically impossible to find points of intersection between the old and the new. There is either a repetition of what has already been created before, or the creation of something completely unlike anything else. The so-called classics seem to stand aside. I don’t mean technical techniques, but the meanings and ideas put into this or that work. For example, a genre like cyberpunk touches on completely different layers of human existence than just science fiction. It is clear that we can turn to science fiction as the ancestor of this kind of genre, but it is also clear that cyberpunk raises problems that science fiction will not tell us anything about. Therefore, modern creations of art seem to be thrown into the void, where there are no points of reference, but only other equally abandoned, individual new creations to death.
In the section " Trivial question“We ask questions that are stupid or ridiculous at first glance 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 devoted 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, current 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
Behind last 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 in this case works not “for” but “against” artistic projects. Contemporary art uses a large number of 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 requires preparation and can also 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 can’t remember a period in my childhood when everyone understood the art that I was showing Tretyakov Gallery in their 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 construction 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 not needed by anyone.
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 Moscow actionism, rector of the Moscow Institute of Contemporary Art “Baza”»
Contemporary art, like everything else art, 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 this 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 modern 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 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 is running. 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. Grousse.), 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
In the center of our attention is the text of the outstanding Soviet and Russian writer Viktor Petrovich Astafiev, which describes moral problem neglect of art, which is one of the main tragedies modern society.
The relevance of this problem is very important, because the values of modern society are truly frightening. Lack of awareness, haste, the cycle of personal experiences and the daily pursuit of something more valuable have turned most of us into a society of “blind” people. But really, when in last time were you on theatrical production, symphony concert or ballet? Perhaps, on your way home from work, you stopped at some pleasant street concert and thereby lifted your spirits? Would each of us be able to answer these questions positively? I think the answer is obvious.
The author's position is clear: young people have lost touch with art and turned into egoists. So, for example symphony concert in Essentuki, Viktor Petrovich narrates: “... already from the middle of the first part of the concert, the listeners, crowded into the hall for musical event just because it was free, they began to leave the hall.
Yes, if only they just left him, silently, cautiously, no, with indignation, shouting, abuse, as if they had been deceived in their best lusts and dreams.” When reading this passage, I felt a sense of shame and embarrassment for everyone who allowed themselves to leave so defiantly.
I understand and share the author’s position, because each of us has our own hobby, work, and we treat this painstakingly and with love. Who would not be offended by such an attitude towards work into which so much effort and soul was invested. Yes, classical music is not understandable to everyone, this is part of elite culture and it requires a certain degree of intellectual preparation. But we must not forget about education, respect and everything that should have stopped these spectators in time.
The relevance of this problem was also obvious to Anton Pavlovich Chekhov, who was always against the inhabitants of life who want to retire from the whole world and are not interested in anything. With the help of the heroes of the works “Man in a Case” and “Gooseberry” by Belikov and Himalayan, the author shows us how boring and empty a person is who is not interested in the beauty of the world around him, all its delights created by man and nature.
My mother told me that as a baby I only fell asleep under classical music, and in the first grade I attended a concert at the Philharmonic for the first time and was so full of enthusiasm that the very next day I was enrolled in a piano club. I studied there until the eighth grade, and now I often play music and listen to the works of classics. Perhaps this makes me old-fashioned, but for me art, be it music, architecture or painting, is first and foremost spiritual food, in which, upon careful examination, you can see a reflection of the author or, with special luck, yourself...
Thus, you must not lose this thin thread in yourself, which will save you from many adversities. I think that any mental organization is a subtle matter that has its own weaknesses, which is why we must keep within ourselves such concepts as frugality, respect for other people’s work and a willingness to contemplate and create. Only by developing and rising spiritually can we consider ourselves full-fledged individuals.
Updated: 2017-03-18
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After reading a book, looking at a painting, listening to music, a person often remains perplexed. "Can not understand anything!" - the reader, viewer or listener exclaims in disappointment. However, did he try to comprehend the author’s intention or did he expect that everything in a work of art should be clear and precise? Here we are faced with the problem of understanding art, which is the subject of the text...
You should also pay attention to language means , which can be used in the introductory part of an essay.
1. Question-answer unity. Rhetoric experts advise introducing elements of dialogue into public speaking. Dialogue will not hurt in the composition, it will make the performance more energetic. For example:
What is beauty? This is probably one of the most mysterious concepts in the history of culture. Many generations of people have struggled with this riddle. Artists, sculptors, poets sought to comprehend the secret of beauty and harmony. The text by V. Sukhomlinsky makes us think about what beauty is and what its role in human life is.
2. Chain of interrogative sentences. Several interrogative sentences at the beginning of the essay are designed to focus attention on key concepts. source text, highlight the main thing in it.
What is talent? How should a person live so as not to waste his gift? Such questions involuntarily arise after reading the text by Yu. Bashmet.
3. Nominative sentence (nominative topic).
The nominative sentence in the beginning must also contain key concept or the name of the person described in the source text.
Marina Tsvetaeva. This name is dear to everyone who appreciates real poetry. It seems to me that it is difficult to find a person whom Tsvetaeva’s poems would leave indifferent. Literary critic Evgeny Borisovich Tager is one of those who were lucky enough to know Marina Ivanovna personally. In his memoirs he strives to reveal inner world this amazing poet.
4. A rhetorical question. Not every interrogative sentence is a rhetorical question. A rhetorical question is a sentence that is interrogative in form and affirmative in meaning.
Who among us has not heard that truth is born in a dispute? You've probably encountered avid debaters who are ready to argue until they are hoarse over any little thing. Of course have various ways conducting a dispute, which L. Pavlova considers in her text.
5. A rhetorical exclamation expresses the writer’s emotions: joy, surprise, admiration... draws attention to the subject of speech.
How beautiful the Russian language is! There are so many words in it that can express the deepest thought or any shade of feeling! Why is it that sometimes, when a person takes a piece of paper or sits down at the computer, only boring, template phrases appear in his head? What is the reason for the appearance of cliches in our speech? This problem worries everyone who is truly demanding of themselves and their speech culture.
REMEMBER that there are no “universal” introductions that fit any text. As a rule, a formulaic opening does not look good against the backdrop of the main part that follows it.
How to finish?
As a rule, the conclusion is written at a time when there is little time left until the end of the exam. Often the writer begins to get nervous, fearing that he will not have time to rewrite the text completely, and breaks off the essay mid-sentence. Of course, such work is flawed from the point of view of compositional integrity, which means it will not receive the maximum score for this criterion.
The main requirement for the final part of the essay can be formulated as follows: the conclusion should be such that the reader understands that the most important thing has already been said and there is nothing more to say.
So what could it be the final part of the essay?
1. Summary, repetition in a generalized form of the main idea of the text, the position of the author. This is the most common type of conclusion: return to the author's main idea, expressing it in your own words, so that it does not seem like a simple repetition of the same thing.
...Thus, A. Likhanov raises an issue that is important for each of us, calls for preserving childhood in the soul, not leaving in the past a joyful, childlike, direct perception of life. But the world truly beautiful. It's just that as people grow up, they often forget about this.