Art is what the artist creates; an artist is the one who makes art. In this mutual definition, the most essential and integral appears to be the Act of Creation itself, in which the artist and art actualize each other.
Art subjectifies both artist and spectator: therefore, one may consider it as the source of the inter-human World as such. For the perception of a work of art, the viewer himself, by necessity, performs the same initiating act as the artist does, thereby actualizing his subjectivity and autonomy.
Subject-object relationship (who/artist — what/art) is revealing in the artistic act. The artistic act establishes the space of autonomy. The artist has a conventional symbolic authority to produce an artistic act. An artistic act can be performed under any conditions.
Art can be created anywhere, from whatever and anytime: only an artist is required. By making the Ready Made, Marcel Duchamp pointed out an artistic act’s essence as a mechanism endowing any object with a special ontological status. By this act, an artist constitutes a general blank space (place for being) that can be occupied by Whatever. The universal idea of any artwork is the integrality of the artistic act that establishes the space and time of the work of art.
A work of art
A work of art is an object that, through its perceptive configuration, ensures the preservation of its idea for comprehension. The sense of an artwork is determined by its significance in the continuum of historical development. Through this significance, provided by the work’s material side, different kinds of values may be applied to the art object exteriorly.
The image of a suspended person, autonomous in its precariousness, autonomous due to the foreignness to everything, is relevant from the first days of human existence to this day.” That time either does not exist at all or barely exists, being something unclear, can be assumed on the basis of the following. One part of it was, and it no longer exists, the other will be, and it does not yet exist; of these parts, and infinite time, and each time allocated [interval] of time. And that which is composed of non-existent cannot, as it seems, be involved in existence.” (Physics, (10, 217 b 33-218 a 3): this thought of Aristotle defines contemporary art in the sense that the concept of Сontemporaneity intent to compensate for that absence of present time, filling itself with an updated continuously fluid content. It is impossible to settle down in the present tense; it is slipping away. Contemporaneity serving an illusion of the expanded space through which you may take a walk makes you feel at home.
Contemporary art is the artist’s work, determined by creating, developing, and redefining the image of Сontemporaneity as a conventional ersatz space for human life in conditions of ontological deprivation of the present; an effort to recollect and reassemble the interhuman World.
Time and Space
Pavel Alexandrovich Florensky, a Russian art theorist, noticed that art requires the Сoncurrence of both time and space for the artwork and the spectator. The artistic act establishes the place and time of the conditional ersatz-ontology, which might be objectified by anything. The artistic act is a manifestation of Nonknowledge in space and time as the oneness given to us in its absence.
To view the World as the oneness, turned explicitly to you and including you, is to view the World as a total mediatory. Total mediatory is the oneness reflected by us in things. We endow things with unity picked out from our being. So in things, we recognize ourselves. Things can become the content of other things by demonstrating Media Nesting (that removes the contradictions of the media reduction in art theory).
Oneness, given to us in the form of its absence, we call Nonknowledge. In a situation of total mediatory, Nonknowledge is the general medium. Things are the content of Nonknowledge as a medium. Things actualize Nonknowledge just as words actualize silence.
© Marika Krasina & Anton Kryvulia, 2014-2021