IMG_2273A Peder Severin Krøyer 1851-1909. Copenhagen, Paris, Skagen. Artists on Skagen Sonderstrand 1882 Skagens Museum, Denmark

IMG_2273A Peder Severin Krøyer 1851-1909. Copenhagen, Paris, Skagen. Artists on Skagen Sonderstrand 1882 Skagens Museum, Denmark
Peder Severin Krøyer 1851-1909. Copenhagen, Paris, Skagen.
Artists on Skagen Sonderstrand 1882
Skagens Museum, Denmark

THE BEAUTIFUL FACT OF THE PROPERTY

The art of all times and in all societies is a way for the elites to impose a religion (sacred) or an ideology (secular, lay). Art is thus an interesting means of revealing the philosophical and moral, which inspires the elites of a given society in a given time. These religions or ideologies may differ much as to the benefit that the people will, or not, remove it. Some are conducive to the establishment of civilisations in the long course (ancient Egypt, Antiquity, greco-roman, Christianity, Hinduism, Buddhism, Islam,….) others are more or less rapidly fatal ( Religions of the Aztec and Inca, Communism, National-Socialism).
In fact, some ideologies, sacred or profane, designed by the elites, have been, more or less short term, will be accepted and fully shared by the people who acceded to it without reluctance. They can then be imposed entirely without offending the feelings and liberties of the people, or at least a majority of widely significant, or even unanimously within their company for a long period of time.
Other ideologies however have been imposed by the elites, but there has not been the unanimous or majority peoples who have entered into resistance, passive or active, with more or less success at the end of a more or less long period.
It is possible to encounter in the history of the world is a different situation: those of ideology, sacred or secular, often from foreign, which have been adopted or have been adopted by people, but have been fought by the elites ‘ political and ideological of the country.

After a passage through the halls of contemporary art museums in the West, there are many people who are having real relief, and say their pleasure, their sense of happiness, wholeness, returning to the ancient art or modern art (1850-1950), in short the Fine Arts.
An English philosopher today, Roger Scruton (Youtube) dare to remind that Beautiful is important to the man.
Actually the Beautiful. It is not a question of high philosophy or to examine the relations, connections and differences between the Beautiful and the Good, the Ugly and the Evil, but a statement of experience and a common sense proposition.
It is a fact, the Beautiful, and this is the reason why you should worry, and do not hesitate to protest against a contemporary art which requires the Ugly as a criterion of its choice.
Do not be intimidated by the totalitarian regime of a conception of art that hurts the majority of a population. 70% since the statistics show that it is the percentage of the population, in any case, French is disinterested in contemporary art.
You need to be worried of the existence and legitimacy of the elite that imposes on the peoples of the West, of the hideous features, advocates and love on its modern altars prepared in the halls of contemporary art, huge like cathedrals, this Ugly who wants us to be evil.
Replace the religion of the Beautiful in the Ugly is not innocent, it is a project of the perverse.
And when this project adds to the harm to the Non-Sense and Absurdity we must dare to say no, this is enough, this is a violation of our consciences and a violation of our conception of life and our environment.
This choice of the elites had perverse effects, not only on the visitors museums, but also in our contemporary art spaces, by way of example that it offers to the people justifying the ugly and non-sense. By contagion.
It should be noted that outside the circles of officials, in the middle classes, is clearly appeared, in painting, sculpture, photography, even, after the 1960s, a stream pretending to be artistic, but very oriented to the expression of the ugly and the absurd. In the portrait and the representation of the man and the woman in particular. This fascination for the ugly, which is spreading, is certainly the expression of a malaise of existential, despair daily located at a more comprehensive level: that of contemporary western society.
It is a fact that street art, popular and spontaneous, is usually more various, more imaginative, more beautiful and more meaningful than art that is elitist, formal and directed the museum of contemporary arts.
But it is also a fact that the streets of our cities and major roads are the place of expression of a vandalism of the beautiful and meaning, a desire for provocation and a blatant disregard of the other. The Non-art does not exist only in museums of contemporary art is also very present in our streets and perfectly tolerated and even encouraged in some areas. Not the "uptown" of course, that are protected. This not-street art works borrowed heavily from the example given by the non-art of the elites.
The fish starts rotting from the head, but the fish eventually rot entire.

THE BEAUTIFUL FACT OF GOOD

The art of all times and in all societies is a means for the elites to impose a (sacred) religion or an ideology (secular, secular). Art is therefore year interesting revealer of the philosophical and moral thought that inspire the elites of a given society in a given time. These religions gold ideologies can differ a lot as to the benefit that peoples will or will not withdraw. Some are conducive to the establishment of long-term civilizations (ancient Egypt, Greek-Roman antiquity, Christianity, Hinduism, Buddhism, Islam …) others are more or less rapidly mortal (the Aztec and Inca religions, Communism, national Socialism).
Indeed, certain ideologies, sacred gold secular, conceived by the elites, have been, more or less short term, accepted and totally shared by the peoples who adhered to it without reluctance. They can then impose themselves completely without hurting the feelings and freedoms of the people, or at least a largely significant majority, even unanimity within their society for a long period of time.
Other ideologies, on the other hand, have been imposed by the elites, the goal did not generate the membership unanimous gold majority of peoples that cam into resistance, passive gold active with more or less success after a shorter’or longer period.
It is possible to encounter a different situation in the history of the world: those of ideologies, sacred gold secular, often of foreign origin which have been adopted, or would have been adopted by peoples, purpose were fought by the elites, ideological and political of the country.

After a passage through the contemporary art galleries of the museums of the West, many people are experiencing real relief, and say their pleasure, their feeling of happiness, fullness by returning to ancient art or to Modern Art (1850-1950), in brief at the Fine Arts.
A current English philosopher, Roger Scruton (Youtube) dares to recall that ” the Beautiful is important for humans.
Indeed the Beautiful makes good. The point is not highly philosophical. It is not a question of interrogate the relations, correspondences and differences between the Beautiful and the Good, the Ugly and the Evil, but to note and recall a fact of experience and a proposal of common sense.
It is a fact, the beautiful makes us feel good, and this is the reason why one has to worry and not hesitate to protest against a contemporary art which impose the ugly as criterion of its choices.
One should not be intimidated by the totalitarianism of a conception of art which hurts the majority of a population. 70% since the statistics show that it is the percentage of the population, in any case English, that is not interested in contemporary art.
We must worry about the existence and the legitimacy of an elite that imposed upon the peoples of the West, the ugliness, preaches and love for its modern altars erected in contemporary art rooms vast like cathedrals, this ugly one who wants us of evil.
Replace the religion of the Beautiful with that of the ugly is not innocent, it is a perverse project.
And when this project adds to its harmfulness the Non-Sense and the Absurdity, one must dare to say no, it is enough, it is a violation of our consciences and an attack on our conception of the life and simply to our environment.
This choice of elites has perverse effects, not only on visitors to museums, but also elsewhere than in our contemporary art spaces, by the example he offered to the people by justifying the ugly and nonsense. By contagion.
It must be noted that outside the official circles, in the middle classes, clearly appeared, in painting, in sculpture, in photography even, after the 1960s, an artistic current, very oriented towards the expression of the ugly and The absurd. In the portrait and representation of man and woman in particular. This fascination with the ugly, which is spreading, is certainly the expression of an existential malaise, of a daily despair situated at a more global level: that of contemporary Western society.
It is a fact that the art of the streets, popular and spontaneous, is generally more diverse, more imaginative, more beautiful and more meaningful than the elitist, official and directed art of contemporary art museums.
But it is also a fact that the streets of our cities and our great roads are the place of expression of a vandalism of beauty and meaning, a will to provoke and a blatant disregard for others. Non-art does not exist only in museums of contemporary art, it is also very present in our streets and perfectly tolerated and even encouraged in certain neighborhoods. Not the "uptown" of course, which are protected. This non-art of the street art borrows much from the example given by the non-art of the elite.
The fish begin to rot by the head, but the fish ends up rotting whole.

the
By jean louis mazieres we 2018-06-03 11:09:21
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2 replies
  1. jean louis mazieres
    jean louis mazieres says:

    [https://www.flickr.com/photos/18911612@N08] Oui ! je ne suis pas un spécialiste de cette manifestation d’art des rues. Il n’y a pas de doute, à voir les sites spécialisés, qu’il qu’il y a là un trésor de créativité qui n’existe pas dans les musées d’art contemporain. Dans un esprit bien plus divers. Il n’y a pas dans cet art là une idéologie qui commande tout et tout le monde.
    Cela me fait penser à l’art moderne de l’Europe des années 1850 -1950. Plein d’innovations, et d’impasses.
    Mais , comme vous le dites exactement , au milieu d’un déchet énorme. Ceci dit, je préfère cet art spontané, pour l’instant, à l’art obligatoire des musées d’art contemporain. Bien sûr je ne parle pas des tags vandales qui hélas défigurent nos rues, nos voies de chemin de fer et nos autoroutes. Le dernier tagueur que j’ai vu à l’oeuvre, qui posait sa merde sur un mur du Trastevere de Rome, avait au moins 70 ans ! A l’époque j’étais un jeune de 50 ans. Je me suis dit que l’âge ne faisait rien à l’affaire, et que quand on était con à 20 ans on l’était aussi à 70 ans ! C’est une chanson de Brassens !

    Reply
  2. JP-ZMR
    JP-ZMR says:

    En parlant de Non-Art des rues, voir ce qu’est devenu le cours Julien à Marseille, couvert de barbouillages renouvelés périodiquement et soi-disant lieu d’attraction touristique.

    Reply

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