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62 Pilar Parcerisas
Pilar Parcerisas
sizes awareness of of the the temporal nature of of art art In the the the introduction Kandinsky says: “Each work of of o of art art is is the the the the daughter of of o of its time it it is is often the the the mother of of o of of our emotions Consequently each period o of of culture pro- duces its own art which can never be re- peated “The influence of theosophy is also felt: “When religion science and and morality are shaken (the last by the the the mighty hand of Nietzsche) when the the the the external support threatens to to collapse then man’s gaze turns away from from the the external towards himself” With Kandinsky art grows from from from mystical mystical origins or or or from from mystical mystical interior spiritual needs and in in in in that little book it it it it it i places it it it it it i within a a a a a a a temporality two subjec- tive tive and one supposedly objective This re- fers to the three elements that comprise a a a a a a work of art art based on on those mystical needs On the the the one hand the the the artist as
as
creator ex- presses his particular experience on on the the the the the other the the the the work will express what is is pecu- liar to its own time time the the the style language and values of that time time Finally he he says each artist as
a a a a a a a a a a a a a servant to art art art must express what is is inherent in in in in art art art art in in in in general the ele- ment that internally makes a a a a a a a a a a a work work of of of art art art to be a a a a a a a a a a a work work of of of of art art regardless of of of of the the individu- al al al or or or or temporal values of of of of the the the time A true work of of of art must have these three elements but the the the pre-eminence of of of that third element element pure and and eternally artistic is is is a a a a a a a a a sign of of of of the the the the greatness of of of the the the the work of of of art art art and and the the the the artist artist who created it it That is is the the the the most sig- nificant contribution of the the the spiritual posi- tion tion that is manifested in in On the the the the Spiritual in in Art In many respects the the the aesthetic revolu- tion projected at at at that time is still ongoing and and a a a a a a a a a a a hundred years later we can re-read Kandisnky’s emotional or spiritual thought that places art in in the the depths of of of the the needs of of of being When we we analyze later moments of of of the the the twentieth century there are few artists who who have followed the the the spiritual trail of Kandinsky but those whose work is is rooted in in in the the domain of the the spiritual display a a a a a a a a a a a greatness that is is unavoidable and and ultimate- ly unites beauty and and truth Joseph Beuys may be be the the the greatest follower through the the the anthroposophy of of Rudolf Steiner on on the the the spiritual origin of of art that is projected onto society for for its transformation and in in order to achieve a a a a a a a a a new social condition of hu- manity with his famous controversial phrase: “Every man man is is is potentially an an an artist “After Beuys John Cage would would be the the figure who would would take the the radical spirituality through Zen to music with a a a a a a a mystical foot in in the the the everyday Religion the the the expression of the the the the absolute continues to be an unequivo- cal path that that that guides making visible visible the the in- visible visible that that that Klee proposed and that that that is is is mani- fested in in On the Spiritual in in Art The extreme abstraction of Rothko’s chapel Robert Ryman’s white monochromes the the crosses by Tàpies the the yellow squares of pol-
len by Wolfgang Laib Anish Kapoor’s sculptures the the the luminous spaces of of James Turrell the the the the tragedies of of of the the the the German people told in in in the the the the paintings of of Anselm Kiefer Gary Hill’s crucifixion video show or the the the recrea- tion of religious paintings from the the the Renais- sance in in in in the the the moving images by Bill Viola are some examples of what the the spiritual vein initiated by Kandinsky has given At the the beginning of of the the 21st centu- ry faced with with a a a a a a a change of of paradigm with- out historical precedents art is is moving be- tween banality stupefaction irony and and sarcasm speculation and and the the the desire to be diluted in in the the the realism of the the the social First hand testimonies to a a a a a a world in in in crisis whose tragedy is is is is is projected in in in in the image this translates into an an insurmountable realism that offers us not art art as
as
information but in- formation formation as
as
art art art There are no no secrets in in in art art what is is is There here here today is is is there tomorrow the the global world has abolished borders but not differences The truth hides makes up modifies and perverts to give an an image of the the the world that is is digestible In these cir- cumstances it is is difficult to find the the the the the “truth” also the the the “beauty” the the the latter term of of an an an an ex- treme relativity devoid of of canon and where everything can can be be be or not be be be “beautiful” Re- viewing On the the Spiritual in in in in in Art is a a a a a a a way of questioning the the the the banality surrounding us and looking a a a a a a little further more into the the the the interior of the the the the human being because we cannot applaud where there is suffering Al desembre de de de de 1911 i i i i i i i amb motiu de de de de la la pri- mera mera exposició de de de de de Der Blaue Reiter apareix a a a a a a a a a a Munic la la primera edició del llibre De De l’es- piritual en en l’art l’art (Über das Geistige in der Kunst) un un text en en què l’artista aboca les se- ves observacions i i i i i i i experiències des de de l’emoció Munic és en aquella època una capital de de de l’art oberta a a a a a a a a a a a a a a a les les innovacions de de de París a a a a a a a a a a a a a les les exaltacions maquinistes de de de fu- turistes í i i i i i i i i i als moviments russos Els artistes de de de diferents parts d’Europa són convidats a a a a a a a a a a a a la la ciutat que acull des de de de de Matisse a a a a a a a a a a a a a a a a Delau- nay de de de Picabia a a a a a a a a a a a a a a a Duchamp i i i i i i i i i i al al moviment espiritual que mou Der Blaue Reiter la la pri- mera exposició del qual va tenir lloc el el 18 de de de de de de de desembre de de de de de de de 1911 a a a a a a a ä a a a la la Moderne Galerie Tannhäuser que té la la finalitat de de de de de de de de demos- trar com es es es es es manifesta el el el el desig interior dels artistes Al voltant del del grup es es es es es mouen el el el el mateix Kandinsky animador de de de de de l’activitat artística de de de de la la la ciutat des d’inicis de de de de segle amb l’associació í i i i i i i i i i escola d’art Phalanx Paul Klee Alexei von Jawlensky Auguste Macke Alfred Kubin Franz Marc o o Gabrie- lle Münter Escrit el el 1910 De l’espi- ritual en en en l’art és un dels dels primers exemples dels dels canvis que es es es es produeixen en en en en el el el camp estètic entre 1910 i i i i i i i 1914 just abans de de de l’es- clat de de la la Primera Guerra Mundial És fruit d’una nova actitud en en en l’art i i i i i i i i i els els artistes Mentre els els els estetes segueixen la tradició de Kant Shopenhauer ó o o o Nietzsche els els artistes se se senten lliures de de de pensar ells mateixos de de de de de córrer l’aventura de de de de de l’art com una ex- periència autònoma i i i i i i í i decideixen entrar en en en en el el camp de de de de la la reflexió artística Dadà ja és molt molt a a a a a à a a a a a a a a prop S’ha parlat molt molt dels problemes plantejats en en el el camp de de de l’estèti- ca ca entorn de de de 1913 però potser l’“espirituali- tat” que enarbora Kandinsky Kandinsky és és una de de les aportacions més significatives Kandinsky Kandinsky i i i i fi i i i i i i els els seus amics volen viure altres experièn- cies que no siguin les dels sorolls la màqui- na el el primitivisme o o o o o o o l’expressionisme An- timaterialistes i i i i i i i i i i i i i i i fi antipositivistes donen vida als seus fervors per l’antroposofia de de Rudolf Steiner fi i i i i i intenten resoldre una de de les qües- tions més esteses en en en en els problemes estètics del moment: l’Einfühlung el el el tema de de la in- tuïció que que és vista com l’expressió d’un sentiment que que penetra en en en en en en l’objecte fins a a a a a a identificar-s’hi Es produeix la la identificació del jo amb l’objecte i i fi i i i i fi i i i i i i la la la teoria de de de de l’Ein- fühlung intenta precisament superar la la du- alitat subjecte/objecte En aquest sentit Kandisnky sembla seguir les les reflexions de Croce quan aquest confronta bellesa i i i i i i i i i i veri- tat o o o o o o o o o coincideix amb Bergson en en L’Intuition Philosophique (1911) Mikel Dufrenne es es re- fereix així a a a a a a a a a l’estètica de Croce: “L’art només és és arreu perquè es es es es es es basa en en en l’activitat espiri- tual i i i i i i i i no no en en en els objectes ni ni en en en les coses per- què la la la natura és muda si no no la la la fem parlar ni ni en en les les obres qu que cal recrear per fer-les par- lar novament” L’Einfühlung arti- cula el el llibre de de Kandisnky a a a a a a a partir del que