Resilience in art


In art, resilience is the capacity of the work of art to preserve through aesthetics its particularity distinguishing it from any other object, despite the increasing subjectivization in the production of works. Resilience in art appears as a response to the gradual setting aside of beauty during the twentieth century resulting today in an inability to define the work of art.

History

The late nineteenth and twentieth century saw the birth of art movements such as Symbolism, Cubism and Surrealism which sought to adjust to the great social, industrial, economic and political changes that were taking place at the time. Parallel to these movements is a series of strangest movements such as Hirsutes, Hydropathes, Incohérents and highly politicized and subversive movements such as Constructivism, Suprematism, Futurism and Dada. These movements, combined with Anglo-Saxon Analytic Aesthetics from the 1950s which is characterized by the rejection of the notion of beauty as the foundation of art, call into question the very existence of the work of art as a specific human achievement.
The Analytic Aesthetics will base art on the consensus of the "world of art", thus accepting that any object whatsoever may be considered as art as long as it is shown in a place provided for this purpose. Thus art no longer offers homogeneity linked to a cultural substratum but a plurality of individualities. It does not unfold in time, its duration often becomes ephemeral. Beauty is considered superfluous, asserting that a work of art does not have to be based on beauty, for it is self-sufficient.
Analytic Aesthetics is rooted in the philosophy of the eighteenth century when philosophers, like Edmund Burke or Herbart claim that there is no existing beauty by itself. Beauty is not in the object itself but in the subject who experiences some emotion. Little by little, the idea of beauty gives way to the feeling of beauty. The objective definition of the beautiful becomes impossible, it is relegated to the subjective evaluation of the viewer. Thus the theory of beauty that has been a knowledge based on mathematics since the Greeks becomes a subjective aesthetic feeling. Added to this, theories on autonomy of ugliness will encourage the proliferation of the most random, unsightly and provocative productions in the context of contemporary art. What one can argue with the analytic aesthetic is that in his analyzes he does not start from art as a conceptual unit but relies on the artist's achievements at a certain historical moment. Analytical philosophers choose Marcel Duchamp's urinal and Andy Warhol's work as a foundation for their position and as a new starting point. The same can be said about postmodern thinking and the "unrepresentable" in Jean-François Lyotard, which is also linked to European histories.
Other factors have had a significant impact on the confusing situation in art today. Throughout the twentieth century different fields of knowledge have focused on art: Philosophy, Sociology, Psychoanalysis, History of Art, Economy, which led to a dismemberment of the very notion of art. Each branch has emphasized some of the peculiarities of this very complex "world" that is art. Everyone has made contributions on this or that facet by losing sight of the totality. The domains have separated, each with its own criteria. As a result, follows an erroneous conclusion about the impossibility of the definition of art and the complete absence of the capacity of judgment of the quality of the works, therefore of the recognition of a production as being art. What Lyotard will call the bursting of the "grand narratives" of modernity, which envisioned humanity engaged on the path of emancipation, has contributed to the advent of the autonomous subject which becomes the finality in itself. Postmodern thinking will value differences and particularisms based solely on individual will. From there, at the level of the arts, it is only the intention of the artist that counts. With increasing subjectivization, the figure of the artist and his sensitivity will prevail over any rational approach.

Resilience in art

Resilience in art tends to restore the foundations of art on the beauty and restore art to unity.
All cultures generate images of themselves through art images, but not all art images are works of art. Contemporary art imposing itself as current art is perhaps the image of ours, but resilience is essential when it comes to its quality as art.