a love song to sing

Stanislaw Barszczak, Again inertia on earth…
I experience that when people try to live the Gospel, as Jesus us taught, then everything begins to change, any aggression, fear and sadness give way to peace and joy. Here is the beginning of an art of love. But in our time we rediscover the end of all art. Though the end of art does not mean the reaction of one generation to the progressive change of things. So, the theme of art can be also the subject of philosophy. The end of philosophy, on the other hand, is a forgetting to be… At the age of the technical fulfillment of the world, the universal insensitivity of the question of being would be a big problem and we are looking for a different thinking. I mean the Hitlerism, imperialism, totalitarianism, denying being a responsible individual. The churches also buried millions in the name of the idea, which is to be alive again. The Catholic Church is not without sin. And so-called obviousness of the Christian-humanist tradition has already ended, I think. In addition, let’s look around us, just we have the end of the last common architectural style in our Western civilization, the end of the Baroque and its branch-rococo. Yes, there is still a fashion for monumental buildings. Let me say: in the past it used to be works in which everyone recognized each other. Now is the subjectification of the art itself. To understand art is to understand art by itself, what becomes a question. Art is to become aware of itself. Today, when everything “is expanding” (also the whole of the past and the present of art) – to global dimensions – this matter gets a new range, because all distances as temporary as well as spatial have become close to the new present and they are at the same time claiming their rights. In the era of historical consciousness, art has to see both ways: the present-day past that allows all art to be contemporary, and the art of its own time, which is only modern to us. This created some tension … Contemporary creativity is being removed more and more into the shadow of the great past art that surrounds us as the present. What else, a contemporary music is placed in the middle of the concert program so that no one will go out or leave early. Let’s go to the literature of the issue now. From Johann Hegel, the notion of beautiful nature from the position of art is no longer an independent character. We always look at nature only with the eyes of the artist who creates it. It is no longer the universe, with its grandeur and sublimity, which moves the human being, but rather the “answer of the soul,” which can be given to us by nature, thanks to its inviolability by human will. Thus, the “beauty not asked and unwanted”, they offer their services also to contemporary aesthetic theory (see: Hans Georg Gadamer, Dziedzictwo Europy, Warszawa 1992, p. 45). But what can be the answer of the soul to something unwanted, it seems only biased! Today is clearly growing an opposition among the sensual and the idea itself. Therefore, I am saying about the reconciliation of the sensual and spiritual world, what is beautiful, the irreversible and unrecognized unity of the phenomenon and content, participation in the common. The Germans praying to the Lord in Heaven: “Herr, in deinem Ville verstehe.” It’s only in your will that you understand what I have to do to save myself, my Lord! Then, an artistic kitsch occurred only when a longing for the common was born. Hegel, mentioned above, he thought that everything had already been tried and crossed, and painting would be limited only to variations. However, the artist wants to provoke, irritate. And many of them want to understand their work only as a kind of proposal. The excitement of the vitality of new rhythms, the flourishing of posterity, caricature, it wants to completely abandon the self-reliance of the work. And the work of art is distinguished, it acquires permanence. “Once it stood in front of a man,” Reinhard Maria Rilke was saying. The artist alone defines his works now. You see the strength of improvised encores of today! Personally, in the debates I’m also approching a phenomenological custom – going from the extreme. So, not only the light throws the tests into the artist’s work, as I believe, but also his Understanding. The latter “does not want” to re-learn what someone thought of. It’s about something more, something that neither the poet nor anyone else could know, which would be neither arbitrary nor subjective. In other words, say: “building -monsters” of socialist realism had been disintegrated, also those that stood around the nearby church. And the church could be seen new. This is how the building gains the strength of a new spatiality, which nobody has foreseen … Similarly, the language of poetry opens free spaces, filled by the reader. We compress the ubiquitous scheme. Let’s look at artist’s copyrights yet, here the remnants of privacy are losing their meaning.tbc

Leave a comment