Comments on: Art scandal in Daugavpils: “genital crucifixes” are removed from the exhibition. PHOTO

In my half-century-long life, I have experienced art and its perception … let’s call it an evolution. The freshest and most innocent view is (was?) that art is a mirror of beauty, harmony, the soul of a sensitive artist. Then comes the problem – the anxiety, the uncertainty, the search for… again, it is at least an attempt to provide a reflection of the transcendental beauty through the twists and turns of this search, doubt and solution/version. Also in the everyday, secular, contemporary, even seemingly banal. Then comes the layer of protest – denial, rebellion, antagonism. I am excited by J. Dimiter’s poster, the naïve A. Bauškėnieks’ dots on i. But then (of course, chronologically before) there is the black square, the Dada closet, feces and emptiness. The finesse between witty uniqueness and tasteless self-deprecation is dangerously (for what!) subtle. At this level, art quietly fades away somewhere, leaving only Dr. Bean-level materialism (“Hmm, that frame for Whistler’s mother’s painting is nothing like that!”). Embrace the faith. Make on an unknown grave. Arrange some corpses in the shape of a daisy flower. Should we surround Van Gogh and pour acid on Rembrandt – maybe in fact such protests are simply the next layer of art, the normal next phase of this protest and denial, to paraphrase S. Lemu’s “covering of art”?… In conclusion, I wanted to wish us all a beautiful Advent season, but observing the words of our hypertolerant part of the world instead of military support for Ukraine and the self-satisfied gloating about the thing as a symbol of the salvation of the liberal world, I would rather be silent together with those Ukrainians whose only and real hope remains the Crucifixion.

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