Subjekti taandumine ironistlikus praktikas: eneserepresentatsiooni muutumine kunstis (eesti kunsti näitel)
Withdrawal of the subject in ironistic practice: changes in self-representative art (on example of Estonian art)

Summary/Abstract: This paper takes under observation the artist as a subject and his/her subjectivity as expressed in self-representative art, using Estonian art as an example. The nature of self-representation has gone through a decisive change during the 20th century, especially with the help of conceptional performance art in the 1960–70s. By using the concept of ironistic practice borrowed from Richard Rorty, I look at the changes in the implementation of artists’ self-images and at some of the underlying reasons. Also, various theoretical models are presented working as a balancing force for transgressive art to preserve, at least on a theoretical level, the autonomy of art. One of those models is the intersubjective nature of body art, which dissolves the meaning creating process between the audience and the artist, but also iconicity of visual art, where the signified, according to Groupe μ, is not a real object but a representation of it as a model or referent filtered by the cultural experience.

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