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DESIGNERS OF OUR VIEWS

Summary/Abstract: Contemporary art rests upon the foundations of avant-garde. Our quest for taking over and possessing the world has provided a new aesthetics – the aesthetics of events. The imperative of beautiful bodies, beautiful faces, and beautiful meals has fulfilled the avant-garde quest of substituting artwork with artistic “action”. Museums have turned into the ultimate producers of contemporary art. Museums are not ubordinated to reality (they are not its mere documentation or reflection); quite opposite to it, reality has become subordinated to museums. In terms of visual characteristics, the key strategy of avant-garde (often) annuls the possibility and removes the ground for differentiating artworks from consumer goods, museums have become (the only) place for differentiation and its institutionalisation. Of all the existing museums, the museums of contemporary art have ventured into an almost impossible mission and accepted the contradiction in its very name and its very nature. How is it possible to put an absolute present into archives? The act of collecting in contemporary art museums is always at least “one step behind” the present time, it is always unavoidably delayed. Museums of contemporary art recognise and «store» the changes in recent production – thus they constantly disturb (the established) system that seeks equilibrium. The work of contemporary curators working in the contemporary art museums is thus getting more and more to the work of artists – we are talking here about “the shaping of views”, about “different strategies of views” that partly explain the vicinity between contemporary art and design. More and more, artists intervene into the gallery space itself – it thus becomes a symbolic core of action since it is in it that one recognises ideologies and strategies of shaping our views and weltanschauung.

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