THE SCULPTURAL LANGUAGE IN THE CONTEXT OF CONTEMPORARY VISUAL ARTS - IMAGINARY AND IRONY IN ARTISTIC RESEARCH. IRONY AS A MEANS OF TRANSLATING THE IMAGINARY
THE SCULPTURAL LANGUAGE IN THE CONTEXT OF CONTEMPORARY VISUAL ARTS - IMAGINARY AND IRONY IN ARTISTIC RESEARCH. IRONY AS A MEANS OF TRANSLATING THE IMAGINARY

Summary/Abstract: Sculpture is already a specialized language in the context of contemporary visual arts and creative industries, in fact in any context that involves creativity, usage and interpretation of individual or collective imaginary. Irony is also a form of imaginary interpretation which cultivates, through sculptural objects, formal analogy, paradox, and even critical thinking and artistic research. Irony as a means of creative translation of imaginary has a long modern tradition in visual arts, including contemporary sculpture. Starting with the postmodernism of the middle '70s, irony mediates the imaginary to maximize the perception of artistic concepts and the impact on public and social perceptions. In any language, irony involves context and narrativity. In the case of sculptural language, narrativity becomes objectual, generated by material, form, transposition technique, texture, color, and contextually mediated by the concept. The contemporary sculptural object tends to be a statement, opinion and expression of the artistic imaginary - an absurd or metaphysical, aesthetic or anti-aesthetic object, but irony is already a constant because invariably appeals to the intelligence of the public, establishes an individual contact and is based on complicity of understanding message. The article shows consistent examples from the area of contemporary sculpture: artists, works and projects directly illustrating the privileged relationship, in the context of artistic research, between imaginary and irony in contemporary sculptural language; the case studies feature the examples of some famous sculptors throughout the post-war era and contemporary

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