In this essay I examine the figure of the contemporary artist through a convergence between Larry Shiner's genealogical critique of the modern fine arts system, Boris Groys's diagnosis of the transformation of art in public space, and Gianni Vattimo's post-metaphysical ontology. My central argument holds that the dismantling of the modern narrative of the artist as autonomous creative genius \u2014 historically operated through the separation between art and craft and the institutionalization of the fine arts \u2014 opens the conditions for a reformulation of their public responsibility. Read through Vattimo's pensiero debole, this responsibility does not consist in the production of universal truths but in the interpretive operation over contingent fragments of the real, in a terrain where the artwork becomes a device of warning rather than of answer. I also propose that the emancipatory vocation Vattimo attributes to the philosopher finds in the contemporary artist \u2014 insofar as their practice shifts toward the collaborative, the participatory and the situated \u2014 an analogous, though not equivalent, agent of transformation of thought. I conclude that the turn toward collective practices and spaces alternative to the museum or gallery is not a symptom of loss of autonomy, but the condition of possibility for an artistic practice coherent with a world without strong metaphysical foundations.<\/p>\n
Keywords:<\/b> Contemporary artist, pensiero debole, Boris Groys, Gianni Vattimo, Larry Shiner, post-metaphysical aesthetics, emancipation, public agora.<\/span><\/p>\n Profesor Santiago Zabala. MECLAP 2021-22. Universidad Pompeu Fabra.\u00a0<\/span><\/p>\n Barcelona, Abril 2022.<\/span><\/p>\n References<\/strong><\/p>\n Boris Groys. Volverse p\u00fablico: las transformaciones del arte en el \u00e1gora p\u00fablico. Buenos<\/span><\/p>\n Aires: Caja Negra Editora, 2020.<\/span><\/p>\n Larry Shiner. La invenci\u00f3n del arte. Barcelona: Paid\u00f3s, 2004.<\/span><\/p>\n Gianni Vattimo. Vocaci\u00f3n y responsabilidad del fil\u00f3sofo. Barcelona: Herder Editorial, 2012.<\/span><\/p>","protected":false},"excerpt":{"rendered":" En el presente ensayo examino la figura del artista contempor\u00e1neo a partir de una convergencia entre la cr\u00edtica geneal\u00f3gica de Larry Shiner al sistema moderno de las bellas artes, el diagn\u00f3stico de Boris Groys sobre la transformaci\u00f3n del arte en el espacio p\u00fablico, y la ontolog\u00eda post-metaf\u00edsica de Gianni Vattimo. Mi argumento central sostiene que … Read more<\/a><\/p>","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[12],"tags":[],"class_list":["post-629","post","type-post","status-publish","format-standard","hentry","category-investigacion"],"_links":{"self":[{"href":"https:\/\/www.claudiauranga.com\/en\/wp-json\/wp\/v2\/posts\/629","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.claudiauranga.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.claudiauranga.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.claudiauranga.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.claudiauranga.com\/en\/wp-json\/wp\/v2\/comments?post=629"}],"version-history":[{"count":4,"href":"https:\/\/www.claudiauranga.com\/en\/wp-json\/wp\/v2\/posts\/629\/revisions"}],"predecessor-version":[{"id":646,"href":"https:\/\/www.claudiauranga.com\/en\/wp-json\/wp\/v2\/posts\/629\/revisions\/646"}],"wp:attachment":[{"href":"https:\/\/www.claudiauranga.com\/en\/wp-json\/wp\/v2\/media?parent=629"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.claudiauranga.com\/en\/wp-json\/wp\/v2\/categories?post=629"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.claudiauranga.com\/en\/wp-json\/wp\/v2\/tags?post=629"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}