The Art of the Future page 1
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Искусство будущего | стр. 1 | стр. 2 | стр. 3 | стр. 4 | ||
| Die Kunst der Zukunft | Seite 1 | Seite 2 | Seite 3 | Seite 4 | Kommentar (deutsch) | ||
| The Art of the Future | page 1 | page 2 | page 3 | Page 4 |
| E-E: Everything that is made by hands or will ever be made by hands, including all future movements in art, is actually just a matter of technique; a technique of expression, an artistic technique. Yet applying this theory to the concept of the art of the future, the technique an artist uses to express something is not at all essential. Here, the most essential thing is the inner state, the feeling – and it is, indeed, a feeling, which the artist experiences and which allows him to receive something – the feeling that precedes creation. In other words, the inner feeling which helps one to create something within oneself is of primary importance, and pictures and other such things that emerge through it are only secondary. H: They may be secondary, but it is the only way for people to … E-E: … to perceive it … H: … and to participate. E-E: Yes, of course. But again, this is only of secondary importance. H: That is to say, the crucial thing is one’s personal development, isn’t it? If an artist contented himself with the feeling without trying to express it, would the meaning of the process remain the same? E-E: Most people on the Earth, perhaps, are not yet able to shape within themselves the same states as the artist shapes within himself and then expresses through objects around him, be it paper, canvas or a building. H: By saying “shape”, do you mean that you take some steps to bring yourself into this state? E-E: I have not yet researched this process. It is initiated without my awareness, but, at the same time, it is also true that I create it myself. H: Do you know how exactly you do it? E-E: You see, we both have studied it only for half a year. Basically, the scheme is clear, but it is too simple at present. It may become clearer in due time. So far, I know only one thing for sure: to make a true work of art, so that the observer is able to see and understand it, the artist must first achieve a certain state called ‘the art of the future’, which is the richness of desires and the desire for these - riches. H: I guess you were born with this desire. : Well, I was. But it used to be vague and chaotic, because my attention was too distracted. The desire would overwhelm me and then suddenly vanish, and I did not understand what it was, nor how and why it happened. The meaning of all this became more or less clear to me after this model had been developed. Perhaps someone has already had similar thoughts, without vocalising them. Perhaps this vague sensation is intrinsic to everybody. Anyway, everyone has always supposed that the primary thing in art is that which is produced in order to make it intelligible to everyone else. However, this is not primary. What happens within is primary. It is very important that each time this process occurs in a new way. That is why new works of art are different from previous ones. It is therefore very strange that the majority of artists do not deviate from their once chosen style. The reason may lie in the fact that, as a rule, artists strive to make their works clear or recognizable to the observer. But this is not the purpose of art. Any picture, drawing, musical formation - everything that will ever be made by the hand of a human being - is predetermined from the very outset to be intelligible to human beings, precisely because it has been given a form intelligible to human beings. H: Do you mean that, once completed, a work of art cannot remain unintelligible? The Art of the Future, page 2 >> Evgenij Kozlov about the Art of the Future |
