Nuobodulio estetika ir antros XX amžiaus pusės meno metamorfozės

LTStraipsnis skirtas aptarti nuobodulio estetikos sklaidai antros XX a. pusės Vakarų mene. Daugiausia dėmesio skiriama savitos nuobodulio estetikos iškilimui Vakarų kultūroje, jos santykiams su kitomis estetikos ir meninės kūrybos apraiškomis. Nagrinėjama pagrindinės nuobodulio estetikos sklaidos formos, tipologiniai bruožai, jos vieta elitinėje Vakarų kultūroje. Nuobodulio metafora pasitelkiama kalbant apie antros XX a. pusės Vakarų estetikoje ir mene pastebimą tendenciją suartėti su kasdienybės reiškiniais, vengti prasmės, trikdyti žiūrovus akivaizdžiai tuščiais kūriniais ir mėgautis nuoboduliu. Tai siejama su radikaliais kultūrinių orientacijų pokyčiais, su skirtingais judėjimais - minimalizmu, konceptualizmu, ßuxus, popartu. [Iš leidinio]Reikšminiai žodžiai: Atsitiktinumas; Banalybė; Erdvė; Estetika; Kasdienybė; Laikas; Monotonija; Nuobodulys; Prasmės neapibrėžtumas; Aesthetics; Banality; Boredom; Chance; Coinsidence; Everydaynes; Everydayness; Indeterminacy of meaning; Monotony; Space; Time.

ENThe focus of this paper is on the emergence of the aesthetics of boredom in post-1945 Western art, its place and relationship to other aesthetic and artistic phenomena. The author distinguishes the main forms and typological characteristics of the aesthetics of boredom as well as its function in professional art. The metaphor of boredom is used to define a tendency in late 20th century Western art to blend with everydayness, avoid meaning, baffle the audience with openly empty works and indulge in boredom. This is linked to radical changes in cultural orientation and to different art movements: minimalism, conceptualism, Fluxus and pop art. The author shows how signs of boredom can become an aesthetic event by referring to and elaborating on the idea of ‘impoverishment’ suggested by the founder of the French school of semiotics Algirdas Julius Greimas in his final book De l'imperfection. The paper outlines a number of strategies of the aesthetics of boredom that are based within the different layers of visual expression: subject, tonality, object, composition and time and space. Firstly, boredom itself can become the subject of art and this can be expressed through such signs of meaninglessness as routine, everydayness, emptiness or alienated society, or additionally through the lack of any recognisable subject.Secondly, monotonous expression, a lack of contrasts, can be perceived as a visual boredom that characterises the emotional situation of the subject of enunciation or as an expression of emptiness. Thirdly, the aesthetics of boredom refuses idealisation and chooses banal, non-original and self-understandable objects that appear as a ‘language’ of non-interpreted reality. Fourthly, the artists’ reluctance to create definitive meanings is related to chance aesthetics, which appear to demonstrate the author’s indifference to his or her work and their refusal to control the means of expression. Fifthly, artists use various ways to stop and delay time and also to emphasise those times without events that are characteristic to boredom, thus revealing the existential value of time and especially everydayness. And finally, monotonous spaces full of meaningless banal signs are characteristic of the aesthetics of boredom, and they point toward an aesthetic event that is not elsewhere, but here, in the boring space of every-day. [From the publication]