04.11.2019

Никто не знает, каково окружающее на самом деле, и есть ли это что-то под названием «объективная реальность». Я есть только точка зрения на мир, со своей мифологией, своими условностями, своими углами смотрения. Со временем, я получаю новый опыт, меняется мой метод взгляда, меняются мои фотоаппараты . И мир мне дает такую возможность. Кажется, что он действительно бесконечный. Может быть, миру нужен чужой пристальный взгляд, взгляд того, кто смотрит со стороны, для того, что бы через смотрящего он впервые посмотрел на себя? Для меня же такое отношение — это выход из себя к чему-то большему — надындивидуальному, которое не может быть мной достигнуто специально с помощью рационального, а лишь само иногда открывается в секунды откровений. Как говорил Аристотель:

«Если же богу всегда так хорошо, как нам иногда, то это достойно удивления; если же лучше, то это достойно еще большего удивления»

Фотография для меня — это такая вот практика приобщения к … ? Пока замечено, что оно прекрасно. Порой у меня возникает мысль, что может быть и зря сегодня прекрасное считается простым и ясным. Прекрасное движет, и в этом движении к нему, само раскрывается все более и более содержательно. Это содержание сложно постичь. Как говорил Сократ:

«Прекрасное — сложно»

Но его можно ухватить в некой искусной форме, запечатлеть в каком-то медиуме, будь то фотография или перформанс. В этом смысле, у искусства, как мне кажется, есть своя непереходящая роль. Художники — это некие прорицатели, глядящие в занебесную область и транслирующие оттуда не житейский повседневный опыт, а то, что что всегда (иногда меняя названия — божественное, общественное, общее) выступало его причиной и целью как в данный момент истории, так и в целом. Говорение об этом происходит теми же терминами, какими апеллирует и житейский опыт. Т.е. художник использует те же вещи — слова, жесты, камень или их смешение. Вопрос в сочетании, в котором и являет себя эта совершенная гармония.

Искусство еще не стало набором регламентов или правил, нет четких критериев того, каким оно должно быть, поскольку что для этого нужно, чтобы кто-нибудь знал, что такое искусство. Не то, каким образом искусство себя являло ранее (история искусства), не то, как пользоваться материалами и средствами (ремесло), а то, что оно такое по сути. Пока этого знания нет, оно может только являться и мы можем подтверждать его только тем, что мы чувствуем его подлинность.

: 111 комментариев

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