خوانشی در باب معاصریت در هنر (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
در تعریف واژه ی معاصر، برخی تنها وجه امروزی بودن (درزمانی) را مورد نظر قرار داده و گروهی دیگر، با نگاهی فرازمانی، به تعریف آن در نسبت با اجتماع پرداخته اند. هدف از این پژوهش، رسیدن به پاسخی برای این پرسش بنیادی است که آیا دوره معاصر شامل بازه زمانی خاصی از هنر یک سرزمین، با تمامی آثار مربوط به آن دوره است و یا این واژه، تنها بر آثاری که با مصادیق آن همخوانی دارند، قابل اطلاق است؛ مصادیقی که گاه از جنبه نو بودن فراتر رفته و دایره تعلقات این واژه را دگرگون می کند. روش تحقیق در این پژوهش به شیوه توصیفی_تحلیلی بوده و جمع آوری اطلاعات با استفاده از اسناد و منابع کتابخانه ای انجام شده است. بنا بر نتیجه، آنچه بیش از سایر دیدگاه ها می تواند به عنوان تعریفی نسبتاً دقیق از معاصریت قلمداد شود، دیدگاه بازمانی است. بر مبنای این دیدگاه، آثار هنری با وجود ساکن شدن در ظرف زمانی و مکانی معین، به آن محدود نگردیده و ممکن است با گذر زمان، با زمینه های هنری آینده خود همایند شوند. در نتیجه معاصریت در قطب دوم اثر هنری، یعنی مخاطب، ظرف زمان را می پذیرد ولی در قطب اول آن، که مربوط به تولید اثر هنری است، پذیرای ظرف و محدوده زمانی نیست.Reading about contemporaneity in art
It seems that providing a comprehensive definition of contemporaneity, despite the multiplicity of meaning in a multi-dimensional world, is a vague subject. In defining this word, some researchers contemplate only being present, (belonging to or occurring in the present or a person or thing living or existing at the same time as another) and the other group transcends of this definition with a different definition of contemporary, and defines contemporaneity in the concept of extra time. Addition of contemporaneity to artwork requires, above all, the answer to the fundamental question whether the contemporary period is essentially a certain time period of the art of a land, with all the works related to that period, or the contemporary word, only on works which are consistent with its examples. Sometimes the implications of the new aspect are transcended and the circle of belongings transforms the word. In the use of the word of contemporary with means of (at a time) all the works created at the present time are considered contemporary. But when we use contemporary with means of (with time), everything that is capable of recording and expressing the components of the present is contemporary. In this case, the mere existence of the form loses its fundamental importance, and the content of the work, insight and manner of presentation by the artist can make the work in any contemporary period of time with the current time. Here, time is important in one aspect, in the audience, and in other aspects, the artist and the work of art, are capable of returning to different periods And this is the concept of contemporary, which is considered as the most practical meaning in this research. Another look at the contemporary notion is an attentive look that at the time no longer matters, and the goals and missions of the artist and his co-operation with these goals, connects him with his contemporary word. If we consider art as contemporary to be capable of expressing the components of the present in today''s language, then perhaps a component of the time is no longer the only pillar and other components are replaced. The study of the theme of various ideas about contemporary and the presentation of a more precise understanding of this unconventional concept, in three semantic interpretations of time (at the time, with time, extra time) in this study are discussed. The research method in this study is descriptive-analytic and the method of data collection is library. According to the results of the research, which, more than other perspectives can be regarded as a rather precise definition of contemporaneity, is the reciprocal view. Based on this view, art works are not limited to being inhabited within a given time frame and may be adapted to the future with their artistic backgrounds. As a result, contemporaneity at the second pole of the work of art, that is, the audience, accepts time, but on its first pole, which relates to the production of the work of art, it does not embrace the time and space.