بررسی ناپدیدی هنر در عصر فراواقعیت از منظر بودریار با تاکید بر آثار ریچارد پرینس به مثابه مصادیق آن اندیشه (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
از دهه 1960 به بعد با رشد فزاینده شمار تصاویری که در زندگی روزمره رسوخ می کردند، مفهوم وانموده به مرور وارد مباحث نقد هنری گردید. از نظر بودریار در فرهنگ پسامدرن، وانموده ها بر همه وجوه زندگی بشر سلطه یافته اند و به هیچ روی قابل تشخیص از امر واقعی نیستند. ایماژها در عصر پسامدرن نه تنها ادعای نمایش واقعیت را ندارند بلکه خود را به جای آن معرفی می کنند. افزون بر این نقشی که عکاسی در دوره پسامدرن ایفا می کند، بسیار تحت تاثیر اندیشه های بودریار است. عکاسان پسامدرن بر اتمام جهان تصویری تاکید می کنند و معتقدند تنها حقیقتی که اکنون در اختیار ماست، جهان عکاسی شده است. متفکران پسامدرن و از جمله بودریار نیز بر این اندیشه اند که بازنمایی همه آن چیزی است که هست و می تواند باشد. ریچارد پرینس از جمله هنرمندان پسامدرنی است که با از آن خودسازی تصاویر دیگر هنرمندان، تمایز میان اصل و کپی را مخدوش می کند. این پژوهش می کوشد ضمن تحلیل چرایی آرای بودریار درباره ناپدیدی هنر معاصر، به تبیین آثار پرینس به مثابه مصادیق آن اندیشه بپردازد و به روش توصیفی و تحلیلی نشان دهد که وی از ماهیت تصویر به عنوان وانموده بهره گرفته است.Disappearance of Art in Hyper real Era in Baudrillard’s Perspective with the emphasis on Richard Prince’s Works as the examples of those ideas
Since 1960s, with the incremental growth of images which were penetrating in daily life of human being, the concept of “simulation” gradually entered the artistic critique topics. In Baudrillard’s idea, simulations in postmodern culture have dominated on every aspects of human life and cannot be recognized from the real thing in any way. In addition, the role of photography in postmodern era is under the influence of Baudrillard’s thoughts. The postmodern photographers insist on the completion of imaging world and believe that the only truth under our authority is the photographed world. Postmodern philosophers including Baudrillard have this idea that “representation” is the entire thing that exists and can exist. Richard Prince is among those postmodern artists who, with seizing the images of other artists, distorts the distinction between the original and the copy. In the postmodern culture, the image of the focal member is considered to be an ontological priority to the real. In addition, art always has an invariable relationship with the paradigms of its age; if imitation is rooted in the traditional world, the origin of the imagination should be in the current world. According to Baudrillard, when the simulations dominates in a society, the virtual world resulting from it gives its audience nothing but absurdity. In addition, postmodern photographers were impressed by Baudrillard's thoughts of saturation of contemporary societies. They emphasize the reproducible nature of the photographic image, all of which has already been seen, and there is nothing more than a representation. If the postmodern world is known by signs that are more than representative, how can an artist transfer this situation through his work? Is it possible that he would represent a simulation?
Jean Baudrillard believes that postmodern culture is the only domination of simulacra and hyperreal field creation. In Baudrillard’s interpretation, images do not represent reality anymore, but also, they themselves become reality and create the simulated reality. Today, images appear more real than real. He is one of the thinkers who questions this dual status between reality and simulation in his ideas and tries to explain a new status: a status in which two components- image and signs’ play- control the social life of human being. Postmodern photographers were affected by Baudrillard’s ideas about saturation of today’s societies by images. Richard Prince is one of them who emphasizes the reproducible nature of photography and believes that everything has been already seen. Today, the concepts of simulation and acute reality have become to the foundation of most researches about Baudrillard and the visual thing, especially in cultural production and artistic critique. This research is trying to analyze the causes of Baudrillard’s ideas about discredit of contemporary art and its adjustment with postmodern photography. As well, it is trying to answer this question in a descriptive and analytical method that how these artists utilize the nature of image as simulacrum. The achievements of adjustment of the present example and Baudrillard’s ideas show that Prince wanted to reproduce the simulacra in a sarcastic manner by presenting the hyperreal images
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