| dc.description.abstract | In this thesis, I address ephemeras – namely temporary displays in the form of festivals
and exhibitions belonging to the field of contemporary art. The most appropriate
criterion with which to select and discuss the ephemera, i.e., the data in which I analyse
in this thesis, is the notion of the ‘event’. ‘Event’ is a philosophical concept, and therefore
does not belong to artistic or aesthetic categories. However, two main characteristics are
particularly relevant in considering it, and these are also pertinent to the field of art.
Firstly, the tandem contingency and necessity. Secondly, the fact that no one can control
the reach and impact of an event, which is also the case with an artwork and its
interpretation.
In this thesis, I am creating a confrontation between what is usually described as
abstract thought (a work of philosophy for example) and the production of
contemporary art, which is so often culturally and economically dependent on the art
market and hegemonic power structures such as institutions, as well as the apparatus of
historians and experts to evaluate and legitimise it.
Furthermore, it is also necessary to state my understanding of art. This latter has strong
propinquities with that defined by Kant when he coined the term ‘fine art’, namely a
cultivated, context-aware and sensitive art, one’s reflection on which provides pleasure
exceeding the pure enjoyment or satisfaction produced by erudition or technical
virtuosity. Secondly, the artistic manifestations that I discuss are always produced by a
collective, group or organisation of which I am part. Consequently, what unfolds is an
organisational discourse originating in my praxis of art. Finally, the very fact that I am a
member of the group of people whose activities are discussed leads logically to
autoethnography, a field of inquiry that I am also contributing to. | en_US |
