SHOCKED TO THE AESTHETIC COMMUNITY

• Autor(a) principal: Mendonça, Ítala
• Data de Publicação: 2011
• Tipo de documento: Artigo
• Idioma: por
• Título da fonte: Travessias (Cascavel. Online)
• Texto Completo: https://e-revista.unioeste.br/index.php/travessias/article/view/5507
• topic: Arte e política; Cultura; Artes-Plásticas.

From the 1980s and 1990s the discussion about the post - modernism, inserted into the postmodern period, burst upon the artistic and theoretical, based on axioms for such a dichotomous scenario and transitive; grounded in consequences of World War II and beginning of the Cold War, formatting the rematch between capitalism and communism, building economic and political models, however, during the last decades of the twentieth century has become such a context, coming to an end the conflict between the two poles of political and economic order of the Cold War and economic liberalism. However, the term "order" was not restricted to be the only center of discussions of political and economic contexts of the time, but also long been a problem of art. The "end of art" composed "bilateralism" art theorist, with authors affirmative and negative, by the way, the first believed in the epilogue of the art and the latter rose up this epilogue. After all, the "end of art" was the "end" of an artistic way and a political and economic context, called modernism and liberalism, respectively.  Thus, this article has as objective to present the art that ended in order to change the artistic and aesthetic modernism to postmodernism, which sent about, modern art and postmodern art. And if such changes are endogenous to a political system and what are the consequences of this system in contemporary art as aesthetic enjoyment and public reception with the recent artistic production.