The process of translating comprises in its essence the whole secret of human understanding of the world and of social communication.
Hans-Georg GadamerRead
It is one of the primary motives of modern art that it wants to abolish the distance which the viewer, the consumer, the audience maintain vis-a-vis a work of art. There is no doubt that the leaders of the creative artists of the last 50 years concentrated their efforts mainly on eliminating that distance.
Interpretation
This quote expresses the intention of modern art to close the gap between the artwork and its audience, making them more engaged.
Hans-Georg Gadamer highlights that a fundamental aim of modern art is to remove the emotional and intellectual distance that viewers often feel when confronted with a piece of art. Over the past fifty years, artists have focused on fostering a more intimate interaction between the audience and the artwork, encouraging viewers to engage with art on a deeper, more personal level.
In practice
This quote could be used in a discussion about the evolution of art during a gallery opening.
The process of translating comprises in its essence the whole secret of human understanding of the world and of social communication.
The essence of the question is the opening up, and keeping open, of possibilities.
For both art and the historical sciences are ways of experiencing in which our own understanding of existence is immediately brought into play.
We cannot understand without wanting to understand, that is, without wanting to let something be said...Understanding does not occur when we try to intercept what someone wants to say to us by claiming we already know it.
It is the tyranny of hidden prejudices that makes us deaf to what speaks to us in tradition.
A cultured society that has fallen away from its religious traditions expects more from art than the aesthetic consciousness and the 'standpoint of art' can deliver. The Romantic desire for a new mythology... gives the artist and his task in the world the consciousness of a new consecration. He is something like a 'secular saviour' for his creations are expected to achieve on a small scale the propitiation of disaster for which an unsaved world hopes.
But if writing about people who are not yourself is illegitimate, then the only legitimate work is autobiography; and as a reader and a citizen, I donβt want to live in that world.
Fiction leaves us so much work to do, allows the individual so much input; you have to see, you have to hear, you have to taste the madeleine, and while you are seemingly passive in your chair, you have to travel.
Fiction, I believed, was the transmutation of experiential dross into linguistic gold. Fiction meant taking up whatever the world had abandoned by the road and making something beautiful out of it.
I work as an artist, and I think the audience of one, which is the self, and I have to satisfy myself as an artist. So I always say that I write for the same people that Picasso painted for. I think he painted for himself.
I try to bring the audience's own drama - tears and laughter they know about - to them.
We call those poets who are first to mark, Through earth's dull mist the coming of the dawn, Who see in twilight's gloom the first pale spark, While others only note that day is gone.
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