Crisis of artistic techniques and representation

Abstract

In the paper, I consider the concept of "break" in fine art, which covers the first half of the 20th century. Walter Benjamin considers technological achievements in the age of industrialization as a challenge to the auratic nature of the work of art, and he cites film as an art that has fallen under the influence of technology. Furthermore, fine art experiences a break with tradition through subject matter, technique and form, and creativity is appreciated. Avant-garde trends question the traditional approach to fine art in a certain way. Artists leave the gallery space and do not limit themselves to traditional carriers such as canvas and boards, and bring their work closer to ordinary people through performances, installations, interventions in nature, and create with the help of the human body. I will refer to the experience of modern art, but also to the position of classical art in the modern era. Namely, I notice the presence of the problem of personal expression in the classicist approach to the work of art, which includes the aesthetic principles of the Great Ancient Theory of the Beautiful. The question is how to combine subjectivity, individuality and psychological activity, which is supported by the avant-garde, with the qualities of technical performance that are linked to the tradition of fine art. Through the examples of reproduction and film, I will consider my position on the aura as a connection between the human being and the work, which knows no limitations in material reality.