Horizonte negativo da arte na era da saturação estética

Abstract

Inspired in the theoretical arch that ranges from the School of Frankfurt to the French post-structuralism and to the theoretical post-modemism, this essay discusses the condition of art in the socio-historical context of excessive techno-aesthetic production commenced in the second half of the 201th Century. On the ( counter) methodological course o f radicalizing ali work hypotheses, such as the theoretícal reflectíon policy aimed at optimizing the episteme, the argumentation traces the main moments o f the art sociohistmical trajectory. In this picture, the tendency of argumentation, insofar as the aesthetic empiria is concemed, discards both the melancholic support for forms, schemes and attistic contexts of the past, and, most especially, the political-euphemistic support for the forms, schemes and artistic contexts that reinforce the socially-instítuted integral aesthetic fetishism; and, insofru· as theory is concemed, avoids both the essentialism ofTheodor Adomo's modem aesthetics and Jean Baudrillard's post-modemísm ironical níhilism regarding the destine of art.