PhD, professor K.Khalykov

Kazakh National Academy of Art named after T.Zhurgenov,

Almaty, Kazakhstan

Contemporary Art as a translator of human existence

The art of the modern world and the situation of human existence is based on the transition of humanity living on a modern level. An artistic creation (product) in the art of the modern world passed the exaggerating subject, where art depicts the spectacle of human life. This status does not mean the creation of a classic art, but the art world along with this, also he proves that cultural space for all humankind is unite and that everything is interconnected in between and that the world is changing according to the political, business, economic, ethnic, religious and ethical principles which are happening and boiling in our place in our multifaceted life experiences.

Creation of the cultural and artistic world structure, which at the end of the century had a total description, in many cases, become the discourse of communication, including the value and significance of transforming of the art and changed form of being and the method of art.

In the twentieth century, there has been observed a crisis in the arts between the classical, traditional and innovative, which lasted between the centuries, and appeared as a basis for making changes into development of the arts.

An identity creating the arts its image and the recipient

Each work of art is obviously formed by personality who creates the works by the character, who finds its reflection in the images, and by the recipient, who perceives. They are by themselves represent the implementation process, which determines the direction of the work of art with its model and forming a certain type of art and different conclusions of artistically significant layers.

The types of relationships between the internal and external environment of a man are being reflected there. Under the influence of all these effects this given work of art becomes the hardest of all cultural phenomena. Its difficulty consists of the following aspects such as creative text of the author identity, the current recipient (the viewer), the truth, which is in the text of the period and the truth of the epoch itself, the things that planned to be transmitted and being transferred, and has been passed between the lines in a figurative sense. The Social nature of the work is unlimited relationship between author and reader (or if to be more exact, the author's idea which is the basis for the whole idea of the work). The art work remaining alone by itself being under the influence of the life and artistic experience historically changes and begins to possess the new significant and valuable characteristic features. With each new generation, it is read as a new and with the new eyes. Reading of the literary text has been maintained in the form of communication on the accepted conditions between the author and the recipient, (the reader, the viewer, the listener).

Relationship of art work with the philosophy takes place in the works of the ancient philosophers (Pythagoras, Plato, Aristotle, Plotinus, and so on). Thus, an important object of special study in philosophy is considered to be classical German philosophy. The role of philosophy in art and creative processes was also reviewed in various representatives of the philosophical schools of the twentieth century. It was connected with the theoretical and materialistic or idealistic tradition. Philosophy is a single scientific study depicting the world and man, and the art is figurative and emotional appearance of scientific and philosophical truth. Such methods are referred to as ‘applicative or even second-class’ philosophy in terms of outlook. According to Plato's view, ‘the authors write as the clairvoyant in the unconscious form,’ that is, they are clearly aside of the highest real wisdom. Understanding of the author the meaning of his own written text, no more than an understanding of magnetism in pulling iron by the magnet. In this method, images of art are estimated simply as ‘the shadow of shadows’ (Schelling, 1966 p.11).

Thus, a man will live not in the organic world but in the world of intelligible form, created by him. The language is proof symbolical abilities of human beings with the mythology and religion being together composes the symbolic universe called ‘layer intricate human experiences.’ A man can not resist the direct truth in the organic world, he only connected with it in a single thread of symbolic forms. In this regard, according to Ernst Cassirer: ‘Corporal truth is increased with the symbolic actions of man. It branches out, and the images of art paintings, religious practices, new concepts, defining the concept of human rights in various spheres of knowledge are appearing at that moment. In expressing the possibility of human creativity by means of things and the body new horizons of definition are manifested as instead of understanding the essence of things, people often pay more attention to themselves, he does not know anything except his artificial intervention as a mediator‘ (Cassirer, 1998, 35 p.).

Mood must be presented in order a work of art can bring together the image and objective and subjective feelings in plastic materials of artist, writer, composer and performer. The works of art can not be just a reflection of the subject (the internal world of the author), or a reflection of the object (the material world). It opens up his or another connection. Contributed material image is a separate entity, and a new ‘sum’, as it was accurately noted by Cassirer's ‘sealed’ step becomes a being.

Relationship which creates overall excellence takes the main place in contemporary art. The product of the artist E. Meldebekov ‘My brother is my enemy’ shows the aggression of one of the first comer person to another. Here there is no human friendly relation of a person to each other but on the contrary action promoting cruelty and atrocity. The photo shows two brothers who clutching the gun, it is not clear not are they going to shoot or not or they indulge. These paintings express the special relationship to the viewer. All of the above and the text ‘Syndrome of Temirlan’, written in French by creating a set, seems to convey the current state of the real life of the person. What does the artist want to depict? This picture has been presented Kazakhstan at the International Venice Exhibition Kazakhstan. As it is known today, success achievement of artistic creativity is associated with art elegant means and with visual appeal. However, the composition of the given work art is symmetric and has the intention of the subject touching crisis. Here it is necessary to pay attention to the form and the content and form creates competition. Why do people cater to each other? What is the reason for the resistance to each other? It is interesting. Is it a society which affects on a man, or may be he is so angry by his nature? As Jaspers mentioned such kind of issues ‘create bordering situation of a person in a dangerous situation you can see the real face of man.’ Existentialism recognizes that individuals are dependent on others, and just relatively from public relations. Dividing people into groups of ‘others’ they get into relationship despite the fact they are creating a scandal. This is called the ‘existence of communication link with the others’ Communication begins with the supremacy and service implementation (Altayev, Gabitov, Kasabek, Muhambetkaliev, 2001, 167 p.). These issues are explained from the point of real being situation. ‘People aspiration to connect’ creates fear before the communication process. In such cases, people can not be real ‘existentialism.’ In order to become a free, individual person has to avoid the influences of the surrounding external world and the internal influences of the outside world, and to define goals and reasons of action. Does not this show a person responsibility for him and for others? As existentialism representative Zh.-P. Sartr thinks: ‘The person with the birth is endowed to be free, endure all the world burdens and he is responsible for the whole world and for himself as a way of being’ (Sartre, 1953, 167 p.).

Existentialists also consider the opposite concept of being, and man belonging to the things. Hence it should be mentioned that from this we have saying of Marseilles ‘the material, which I have, has me. While a person can get rid of things supremacy. Marseille had found the solution of this issue in the following: the contradictions are in the man’s nature. So, the way out of this situation is in the sympathy and virtue. Especially it is considered that religion, the art and philosophy which soar a man to the level of being. The human being system is divided into two categories on the human being in the material world and pure human being. Material being did not exist before mankind had appeared. Therefore Garifolla Yesim said where? From which stories does being ‘of humanity’ take its place? This being exists in unity of body and soul. Man lives in such a way. G. Marsell spoke of her freedom and of what could the material being be? If you go over the history, we can mention more confusions and there is not the right way out.. Until the present day, the motive of Rembrandt painting ‘The Return of the Prodigal Son’ has not lost its relevance. People on this vast land are busy only by the fact that they are looking for a key from losing. Nevertheless it is not known what is destined, what it is? Is it misleading, or a condition to get through from one more height in the aim of perception. Or is there another reason for this? This is a question, the entire philosophical anthropology deals with. May be the reason for all of this is concluded in the link of human being desire and the body system. How and at what level does the contemporary art understand the problem? Erkin Mergenov in his figures only from one side stops on the issues of human body and soul. There human being is connected to the existence of the body. The thing that the body is a slave of desire can be seen from the character implicitly of the ‘XXI Century’.

Picture depicts bent woman and something like ‘desire’ hugged her. Here the desire in the form of devil. It is probable that there is the fact that all the crimes of humanity comes out of it. This situation serves as an exampler and takes place in the novel. Honestly speaking there is such kind of truth in the life. Truth of technological substation aggression. From this we can divide into two systems the human existence they are on the existence of man and pure human being in the world of things of human existence. Technogenical mixture is composed in human existence of the world of things. It found its reflection through the desire. Now it is clear what the artist wanted to say and where is the pure being of man and where is concluded. Certainly it is under the influence of man made substance. Above mentioned idea of ’Return of the Prodigal Son is clearly reflected in the serial work of E. Mergenov.

The issue of ‘non-being’ is deeply reviewed in Zen Buddhism, for example the apex of the developed image is white and pure canvas. As this work of art is full of thought, pure sense, and emits light. According to the conclusions of Zen, there is no any other work of art which is better than this. The work of Art of K. Hayrullin ‘Whistling Wind’ is still under the influence of the system of Western philosophy thoughts on the issues of being. If until now, the idea of the of ‘empty space’ work is demanded in the world of theater and culture, the inference ‘Holy empty space’ appeared in German philosophy at its level presented a scene the holiness of existence meaning.

After the collapsing of the Soviet Union starting from the 90s, the Kazakh artists experienced spiritual twists and creative peak. Expressing their deep thoughts about the creative study, they also returned to the problems of being. Speaking more precisely they express a special interest in the system unidentified being. Garifolla Yesim said citing the example of Abai’s saying, ‘If something dies, so can die nature, not mankind,’ thus he states that the real nature of man is destroyed, but the spiritual existence is forever. Truth of human idea is eternal they are mind and the soul. Truth of human idea is being which is an inexplicable by mind (Yesim, 2008, 7 p.].

Here, the question of the mind and soul of man as being, which is impossible to cover, have been touched in the work of artist (S.G. Gumarov, A.S. Sydykhanov, R.H. Halfin, G.M. Madanov, B. Bapіshev, K. Khairullin, M. Bekeev). The notion remaining as a inheritance from the ancestors and formed in Kazakh traditional culture has been reflected in the works as ambiguous forms of being. There was a phenomenological inspiration. People began to look for the basis of their being from the abyss of the conscious. Artist Saken Gumarov remembered that he was an artist of the ancient Turkic period (‘Heavenly Body’, ‘Shiver of the Space’).

Force has penetrated through the sand trampled by the ancestors which had given strength and power to the hands of the artist was reflected on the canvas. In other words, the dome of past culture which expresses ‘the soul and memory’ by the means of image forms of being has been transferred to the canvas. Works of Bakyt Babishev memory of grandparents found its reflection in the works ‘heap of stones’, ‘emanation’ (‘Four of the Prophets’, ‘Family muzzy’).

In the modern art the anthropological knowledge and research are becoming more important for the artists. It is shown that the artist Marc Quinn in a work entitled ‘Self’ as the means for depicting used his blood in 1991.

 In the works of our time the being of the individual in comparison to other periods and is confronted and finds differences. In contemporary art a creator on the basis of his being feels some dissatisfaction, and the crisis is shown up. For example, it finds the features of its being to be inadequate. It changes the language and method of art for a new experience, having recognized the offensive anthropological crisis as the separation and loss of utopian faith and attempt to transcendence. On the field of struggles all the characters and recipients of the new Kazakh authors of Art such as K. Ibragimov, S. Maslov, R. Halfin, M. Narymbetov, V. Dergachev, etc.

Thus they would like to show the concept of a new world, which depicts not being in the anthropological aspect, but transferring to new level, by means of the ‘other-scientific’ model, which describes a way of the world on the postmodernism direction interaction. However, today in the education system is known, that it is impossible to build a world based on old concepts. The emergence of a new view on the world and the emergence of a new culture, as well as specifics of the labor force people to think over. Here the desire to the features of human existence is represented in a primary position.

Conclusion

Art perception in the historical and cultural context can be reviewed in connection with the culture and art of a certain period. We accepted this process as a process of artistic perception between recipient and image, and in art it is described as the result of a creative art of communication.

Relationship and interviews are an important side of art work that represent the priorities as a way of the Art on mankind and universe transformation. Thanks for their creative abilities a man can embellish, new and spiritually develop the desired to himself peace of art. This can be reviewed in the system ‘artist’ ‘work of art’ ‘recipient’ and predetermine this as communication on the creation and identity formation. Creativity introduces novelty by means of free thinking, rational interpretations and conclusions. The main feature of art is not just in describing only the beautiful images and the formation of aesthetic taste, but in learning the true image, in the creation of a special social control in the content of a person's culture. Art is not a monologue but it is a dialogue. People in connection with the ‘philosophy interview’ can come into contact with your inner being and the world. Dialogue which is an interview in other words a little bit relates to history of philosophy science origination, it is explained as the truth search or achievement through the debate.

References:

1. Schelling, F.V.I., 1966. The philosophy of art. Moscow: Thought, p.496.

2. Cassirer, E., 1998. Selections. Experience on Man. Moscow: Gardarica, p.784.

3. Altayev Zh., Gabitov T., Kasabek A., Muhambetkaliev K., 2001. Philosophy and cultural studies. Almaty: Litera, p.272.

4. Sartre, Zh.-P., 1953. Existentialism is humanism. Moscow: Science, p.450.

5. Yesim, G., 2008. Adamzat. Astana: Akarman, p.382.