Evanescence: Time in Modern Plastic Art
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Evanescence: Time in Modern Plastic Art Juan Antonio Roche Cárcel1 · Ángel Enrique Carretero Pasín2 Received: 30 July 2020 / Accepted: 8 August 2020 © Fudan University 2020
Abstract The Article follows the trail of Max Weber’s comprehensive sociology and uses the hermeneutic and iconological analysis methods applied to significant contemporary plastic art works (painting and sculpture) which are representative of modern and late modern art. Starting from these theoretical and methodological bases, it pursues three specific objectives: (a) to analyze the construction of Time in plastic art, (b) to verify how this theme has evolved in artistic practices from the first modernity to the second and (c) to verify the way in which the complementary visual language the conceptual of contemporary sociological theory. In this regard, our paper provides evidence that the selected works prioritize a kind of temporality determined by the logic of capitalist industrial modernity. It likewise becomes obvious that time— focused on an accelerated and instantaneous omnipresent—lacks both an origin and a telos; it has neither a past nor a future and, in parallel, a gap has opened between the time of natural life and the artificial one, as well as between space and time, which is only transiently bridged at the imaginary level of art. Finally, the experience of time has been emptied, in such a way that the latter has lost some of its solidity and its sense of permanence, while the contingent, the fleeting and the ephemeral now occupy in its place. Keywords Evanescent time · Plastic art · Iconological analysis · Social hermeneutic · Social sciences
* Juan Antonio Roche Cárcel [email protected] Ángel Enrique Carretero Pasín [email protected] 1
University of Alicante, Alicante, Spain
2
University of Santiago de Compostela, Santiago de Compostela, Spain
13
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J. A. Roche Cárcel, Á. E. Carretero Pasín
1 Introduction: Theoretical and Methodological Foundations and Objectives As this article will hopefully prove, western modern plastic art (painting and sculpture) offers powerful images which are not only significant but also representative of time conception, and which have an ontological, ethical, political, esthetic, and sociological scope. And it does so by supplying irreplaceable information about the construction of temporality and about the various ways in which that temporality influences society. It additionally permits to check how this vision has progressed during the two stages of modernity—i.e., modern and late modern, simple or reflexive—(Lash 2007, pp. 13–29). Therefore, this essay seeks to achieve three essential goals: (1) providing a conceptual map for the social construction of time, according to what has been established by Social Sciences, and unveiling its most important categories and concepts too; (2) verifying how it has developed throughout both stages of modernity; and (3) analyzing and interpreting how it has become integrated into modern and late modern artistic practic
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