Polska wersja  | ABOUT FORUM PARTICIPANTS EXHIBITIONS TEXTS PAINTINGS ORGANISERS ART GALLERIES PREVIOUS EDITIONS |
Stanisław Białogłowicz Łukasz Huculak Janusz Kaczmarski Piotr Klugowski Paweł Lewandowski-Palle Magdalena Rabizo-Birek
Mirosława Rochecka Kazimierz Rochecki Aleksandra Simińska Joanna Stasiak Wiesław Szamborski Krzysztof Wachowiak
 |
KS. KRZYSZTOF BOCHENEK In our everyday life the issue of separating the real from the unreal does not often seem to be a problem. We are convinced that we have insight into reality and that we know how to get to its crux. We tend to think that the world is exactly as we see it, and when things only appear to be what they purport to be or what happens in our dreams, for example, is not authentic; all that happens due to our vivid imagination is not real either. [...] Therefore, what is the problem? Nevertheless, many philosophers do not share our easy frame of mind based on common experience. Philosophical and religious systems pose the distressing question: are the things that we normally consider real indeed so, and is there any deeper reality to the foundation of our everyday world? Does everything exist independently of our thoughts or does everything happen in our mind? Is it true, as Descartes suggested, that we are likely to be deluded by a deceitful demon or that we simply daydream? Is the world of our mind, full of its various ideas, compatible with the surrounding world that we want to get to know? Or perhaps, as Kant indicated, the real world is cognitively inaccessible to us; we will never be able to penetrate "the world itself". We will forever slide on the surface of being. Despite those numerous vexing questions, throughout centuries it was believed that a human being is not doomed to failure, and that the truth about the nature of things is within reach, although available only to sages. As late as the close of the Middle Ages it was thought that the greatest of all sciences was philosophy, and that its most important part - metaphysics - opens cognitive prospects that no other of the outstanding achievements of empirical sciences, even the most precise ones, can guarantee to a human being. Comprehensive knowledge of things concerns nothing else but their nature and stems from more certain premises, and, as far as the nature of things is concerned, anything that has more of the characteristics of being and reality is more certain. [...] It was emphasised that since a human being has to look for human goods, the search should be aimed at the ones that make him the most perfect, i.e. the ones that appeal to his best part - his intellect. A human being should, with full diligence, strive for wisdom, knowledge and love for the good and noble; he should seek for and be able to find the absolute truth. [...] Alongside with the change in the philosophical vision of the world and that of where a human being belongs, the attitude to "openness" was modified. Since Descartes established the idea of cogito there was no longer any stable footing, the world began to appear an illusion, a space where reality can be shaped only by human cognitive acts. Artists aspire to create their work in such a way that its form allows or even continues to make its beholder answer questions, search for new aspects in the work of art, new meanings and undiscovered matter. The essence of openness actually lies in indetermination or uncertainty. It is no wonder that within the concept of openness, works of art are not assessed according to the criteria of good and bad, or beauty and ugliness, and if they are, it is of tertiary meaning. One can hardly describe the deep understanding of the essence of the matter or the attempt to get to the real nature of things. [...] More and more often we deal with a virtual world where illusion, and at that an illusion consisting of several layers, constitutes the ontological basis of our cognitive experience, and as a result we delude ourselves that we understand what we can see or hear. The process of communication between various contemporary artists with the observers of their art, which assumes a complete openness of a work of art, a free juggling of meanings, symbols as well as historical, religious or cultural contexts, misses an enormously important factor any form of objective cognitive relationship between them. Therefore an extremely worrying question arises: has art lost its contact with the nature of things? Does it contain any deeper truth? It is worth asking similar questions, particularly in the world where we often face trivialised beauty or good and the alluring power of ugliness and evil. Still we should continue to believe that art which looks for the nature of things can be an irreplaceable way to step behind the factual sphere of reality. It is one of the ways of bringing a human being closer to the mysterious but so long waited for nature of things. No wonder that an artists' mission seems to be so close to a metaphysical or even religious dimension. Such an awareness, however, makes the significance of the previously mentioned questions even more worrying. KRZYSZTOF BOCHENEK, born 1966 in D±browa Tarnowska. In 1991 he graduated from the Higher Theological Seminary in Tarnów with the degree of the Master of Theology. Between 1994 and 2000 he studied philosophy at the Catholic University of Lublin and in 2000 he received his doctor's degree (supervisor: Bishop Stanisław Wielgus). Currently he works as a lecturer at the Higher Theological Seminary in Rzeszów and as an assistant professor in the Department of Philosophy at the University of Rzeszów. His research focuses on Polish philosophy of the Middle Ages. Name: mjrjtanp E-mail: bzhxov@quolbe.com Subject: nThlDUHdFrN Name: E-mail: Subject: Name: rsrtcjjxa E-mail: nhzhto@lgfvqu.com Subject: nhzhto@lgfvqu.com Name: E-mail: Subject: Name: E-mail: Subject: Name: E-mail: Subject: Name: E-mail: Subject: Name: E-mail: Subject: Name: E-mail: Subject: Name: E-mail: Subject: Name: E-mail: Subject:
|
 | ||||||||||
 |  |
The 5th Polish Painting Forum - Orelec 2006