Adopting a semiotic model, Armen Avanessian differentiates between three regimes of realism. These consist of firstly, a realism of the signified (predominant found in 19th century literature and art), which tries to depict reality, understand it and thereby also change it; secondly, a realism of the signifier, implying a (Lacanian or traumatic) ‘real’ that always remains inaccessible and can only be approached via the most rigid procedures of abstraction (seen in much of 20th century art); and finally, today, what is at stake could be called a realism of ‘reference’. Even without being able to firmly define such a realist approach, one can still make some distinctions and pose relevant questions such as: what if only speculation grants access to reality? Are there any alternatives to the ‘perceptual and psychological’ which David Joselit describes as the two sole modes of connecting work of art and person in the last decades? Is it possible to get rid of the hypercorrelationism of aesthetics?
Pasitelkdamas semiotinį modelį, Armenas Avanessianas skiria tris realizmo režimus: pirma, XIX a. literatūroje ir mene vyraujantis signifikato realizmas (realism of the signified), kuriuo stengiamasi atvaizduoti realybę, ją pažinti ir keisti; antra, signifikanto realizmas (realism of the signifier), numanantis lakaniškąjį arba trauminį amžinai nepasiekiamą „tikrą“, kuris gali būti apčiuoptas tik per griežčiausias abstrahavimo procedūras (kokios matomos daugelyje XX a. meno kūrinių); galiausiai, tai, kas šiandien yra aktualiausia, – referencijos realizmas (realism of reference). Net jeigu negalima tvirtai apibrėžti tokios realistinės prieigos, visgi galima išryškinti jos skirtumus ir kelti esminius klausimus: o jeigu tik spekuliacija garantuoja priėjimą prie realybės? Ar yra alternatyvų „percepciniam bei psichologiniam“ režimams, kurie, anot Davido Joselito, pastaraisiais dešimtmečiais jungia meno kūrinį ir žiūrovą? Ar įmanoma atsikratyti estetikos hiperkoreliacionizmo?
Armen Avanessian studied philosophy and political science in Vienna and Paris. In 2007 Avanessian took up his current position at the Peter Szondi Institute for Comparative Literature at the Free University of Berlin. In 2011 he was a Visiting Fellow in the German Department at Columbia University and in 2012 at the German Department at Yale University. In 2012 he founded “Spekulative Poetik”, a research platform on speculative poetics including a series of events, translations and publications. Avanessian has published Phänomenologie ironischen Geistes: Ethik, Poetik und Politik der Moderne (Fink, 2010) and (together with Anke Hennig) Präsens: Poetik eines Tempus (Diaphanes, 2012). He has also edited several volumes, including (together with Winfried Menninghaus and Jan Völker) Vita aesthetica: Szenarien ästhetischer Lebendigkeit (Diaphanes, 2009), (together with Luke Skrebowski) Aesthetics and Contemporary Art (Sternberg Press, 2011), and Realismus Jetzt! Spekulative Philosophie und Metaphysik für das 21. Jahrhundert (Merve, 2012).
Armenas Avanessianas studijavo filosofiją ir politikos mokslus Vienoje ir Paryžiuje. Nuo 2007 m. dėsto Berlyno laisvajame universitete, Peter Szondi lyginamosios literatūros institute. 2011 m. buvo vizituojantis lektorius Kolumbijos universitete (Niujorkas), o 2012 m. – Jeilio universitete. 2012 m. įkūrė spekuliatyviosios poetikos tyrimams skirtą platformą Spekulative Poetik. Avanessianas yra kelių knygų autorius bei sudarytojas: Phänomenologie ironischen Geistes. Ethik, Poetik und Politik der Moderne (Fink, 2010), Präsens. Poetik eines Tempus (kartu su Anke Hennig, Diaphanes, 2012), Vita aesthetica. Szenarien ästhetischer Lebendigkeit (kartu su Winfriedu Menninghausu ir Janu Völkeriu, Diaphanes, 2009), Aesthetics and Contemporary Art (kartu su Luke’u Skrebowskiu, Sternberg Press, 2011) ir Realismus Jetzt! Spekulative Philosophie und Metaphysik für das 21. Jahrhundert (Merve, 2012).
Heribert Corn nuotrauka, falter.at archyvas