Alois Riegl's great impact on art history is undeniable. He influenced many art historians and theorists from Erwin Panofsky, Wilhelm Worringer, Walter Benjamin, Ernst Kris, Ernst Gombrich, Gilles Deleuze, Karl Mannheim… to the Nobel Laureate Dr. Eric Kandel. Riegl’s cosmopolitan character, and his liberal aesthetic points of view along with his beliefs on equality of all art forms (painting, drawing, sculpture, architecture, craft…), and judging the art of each era based on facts and figures that represent the Kunstwollen (art+will) of that period, makes him an exceptional scholar who was far ahead of his time, and closer to our era. A contemporary art historian belonged to the Vienna 1900. The first chapter, thus, has been dedicated to Alois Riegl and his historiographical method, and his key concepts such as Kunstwollen and the role of the beholder. The contents of this chapter take part of my book Who the hell is Alois Riegl and what are his theories on art history all about? Riegl’s Kunstwollen – the artistic will – is an inner drive that is fueled by the cultural and historical values of the time, expressed through visual elements as an artform, creating each period’s art style. This WILL which is connected to the Weltanschauung (world view) of each era, changes according to the time, nation, and location; hence, each epoch has its own Kunstwollen that is unique and unrepeatable. Kunstwollen, is the way each culture perceives the world in a particular historical time and manifests it through the art of that period. Therefore, the second chapter starts by analyzing the ways that human brain perceives the external world and creates its own internal images from a scientific view based on the ideas of Eric Kandel, and how our perception becomes art through the theories of different anthropologists and art historians. The chapter continues by introducing the contemporary art as a global art, through which, each culture represents its own contemporary art. Just like an international language that gives the possibility to the people from different cultures and nationalities with different languages to communicate with each other, and express their ideas; contemporary art works as an international art, through which artists from diverse parts of the world expose their artworks which have their roots in their own cultural and historical background. Through the Global Contemporary art each nation manifests its own contemporary Kunstwollen. If contemporary art is global that gives the different cultures the possibility to present their contemporary art to the world, then there needs to be a global art history through which each culture describes its local art. The essay then continues by describing and comparing the approaches and challenges towards defining and creating a global art history. By referring to the ideas of theorists and art historians such as Hans Belting, James Elkins, Peter Weibel, David Summers, John Onians, Kitty Zijlmans, Wilfried van Damme…and introducing diverse academic programs such as the Universitat Heidelberg, the University of East Anglia, The University of Leiden, and…will be discussed. The third chapter starts with describing the main characteristics or the Kunstwollen of the global contemporary art, and then based on the contents of the previous chapters and my personal experiences, I will try to discover the Kunstwollen of the contemporary art of three countries in which I lived, studied, and taught: Iran, Italy, and The United states of America.

Il grande impatto di Alois Riegl sulla storia dell'arte è innegabile. Ha influenzato molti storici e teorici dell'arte da Erwin Panofsky, Wilhelm Worringer, Walter Benjamin, Ernst Kris, Ernst Gombrich, Gilles Deleuze, Karl Mannheim ... al premio Nobel Dr. Eric Kandel. Il carattere cosmopolita di Riegl e i suoi punti di vista estetici liberali insieme alle sue convinzioni sull'uguaglianza di tutte le forme d'arte (pittura, disegno, scultura, architettura, artigianato ...) e a giudicare l'arte di ogni epoca in base a fatti e figure che rappresentano il Kunstwollen (arte + volontà) di quel periodo, lo rende uno studioso eccezionale che era molto più avanti del suo tempo e più vicino alla nostra era. Uno storico dell'arte contemporanea apparteneva alla Vienna del 1900. Il primo capitolo, quindi, è stato dedicato ad Alois Riegl e al suo metodo storiografico e ai suoi concetti chiave come Kunstwollen e il ruolo dell'osservatore. I contenuti di questo capitolo fanno parte del mio libro Who the hell is Alois Riegl and what are his theories on art history all about? Il Kunstwollen di Riegl - la volontà artistica - è un impulso interiore che è alimentato dai valori culturali e storici del tempo, espressi attraverso elementi visivi come una forma d'arte, creando lo stile artistico di ogni periodo. Questa VOLONTÀ che è collegata al Weltanschauung (visione del mondo) di ogni epoca, cambia in base al tempo, alla nazione e al luogo; quindi, ogni epoca ha il suo Kunstwollen che è unico e irripetibile. Kunstwollen, è il modo in cui ogni cultura percepisce il mondo in un particolare epoca storica e lo manifesta attraverso l'arte di quel periodo. Pertanto, il secondo capitolo inizia analizzando i modi in cui il cervello umano percepisce il mondo esterno e crea le proprie immagini interne da una visione scientifica basata sulle idee di Eric Kandel e su come la nostra percezione diventa arte attraverso le teorie di diversi antropologi e storici dell'arte. Il capitolo continua introducendo l'arte contemporanea come arte globale, attraverso la quale ogni cultura rappresenta la propria arte contemporanea. Proprio come una lingua internazionale che dà la possibilità alle persone di culture e nazionalità diverse con lingue diverse di comunicare tra loro ed esprimere le proprie idee; l'arte contemporanea funziona come un'arte internazionale, attraverso la quale artisti di diverse parti del mondo espongono le loro opere d'arte che hanno le loro radici nel loro background culturale e storico. Attraverso l'arte globale contemporanea ogni nazione manifesta il proprio Kunstwollen contemporaneo. Se l'arte contemporanea è globale che offre alle diverse culture la possibilità di presentare la loro arte contemporanea al mondo, allora deve esserci una storia dell'arte globale attraverso la quale ogni cultura descrive la sua arte locale. Il saggio continua quindi descrivendo e confrontando gli approcci e le sfide per la definizione e la creazione di una storia dell'arte globale. Riferendosi alle idee di teorici e storici dell'arte come Hans Belting, James Elkins, Peter Weibel, David Summers, John Onians, Kitty Zijlmans, Wilfried van Damme ... e introducendo diversi programmi accademici come l'Università Heidelberg, l'Università dell'Anglia orientale , L'Università di Leida e ... saranno discussi. Il terzo capitolo inizia con la descrizione delle principali caratteristiche o Kunstwollen dell'arte contemporanea globale, e quindi basato sui contenuti dei precedenti capitoli e le mie esperienze personali, cercherò di scoprire il Kunstwollen dell'arte contemporanea di tre paesi in cui io visuto, studiato e insegnato: Iran, Italia e Stati Uniti d'America.

Kunstwollen: una visione contemporanea locale, globale, transculturale / Mohsen Veysi , 2020 Mar 06. 32. ciclo, Anno Accademico 2018/2019.

Kunstwollen: una visione contemporanea locale, globale, transculturale

VEYSI, MOHSEN
2020

Abstract

Alois Riegl's great impact on art history is undeniable. He influenced many art historians and theorists from Erwin Panofsky, Wilhelm Worringer, Walter Benjamin, Ernst Kris, Ernst Gombrich, Gilles Deleuze, Karl Mannheim… to the Nobel Laureate Dr. Eric Kandel. Riegl’s cosmopolitan character, and his liberal aesthetic points of view along with his beliefs on equality of all art forms (painting, drawing, sculpture, architecture, craft…), and judging the art of each era based on facts and figures that represent the Kunstwollen (art+will) of that period, makes him an exceptional scholar who was far ahead of his time, and closer to our era. A contemporary art historian belonged to the Vienna 1900. The first chapter, thus, has been dedicated to Alois Riegl and his historiographical method, and his key concepts such as Kunstwollen and the role of the beholder. The contents of this chapter take part of my book Who the hell is Alois Riegl and what are his theories on art history all about? Riegl’s Kunstwollen – the artistic will – is an inner drive that is fueled by the cultural and historical values of the time, expressed through visual elements as an artform, creating each period’s art style. This WILL which is connected to the Weltanschauung (world view) of each era, changes according to the time, nation, and location; hence, each epoch has its own Kunstwollen that is unique and unrepeatable. Kunstwollen, is the way each culture perceives the world in a particular historical time and manifests it through the art of that period. Therefore, the second chapter starts by analyzing the ways that human brain perceives the external world and creates its own internal images from a scientific view based on the ideas of Eric Kandel, and how our perception becomes art through the theories of different anthropologists and art historians. The chapter continues by introducing the contemporary art as a global art, through which, each culture represents its own contemporary art. Just like an international language that gives the possibility to the people from different cultures and nationalities with different languages to communicate with each other, and express their ideas; contemporary art works as an international art, through which artists from diverse parts of the world expose their artworks which have their roots in their own cultural and historical background. Through the Global Contemporary art each nation manifests its own contemporary Kunstwollen. If contemporary art is global that gives the different cultures the possibility to present their contemporary art to the world, then there needs to be a global art history through which each culture describes its local art. The essay then continues by describing and comparing the approaches and challenges towards defining and creating a global art history. By referring to the ideas of theorists and art historians such as Hans Belting, James Elkins, Peter Weibel, David Summers, John Onians, Kitty Zijlmans, Wilfried van Damme…and introducing diverse academic programs such as the Universitat Heidelberg, the University of East Anglia, The University of Leiden, and…will be discussed. The third chapter starts with describing the main characteristics or the Kunstwollen of the global contemporary art, and then based on the contents of the previous chapters and my personal experiences, I will try to discover the Kunstwollen of the contemporary art of three countries in which I lived, studied, and taught: Iran, Italy, and The United states of America.
Kunstwollen: A Contemporary View Local, Global, Transcultural
6-mar-2020
CONTINI, Annamaria
File in questo prodotto:
File Dimensione Formato  
Mohsen Veysi. PhD Thesis.PDF

Open Access dal 06/03/2023

Descrizione: tesi di dottorato
Dimensione 7.98 MB
Formato Adobe PDF
7.98 MB Adobe PDF Visualizza/Apri
Pubblicazioni consigliate

Licenza Creative Commons
I metadati presenti in IRIS UNIMORE sono rilasciati con licenza Creative Commons CC0 1.0 Universal, mentre i file delle pubblicazioni sono rilasciati con licenza Attribuzione 4.0 Internazionale (CC BY 4.0), salvo diversa indicazione.
In caso di violazione di copyright, contattare Supporto Iris

Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/11380/1200421
Citazioni
  • ???jsp.display-item.citation.pmc??? ND
  • Scopus ND
  • ???jsp.display-item.citation.isi??? ND
social impact