Evanescence:Time in Modern Plastic Art

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让s sense of permanence,while the contingent,the fleeting and the ephemeral now occupy in its place.

‘All Solid Things Vanish Into Thin Air.’The Space in Modern andLate Modern Plastic Art

The article follows Max Weber's Comprehensive Sociology and uses the hermeneutic and iconological analysis sociological methods applied to plastic works(painting and sculpture),significant and representative of modern and late modern art.Starting from these theoretical and methodological bases,it pursues three specific objectives:to analyze the construction of space in plastic art,to verify how this theme has evolved in artistic practices from the first modernity to the second and to verify the way in which the complementary visual language the conceptual of contemporary sociological theory.In this regard,the analysis and interpretation of the eleven selected works reveals three important consequences of the modern influence on space,gradually emptied of meaning and replaced by non-places:its conversion into merchandise,its loss of solidity and stability and the confusion that occurs in it between reality and its representation.Consequently,the implicit content converges with the essential postulates of the sociologists who have approached the subject of space,although it goes further because the foray into the iconographic hermeneutics of these works puts an image to the conceptual theoretical discourses of the sociologists,inaway that visual language complements and enriches,with more emotional and sensitive nuances Therefore our discipline begins to overcome a traditional deficit,in that it moves from the essential rationality that structures its origin and turns towards a greater coupling of the emotional and sensitive social plane.