Alexander Lucy. Mom therapy

Hans Zedlmair. Art and truth. - M.: Library of the magazine "Art The Story", 1999.

The aspect expression "no time" is nothing more than a manifestation of a certain experience of temporality noted by the "deprivation of time." But sometimes, in such a scarce existence, the true time flickers, the “slightly mowed look of eternity”, and we are able to experience an exceptionally finished, perfect being, try “a little time in its pure form” (Proust).

The fate of the Austrian art critic Hans Zedlmeira (1896-1984) partly resembles the fate of the German philosopher Martin Heidegger - how much the model remains similar to his artistic display and transformation on canvas. Both were captured by a wave of Nazism (the second even had to fight in the officer uniform on the Eastern Front). Both after the war were subjected to ostracism in the scientific world and began to look for theoretical self -justification in the study of the problem of time. But if Heidegger has an ownerless time, the manifestation of “abandonment”, the inappropriateness of consciousness and his flight from himself, then Zedlmair opens “free space” in the composed worlds of high arts - as opposed to the “closed in itself” and therapeutically “raised”, free from the time about the hell, “true present”.

As art critic himself explains, existential philosophy is concentrated on a separate, point moment and "accordingly and in history gives only the interpretation of the" determination " with which a person appears in the face of a historical situation, but does not explain the attitude to historical constancy." The very way of being time in the work of art and a work of art in time has a special structure, determined by the degree of liberation from historical time spoiled by an element of guilt, "which, if it is not characteristic of each individual event of history, then, of course, belongs to historicity as such." Although historical time is more primary, it essentially turns out to be a deficit of "true time", because it is actually "time without the present." But in the time of the musical work , “there is what we regret in historical time - the true, resting present,“ constant now ”,“ eternal present ”, being -elimination of the mortality of the moment and the stop, so to speak, the“ whole ”time in the lasting, continuous present ... In the true musical work, the already“ occurred ”musical event happened at all in the wrong place The meaning in which the last story takes place ... but the upcoming event in the musical work “Future” is not the same as an excessive impatience is expected by a historical future - there is no element of care. The true present integrates (heals ”) the moments of temporaryness, striving for a dispute, in“ whole ” - inseparable - time they are selected by the present and rest in it, reconciled with each other,“ removed ” -selected (i.e. Safeed, and not just destroyed) and anticipated, pre-distorted to mutually performed. " That is why we strive to re-experience the musical, like any other true work of art, unlike a detective that is unlikely to open again after the curiosity heated by intrigue is satisfied.

Drawing a healing of works of art, the scientist develops the methodology for their feedback to achieve their true present, synthesizing the typological and teleological (target) concept, complementing the terminology that has developed in art with a key concept of "artistic will", the manifestation of which is such concepts as style and motive. He opposes the museum spirit, which considers all art as past (when even the "modern" art is only the "late" past), having nothing against the museum as an institution, which, like a technique, is neutral. In an effort to tear the true works of art from the cemetery past and the nonsense of the present present, he recalls the desire of the Russian philosopher N. Fedorov to achieve the “resurrection of the fathers”, which is the “secret of the fraternity”. Although the latter, in contrast to the art history of Zedlmayra, belonged to the much more paradoxical tradition of "guilt without guilt."