| Summary: | <p><span style="font-size: medium;">What happens to critical and aesthetic discourse when a painter promises that </span><span style="font-size: medium;">he will not paint anymore? What goes on when a famous artist says that all the paintings are just junk or dust, and all the institutional sites of the art-world – actually, the </span><em><span style="font-size: medium;">White cube</span></em><span style="font-size: medium;"> of Clement Greemberg’s Modernism – are just wasted spaces? What’s the matter or the reason of the prestige of a similar no-working man, and what’s the perceptible quality of the value of a so-called art without any artefact at all? In the late</span><span style="font-size: medium;"> '</span><span style="font-size: medium;">50s</span><span style="font-size: medium;">and early</span><span style="font-size: medium;">'</span><span style="font-size: medium;">60s</span><span style="font-size: medium;"> in Paris, An</span><span style="font-size: medium;">dy Warhol and Yves Klein claim</span><span style="font-size: medium;">in different but</span><span style="font-size: medium;">very similar ways the end of </span><span style="font-size: medium;">painting and the disappearing of the work of art from the exposition site and </span><span style="font-size: medium;">its</span><span style="font-size: medium;"> becoming immaterial or </span><span style="font-size: medium;">environmental art</span><span style="font-size: medium;">, indiscernible within its surrounding living space and, finally, with the atmosphere of glamour and snobbish artist’s life. What kind of phenomenology, pragmatic, rhetoric, poetics, economy and ontology is possible when </span><span style="font-size: medium;">no</span><span style="font-size: medium;"><em>spectatorial</em></span><em></em><span style="font-size: medium;">mode of visual consumption is </span><span style="font-size: medium;">any</span><span style="font-size: medium;"> longer possible</span><span style="font-size: medium;">? What type of aesthetic relationship actually happen</span><span style="font-size: medium;">s</span><span style="font-size: medium;"> under these planned and produced conditions of non-perceptual and ‘artialized’ living experience? After more than fifty years, the </span><span style="font-size: medium;">statements</span><span style="font-size: medium;"> of </span><em><span style="font-size: medium;">The philosophy of Andy Warhol</span></em><span style="font-size: medium;"> and the </span><em><span style="font-size: medium;">Exposition of void</span></em><span style="font-size: medium;"> of Yves Klein have not yet stopped to pose questions as such to aesthetics, theory of literature and critics, and to the history of art.</span></p>
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