Saturday, August 19, 2017

329. Art and hope

Recently, Rudi Fuchs, curator for a sculpture exhibition in Amsterdam, associated art with hope. For art, things are not necessarily as they are, can be different. Art offers new ways in and new ways out. Liberation, escape from stagnation or despair. That intrigued me.

To hope is to have a goal, with positive and realistic expectations of ways to get there, and confidence in agency, ability to do it. Without the realism hope becomes false, wishful thinking. Hope entails an expectation that ‘things will be all right’, depending in part on one’s own actions, but also on outside forces that one cannot control. This brings the notion of hope close to the notion of trust, as I discussed in item 107 in this blog.

What of that applies to art? The new ways in and new ways out. Escape.

A good illustration is a strophe from a poem by Baudelaire, from the section Spleen et ideal of his bundle Les fleurs du mal (the flowers of evil). Spleen here is heaviness of spirit, existential anguish, disgust, boredom, paralysis. The hope lies in escaping from it into the ideal, perfection. The title of the poem is Elevation. I first give the French text and then my English translation.

Derrière les ennuis et les vastes chagrins
Qui chargent de leur poids l’existence brumeuse,
Heureux celui qui peut d’une aile vigoureux
S’elancer vers les champs lumineux et serains.

Behind the troubles and the vast griefs
That weigh down misty experience,
Happy is the one who with a powerful wing
Can launch himself into fields luminous and serene.

Is this picture of art too pretty? How about the Marquis de Sade, Celine, Dostoyevsky? Do they yield hope? Such art also can be seen as an escape, in liberation from constraints of morality and law. But hope is positive, and how positive are those? How, if at all, can this be seen as escape into an ideal? Dostoyevsky said that without God humanity is irreparably evil. Does art here show hopelessness rather than hope?

Art is creative destruction. Perhaps destruction may need to take place first, to make room and create an incentive for the new. Is that how de Sade may be seen: destroying old morality to make room for a new one?

How about the sublime? Think of a hurricane, thunderstorm, or a forbidding mountain. Those inspire awe, astonishment, respect, fear perhaps, transcend the beautiful, and are beyond human grasp and influence. According to Kant it is beyond art, which would only yield a bad imitation of the sublime in nature. It transcends but cannot be achieved, and then lies beyond hope. Yet it is sometimes applied to art, such as a work of Bach or Beethoven, say.

If hope is required for trust, and art can produce hope, one might expect that art can help trust. However, when producing novelty, new ways in and new ways out, art also yields uncertainty, and can produce broken expectations, yielding broken trust. Given its uncertainty, trust requires courage, and that would seem to apply also to art. Art may be an exercise in courage, and thus may help people in learning to manage trust.

So, apart from the intrinsic value of art, it has value for society in bringing transcendence, Baudelaire’s ‘elevation’, and in developing and exercising hope, courage and trust.