Post-modernism, with its stressing of stylistic pluralism – the profusion of artistic trends that are indifferently validated by the critical exercise – has stood as the hegemonic cultural logic of contemporaneity. The beginning of this process dates from post World War II, when the neoavant-gardes of the 1960s put into practice the Duchampian legacy of the readymade, thus definitively diluting the borders between the “artistic object” and the “everyday object”. This intersecting of artistic practice with daily life thus marks out the current period, known as “posthistorical” according to the philosopher Arthur C. Danto. The short circuiting of the autonomy of the “artistic object” led to the proclamation of the “end of art” during the 1970s, of which (read the full article)
Portuguese contemporary artist
Pedro Calapez
