Manifesto

EmPATHetic (soperezhivanije) art

Our interest is in the truthful and sincere depiction of human emotions, whether these emotions are pain, anger, confusion, joy, happiness or contemplation. Our works of art express emotions. This is of value because it familiarizes the viewer with the human condition. It stimulates his sympathy and empathy for the experience.

We believe in moral justification of expressing these emotions in art. We believe in their valuable impact on creative process.

We are concerned with the human mind and experiences of the soul.

We believe that works of art can guide us to the truth of the human condition. By presenting instances of human actions and passions, freed from the humdrum everyday events, art can show us the merits of being human.

We oppose passive observation and pure decorative pleasure as purposes of art. We believe that works of art are objects of contemplation and not desire.

Through empathetic appreciation, contemplating a work of art becomes an experience of beauty (as a symbol of morality and kindness).

We oppose the form of beauty which provokes desire. We regard beauty as an object of contemplation and a form of meaning.

Our art should confront the viewer by stimulating his interest in the meaning and content of the work, and not in his own reactions (e.g. shock, disgust, arousal or amusement).

We believe in the "energy of the kick" i.e. when the viewer is morally challenged by what he sees.

We oppose works of art that pursue effect at the expense of meaning.

We believe in the need to provoke thought and empathetic participation between the artist, his subject and the viewer. We believe that thought and feeling are interconnected.

Our imagination is an instrument for understanding other people's feelings.

Imagination is an active and essential part of the process of contemplating art. This is in contrast to fantasy, which is about 'effect'.

We believe that convention and restraint obstruct the imaginative process.

We regard true communication as the result of shared experiences and wish to highlight empathy as the dominant aspect in understanding our works of art. Our use of the word empathetic is broad; it is wider than the narrow psychological interpretation of the word.

We regard works of art as acts of communication that present the viewer with a meaning, i.e. a range of thoughts and feelings. For a successful appreciation and evaluation of each work of art this meaning must be understood and "empathized".

We believe that most works of art are not created in the sudden heat of passion. We don't believe that passion is the primary motivation of artists.

We allow ourselves a certain degree of generalization as a significant artistic method.

Our approach is openly non-conformist. Its grounds can be found in some intellectual movements of the mid and late 20Th century
(look for example Immanuel Kant. Critique of Pure Reason. M:Musl', 1966 (1790);
J.Ruskin. Art: Anthology. New York: John B.Alden, Publisher, 1886;
John Ruskin. On Art and life, Penguin books, 2004;
Andre Breton. Manifestos of Surrealism, The University of Michigan Press, 1969;
Kasimir Malevich, The Black square. Manifestos. Declarations. Articles. St.Petersburg "Azbuka-klassika" Publishing house, 2008;
Jacques Derrida. The Truth in Painting, The University of Chicago Press, Chicago and London, 1987;
Aguste Rodin. Rodin on Art and Artists. St.Petersburg "Azbuka-klassika" Publishing house, 2006;
Mark Rothko. The artist's reality philosophies of art. Yale University press New Haven and London, 2004;
Wassily Kandinsky.Concerning The Spiritual in Art (Uber das Geistige in der Kunst);
Publisher: Dover Publications, 1977, (1911);
R.G.Collingwood. The Principles of Art. London, Oxford, New York: Oxford University Press, 1937;
Tzvetan Todorov. Hope and Memory Lessons from the twentieth century. Atlantic books London, 2003;
Roger Scruton. Beauty. Oxford University Press, 2009;
Vyacheslav B.Melas. Experience and event. St.Petersburg, VVM Publishing house, 2009).

EmPATHetic art.