Contemporary
art is an art of everyday life. It is an art of current reality. It exposes
people’s daily life experiences and transgresses aesthetic rules for more
freedom, not for libertinage (Sevanen, 2008). It advocates the conceptual idea.
Is there any hope of making a career out of it? What is its real place in this
rapidly changing society? Can we resolve current environmental problems by
referring to contemporary art? Problems such as the economic crisis, global warming, environmental protection, and
sustainable development. Would it be controversial to elevate art to the
rank of choices to be made to resolve
problems relating to peace, development, and the well-being of all humankind?
Contemporary art with a new policy and new perspectives would make its element the actual wake-up
call to this declining world. However, the question is whether, in the
twenty-first century, there can still be another form of art that would meet
the demands of modern (contemporary) society. Since museums and galleries of so-called contemporary arts only offer the
public what has already been seen; a
severe marketing problem arises, so much so that only some
are those who make a profession out of it (Tobelem, 2007). The innovation
proclaimed in the precursor era is only a current utopia. The mirror of
everyday life we refer to is this art of experience and reality. In this way,
the culture and history of the society cannot experience transgressions. On the
contrary, they (culture and history) remain inexhaustible sources of
inspiration. This dissertation is intended to analyse artistic production in
D.R. Congo
and criticism of many artists who create various artworks. In this dissertation, we
highlight the problem of creating contemporary artworks and the dialectic of
the philosophy of art and aesthetics issues.
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