"In 2022, two cans of tomato soup were thrown over Van Gogh’s Sunflowers at the National Gallery in London by two climate activists. The aim of this paper is not to explain the motives behind the protest in terms of environmental activism, but to address the implications of this phenomenon for the status of artistic images in our time. The protest in question is one of the many symptoms of the fact that images associated with a pure state of gaze (...) have become morally dubious due to a certain moralistic turn in contemporary discourses on art. Consequently, what seems to be lost in today’s movements of moralizing aesthetics, whether in art or in environmental activism, is not only the “aura” of an artwork, but also the idea that the contemplation of beauty in and for itself would provide a foundation for humans’ moral vocation. In a gaseous state of art (Y. Michaud) in which the transient effects of things are more important than their essence, the moralistic tendencies combined with the lack of moral foundations can no longer conceive of the ethical effects of images without explicit moral content, thus calling for a new form of heteronomy in art. Keywords: Kantian aesthetics, ethics, contemplation, natural beauty, autonomy of art, environmental activism. ". (shrink)

Drawing on recent theories and debates concerning the everydayness of non-artistic and even private aesthetic experiences, this article aims at differentiating new ways of dealing with revulsion at the intersection of negative and everyday aesthetics, as another manner of extending or transcending the scope of traditional art-oriented aesthetics. The paradigms that I will trace in the history of negative aesthetics are not mere occurrences of disgust or repulsiveness in art and in everyday life, but ways of addressing the repulsive in (...) relation to the culturally variable scope of art and aesthetics. Besides the classical paradigm that associates repugnant subjects with their pleasure-inducing imitations in art, and the transgressions of modern and contemporary art that increasingly shocked their audience, revulsion can also be regarded as a form of displeasure linked to the quotidian, yet aesthetically relevant forms of life. By virtue of this ordinary nature, which is not unfamiliar to other (non-Western) cultures, revulsion could be placed at the core of everyday aesthetics, since it confirms both the transition from contemplation to action in recent aesthetics, that is, the practical preoccupation with the aesthetic quality of living, and the broader redefinition of aesthetics in terms of sensory reactions. (shrink)