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THE KITSCH OF INCLUSION, "Ενημέρωση", 3/8/2024
The author of this article supports the principles of inclusion. Tolerance for all, by all. This world in which we live includes - must include - all of us, and moreover as equals to one another. However, the recent ceremony in Paris, with its haphazardly scattered moments of French history and culture, demonstrated, in the name of a French inclusivity, the limits of aesthetic excess. On the other hand, if the races of the world, genders, and tastes all have their place under the sun of the modern Olympic Games, do we still (or should we still) distinguish between the beautiful and the formless, the moral and the immoral, the honest and the dishonest, the excessive and the simple, the ostentatious and the noble and high-minded? Inclusion is inclusion only under the condition of this distinction. Otherwise, it is nothing but a mass of discarded materials—scrap.
Speaking of the beautiful and the ugly, art is often considered the authority to tell us what is truly beautiful. But is that really the case? In 2004, Marcel Duchamp's 'Urinal' (a ready-made urinal from 1917) was voted by 500 selected British figures from the art world as the most influential work of art of the 20th century. In recent decades, the famous Tate Gallery in London has promoted provocation-for-the-sake-of-provocation as art. And certainly, one might say, true art must always provoke. That is its mission. To provoke in order to open new worlds. But if these worlds are the same as the old ones - or even worse - then this is not art but mere propaganda of the old that seeks to perpetuate itself under a new guise.
