Manifesto of the movement

 Movement Art Resilience is not of a formal nature, it seeks to redefine the notion of art.

 We believe:
The definition of art to be possible.
Beauty to be objective and the natural foundation of art.

The formal expression must be free, but based on aesthetics that ensures quality.
Artists must be aware and responsible for their actions.

Art to be key to community and individual development.

Today, when everything has become so fluid, only beauty is able to give man a point of reference and guarantee him a certain balance.
By banishing the beauty from art, artists have submitted it to violence, vulgarity, ugliness, emptiness. And yet, for art to retain its ability to locate us in a space out of time, to abstract us from ourselves and to include us in a whole, creating in us the very experience of life, which is the first function of art, the beauty is difficult to dismiss. Beauty is immutable and constant.


Man, through his sensibility, perceives the beauty to which he adheres through  intelligible since there is a connection between the structure of beauty, the human brain (as well as that of some animals, and we know nothing of plants), and the world.


The principle of constancy connects art and the universe. Art is both an abstract concept and a concrete reality. It is its mathematical form that gives it the character of perfection. As an abstract concept, it is immutable, but as a concrete reality, it unfold infinitely.

Beauty, through what is constant, immutable, through the perfect structure of a “mathematical theorem” calls to eternity.

The beauty that most powerfully connects man to the world and eternity is beauty in art. Art being the expression of the consciousness of existence, beauty is its very foundation.

“The aesthetic experience, because it is a fulfilled and happy perception until the alienation of the subject in the object, invites us to conceive of an original non-differentiation between man and nature. Below correlation, it shows a basic unity which art seeks both to reunite and to express.”
Mikel Dufrenne,  Phénoménologie de l'expérience esthétique, PUF, Paris, 1953.

Beauty is mainly perceived as a simple matter of taste. Any objective value is denied it. But beauty is not in the subject, nor simply in the form or the color, it is rather subjacent to a work, it embraces it, it emanates from it, from its form in its totality and not from the beauty of what is represented.
This is an immediate seizure. In this immediacy, there appears the vision of the ontological whole where the subject (spectator) and the object (work) are one. There, there is no space for simple taste. Our life experience is not reflected.

Beauty is a network with rules but which unfolds in infinite.

Art is the trend towards life. In the universe, everything oscillates between “construction” and “destruction.” This is the rhythm of the world. Human societies swing periodically throughout history between war and peace . Art calls out to life. Beauty is harmony, appeasement, balance. It is the natural foundation and purpose of the indissoluble unity of the work. 

“There is a deep connection between signs, events, life, vitality! This is the power of non-organic life, the life that there might be in the line of a drawing, of a piece of writing, or of music. It is the bodies that die, not life itself. There is no work that indicates a way out of life.”

Gilles Deleuze, Pourparlers, Editions de Minuit, 1990, p. 196.

To turn art away from its training function by suspecting it of harming our freedom, it was first necessary to tackle the beauty (contemporary art). Going from the principle that a work of art is free and unique, we can easily go to the observation that it is self-sufficient and that it is “beautiful” only in and of itself. It is thus used as a guarantee to free individuals who revel in the mere fact of existing, unique and free from all coercion, beautiful simply because it is free. Thus, if we remove from art its character of absolute, any object which manifests itself by its uselessness can be considered as a work of art. But this is a death of art.

The beauty, by its proximity to the good, allows judgement about quality, when discerning whether “this is good” or “this is not good.” A work that is not based on any foundation is beyond the possibility of appreciation of any quality. The quality of the work is in its approximation of what art is supposed to be, that is, mainly, a producer of aesthetic emotion. Every work of art is rich in possibilities for expression, demonstration, and discourses which call upon our feelings, and yet, the only judgement on quality possible is through the beauty, that is to say, the internal structure of the work. It is from this structure that it differs from ordinary discourse.
The judgement of the quality of a work is essential, because art is formational.


But beauty is not enough. In order to define a visual production as a work of art we must be able to distinguish in it two regimes, an ethical regime and an aesthetic regime, the ethical regime relating to the way of being of society and its relation to the world, the aesthetic regime to the beautiful. So, if an artistic production contains only the ethical regime, it's about describing the society and the way to be one of its members. What can be called "image of art "(caricatures, illustrated pamphlets, objects of recovery, posters).

If a production contains only the aesthetic regime, it is a decorative work.

Ksenia Milicevic