Originality and Artistic Displacements. The Copy’s Artifact and the Abominable of the Original

Carles Méndez Llopis


The heterogeneity and complexity of symbolic production and the current artistic

creation, invites the scrutiny and review of inherited parameters in the cultural field.

The various crises traversed by the field and those that still serve as the discussion

centers, generate conceptual depletions about the axioms that distance themselves

from the generation of contemporary knowledge. In this sense, this paper analyzes

the ideal of originality -disseminated especially from the romantic perspective- to

understand and limit its tentacles, inserting them into the current discipline’s selfreflection,

in the new artistic structuring that comes unfolding since the sixties, and

the digitalization and virtualization scenarios that we live in today. All this determines

not only different strategies in the relations between the areas of production, reception

and consumption, but also connections between concepts such as original and copy

that had not been visited until this time. What follows is therefore a theoretical

approach to the necessary reformulation of monolithic standards in the arts, a critique

of originality.


Originality; copy; multiple art; hyperreproducibility

DOI: http://dx.doi.org/10.17583/brac.2015.1567

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