In the dynamic realm of 20th-century polish art criticism, few figures stand as prominently as Mieczysław Porębski. A distinguished Polish art critic and theorist, Porębski was a pivotal force in shaping the discourse around contemporary art during the latter half of the 20th century. His influential book, The Boundary of Modernity, published in 1965, delves into the artistic philosophies of the preceding century. Among the many thought-provoking ideas he presented, one stands out for its enduring relevance: a situational scheme involving an actor, an audience, and an act of transgression. This framework provides a lens through which we can analyze various forms of art, particularly those that challenge traditional boundaries.

The Actor, the Audience, and the Act of Transgression

Porębski’s scheme, which he introduces in the first chapter of his book, offers a simple yet profound way to understand the dynamics of art. According to this model, any artistic endeavor involves three crucial elements:

1. The Actor: This is the artist or the creator, the one who initiates the artistic act.
2. The Audience: These are the viewers or the receivers of the art, whose interpretations and reactions complete the artistic experience.
3. The Act of Transgression: This represents the act of crossing boundaries, whether they are social, cultural, or aesthetic, challenging the status quo and provoking thought.

This triadic relationship highlights the interactive nature of art, emphasizing that the meaning of an artwork is not solely in the hands of the artist but also shaped by the audience’s perception and the context of its presentation.

Philosophical Underpinnings

At its core, Porębski’s framework is deeply rooted in existential and phenomenological philosophies, which emphasize the fluidity of meaning and the centrality of human experience. The interplay between actor, audience, and transgression reflects existentialist ideas about the construction of meaning through interaction and the confrontation of the self with the other. In the realm of art, this translates to an ongoing dialogue between creation and reception, where each party plays an active role in defining the essence of the artwork.

The act of transgression, in particular, aligns with the existential notion of authenticity—an artist must transcend conventional norms to express genuine selfhood. Similarly, the audience, through their engagement and reaction, partakes in this search for authenticity, thereby transforming the static artwork into a living, evolving entity. This philosophical backdrop enriches our understanding of Porębski’s model, suggesting that art is not just an object to be viewed but a dynamic event that unfolds through the convergence of human consciousness and creativity.

Exemplifying the Framework: Marina Abramović’s Performance Art

One of the most fitting examples of Porębski’s scheme in contemporary art is the work of Marina Abramović, particularly her performance piece The Artist is Present (2010). Abramović, a pioneer of performance art, embodies the role of the actor with striking clarity. In The Artist is Present, she sat immobile in the Museum of Modern Art in New York, inviting visitors to sit silently across from her and engage in a non-verbal exchange. Abramović’s presence is the focal point of the performance. Her act of sitting silently for hours on end, making direct eye contact with each participant, is a profound artistic gesture.

The visitors to the museum become an integral part of the artwork. Their reactions—ranging from tears to laughter, from discomfort to deep connection—transform the performance into a shared human experience. Abramović’s performance crosses several boundaries. It challenges the conventional roles of artist and viewer, blurring the lines between observer and participant. The simplicity of her act—a mere presence—transcends traditional art forms, questioning what constitutes art and where its boundaries lie. Through this interaction, Abramović effectively illustrates Porębski’s model, where the actor (the artist), the audience (the participants), and the act of transgression (the breaking of conventional roles) come together to create a compelling and thought-provoking experience.

The Broader Implications in Contemporary Art

Porębski’s model can be applied to numerous other instances in modern and contemporary art where boundaries are tested and redefined. For example:

• Banksy’s Street Art: The anonymous street artist Banksy frequently uses public spaces as his canvas, challenging notions of legality, ownership, and public versus private art. His works often provoke public debate, engaging a broad audience in discussions about social and political issues.
• Yoko Ono’s “Cut Piece” (1964): In this performance, Ono sat passively as audience members were invited to cut pieces of her clothing. The performance examined themes of vulnerability, trust, and the audience’s role in the act of creation and destruction.
• Ai Weiwei’s Activist Art: The Chinese artist Ai Weiwei often uses his art to critique government policies and human rights abuses. His installations and public performances engage viewers in conversations about freedom, oppression, and the power of art as a form of resistance.

Philosophical Reflections on Art and Transgression

The concept of transgression in art can be further explored through the philosophical lens of Michel Foucault’s ideas on power and resistance. Foucault posited that power is omnipresent and manifests through societal norms and institutions. Art, in this context, becomes a site of resistance where the act of transgression disrupts the pervasive power structures. By challenging the established order, art reveals the underlying power dynamics and offers a space for critical reflection and potential transformation.

Furthermore, the dialogical nature of art, as highlighted by Porębski, resonates with Mikhail Bakhtin’s theory of dialogism, which emphasizes the importance of dialogue and interaction in the creation of meaning. Art, thus, is seen as a conversation—a continuous exchange between the actor and the audience where multiple voices and perspectives intersect. This dialogical process not only enriches the artistic experience but also fosters a deeper understanding of the human condition.

Mieczysław Porębski’s situational scheme of actor, audience, and act of transgression remains a powerful tool for understanding the complex interactions within the world of art. By highlighting the interdependence of these elements, Porębski’s framework allows us to appreciate how art not only reflects but also shapes cultural and societal norms. Through the lens of this model, we can see how contemporary artists like Marina Abramović, Banksy, Yoko Ono, and Ai Weiwei continue to push the boundaries of art, challenging us to rethink our perceptions and engage more deeply with the world around us.

Incorporating philosophical perspectives, Porębski’s insights reveal that art is an ever-evolving dialogue, a space where the intersection of creation, reception, and transgression leads to a profound exploration of authenticity, power, and meaning. This rich interplay not only defines the essence of modern art but also underscores its transformative potential in society.