We call Social sculpture the designed returning of art to society, to a society that is open to the strange influences that sometimes alter the interpretation of the work of art by keeping it alive at a level beyond the “sterile” and “neat” perceptions of the experts, at the level of spontaneity of ordinary people. The challenge of desire is to have art as art, that is, as a catalyst for the change of social reality and at the same time as a center for awakening human authenticity. The multitude of people, the predominant basis of reality, is now required, through an act-communion of aesthetic and at the same time of moral participation, to become active, that is, to regain its lost autonomy as a social and historical subject. The artist has to select critically -that is, philosophically- a level of expression and a kind of “form” that excludes inhuman and dismissive components, aiming at a process of fulfilling human existence.
The deadlocks of the modern world and human suffering are necessities that require the reorientation of art towards a morality of a “human ecology” that trusts the creative ability of all human beings and places the future of the planet on them. Experience has shown that the continuous and contradictory rise of the subject in the West after the enlightenment as well as that of the subjective nature of the so much glorified work means nothing but the dissociation of the artist from the needs of society, resulting in his being sterilized in a closed and gloating universe, whereas the public is limited to a group of “experts” and “eminent”. An art in society has to certainly reveal its pedagogical character, which is, however, not predominantly didactic but rather initiating, denying at the same time an abstract, self-reliant, isolated and isolating role controlled by the socially powerful. What opposes such a control is an art that is spread across the vibrant network of the city where its living entity becomes the social subject itself. When art fulfills its true social role, then its poetic influences, that is, the desire for creation, is magnified. On the contrary, the dissolution of every form of folk art in our century was a crime of imposition, the revelation of the modern totalitarian state.
Regarding the content of such an art, it is understood that the impasse of the rationalist conception of reality, the model of the manipulative practice of modern society and science, conceals the irreducible of human dimension. The aesthetic of denial concerns a social sculpture that consciously establishes a new humane perspective, a consciousness with emotions, a moral philosophy with plastic means. Art should evolve into a moral philosophy provided with a body. A body with consciousness. Denial is introduced here with reference to a rational thinking that constitutes a hubris to the extent that it weakens or excludes basic needs, functions and contents of human existence.
This separation can arise through the regeneration of the primary senses that are present even before the predominance of the concept that puts them in order, through an action of art that addresses the body, the basic processes and expressions of life. It is an art of limiting the unilateral mental principle of identity, which is ultimately a tendency towards death and denies the primary element of life, claiming the principle of generalized control and the “civilized” violence of the symbol. Social sculpture shall be activated in the human body, in its relation to space, in the sense of unintervening and pure time, in the feeling of closeness and contact, in the emergence of the special and unique. It portrays the history and the lived identity man constitutes as a relation to space, time and objects, which are not intangible but tangible, containing the social body of people, as well as the living world of the things that are continually regenerating around us.