Galéria 2. [antikvár]

fi", ,'!>| INTRODUCTION The substance of a work of art resides neither in Its style nor in the historicity but in its own laws which create a reality of a work of art qualitatively different from its theme and from its way of presentation. We can illustrate it clearly with insitie art, too. Here, we are concerned with a creation highly individualistic, unhistorically personal. At the same time, insitie creation represents, as any art, some basic human experience and activity and has a deep human content. It is a special form of the return to nature, to the emotional region. It revives our sense of the direct "naive" view of the world. It reminds us of the emotional spontaneity of our childhood. It is, in fact, a vision and image of a harmonic, ideal world devoid of sharp conflicts of our age. Insitic art is then one of the manifestations of revolt against the hypertrophy of technical civilization, against a mechanized way of life. At the same time, it reveals that the fine art creation, able to perceive directly the common daily reality and develop it into folk phantasy, can in the future work as a valuable antipode of the modern art struggles, as a reviving stimulus of its development. This plea of insitie art wants in no way to disqualify other conseptions of contemporary art directions. The insitic art region has conquered its own position in the history of art and, undoubtedly, enjoys an increased interest. In spite of that, as a discipline of research of artistic insitic creation, it is a relatively young discipline. There exist relatively few systematic theoretical works. The active help with the development of the fine art theory consisted of mainly individual activity of separate theoreticians. Here, it is necessary to appreciate the inciting studies by Nikol Michailov and later on by Mico Basicevic, both being valuable contributions to insitic art. The publication by Oto Bihalji-Merin The Naive View of the World Is methodically based on rich induction, it is a sequence of concrete observations of this art In various countries and, at the same time, it brings synthetic generalizations. The monographs by Anatol Jakovsky and other theoreticians defended and accordingly evaluated this art. An important point in the insitic art theory were the first two international symposia (September 21st-23rd, 1966 and September19th—20th,1969) which took place on the occasion of the 1st and 2nd Triennial of Insitic Art in Bratislava. This international professional forum drew on the widespread confrontations of fine art works from the whole world at various triennials. The task of the Symposium was an attempt at the limitation of basic notions in this field, to clarify the connections among the related fine art fields and to determine the insitic art position in the contemporary fine art creation. Naturally, the definite evaluation of the results of congress discussions lack the respective temporal distance. But it can be said that both symposia fulfilled their tasks. They have strengthened and deepened international scientific connections and they have incited the first creative exchange of views on insitic art issues. The symposium discussions were not official, but they were the days of study discussions, where a whole complicated complex of questions in this field arose. The extent of this field is very wide. The common interest in fine art creative values connects it on the one hand with aesthetics and the area of axiology in general, on the other hand, it transcends into specialized sciences. The intention to recognize It artistically connects it with noetics, the intention towards the creative process connect it with psychology, the research of social conditions with sociology and, last but not least, with etnography. The solving of these problems was connected with various methodological processes and view systems. Considerable discrepancies were arising at the unification of terminology. Each theoretician was using his own terms, various terms having slightly different meanings. At the symposium the term "insitic art" was used for the first time Namely, we deal with a wider formulation than mere "naivety", with a more precise term for a whole group of associations, suitable for their polysignificant character. During an open and sincere discussion, In which various standpoints were being clarified, many inciting thoughts