SWEET COLUMN: Contemporary Conceptualism

Elena Trayanova shares her love for the art style known as contemporary conceptualism.

Elena Trayanova
19th February 2018

In the reality of 2018 with all of the social, political, economic, and all other kinds of controversies, people have felt the need to creatively express their feelings, thoughts and opinions.

It is quite inevitable for major global events to become a part of our personal lives and for everyone to feel prompted to try hard for their voices to be heard. Contemporary conceptualism is a significant part of today’s art culture. It is the idea that the creation of and the concepts behind the art are just as essential as the artwork itself and play an important role when it comes to the artwork being criticised.

It is a highly significant concept in times when political, social and cultural hierarchies need to be approached and confronted.

Conceptual art can relate to so many different disciplines a lot of people are concerned about and affected by, it could serve as the voicing of a personal opinion, a representative of the ideas of a certain community or even as the mouthpiece of a movement. It is a highly significant concept in times when political, social and cultural hierarchies need to be approached and confronted. It goes to show that art can be, and is vocal about important issues that concern everybody.

In that way, through art people can participate and be socially active, they can use their biggest strengths in order to move the world closer to a positive change. Contemporary conceptualism and its spreading popularity also put pressure on many artists to engage in such universal conversations in order to “stay relevant” in their spheres.

However, art being involved with ideas and discourse that is relevant to a lot of people also draws more attention to art as a broader concept and entices the interest of a larger audience. It is important for art to not stay neutral and voiceless in times when every display of opinion can make a difference.

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