جستجوی مقالات مرتبط با کلیدواژه "postmodern" در نشریات گروه "هنر و معماری"

Postmodern art became art to deconstruct the hidden ideologies of the discourse of power for socio-political purposes, such as the struggle against the masterpieces of art, against heroism, against gender discrimination and racism. In this period, a broad effort was done to address social issues and problems concerning inequalities related to class, race, gender, and ethnicity and... to people involved with these issues. This critical content chose different ways of expressing itself; from a realistic presentation to a copy, an eclectic work, ironic references and “Appropriation" works of art that at first glance is accompanied by humor and parody. Appropriation means using or adapting pre-existing works of art and borrowing them to create a new work. At this time Appropriation for a specific purpose was an action that could not be avoided in the postmodern-centered state of contemporary art. The 1960s saw the emergence of a process that allowed artists to adapt and self-create other artists' works without modification or by slightly modifying or inserting parts of other people's artwork into their own, with the goal of substituting their own voice for another voice, thus opening a new meaning instead of the previous one. Since then, art of Appropriation has peaked in the 1980s, and today the widespread use of image capture in the creation of works of art has become commonplace. The contemporary era seems to have introduced artists to the world who were eager to reinterpret and re-represent these paintings in order to expose lesser-represented cultures and elevate excluded minorities to the center of discourse. Since the late nineteenth century, African American artists, with a return to the historical past and the use of black heroes and their epic and revolutionary ideas, and under the influence of political and social events, with their works of art to fight against racial colonialism. And painted a bright future for the black nation. But today's art is different from what we know as black art in the second half of the nineteenth century and the first half of the twentieth century. This study, in order to answer the question of the role of images in deconstructing aesthetics and deconstructing the power structure, focuses on postmodern art and critically analyzes the works of African American artists on the subject of "Appropriation" of famous works of art history. Consequently, among the goals of artists in this way of representation is to focus on excluded minorities, to emphasize the fine arts as something beyond nationality and race, to create a counter-narrative, to deconstruct the power structure, to empower blacks in culture. This research is based on descriptive-analytical method, and data collection is desk-based.

The effect of the attitude and currents of postmodernism in all fields, including architecture, has been studied and paid attention to by researchers. In this era, the combination and mutual influence of fields such as philosophy, psychology and linguistics on architectural theories has caused the formation of new perspectives, but so far, less research has specifically addressed the relationship between the field of design process and postmodern theories. On the other hand, in the postmodern era, with the strengthening of semantic theories and its influence in architectural theories under the title of "linguistic paradigm", attention was directed to the architectural concept. Based on the above necessity, the aim of this article is to strengthen ideation in the architectural design process and tries to compare the two by explaining the models of the design process and the paradigms of the postmodern era, and by emphasizing the simultaneous emergence and formation of these ideas that play a fundamental role In the process of architectural design, provide methods. This research is of a qualitative type and is based on the study of written library documents, review of previous books and researches, and then their description and analysis. The theoretical foundations of the research include the philosophy of postmodernism, theories and models of the design process, and finally the paradigm of linguistics. Logical reasoning method has been used for comparison and conclusion and the findings of the research are presented in a graph. The results of this analysis show that paying more attention to the paradigm of linguistics can help to strengthen semantics in the architectural design process and, from this point of view, lead architecture to greater conceptual richness.

Understanding modern tragedy and post-modern drama and its aesthetic transition requires historical and genealogical research. The evolution, metamorphosis and metamorphosis of tragedy from ancient Greece to the modern and post-modern world begins with Aeschylus, Sophocles and Orpides. After that, this historical process should be followed with Greek comedians such as Aristophanes and Menander to Seneca, Terence and Plautus in Rome, and in a transitional period from the Middle Ages to William Shakespeare and romantic dramatists and Lessink himself. The modern world is also connected with playwrights such as Ibsen and Strindberg, who became the foundation for the developments of the next generations and started a revolution in the world of drama. The historical evolution of tragedy and its conceptual transformation into tragic element in modern and post-modern era shows itself with the playwrights of Europe and America. The analysis of this transition period and the aesthetics of tragedy as an intellectual and philosophical phenomenon in explaining its nature; It is especially important in modern types of tragedy and post-modern drama. This conceptual and content transition, which was reflected in the plays, led to the emergence of post-modern dramatic literature. At this time, new tragedies; It is known with playwrights such as Eugene lonesco, Bertolt Brecht, Samuel Beckett, Heiner Müller and Harold Painter in Europe, Eugene O'Neill, Arthur Miller, Tennessee Williams, Edward Albee, Sam Shepard, David Mamet and August Wilson in America. European and American playwrights had a major contribution in expanding the boundaries of dramatic literature and drama writing techniques in the world today, the development and stability of modern tragedy and the transition to post-modern drama writing, and they played an important role in the emergence of philosophizing and contemporary dramaturgical thinking.They played a fundamental role .

Recognition and analysis of the works of contemporary architects in Iran is of particular importance, in this regard, the concepts of the influence of Western architecture on the thought of Iranian architects and the evolution of modern, modern and postmodern styles and the differentiation of each of these styles have a significant impact on the recognition of the works of architects such as Nader Ardalan. Reviewing the works and thoughts of Iranian architects in the post-modern period indicates the existence of an attempt to find the relationship between the architecture of Iran yesterday and today. The most important goal of this article is essays about the vision of Nader Ardalan as an author architect based on the characteristics of post-modern style. With the assumption that the vision of Nader Ardalan in the works left by him has an impact on Iran's post-modern style, in this research, it will answer the research question with a comparative research plan. In this paper, first the postmodern style has been studied, then Nader Ardalan's works have been analyzed according to the postmodern style, and some features are considered according to the Jenks table including ideology, style and design idea, and finally similarities of Ardalan's works with postmodern features have been analyzed. The research results of his works show his adherence to tradition in spatial arrangement and organization of volumes and forms. It can be said that most of Nader Ardalan's works have features of postmodern style. In terms of purpose, more traditionalism and historicism of the climate can be pointed out, and in terms of design ideas, the use of traditional Iranian architecture pattern and the use of rectangle, square, and central courtyard elements.

In the last half-century, the postmodern approach has received much attention in the world. During this era, the role and power of the people have been increased in determining their own destiny. Postmodernism has been the dominant and influential cultural situation, especially in the society of Western countries, but its aesthetic subjects are ambiguous. Postmodern thought denies reality and the truth, therefore it negates the existence and intrinsic beauty. Postmodern thought declares meaningless of human insight and knowledge, thus it doubts human judgment and intellectual ability. As a result, postmodernism is in fundamental conflict with the two major theories of ontology and epistemology. It does not offer any confirmed or convincing solution for aesthetic criteria and pays more attention to the content and influence of the context.Pluralism, as known principle of postmodernism, for multiple viewpoints and selections means paying attention to the popular culture and public demand. Popular culture is considered the spiritual heritage of ethnics and nations, which is still stable and alive. The objectivity of popular culture can be the creation of popular arts that have public acceptance and effective communication with most people.Advertising graphic design flourished in the postmodern era and with the objectives of: attracting attention, effective messaging and advertisement durability in the audience's memory has created many applications for itself. The common aspect of postmodern thought, advertising graphic art and popular culture concentrates the domination of the "popularity". Previous research has identified some features of the postmodernism and its specialization in art, visual arts, painting, and even graphic art with their own terms and interpretations by recognizing and analyzing related theorems and referents. There are many commonalities and sometimes differences in the identification of features, but none of them have attempted to analyze the "popularity" paradigm, elucidate aesthetic criteria, and then enumerate characteristics for specific application in postmodern arena. Therefore, by gathering the valid information, the achievements of "popularity" have been identified by qualitative and descriptive-analytical research methods and deductive inference. All research findings are enriched and verified by interviewing with the related experts."Popularity" is itself based on public interests, benefits and consensus and is rooted in popular culture. As a result, the creation of advertising graphic designs with "popular" preferences can have more chances to be "seen" and "prominent" among the target audiences. Thus, the most important characteristics of "postmodern advertising graphic design" based on "popularity" can be recognized by the homogeneous interpretations as: deconstruction (structure breaking, strange and unconventional, conceptual assembling), allegory (metaphor), pluralism (any multiple aspects) and eclecticism (mélange, composition, intermixture), benchmarking (copying, making its own), traditional motifs and nativism, celebrity (famous people), nostalgia (past remembering), excited (sales promotion), promotion of anti-consumption (denial of consumerism in the industrial world), simulation, hyper-reality (exaggerated) beauty, emotional, ambiguity (amphibology, skepticism, teasing advertising), humor (refreshment, ridicule), and symbolism (branding ad). Finally, analyzing the benefits of "public consensus" and the challenges of "opinion engineering", the "popularity" paradigm has been determined for postmodern the new aesthetics.

Metafiction is one of the methods of postmodern literature that entered Western fiction writing in the 1960s, and its first signs were seen in Tristram Shandy 's novel by Laurence Sterne in the 18th century. The success of postmodern literary genres such as metafiction led to their entry into the field of cinema, and many screenwriters and directors were inclined to use these techniques. In recent years, Iranian cinema has also tended to produce more works with a postmodern approach. Considering the importance of studying postmodern art in the field of cinema and the tendency of artists towards new techniques, this research tries to explore postmodern approaches, especially in the field of metafiction with the theory of Linda Hutcheon, in the 1390s of Iranian cinema on the two films “A Dragon Arrives!” Directed by Mani Haghighi and “A Hairy Tale” by Homayoun Ghanizadeh. The research is descriptive-analytical and the film content analysis method is used based on library sources. The main feature of metafictional works is the contradiction in their narration. This paradox means that the author of the story must constantly convince the audience that they are reading or seeing a work of fiction (imaginary) and on the other hand, he must make the audience believe this work of fiction. Short circuit is another feature of these stories that the writers allow themselves to enter into the narrative and be with the audience and its characters. Intertextuality is also one of the things that can be traced in all postmodern literature, including metafiction. Mani Haghighi in the movie “A Dragon Arrives!” tries hard to create a real and imaginary situation for his audience based on Linda Hutcheon 's historiographic metafiction and by entering the story as a writer himself, he changes the process of narration from documentary- like truth to a fantasy police movie. In his first cinematic experience, Homayoun Ghanizadeh also tried to use the characteristics of metafiction in the movie “A Hairy Tale”, taking into account postmodern narratives in theater and literature. The characters of the film are constantly going back and forth in different intertexts, and the border between reality and fantasy is blurred in the barber shop scenes. Postmodern art is one of the most important approaches in contemporary art, and studying and knowing their elements will help writers and directors to create better narratives.

Human history shows that man has always sought to establish such a society in which all affairs are according to the will and desire, a society in which there is no mention of oppression and discrimination and no traces of war and conflict. Not a trace of ignorance, poverty and disease. This perfection has constantly occupied the thoughts of some thinkers and reformists and has forced them to design an ideal government that will achieve the above ideals. Such a society is called Utopia in European language, Utopia in Arabic language and Utopia in Persian culture. But utopian ideas or utopian ideals have always been criticized from different perspectives. This research, with descriptive-analytical as well as interpretive-historical research method, has examined the roots and intellectual origins of utopian thoughts with a critical analysis approach of utopian in the post-modern era and the nature around it. The results of this research show that utopian ideas always lead to the improvement of architectural quality and the quality of life, and the postmodern utopia achieves its main goal by emphasizing social aspects and influencing society through architecture and urban planning.

Postmodern movement emerged in the 1960s as a reaction against modernism, the most important differences which distinguished it from previous periods were its attitude to the reality and critical attitude towards the certainty of science and truth. In this view, reality differs for individuals and is determined by the perception, culture and language. In this view, each person's perception of reality is the product of his attitude to the life, so the existence of an absolute reality is rejected. Postmodern culture does not represent a systematic and pervasive theory because every individual or culture measures reality in its own way; so they can be understood by their own criteria, not by a standard and objective one. People also use language to construct their inner realities, so each person's words and manner of speech reflect the internalized realities and their perceptions of reality. Based on what has been said, deconstruction can be considered one of the most important postmodern manifestations that has influenced not only on aesthetics discourses but also in the sciences such as psychology in the last three decades of the twentieth century. This approach seeks to eliminate and abolish universal principles and emphasizes diversity, plurality, differences, contradiction and relativity. Accordingly, postmodern psychotherapy also came under the influence of postmodern philosophy. Social constructivism is a postmodern view of therapy that believes reality is not outside to be found; it is built within each of us and socially constructed through the interaction of culture, perception, and language. So everyone is personally and actively involved in making his own reality. The purpose of this paper is to study and investigate the impact of the features proposed in postmodernism on postmodern art therapy in an analytical and theoretical way. The main question is to find in what extent postmodern art therapy is related to the concepts in postmodernism. In this study, it is assumed that the concepts discussed in postmodern philosophy are specifically applied to the postmodern art therapy. The results of this study confirm that the deconstruction of social structures and internalized narratives, the importance of multiple realities, the importance of social aspect of art, group and discourse-based activities, pluralism, the importance of audience interpretation, the use of metaphor and etchings as well as the use of different medias in creation of artworks are among the most important features that have been introduced and applied in postmodern art therapy. Postmodern art therapy began as a means of combating social conditions, with the idea that individuals are influenced not only by their childhood experiences in the family, but also by culture, ethnic, race, gender, politic and other issues in the life. In this context, art was used as a means of expressing multiple realities to establish mutual discourses and communication as well as identifying and eliminating the dominant narratives of life. In this way according to post modern art therapy all people have the ability to lead their own lives in ways that are both satisfying and socially productive.

Problem definition: 

Comparing the concept of artwork in both modern and postmodern periods, the present study deals with the effect of these two currents on the museumization process of the work. The questions of this research are as follows: Given the vastness of the contemporary art field and formation of conceptual art with various materials, what are the criteria for selecting an artwork in contemporary art museums and how social conditions and artistic discourses such as modernism and postmodernism affect the museumization of the work?

The aim of this study is to propose specific criteria for the selection of artworks in contemporary art museums and the research scope includes the works in the field of visual arts.

The current research has been conducted based on a qualitative approach, and the results have been presented in a descriptive and analytical manner by comparing the concept of an artwork in the modern and postmodern periods. The data collection has been also performed using library resources and databases.

The art museums play an active role in the satisfaction of people as well as the global attitude towards art. For this reason, they should have obvious criteria for selecting artworks and defining the masterpiece of their collections. According to this points, museums, along with the artists and museum owners, should involve the socially active groups such as art teachers and sociologists in order to compile and define the art work and set policies for selecting them according to the subcultures with the participation of socially active groups such as art education professors and sociologists, and also contribute to the development of these cultures and not compare them with professional artists with the aim of strengthening indigenous cultures and preserving their values.

The novel and the performing arts can be considered as two comparable systems that often have similarities in narrative features. The aim of this study was to recognize how movies used narrative methods and techniques in conveying meaning to the audience, based on postmodern literary theories; and it tried to answer this question: Which of the postmodernist literary expression techniques that movies used to convey meaning? Interdisciplinary researches (literature and cinema) are necessary, which shows the closeness and similarity of these two artistic systems. This developmental descriptive-analytical study compares two different systems of literature and cinema. information was collected through library searching and sample movie viewing (Inception, 2010, Christopher Nolan). The data have been selected purposefully from the actions and dialogs. The information has been compared with the techniques that used in postmodern novels and has been analyzed and interpreted qualitatively. Our finding showed that the narrative structure of “Inception” was almost liked to the postmodern novels with at least eleven narrative features of postmodern novels that have been used to convey meaning to the audience. Implicit to “Memento” and anachronism were the most important postmodernist feature in the “Inception”. The film consciously merged reality and representation and created a vicious circle in the viewer's mind. Simulation in the Jean Baudrillard theory, manifested itself in movies and signs were no longer a reflection of reality. Short circuit to closing the gap between the real world and the fiction was another feature of the narrative that used in postmodern movies. Presence the dead character such as “Mal” and its relationship to the living was similar to the phenomenon of short circuit in David Lodge 's theory. The principle of contradiction, can be manifest itself as a conceptual and visual inconsistency in the movies like novels. The conversations between Sative and Dammkab at the end of the film was the example of contradiction in the "Inception". Although only brief moments have passed, but the effects of aging can be seen on the faces of both characters clearly. Used the Freudian psychoanalytic theories has been effective in deepening the human characters of the story and example of bricolage in “Inception”. Attention to subcultures and cultural eclecticism was very important in the postmodern novel, which was presented as the abolition of racist and patriarchal in this film. In fact, this phenomenon indicates the emergence of “Pluralism” in the postmodern world and collapse of “Centrist” in modern thought. Unexpected changes in camera angle, distortion and metamorphosis of image in “Inception” were the examples of the language disorder in postmodern novels. According to the content of the story, in some scenes of the film, the lack of attention to gravity is evident. Demonstrating the inability of human beings to penetrate to the deeper levels of dreams indicates the collapse of metanarratives in the fourth level of dreams. Like the postmodern novel, the film constantly reminds the viewer that the story and film are artificial. Planting an idea in the human mind was an example of the collapse of values in this film.

One of the most important features of postmodernism is a return to the past and the deconstruction of its literary and artistic texts. It is on this basis that many contemporary postmodern artists have created texts having their takes and adaptations from past works. Behzadchr('39')s painting "Harun the Caliph in the Bath", depicted for the Timurid version of Nezami’s Khamseh (Pentalogy), is a text interpreted by contemporary postmodern artists Soody Sharifi and Claudia Palmarucci, with both of them having created their adaptations. This has caused textual and discursive associations between Behzadchr('39')s painting and works of Sharifi and Palmarucci despite them stemming from different discourses. The present paper is a discursive study of these texts and their interdiscursive relation.It tries to answer the questions of what discourse each of these texts reproduce, and what is the interdiscursive relations between them? The research is descriptive, analytical and comparative and is based on the discourse analysis model of Fairclough and the interdiscursive approach. An extra-textual and discursive study of these texts showed that they reproduce three discourses: those of past mystical-Islamic, cultural-critical (of Iranian-Islamic culture) and contemporary cultural-European; and thatthe three topics of the artist’s nationality and his/herhistoric background, cultural and artistic traditions, as well as the society and the context of producing the text, have played important roles in shaping the meaning of these texts, their links and their discourses.

The modern city cannot be conceived without its pro ductive role and the postmodern city without consid ering its consumption role. Consumption is at the ideological core of the contemporary city, and one can thus say that the contemporary city is experienc ing a transformation that is comparable in scale to the industrial revolution. Nowadays, consumption is the main tool and force of economic and social change and an essential element in the construction of urban spaces; it also plays a vital role in shaping the identity and lifestyle of individuals. In the postmodern city not only goods and services but also public and semi-pub lic spaces are consumed, and the consumption role has become so pervasive in all aspects of the city that it has become an integral part of postmodern urban life. As such, one of the new and noteworthy features of the postmodern city is the consumption of urban spaces and places and the key role of design in this process, the examples of which are clearly visible in the Iranian city. A glance at the contemporary Iranian city shows its move to integrate with the global con sumer economy and society and its capitalist system. However, the application of consumption theories in Iranian society with regard to the particular Iranian-Islamic cultural context must be exercised with cau tion because cultural values play an important role in consumption patterns. Accordingly, it is necessary to examine the characteristics of the cultural consump tion of the city and to explain the components and dimensions of the Western and Iranian consumer city in the postmodern world. In this study a realistic ap proach and comparative study method is used to ex plain the consumer city in western culture and compare it with Islamic culture. To achieve the cul tural study components of the postmodern city (com paring criteria), Lefebvre’s three-dimensional analysis of the production of space was used as the primary model (Lefebvre described perceived, conceived, and lived space as three dimensions of Social space which has dialectical interrelationships). Then, cultural con sumption study framework of the postmodern city was extracted from the above model. Based on the above framework, the study of cultural consumption in the western city is conducted and then finally based on the credit theory of Allameh Tabataba’i (the late Allameh, unlike many others, credits a part of cul ture to the non-human, fixed and other parts of na ture,  which, depending on the temporal and spatial necessities of existence, are considered to be variable. In other words,  part of culture is considered human and universal, and parts of it are deemed social, his torical or temporal). The above components have been explained in Islamic culture. The results of the study show that the consumption-oriented Western life is based on self-interest and encouragement to consume more (in order to preserve the survival of the capitalist system), while in Islamic culture and teachings the collective interest takes precedence over the individual. Therefore, since the culture and the city support one another, the Islamic city will need its own urban space for community excellence.

However there are differences between postmodernism and critical theories in their origins, they seek common areas in society criticism. The critical theory is a social theory provided in order to criticize and transform society against the suppression and oppression situations. In addition, the critical theory is used to indicate the power relations in cultural framework which attempts to reach a self-criticism: addressing such self-criticism requires polyphony, and indicated the self-structure. On the one hand, the postmodernism criticizes the modernity in all aspects. The outcome of this shared viewpoint is critically formed in postmodern committed art which is reflected in art with sociopolitical theme and entails marginalized areas such as feminists and black arts. The postmodern critical attitude toward modernity as well as critical theory in society criticism provides a flow of consciousness to revise the social state which is reflected in art. Therefore, the main goal of this research is to study and compare social criticism aspect of critical theories in Frankfort School with the socio-political subcultures art after 1960s which is formed in postmodern discourse and both are addressed in line with social consciousness. Therefore, adapting the postmodern art critical procedure to the critical theory, it is assumed that critical art seeks the social justice by making social awareness for education which is investigated by contemporary art discourse studying. The social criticisms of social justice which follow the philosopher and scholars’ idea witnessed the dislocation in orientation of theories toward artists based on the displacements of paradigms in early 2000; that is, art attitudes and thought patterns which are particularly addressed in opposite manner with power and authorization system varied from the 2-D imaginative arts space of conceptual and installation arts. Therefore, it is necessary to investigate the art recognition as a part of social effectiveness and awareness. The basis of critical analysis on art works in sociopolitical dimensions is the critical theory. This research introduces critical arts in socio-political arena as the main reason for change of social awareness in postmodern age by providing an analysis on this theory. The results can be explained based on art examples analyses in social area using the sociopolitical expressions as: the critical art is the reflection of critical theory in sociopolitical attitude and political art area following which yields the art social and contradictory expression with postmodern characteristics among which the opposite voice via awareness for social justice by deconstructing the power structure in postmodern discourse can be fully mentioned. In addition this process has been changed to social manifests in contrast to political hegemonic systems and power criticism by socio-political positions as a critical form and art in executive forms. Therefore, postmodern art is a set of social actions among the network systems which form awareness on society and subsystems and are completely comparable to the critical theories based on which the art ideas and though patterns as particular oppositions to power and authorization system in this discourse are formed.

Having started decades ago, what is transpiring in the sculpture sphere is of such a varied, plural, uncanny, and paradoxical nature. This goes insofar as not only is it impossible to tell genuine from the impure, but also it is not easily possible to trace attributes shared by all the phenomena and then to define the contemporary sculpture or to outline a certain value or hierarchy system for it. The only term that can be safely used today to describe works of sculpture is “uncertainty”. Featuring scattered, relative, personalized, commercialized, market-oriented aesthetics, post modernism is an art form of altered functions whose nature and identity are constantly changing. Definition of the essential and the art is not possible anymore. In other words, concepts like centralized aesthetics, purity, consonance, harmony, coherence, and ideal beauty have all been faced with disagreement in the temporary art, and this issue is in direct connection with today’s sculpture works. Nowadays, the term “sculpture” encompasses a much wider span of works. In fact, upon the emergence of post modernism, all the criteria that were once the essential conditions of a sculpture, like solidity, uniqueness, being an object and being bound to a particular location for display purpose, were deemed unnecessary.  What is transpiring in the sculpture sphere today is so varied and paradoxical nature that it is impossible to trace attributes shared by all the phenomena. The present study is an attempt to identify the approaches prevailing in sculpture since 1980, and to analyze the theoretical foundations and intellectual origins of such approaches as well as the expressive forms and implicit concepts of contemporary sculpture. The main questions are the following: What approaches does contemporary western sculpture advocate? What are the fundamental principles and attributes of the approaches in question? What are the similarities and differences between these approaches? The main objective of this study is to examine the main characteristics and developments of the contemporary sculptural approaches in order to reach an integrated order of this category. This would in turn help with the extraction of features to achieve a unified viewpoint regarding the contemporary sculpture.  Thus, given that the features of postmodern art have not yet been organized as for their influence in the contemporary sculpture, it is deemed necessary to probe into the issue. The reason is contemporary pieces of sculpture attempt to break away from the arbitrary boundaries set in the modern era. They are not willing to surrender to the purism and feigned confines of the modern era. This is why contemporary sculpture is defined in a far wider domain, and is more varied in the material, techniques, methods, etc. Therefore, it would be of help to identify and outline those features used to distinguish the works of contemporary sculptors from those previous eras and especially modern epoch. This way, a more profound evaluation of this art form would be feasible. A descriptive-analytical approach has been employed to analyze the form and content of sculpture from 1980 to 2000. To this end, the author has introduced the works of prominent sculptors of the mentioned period in the categories of 1.Figuration 2.Abstraction 3.Objectivity and 4.Place-structuralism. Characteristics of each approach are then analyzed.Findings of the research indicate that contemporary sculptors adopt resort to a variety of approaches and work with certain concepts and ambiance to express the fundamental assumptions and experiences of the time. They aim at elimination the extant general sensitivity towards the function of sculpture and redefining this function. The inclusive focus of their works on various approaches doubts the artistic, modern self-sufficient pieces of sculpture once appreciated as a “sublime” commodity. They employ different sculptural approaches to reflect dynamic experiences which are often mysterious, and feature narrative qualities and allegorical and personal expressions. All in all, "pluralism" in the application of fuzzy and heterogeneous methods, "eclecticism" in the combination of various materials and objects, and "text extroversion" of the work as a platform for the artist to present their desired content and concept, and “individualism” evident in the use of the artist’s personal style and self-awareness are the highlights of contemporary sculptural creations. Eventually, being “subject-oriented” was recognized as the common point shared by all the aforesaid approaches.This would per se bring about plurality in the form and concepts, eliminate hierarchies, put the content before the form, communicate a message, consider the issues of the day, apply new media and advanced technologies in the creation of items, widen the cultural span emerging in the works, address more general audience, and bring new media into the platform of sculpture in the form of installation art, architectural sculptures, etc., which would eventually alter the modernist definitions of sculpture. In fact, the notion of  being “content-oriented” as the common point of all contemporary sculpture styles makes it possible for the sculptor to find inspirations in their immediate environment and express national and racial issues, boundaries, and social norms in the form of their individual concerns. Thus, racial, cultural, religious, and sexual minorities are using sculpture as a tool to voice their beliefs and to showcase their constraints. Consequently, given the plurality of the perspectives ahead, the contemporary sculpture is going through varied experimentalism in order to reach a novel expression.

It seems that providing a comprehensive definition of contemporaneity, despite the multiplicity of meaning in a multi-dimensional world, is a vague subject. In defining this word, some researchers contemplate only being present, (belonging to or occurring in the present or a person or thing living or existing at the same time as another) and the other group transcends of this definition with a different definition of contemporary, and defines contemporaneity in the concept of extra time. Addition of contemporaneity to artwork requires, above all, the answer to the fundamental question whether the contemporary period is essentially a certain time period of the art of a land, with all the works related to that period, or the contemporary word, only on works which are consistent with its examples. Sometimes the implications of the new aspect are transcended and the circle of belongings transforms the word. In the use of the word of contemporary with means of (at a time) all the works created at the present time are considered contemporary. But when we use contemporary with means of (with time), everything that is capable of recording and expressing the components of the present is contemporary. In this case, the mere existence of the form loses its fundamental importance, and the content of the work, insight and manner of presentation by the artist can make the work in any contemporary period of time with the current time. Here, time is important in one aspect, in the audience, and in other aspects, the artist and the work of art, are capable of returning to different periods And this is the concept of contemporary, which is considered as the most practical meaning in this research. Another look at the contemporary notion is an attentive look that at the time no longer matters, and the goals and missions of the artist and his co-operation with these goals, connects him with his contemporary word. If we consider art as contemporary to be capable of expressing the components of the present in today''s language, then perhaps a component of the time is no longer the only pillar and other components are replaced. The study of the theme of various ideas about contemporary and the presentation of a more precise understanding of this unconventional concept, in three semantic interpretations of time (at the time, with time, extra time) in this study are discussed. The research method in this study is descriptive-analytic and the method of data collection is library. According to the results of the research, which, more than other perspectives can be regarded as a rather precise definition of contemporaneity, is the reciprocal view. Based on this view, art works are not limited to being inhabited within a given time frame and may be adapted to the future with their artistic backgrounds. As a result, contemporaneity at the second pole of the work of art, that is, the audience, accepts time, but on its first pole, which relates to the production of the work of art, it does not embrace the time and space.

One of the most essential characteristics of postmodern philosophy involves the abundance of opinions and concepts and the multi meaning and values of definitions that expressively lead to the presentation of relative and uncertain solutions. Uncertainty, as one of the main characteristics of postmodernism, is related to other subsectors of postmodern philosophy such as lack of objectivity, multi reasoning, multi meaning, pluralism and skepticism. Many contemporary artists in conceptualizing uncertainty consider subjects of binary oppositions such as presence and absence, existence and nothingness, stability and instability, etc. as the pivot of their ideas and this approach gradually has changed into a distinctive element in their works. Damien Hirst and Michael Borremans are among such artists. These two artists each have differently expressed the issue of uncertainty. The fundamental question in the current research involves the manner by which the concept of uncertainty is represented in the contemporary artworks through different media, style and artistic approaches. According to the research findings, specifically in the works of the two artists under study, the noted concept has surfaced through different techniques, tools, and media. While Borremans has employed traditional painting media(of course eclectically with history of art, photography and theatre) to express the mentioned idea and Hirst has enjoyed mysterious installations and executions to convey the concept, but conceptual similarities in the works of these two artists such as life and death, possibility and impossibility, realism and fantasy, etc. have been blended and expressed with a certain bitter sarcasm. This research has been conducted as a descriptive-comparative study and the results reveal that creating challenge in the mind of the audience through opposing concepts has led to the expression of the common idea of uncertainty in the works of these two artists.

Many scholars and critics agree that it is very difficult to express and define postmodernism, due to the existence of a patchwork of different views and opinions. This study aims to identify the origin of postmodernism and its manifestation in the visual arts.  Universally known as a form of cultural authority, postmodernism is beyond style or artistic movement. It is a hybrid and contradictory art on one hand, and opposes modernism on the other. It has the word behind it. But while anti-modernism exist???, postmodernism can get rid of the deadlock on the choice and move forward  .Perhaps postmodernism is a type of evolutionary modernism. Or it is a need of human societies today while modernism has lost its function at this point of time. Postmodernism is modern in nature, since, like modernism itself, which has already protested against the tradition before itself, it objects to modernism. The early stages of theoretical and controversial discussions on visual arts in the 1960s and 1970s were called "postmodernity." During this period, thinkers and theorists, after many academic debates, were able to convince many that modernism was captured by its hard laws and needed help to get rid of this situation.  The peak of postmodern art, especially in the field of visual arts in the 1980s, created a major transformation that continues to grow. Its origins are especially rooted in the theoretical and philosophical ambient of France and then other European countries such as Germany, England and Italy.Various events in the political, social, cultural and artistic fields contributed to the creation of postmodernism. In fact, postmodernism is a response to the degeneration and exhaustion of transcendental modernism. Even the late modernism could not save it from the abyss of extinction. Postmodernism is highly skeptical, eclectic, and complex. It can be called transparent trans-modernism or transcendental modernism.  The opposition of the advocates of modernism with postmodernism seems to be unnecessary, because as we deal with many styles, movements and vocabulary throughout history, postmodernism can be considered a historical and commonplace term that addresses various issues and aspects, accepted in today society, domination and authority.  The nullity of modernism in concept and content of its dry and principled frameworks on form, style and manner of presentation, as well as excessive emphasis on elitism, was the result of the distortion of art in the society. Therefore, naturally the artists returned to the portrayal of the human figure and the expression of the content. The figurative art was born in response to abstraction and brought about the reunion of art and society. Perhaps, if the modernist theorists and artists had not acted radically, postmodernism would have never arisen. Postmodernism emerged to prevent the radicalization of modernism and thus, shouldn’t suffer the same problem. That sort of postmodernism that seeks to overcome the problems and deficiencies of modernism, is considered positive and worthwhile, and can help its growth, especially in art. But extreme postmodernism, which even tries to ignore the principles of aesthetics as an integral part of art, is considered to be negative and needs to be reformed. In the event of the continuity of extremism and the failure to observe the basic principles and aesthetics, postmodernists will suffer the same problem of the modernists and will inevitably face post-post-modernism. Postmodernism has become a universal cultural world of shadow, desperation, or unwillingness. We are now living in a postmodern world. From the point of view of art history, modern art in Europe and the United States is merely a formidational evolution of the pop, minimalist and conceptual art and is in fact a new and growing blend of artistic styles previously introduced. In fact, modern and contemporary art of the West should be the heritage of the carnal culture of pop art, the method of presentation and materials used in minimalist art, and, finally, the aesthetic dimensions and the discovery of the artistic background in objects, which emerged in conceptual art. Postmodernism in visual arts, in addition to the use various modernist and classical styles, also makes use of other medias, such as photography, sculpture, theater, video and computer. It is highly eclectic, and in addition to the aforementioned mediums, it technically utilizes a variety of materials and sometimes antagonisms in the presentation of the work. One of the features and solutions of postmodernism in art, especially the visual arts, is appropriation, discourse, spatial characteristics, accumulation, durability, instability and bonding. In this article, the terminology, historical background, origin, theoretical discussion of this term have been addressed e through employing historical and descriptive methods.

In the course of the interrogation of reading, understanding and deconstruction in the postmodern era, the critique of the position of criticism in the achievements of postmodern discourse has a cross-border approach to each other's borders. A negation that addresses invertebrate invertebilities and the method of deconstruction that reproduces the work of art, as well as the deconstructionist approach Derrida proposes, are infinitely multidimensional and semantic in paradoxical contradictions. Accordingly, the question of how the rebellious reproduction of the work of art in the postmodern age corresponds to the concepts of deconstruction and deconstruction, seems to be the reproduction of the monolithic overlapping overlapping of the critical boundaries in the approach of negation and deconstruction and deconstruction To show. On this basis, the present study aimed at studying the dominant discourse in the postmodern period, by analytical method (based on the analysis of dialogue, eclecticism, communicative space, interpersonalism, and descriptiveness), to study the controversial reproduction of the monolithic sign in the postmodern deconstructionist approach Pays The result of the rebellious reproduction of the Monaliza is to visualize the opposites in a paradoxical way, and by destroying texts and opposing meanings to discourses such as this and that, conversation and polygonum in a chain of signs Which produces meaning, because the negation is a critical method, which, by incorporating the works and previous texts, establishes the conversation of being founded on the contradictions that are simultaneously expressed in the attitude of breaking the foundation, Lays down Hence, practices, defamation, deconstruction, and the breakdown of shared deconstructions in contemporary discourse, which oppose dialogism.In the course of the interrogation of reading, understanding and deconstruction in the postmodern era, the critique of the position of criticism in the achievements of postmodern discourse has a cross-border approach to each other's borders. A negation that addresses invertebrate invertebilities and the method of deconstruction that reproduces the work of art, as well as the deconstructionist approach Derrida proposes, are infinitely multidimensional and semantic in paradoxical contradictions. Accordingly, the question of how the rebellious reproduction of the work of art in the postmodern age corresponds to the concepts of deconstruction and deconstruction, seems to be the reproduction of the monolithic overlapping overlapping of the critical boundaries in the approach of negation and deconstruction and deconstruction To show. On this basis, the present study aimed at studying the dominant discourse in the postmodern period, by analytical method (based on the analysis of dialogue, eclecticism, communicative space, interpersonalism, and descriptiveness), to study the controversial reproduction of the monolithic sign in the postmodern deconstructionist approach Pays The result of the rebellious reproduction of the Monaliza is to visualize the opposites in a paradoxical way, and by destroying texts and opposing meanings to discourses such as this and that, conversation and polygonum in a chain of signs Which produces meaning, because the negation is a critical method, which, by incorporating the works and previous texts, establishes the conversation of being founded on the contradictions that are simultaneously expressed.