A dimensão ética no trabalho artístico de DamienHirst

Abstract

Damien Hirst is a “fool” as Nietzsche defined it. And with his immoral and amoral “foolishness” he became the most expensive living artist ever. Each step, he transgresses the barriers stipulated by a society that constantly points its finger out at him.
In this article, we highlight two main points in Hirst?s successive artistic victories: the use of dead animals in the construction of a fascinating abject art and the parodistic dimension of his plagiarism. We analyze how the “fool” hovers above moral rules and consequently reaches a great impact on markets. Abject and horrifying dissolve themselves in sublime and pleasurable. Human values mean nothing in a context within the objective is to call a vast public?s attention so that the artist may survive in a capitalized world.