CASCA, časopis za društvene nauke, kulturu i umetnost CASCA, journal of social sciences, culture, and arts, 2016
Apstrakt
Promene do kojih je došlo tokom druge polovine 20. veka u umetnosti ukazuju na promenu p... more Apstrakt
Promene do kojih je došlo tokom druge polovine 20. veka u umetnosti ukazuju na promenu paradigme u umetnosti. Najopipljivija posledica te promene je relativizovanje kategorija skulpture i slike koje su imale univerzalni i neprikosnoveni značaj i čija je dominantna pozicija dovedena u pitanje pojavom različitih hibridnih formi. Jedan od tih fenomena je instalacija koja je obeležila umetnost druge polovine 20. veka.
Ključne reči: instalacija, prošireno polje skulpture, otvoreno delo, aproprijacija, redimejd, mobilnost, interaktivnost, tehnička reprodukcija, eksternalizacija
Summary
Changes that had taken place in art during the second half of the 20th century pointed to the change of paradigm in art. The most observable consequence of this change was relativizing the categories of sculpture and painting that had a universal and indisputable importance and whose dominant position came into question by the appearance of various hybrid forms. One of these phenomena is installation that became a landmark of art in the second half of the 20th century. Changes that have effected a new perception of art are being observed in three problematic wholes.
Key words: installation, the extended field of sculpture, open work, apropriation, redymade, mobility, interaction, mechanical reproduction, externalisation
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Papers by Maja Stankovic
Ključne reči: digitalne umetnosti, digitalna kultura, savremena umetnost, avangarda, kapitalizam, tržište
Ključne reči: skulptura, objekat, avangarda, neoavangarda, savremena umetnost, medij, kontekst
Promene do kojih je došlo tokom druge polovine 20. veka u umetnosti ukazuju na promenu paradigme u umetnosti. Najopipljivija posledica te promene je relativizovanje kategorija skulpture i slike koje su imale univerzalni i neprikosnoveni značaj i čija je dominantna pozicija dovedena u pitanje pojavom različitih hibridnih formi. Jedan od tih fenomena je instalacija koja je obeležila umetnost druge polovine 20. veka.
Ključne reči: instalacija, prošireno polje skulpture, otvoreno delo, aproprijacija, redimejd, mobilnost, interaktivnost, tehnička reprodukcija, eksternalizacija
Summary
Changes that had taken place in art during the second half of the 20th century pointed to the change of paradigm in art. The most observable consequence of this change was relativizing the categories of sculpture and painting that had a universal and indisputable importance and whose dominant position came into question by the appearance of various hybrid forms. One of these phenomena is installation that became a landmark of art in the second half of the 20th century. Changes that have effected a new perception of art are being observed in three problematic wholes.
Key words: installation, the extended field of sculpture, open work, apropriation, redymade, mobility, interaction, mechanical reproduction, externalisation
to process a large amount of data, accompanied by a visualization interface enabling the presentation of results based on pattern recognition. This is why data visualization has such an important role in analysing a large amount
of data. The question which arises is how can visualizations be applied to interpreting an artwork as a specific piece of “information”, rather than just for just analysing a large amount of data? The thesis of this paper is that one of the ways to achieve a qualitative advancement of interpretation is to connect it with network theory, complement to the methodology of digital humanities, as well as contemporary art.
se otkrivaju uzorci. Time vizualizacija podataka dobiva jednu od ključnih
uloga u analizi velike količine podataka. Postavlja se pitanje na koji se način vizualizacija može primijeniti na interpretaciju umjetničkog rada kao specifične „informacije“, a ne samo u analizi velike količine podataka. Teza teksta jest
da je jedan od načina za kvalitativno unaprjeđenje interpretacije povezivanje vizualizacije s teorijom mreža koja korespondira s metodologijama digitalne humanistike, ali i sa suvremenom umjetnošću.
This could be connected to W. J. T. Mitchell’s statement that the violence associated with public art is not simply an undifferentiated abstraction, any more than is the public sphere it addresses, but it is “encoded” in the concept and practice of public art. Slavoj Žižek also calls this “encoded” violence systematic, symbolic and objective violence – inherent in “normal” state of affairs. In that matter Benjamin’s violence which he recognized in cultural artefacts is normalization of objective and systematic violence in the process of constitution of the tradition, and a policy of visibility within the dominant reality of some historical formation. Systematic and symbolic violence and difference between old fascism and new fascism are discussed and analyzed in relation to some contemporary artworks in public space: Banksy, Maurizio Cattelan and Hans Haacke.
УДК 316.7+7.01 Оригинални научни рад
Ključne reči: digitalne umetnosti, digitalna kultura, savremena umetnost, avangarda, kapitalizam, tržište
Ključne reči: skulptura, objekat, avangarda, neoavangarda, savremena umetnost, medij, kontekst
Promene do kojih je došlo tokom druge polovine 20. veka u umetnosti ukazuju na promenu paradigme u umetnosti. Najopipljivija posledica te promene je relativizovanje kategorija skulpture i slike koje su imale univerzalni i neprikosnoveni značaj i čija je dominantna pozicija dovedena u pitanje pojavom različitih hibridnih formi. Jedan od tih fenomena je instalacija koja je obeležila umetnost druge polovine 20. veka.
Ključne reči: instalacija, prošireno polje skulpture, otvoreno delo, aproprijacija, redimejd, mobilnost, interaktivnost, tehnička reprodukcija, eksternalizacija
Summary
Changes that had taken place in art during the second half of the 20th century pointed to the change of paradigm in art. The most observable consequence of this change was relativizing the categories of sculpture and painting that had a universal and indisputable importance and whose dominant position came into question by the appearance of various hybrid forms. One of these phenomena is installation that became a landmark of art in the second half of the 20th century. Changes that have effected a new perception of art are being observed in three problematic wholes.
Key words: installation, the extended field of sculpture, open work, apropriation, redymade, mobility, interaction, mechanical reproduction, externalisation
to process a large amount of data, accompanied by a visualization interface enabling the presentation of results based on pattern recognition. This is why data visualization has such an important role in analysing a large amount
of data. The question which arises is how can visualizations be applied to interpreting an artwork as a specific piece of “information”, rather than just for just analysing a large amount of data? The thesis of this paper is that one of the ways to achieve a qualitative advancement of interpretation is to connect it with network theory, complement to the methodology of digital humanities, as well as contemporary art.
se otkrivaju uzorci. Time vizualizacija podataka dobiva jednu od ključnih
uloga u analizi velike količine podataka. Postavlja se pitanje na koji se način vizualizacija može primijeniti na interpretaciju umjetničkog rada kao specifične „informacije“, a ne samo u analizi velike količine podataka. Teza teksta jest
da je jedan od načina za kvalitativno unaprjeđenje interpretacije povezivanje vizualizacije s teorijom mreža koja korespondira s metodologijama digitalne humanistike, ali i sa suvremenom umjetnošću.
This could be connected to W. J. T. Mitchell’s statement that the violence associated with public art is not simply an undifferentiated abstraction, any more than is the public sphere it addresses, but it is “encoded” in the concept and practice of public art. Slavoj Žižek also calls this “encoded” violence systematic, symbolic and objective violence – inherent in “normal” state of affairs. In that matter Benjamin’s violence which he recognized in cultural artefacts is normalization of objective and systematic violence in the process of constitution of the tradition, and a policy of visibility within the dominant reality of some historical formation. Systematic and symbolic violence and difference between old fascism and new fascism are discussed and analyzed in relation to some contemporary artworks in public space: Banksy, Maurizio Cattelan and Hans Haacke.
УДК 316.7+7.01 Оригинални научни рад