Flanerizam kao performativna metoda i motiv u suvremenoj umjetnosti (original) (raw)
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CREATIVITY STUDIES, 2013
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Život umjetnosti: časopis o modernoj i suvremenoj umjetnosti i arhitekturi, 2018
The paper analyses the ways in which selected contemporary artists from Romania, Croatia, and Serbia use the visual language of architectural scale models in their work. After presenting the history of architectural models, the first two parts of the paper focus on artists who use scale models of museums of contemporary art (Zlatko Kopljar, Radoš Antonijević, subREAL, Călin Dan, Iosif Kiraly, Mihai Balko, and Irina Botea). They emphasize the difference between museums of contemporary art in post-socialist countries and the global “power-museums” such as MoMA, Tate Modern, or Guggenheim. The third part of the paper focuses on the documentary aspect of architectural models and relates Lana Stojićević’s works to Hito Steyerl’s concept of documentality. It is argued that the scale models, as architecture itself, are signifiers of the ideologies, politics, and societies that build them. Contemporary artists often focus on buildings that have been changed, revitalised, or destroyed in the transition process, and for this reason architectural models require a deeper analysis when included within contemporary art practices. KEYWORDS contemporary art, architectural scale models, documentary approach, museum as artwork /Croatian/ SAŽETAK U članku se analiziraju načini na koje odabrani suvremeni umjetnici iz Rumunjske, Hrvatske i Srbije koriste vizualni jezik arhitektonskih maketa u svome radu. Nakon prikaza povijesti arhitektonskih maketa autorica se u prvim dvama dijelovima članka bavi umjetnicima koji koriste makete muzejâ suvremenih umjetnosti (Zlatko Kopljar, Radoš Antonijević, subREAL, Călin Dan, Iosif Kiraly, Mihai Balko i Irina Botea). Naglašava se razlika između muzeja suvremenih umjetnosti u post-socijalističkim zemljama i globalnih „muzeja moći” kao što su MoMA, Tate Modern ili Guggenheim. Treći dio članka bavi se dokumentarnim aspektom arhitektonskih maketa i dovodi radove Lane Stojićević u vezu s konceptom dokumentaliteta Hito Steyerl. Ističe se kako su makete, kao i sama arhitektura, označitelji ideologija, politika i društava koji ih grade. Suvremeni umjetnici često se bave zgradama koje su u procesu tranzicije izmijenjene, revitalizirane ili uništene, i stoga arhitektonske makete uključene u procese suvremene umjetnosti zahtijevaju dublju analizu. KLJUČNE RIJEČI suvremena umjetnost, arhitektonske makete, dokumentarni pristup, muzej kao umjetničko djelo
Muğla Sıtkı Koçman Üniversitesi Bodrum Güzel Sanatlar Fakültesi 3. Uluslararası Sanat Sempozyumu, 2019
Sibop (sübap), çeşitli mekanik sistemlerde içindeki akışkanın hareketini belirli bir yön doğrultusunda kontrol altında tutan bir düzenektir. Bu çalışmada sibop, literatürde geçen sübap kelmesi yerine kullanılmış olup, düzenin devamlılığını sağlamak üzere, merkezi otorite tarafından kontrollü olarak düzenlenen geleneksel şenliklerin fonksiyonunu da ifade etmek için kullanılan argo bir tabir ve ironik bir benzetmedir. Buna göre, ortaçağdan modern döneme kadar dönüşerek devam eden karnavallar, bayramlar ve çeşitli geleneksel şenlikler, iktidar veya otoritenin hegemonik yaklaşımlarından doğabilecek kitlesel stresi ve direnci ayarlayan, düzenleyen, yönlendiren/yöneten kolektif pratikler olarak kurgulanmışlardır. Romantiklerle gündeme gelen ve 19. yüzyılda doruğa çıkan sanatın özerkleşmesi süreci ile birlikte, modernleşen gündelik yaşam sanatsal müdahale ile estetik modernizmin belirlenimine girmesini gündeme getirmiştir. 19. yüzyılda karnaval düzenindeki toplumsal alanda sibop (sübap) görevi gören geleneksel formların işlevi; aydınlanma paralelinde sistem araçlarına devredilmiştir. Kapitalizmin belirlenimindeki kültürel yapının estetik modernizm çerçevesinde örgütlenmesini ve kamusal alanın buna göre kurgusunu; Müzeler, sergiler, tiyatrolar gibi onaylanmış eylemler, medya araçları, gösteriler ve sosyal sorumluluk projeleri sağlamaktadır. Bu çağdaş toplanma ve ortak mekanda kültürel kodlar üzerinden bir araya gelme ritüeli, öznenin politik vicdanını rahatlatmak üzere karnaval ve şenlik formunun yerine, modern ikame biçimleri olarak yerini almıştır. Sistem denetiminden bağımsız ve alternatif bir araya gelişleri dolaylı olarak engellemekte olan bu deneyim ve diyalog alanları, 21. yüzyılın postmodern kültüründe yeni sanatsal ifade biçimleri olarak; ilişkisellik, katılımcılık, kolektivizm, aktivizm çerçevesinde örgütlenen yeni “karnavalesk” biçimi kurar. Bu bağlamda metinde yaşam ve sanat ilişkisi ve yararlı sanat pratikleri söz konusu siyasal araçsallaştırma bağlamında değerlendirilmektedir. Sanat tarihinin sosyolojik açıdan yeniden okunması beraberinde, sınıflı toplum yapısı içindeki marksist alt-yapı ve üst-yapı modeline dayanılarak, sanatın özerkleşmesi ve işlevden arınmış modern estetiğin, hangi süreçlerde ne şekilde dönüştüğüne bakılacaktır. Çağdaş sanat örneklerindeki yeni ifade biçimlerinin okunması ve analizinin bu bakış çerçevesinde değerlendirileceği çalışmada, dolaylı ya da doğrudan ehlileştirme yönelimi ve müdahalesinin izleri araştırılacaktır. Buradan gerçekleştirilecek çıkarımlar doğrultusunda, yeni avangardın kurgusu ya da imkânı bağlamında örnek ya da öneriler öne sürülecek ve bunların söz konusu problematiğin tartışılmasına olanak sağlayacak soruları üretmesine çalışılacaktır. Sanatın yeni ifade biçimlerini ilgilendiren ve sistemin sürdürülebilirliğini güvence altına alan katılımcı gösteri pratikleri (yararlı sanat ya da benzer sanat pratikleri) bir yandan sanatın özerkliği sonrasında kurumsallaşması ile birlikte yanılsamalı bir düşünsel ve kuramsal zeminde (postmodernite) sistem tarafından ehlileştirilen örnekleri tanımlarken, diğer yandan tarihsel avangardın açtığı kanaldan, ütopyacı söylemi destekler nitelikte ve sistem karşıtı mücadele biçimlerini mümkün kılarken; başka bir dünya mümkün söylemine dair umut ilkesini canlı tutmaktadır. Sanatın bu sosyo-politik konumunu, neoliberal kültürel-politik düzlemdeki manipülatif etmenler doğrultusunda örnekler beraberinde değerlendirerek, yeni bir avangard arayışı mı yoksa sistem lehinde uzlaşımcı ve araçsallaştırılmış bir tavır mı sergilediği, bu bağlamda avangardların en açık haliyle hayatın yerine koyduğu sanat fikrinin ne şekilde dönüşebileceği tartışılmaktadır. Anahtar Sözcükler: Güncel sanat, çağdaş sanat, karnaval, bienal, yararlı sanat, avangard, sübap Abstract Valve is a mechanism that controls the movement of fluid in various mechanical systems in a certain direction. In this study, valve is an ironic analogy that is used to express the function of traditional festivals controlled by the central authority to ensure the continuity of the order. Accordingly, carnivals, feasts and various traditional festivals, which have been transformed from the Middle Ages to the modern period, are designed as collective practices that regulate, regulate, direct and manage the mass stress and resistance that may arise from the hegemonic approaches of authority. With the process of autonomy of the art, which came to the agenda with the Romanticism and reached its peak in the 19th century, modernized everyday life brought to the agenda the determination of artistic intervention and aesthetic modernism. In the 19th century, the function of traditional forms, which served as a valve in the social space in the carnival order, was transferred to the system vehicles in parallel with enlightenment. The organization of the cultural structure in the determination of capitalism within the framework of aesthetic modernism and the construction of the public space accordingly; It provides approved actions such as museums, exhibitions, theaters, media tools, demonstrations and social responsibility projects. The ritual of gathering through cultural codes in this contemporary gathering and common space has taken its place as modern forms of substitution, instead of the carnival and festivity form, to relieve the political conscience of the subject. These areas of experience and dialogue, which are indirectly impeding the independent and alternative convergence of system control, as new forms of artistic expression in the postmodern culture of the 21st century; establishes a new form of aktiv karnavalesk örgüt organized within the framework of relationality, participation, collectivism and activism. In this context, the relationship between life and art and useful art practices are evaluated in the context of political instrumentation. Based on the sociological re-reading of the history of art, based on the Marxist sub-structure and superstructure model within the class society structure, the process of autonomy of art and the modern aesthetics, which are free of function, will be examined in which processes. In this study, in which the reading and analysis of new forms of expression in contemporary art samples will be evaluated in this perspective, the traces of directing and directing domestication and intervention will be investigated. In accordance with the implications of this, examples or suggestions will be put forward in the context of the fiction or possibility of the new avant-garde and they will be tried to produce the questions that will allow discussion of the problematic. The participatory demonstration practices (useful art or similar art practices) which concern the new forms of expression of art and assures the sustainability of the system, while identifying examples that are tamed by the system on an illusory intellectual and theoretical (postmodernity) system along with the institutionalization after the autonomy of art, on the one hand, the historical avant-garde while it supports the utopian rhetoric and the anti-system combat modes; another world is keeping the hope principle about possible discourse alive. This socio-political position of art is discussed with examples in the neoliberal cultural-political level in terms of manipulative factors, and it is discussed whether it is a new avant-garde quest or a mediated and instrumentalized attitude in favor of the system. Keywords: Contemporary art, carnival, biennial, arte util, useful art, avant-garde, valve
14th Belgrade International Architecture Week - Catalog , 2019
Prvih decenija po završetku Drugog svetskog rata, zemlje širom sveta beleže ogroman zamah izgradnje u svim mogućim razmerama i najrazličitijim tipologijama. Jugoslavija nije izuzetak – štaviše, zemlja beleži istorijske rekorde u rastu privrede i posledično, ulaganjima u infrastrukturu svake vrste. Istorijske okolnosti na međunarodnom planu dovode do specifičnog jugoslovenskog ekcepcionalizma, koji omogućuje samoupravljanje na unutrašnjem, a nesvrstanost na spoljnom političkom planu – što je stvorilo posebnu klimu za razvoj eksperimenta u arhitekturi koji pleni tihu pažnju međunarodne stručne javnosti od samog nastanka. Danas je ova arhitektura u novom talasu interesovanja i zadobija novu, globalnu popularnost i publiku koja prati stare „veličanstvene ruine“, da li će se i kako rekonstruisati i kako će se u njima živeti i raditi u budućnosti. Međutim, ono što je daleko zanimljivije jeste društvo koje je iznedrilo takvu arhitekturu, i omogućilo pojavu i delovanje niza autora i autorskih timova izvanrednog talenta, a koji su to društvo uprostorili. Mnogi od njih često imaju i vrlo ambivalentan odnos prema zadacima koji su pred njih postavljeni, te načinu na koji se njihovi projekti realizuju, ali ipak uspevaju da iznesu svoje ideje onako kako su ih zamislili. Isto tako, ova generacija arhitekata kroz svoja dela beleži i svakodnevicu društva za koje stvara, i njegov uspon i pad odslikava arhitektonskom produkcijom: prvi nespretni -ali odlučni koraci u industrijalizaciji; eksperimenti sa novim formama, materijalima i razmerama; vrhunac produkcije kada su svi – naručioci, investitori, projektanti, izvođači i proizvođači – radili kao jedan, dobro podešen mehanizam; do postepenog opadanja, smanjenja, egzila, te najzad degradacije – kako same produkcije tako i (iz)građenog prostora. In the first decades after the end of the Second World War, countries all over the world saw hugely intensified construction in all the possible proportions and in a myriad of typologies. Yugoslavia was by no means an exception - in those times, it boasted historic records in economic growth and, consequently, in the investments in all the types of infrastructure. At the international level, historical circumstances led to a specific Yugoslav exceptionalism, which enabled self-government in internal policy and a non-aligned position in foreign policy. As a result, it created a specific climate for the development of experimental architecture, which quietly drew the attention of international experts from the very moment it was created. Today, this type of architecture has been the object of a new surge of interest and has gained a new and global popularity, with the public watching the “magnificent ruins” getting old and deliberating if and how such ruins are going to be reconstructed and how one is going to live and work there in future. However, what is far more interesting is a society that bred such architecture, thereby enabling the appearance and activity of many extraordinarily talented individual authors and teams of authors, who created space of such society. Many of them often had a very ambivalent attitude towards the tasks set before them and towards the method of the realization of such projects, but, nevertheless, they succeed in conveying their ideas the way they envisaged them. In the same way, it is through their works that this generation of architects records everyday life of the society for which they design, reflecting its rise and fall through architectural production: the initial clumsy - but decisive - steps in industrialization; experiments with new forms, materials and proportions; the peak of production, when everybody - clients, investors, designers, contractors and manufacturers - acted as a single and well adjusted mechanism, then a gradual decline, decrease, exile and, finally, degradation - both of production itself and of built space/space being built.
Provesti noć u prostoru... Čakovec • Dubrovnik • koprivnica • Pula • Ravnica • Rijeka • Slavonski Brod • Split • Varaždin • Zagreb, 2015
In the project named Vlasta Delimar and Milan Božić will spend the night in... (the name of the intended object) the artistic action becomes an integral part of the architecture into which it is being nested. Delimar and Božić, partners in both art and life, lay to rest inside first class fortification, industrial, housing, communal, and military building – city-building facilities, objects that represent something like “time capsules” of architectural styles from various phases of the history, transverse, ring-like cut outs of architectural history and its present endangerment across different regions of Croatia. A particular subtheme - the architectural space - emerging here is represented by artist’s relation towards space of the artistic performance. Here, that space is not used as a mere frame for the performance, but also the performance itself is being created as a reaction to space. To that effect , the artist’s body is treated as an element of the space it explores. There are three fundamental artistic procedures comprised within this project: the performance, the open work as defined by Umberto Eco, and the archive as an art work of “live art” and “contemporary art”.
Flâneurism as a Performing Method and Motif in Contemporary Art
Using the semiotics of the city and transforming the symbolic system of urban informatics are common methods and themes deployed by contemporary art. Clothing and architecture belong to the domain of public space and urban mise en scène, and are therefore subjected to the laws of communication encoding. Thus, they are suitable as motifs and materials for art in public space: art understood as the Beuysian “social sculpture” that unites actual space and its symbolic superstructure, and art understood “as life” and as behaviour (the so-called “behavioural art”). Flâneurism, as a philosophic and anthropological phenomenon, is essential for understanding modern and contemporary urbanity and social procedurality, and therefore this text brings it into a relationship with the art of performance and the performing elements in the artistic strategy of using one’s own body or those of other people, based on Lacan’s hypothesis on the significance of the image of the body in construing the subject’s identity in the context of contemporary art, primarily processual art, action art, body art, and video art. The figure of the flâneur, of inherent nihilism and necessarily related to the urban space of opulent societies, has been present in the performing arts in the recreation of everyday non-doings such as walking, standing, or strolling in real, linear, or non-chronological (cut-and-paste) time.