Postcolonialism and the Arts

Total Page:16

File Type:pdf, Size:1020Kb

Postcolonialism and the Arts Labor, Work and Art: Collectives, Community Based Art and Hippies Dr. Suzana Milevska Endowed Professor for Central and South Eastern European Art Histories Academy of Fine Art Vienna 28 October 2014 Sentences on Conceptual Art by Sol Lewitt •Conceptual artists are mystics rather than rationalists. They leap to conclusions that logic cannot reach. •Rational judgements repeat rational judgements. •Irrational judgements lead to new experience. •Formal art is essentially rational. •Irrational thoughts should be followed absolutely and logically. •If the artist changes his mind midway through the execution of the piece he compromises the result and repeats past results. •The artist's will is secondary to the process he initiates from idea to completion. His wilfulness may only be ego. •When words such as painting and sculpture are used, they connote a whole tradition and imply a consequent acceptance of this tradition, thus placing limitations on the artist who would be reluctant to make art that goes beyond the limitations. "Let's talk of a system that transforms all the social organisms into a work of art, in which the entire process of work is included... something in which the principle of production and consumption takes on a form of quality. It's a Gigantic project." Ivan Shadr, Stone as a weapon of the proletariat, 1927, bronze, Moscow, State Tretyakov Gallery Alfredo Jaar "Karl Marx Lounge", 2011, Amsterdam, the space Project 1975 of the Amsterdam's Stedeljik Museum. analyzes the relationship between the theories of the philosopher and today's economy The books that constitute a unique "anti- monument“ dedicated to Karl Marx, one of the thinkers who most marked our modernity, are 350. The Marx Lounge, is the title of Jaar’s work "When the financial crisis broke out, Marx was brought back to life from that capitalist system that had done anything to contradict his theories. Is it not paradoxical?”. From this ironic observation, he decided to make available to a wide audience that ideas' heritage that many experts have suddenly exhumed to analyze the current economy. In a reading room, equipped with desks - covered in volumes - chairs, armchairs and table lamps, the spectator can range from Marxist theory to the post-colonial thought, from the anti-liberalism's key texts to the analysis of globalization. Marxian economics concerns itself variously with the analysis of crisis in capitalism, the role and distribution of the surplus product and surplus value in various types of economic systems, the nature and origin of economic value, the impact of class and class struggle on economic and political processes, and the process of economic evolution. We will use some of the basic Marxist concepts of political economy, e.g. - use value and exchange value, - human labour and surplus, - commodity, property, - supply and demand - base and superstructure INTRODUCTION ǀ METHODOLOGY ǀ RESEARCH METHODS ǀ CASE STUDIES that are topical for understanding the contradictions between - the means, - forces, - relations and - modes of production, and - building, distributing and redistributing the capital. INTRODUCTION ǀ METHODOLOGY ǀ RESEARCH METHODS ǀ CASE STUDIES Socialist Surrealism Gezim Qendro, Albanian historian of art and curator Mladen Stilinovic, Work is a Disease – Karl Marx, 2004 (1979) USE-VALUE, VALUE AND EXCHANGE VALUE The worth of a commodity can be conceived of in two different ways, which Marx calls use-value and value. A commodity's use-value is its usefulness for fulfilling some practical purpose; for example, the use-value of a piece of food is that it provides nourishment and pleasurable taste; the use value of a hammer, that it can drive nails. Value is, on the other hand, a measure of a commodity's worth in comparison to other commodities. It is closely related to exchange- value, the ratio at which commodities should be traded for one another, but not identical: value is at a more general level of abstraction; exchange-value is a realisation or form of it. HUMAN LABOUR Marx argued that if value is a property common to all commodities, then whatever it is derived from, whatever determines it, must be common to all commodities. The only relevant thing common to all commodities is human labour: they are all produced by human labour. Marx concluded that the value of a commodity is simply the amount of human labour required to produce it. Means of production The subjects of labour and instruments of labour together Relations of production are the relations human beings adopt toward each other as part of the production process. Wage labour and private property are part of the relations of production. Calculation of value of a product (price not to be confused with value): If labour is performed directly on Nature and with instruments of negligible value, the value of the product is simply the labour time. If labour is performed on something that is itself the product of previous labour (that is, on a raw material), using instruments that have some value, the value of the product is the value of the raw material, plus depreciation on the instruments, plus the labour time. LOUIS ALTHUSSER, ON THE REPRODUCTION OF CAPITALISM 1) Every concrete social formation is based on a dominant mode of production. The immediate implication is that, in every social formation, there exists more than one mode of production: at least two and often many more. One of the modes of production in this set is described as dominant, the others as dominated. 2. What constitutes a mode of production? It is the unity between what Marx calls the productive forces and the relations of production. Thus every mode of production, dominant or dominated, has, in its unity, its productive forces and relations of production. The ‘correspondence’ between the productive forces and relations of production. 3. When we consider a mode of production in the unity productive forces/relations of production that constitutes it, it appears that this unity has a material basis: the productive forces. But these productive forces are nothing at all if they are not rendered operational, and they can only operate in and under the aegis of their relations of production. This leads to the conclusion that, on the basis of the existing productive forces and within the limits they set, the relations of production play the determinant role. the necessity of renewing the means of production to make production possible- the ultimate condition for production is the reproduction of the conditions of production. Starting from the assumption that every social formation is characterized by a dominant mode of production, we may say - that the process of production puts the existing productive forces to work under determinate relations of production. It follows that, in order to exist, every social formation must, while it produces, and in order to be able to produce, reproduce the conditions of its production. It must therefore reproduce 1) the productive forces; 2) the existing relations of production. no production is possible unless it ensures reproduction of the material conditions of production in strictly regulated proportions: reproduction of the means of production. The average economist is, in this respect, no different from the average capitalist. He will tell you that, every year, it is necessary to make provisions to replace what is used up or wears out in production: raw materials, fixed facilities (buildings), instruments of production (machines), and so on. We say the average economist = the average capitalist, because both express the viewpoint of the enterprise; they content themselves with simply commenting on the terms of its financial accounting practice. Targets hierarchy work vs. art authorship/expertise individual/collective authority centralised decision making Praxis School The Praxis school was a Marxist humanist philosophical movement. It originated in Zagreb and Belgrade in the SFR Yugoslavia, during the 1960s. Prominent figures among the school's founders include Gajo Petrović and Milan Kangrga of Zagreb and Mihailo Marković of Belgrade. From 1964 to 1974 they published the Marxist journal Praxis, which was renowned as one of the leading international journals in Marxist theory. The group also organized the widely popular Korčula Summer School in the island of Korčula. Basic tenets Due to the tumultuous sociopolitical conditions in the 1960s, the affirmation of 'authentic' Marxist theory and praxis, and its humanist and dialectical aspects in particular, was an urgent task for philosophers working across the SFRY. There was a need to respond to the kind of modified Marxism- Leninism enforced by the League of Communists of Yugoslavia (see Titoism). To vocalize and therefore begin to satisfy this need, the program of Praxis school was defined in French in the first issue of the International edition of Praxis: A quoi bon Praxis. Predrag Vranicki (On the problem of Practice) and Danko Grlić (Practice and Dogma) expanded this program in English in the same issue (Praxis, 1965, 1, p. 41-48 and p. 49-58). The Praxis philosophers considered Leninism and Stalinism to be apologetic due to their ad hoc nature. Leninist and Stalinist theories were considered to be unfaithful to the Marxist theory, as they were adjusted according to the needs of the party elite and intolerant of ideological criticism. The defining features of the school were: 1) emphasis on the writings of the young Marx; and 2) call for freedom of speech in both East and West based upon Marx's insistence on ruthless social critique. As Erich Fromm has argued in his preface to Marković's work From Affluence to Praxis, the theory of the Praxis theoreticians was to "return to the real Marx as against the Marx equally distorted by right wing social democrats and Stalinists". Different theorists emphasized different aspects of the theory. Where Mihailo Marković writes of alienation and the dynamic nature of human beings, Petrović writes of philosophy as radical critique of all existing things, emphasizing the essentially creative and practical nature of human beings.
Recommended publications
  • KNIFER, MANGELOS, VANIŠTA September 8 – October 3, 2015 1018 Madison Avenue, New York Opening Reception: Tuesday, September 8, 6 – 8 Pm
    KNIFER, MANGELOS, VANIŠTA September 8 – October 3, 2015 1018 Madison Avenue, New York Opening Reception: Tuesday, September 8, 6 – 8 pm NEW YORK, August 7, 2015 – Mitchell-Innes & Nash is pleased to present an exhibition of works by three of the founding members of the Gorgona Group: Julije Knifer, Mangelos and Josip Vaništa. The Gorgona Group – whose name references the monstrous, snake-haired creatures of classical Greek mythology – was a radical, Croatian art collective active in Zagreb from 1959 to 1966, which anticipated the Conceptual Art movement that emerged in several countries in Europe and America in the 1970s. Loosely organized and without a singular aesthetic ideology, the group was defined by the “gorgonic spirit,” which tended toward nihilism and „anti-art‟ concepts. The exhibition will take place in concurrence with MoMA‟s upcoming show, Transmissions: Art in Eastern Europe and Latin America, 1960 – 1980, and will feature a selection of paintings, works on paper and sculpture dating from 1947 to 1990 to be exhibited in the United States for the first time. The exhibition will be on view from September 8 through October 3, 2015 at 1018 Madison Avenue in New York. Julije Knifer was born in Osijek, Croatia in 1924 and died in Paris in 2004. While Knifer‟s work stems from the Russian school of Suprematist painters, his practice evolved towards an almost exclusive exploration of “the meander”: a geometric, maze-like form of Classical origins composed of intersecting horizontal and vertical lines. This motif appears in the second issue of Gorgona, the group‟s anti-review magazine, which was conceived by Knifer and designed so the pages produce an endless, meandering loop.
    [Show full text]
  • Bauhaus Networking Ideas and Practice NETWORKING IDEAS and PRACTICE Impressum
    Museum of Contemporary Art Zagreb Zagreb, 2015 Bauhaus networking ideas and practice NETWORKING IDEAS AND PRACTICE Impressum Proofreading Vesna Meštrić Jadranka Vinterhalter Catalogue Bauhaus – Photographs Ј Archives of Yugoslavia, Belgrade networking Ј Bauhaus-Archiv Berlin Ј Bauhaus-Universitat Weimar, Archiv der Moderne ideas Ј Croatian Architects Association Archive, Graphic design Zagreb Aleksandra Mudrovčić and practice Ј Croatian Museum of Architecture of the Croatian Academy of Sciences and Arts, Zagreb Ј Dragan Živadinov’s personal archive, Ljubljana Printing Ј Graz University of Technology Archives Print Grupa, Zagreb Ј Gustav Bohutinsky’s personal archive, Faculty of Architecture, Zagreb Ј Ivan Picelj’s Archives and Library, Contributors Museum of Contemporary Art, Zagreb Aida Abadžić Hodžić, Éva Bajkay, Ј Jernej Kraigher’s personal archive, Print run Dubravko Bačić, Ruth Betlheim, Ljubljana 300 Regina Bittner, Iva Ceraj, Ј Katarina Bebler’s personal archive, Publisher Zrinka Ivković,Tvrtko Jakovina, Ljubljana Muzej suvremene umjetnosti Zagreb Jasna Jakšić, Nataša Jakšić, Ј Klassik Stiftung Weimar © 2015 Muzej suvremene umjetnosti / Avenija Dubrovnik 17, Andrea Klobučar, Peter Krečič, Ј Marie-Luise Betlheim Collection, Zagreb Museum of Contemporary Art, Zagreb 10010 Zagreb, Hrvatska Lovorka Magaš Bilandžić, Vesna Ј Marija Vovk’s personal archive, Ljubljana ISBN: 978-953-7615-84-0 tel. +385 1 60 52 700 Meštrić, Antonija Mlikota, Maroje Ј Modern Gallery Ljubljanja fax. +385 1 60 52 798 Mrduljaš, Ana Ofak, Peter Peer, Ј Monica Stadler’s personal archive A CIP catalogue record for this book e-mail: [email protected] Bojana Pejić, Michael Siebenbrodt, Ј Museum of Architecture and Design, is available from the National and www.msu.hr Barbara Sterle Vurnik, Karin Šerman, Ljubljana University Library in Zagreb under no.
    [Show full text]
  • Non-Aligned Modernity / Modernità Non Allineata
    Milan, 16 September 2016 , FM Centro per l'Arte Contemporanea, the new center for contemporary art and collecting inaugurated last April at the Frigoriferi Milanesi, reopens its exhibition season on 26 October with three new exhibitions and a cycle of meetings aimed at art collectors. NON-ALIGNED MODERNITY / MODERNITÀ NON ALLINEATA Eastern-European Art and Archives from the Marinko Sudac Collection / Arte e Archivi dell’Est Europa dalla Collezione Marinko Sudac 27 October – 23 December 2016 Curated by Marco Scotini, in collaboration with Andris Brinkmanis and Lorenzo Paini 25 October 2016, 11 am - press preview 26 October 2016, 6 pm - opening event 27 October 2016, 7 pm - exhibition talk Under the patronage of: Republic of Croatia, Ministry of Foreign and European Affairs Consolato Generale della Repubblica di Croazia, Milano Ente Nazionale Croato per il Turismo, Milano After L’Inarchiviabile/The Unarchivable , an extensive review of the Italian art in the 1970s, FM Centro per l’Arte Contemporanea’s exhibition program continues with a second event, once again concerning an artistic scene that is less known and yet to be discovered. Despite the international prestige of some of its representatives, this is an almost submerged reality but one that represents an exceptional contribution to the history of art in the second half of the twentieth century. Non-Aligned Modernity not only tackles art in the nations of Eastern Europe but attempts to investigate an anomalous and anything but marginal chapter in their history, which cannot be framed within the ideology of the Soviet Bloc nor within the liberalistic model of Western democracies.
    [Show full text]
  • Zivot Umjetnosti, 7-8, 1968, Izdavac
    ivan picelj kompozicija 15/1, 1952./1956. 50 vlado kristl varijanta, 1958./1962. 51 igor zidić apstrahiranje predmetnosti i oblici apstrakcije u hrvatskom slikarstvu 1951/1968. bilješke aleksandar srnec kompozicija, 1956. 52 Opće je mjesto kritičke svijesti da pojam apstraktne umjetnosti ne znači više ono što je značio prije pola stoljeća, pa ni ono što je značio još prije dvadeset godina. Da je razvoj ove umjetnosti tada prestao, da se ona uslijed iscrpljenja urušila u se svejedno bi­ smo bili u prilici da zapazimo oscilacije značenja pojma. Domašaj svijesti u naporu da razumije i od­ redi pojavu ne može izbjeći ograničenjima same svi­ jesti. Zato se pred različitim očima svaka pojava raspada u toliko različitih pojavnosti koliko je razli­ čitih promatrača; ni jedan vid ne govori o gleda­ nome toliko koliko o viđenome — što će reći, da se, u svemu što gleda, oko i samo ogleda: vid je, tako­ đer, dio viđenoga. Ne treba, stoga, pomišljati da je 1918. ili 1948. po­ stojala apsolutna suglasnost o značenju pojma ap­ straktne umjetnosti ili pak, da će ikad i postojati. Ali činjenica da apstraktna umjetnost nije do sada »potrošila« oblike svog postojanja kaže nam da se pojam o njoj mora izmijeniti već i zbog toga što se ona mijenjala. Slikovito će nam otvoriti put razumijevanju naravi njezina početka jedan nedovoljno iskorišten aspekt predobro poznate priče o izvrnutoj slici u ateljeu Kandinskoga. Zatomimo li znatiželju povjesnika, koji u datumu događaja (1908.) vidi razlog pričanja, obratit ćemo pozornost okolnostima u kojima je vi­ đena pseudoprva pseudoapstraktna slika, u kojima je ta i takva slika — ni prva među apstraktnim, ni apstraktna među figurativnim — bila, dakle, pse- udoviđena.
    [Show full text]
  • Inheriting the Yugoslav Century: Art, History, and Generation
    Inheriting the Yugoslav Century: Art, History, and Generation by Ivana Bago Department of Art, Art History and Visual Studies Duke University Date:_______________________ Approved: ___________________________ Kristine Stiles, Supervisor ___________________________ Mark Hansen ___________________________ Fredric Jameson ___________________________ Branislav Jakovljević ___________________________ Neil McWilliam Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Art, Art History and Visual Studies in the Graduate School of Duke University 2018 ABSTRACT Inheriting the Yugoslav Century: Art, History, and Generation by Ivana Bago Department of Art, Art History and Visual Studies Duke University ___________________________ Kristine Stiles, Supervisor ___________________________ Mark Hansen ___________________________ Fredric Jameson ___________________________ Branislav Jakovljević ___________________________ Neil McWilliam An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Art, Art History and Visual Studies in the Graduate School of Duke University 2018 Copyright by Ivana Bago 2018 Abstract The dissertation examines the work contemporary artists, curators, and scholars who have, in the last two decades, addressed urgent political and economic questions by revisiting the legacies of the Yugoslav twentieth century: multinationalism, socialist self-management, non- alignment, and
    [Show full text]
  • GORGONA 1959 – 1968 Independent Artistic Practices in Zagreb Retrospective Exhibition from the Marinko Sudac Collection
    GORGONA 1959 – 1968 Independent Artistic Practices in Zagreb Retrospective Exhibition from the Marinko Sudac Collection 14 September 2019 – 5 January 2020 During the period of socialism, art in Yugoslavia followed a different path from that in Hungary. Furthermore, its issues, reference points and axes were very different from the trends present in other Eastern Bloc countries. Looking at the situation using traditional concepts and discourse of art in Hungary, one can see the difference in the artistic life and cultural politics of those decades in Yugoslavia, which was between East and West at that time. The Gorgona group was founded according to the idea of Josip Vaništa and was active as an informal group of painters, sculptors and art critics in Zagreb since 1959. The members were Dimitrije Bašičević-Mangelos, Miljenko Horvat, Marijan Jevšovar, Julije Knifer, Ivan Kožarić, Matko Meštrović, RadoslavPutar, Đuro Seder, and Josip Vaništa. The activities of the group consisted of meetings at the Faculty of Architecture, in their flats or ateliers, in collective works (questionnaires, walks in nature, answering questions or tasks assigned to them or collective actions). In the rented space of a picture-framing workshop in Zagreb, which they called Studio G and independently ran, from 1961 to 1963 they organized 14 exhibitions of various topics - from solo and collective exhibitions by group's members and foreign exhibitors to topical exhibitions. The group published its anti-magazine Gorgona, one of the first samizdats post WWII. Eleven issues came out from 1961 to 1966, representing what would only later be called a book as artwork. The authors were Gorgona members or guests (such as Victor Vasarely or Dieter Roth), and several unpublished drafts were made, including three by Pierre Manzoni.
    [Show full text]
  • Pushkin and the Futurists
    1 A Stowaway on the Steamship of Modernity: Pushkin and the Futurists James Rann UCL Submitted for the Degree of Doctor of Philosophy 2 Declaration I, James Rann, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. 3 Acknowledgements I owe a great debt of gratitude to my supervisor, Robin Aizlewood, who has been an inspirational discussion partner and an assiduous reader. Any errors in interpretation, argumentation or presentation are, however, my own. Many thanks must also go to numerous people who have read parts of this thesis, in various incarnations, and offered generous and insightful commentary. They include: Julian Graffy, Pamela Davidson, Seth Graham, Andreas Schönle, Alexandra Smith and Mark D. Steinberg. I am grateful to Chris Tapp for his willingness to lead me through certain aspects of Biblical exegesis, and to Robert Chandler and Robin Milner-Gulland for sharing their insights into Khlebnikov’s ‘Odinokii litsedei’ with me. I would also like to thank Julia, for her inspiration, kindness and support, and my parents, for everything. 4 Note on Conventions I have used the Library of Congress system of transliteration throughout, with the exception of the names of tsars and the cities Moscow and St Petersburg. References have been cited in accordance with the latest guidelines of the Modern Humanities Research Association. In the relevant chapters specific works have been referenced within the body of the text. They are as follows: Chapter One—Vladimir Markov, ed., Manifesty i programmy russkikh futuristov; Chapter Two—Velimir Khlebnikov, Sobranie sochinenii v shesti tomakh, ed.
    [Show full text]
  • Conflicting Visions of Modernity and the Post-War Modern
    Socialism and Modernity Ljiljana Kolešnik 107 • • LjiLjana KoLešniK Conflicting Visions of Modernity and the Post-war Modern art Socialism and Modernity Ljiljana Kolešnik Conflicting Visions of Modernity and the Post-war Modern art 109 In the political and cultural sense, the period between the end of World War II and the early of the post-war Yugoslav society. In the mid-fifties this heroic role of the collective - seventies was undoubtedly one of the most dynamic and complex episodes in the recent as it was defined in the early post- war period - started to change and at the end of world history. Thanks to the general enthusiasm of the post-war modernisation and the decade it was openly challenged by re-evaluated notion of (creative) individuality. endless faith in science and technology, it generated the modern urban (post)industrial Heroism was now bestowed on the individual artistic gesture and a there emerged a society of the second half of the 20th century. Given the degree and scope of wartime completely different type of abstract art that which proved to be much closer to the destruction, positive impacts of the modernisation process, which truly began only after system of values of the consumer society. Almost mythical projection of individualism as Marshall’s plan was adopted in 1947, were most evident on the European continent. its mainstay and gestural abstraction offered the concept of art as an autonomous field of Due to hard work, creativity and readiness of all classes to contribute to building of reality framing the artist’s everyday 'struggle' to finding means of expression and design a new society in the early post-war period, the strenuous phase of reconstruction in methods that give the possibility of releasing profoundly unconscious, archetypal layers most European countries was over in the mid-fifties.
    [Show full text]
  • Ovdje Riječ, Ipak Je to Po Svoj Prilici Bio Hrvač, Što Bi Se Moglo Zaključiti Na Temelju Snažnih Ramenih I Leđnih Mišića
    HRVATSKA UMJETNOST Povijest i spomenici Izdavač Institut za povijest umjetnosti, Zagreb Za izdavača Milan Pelc Recenzenti Sanja Cvetnić Marina Vicelja Glavni urednik Milan Pelc Uredništvo Vladimir P. Goss Tonko Maroević Milan Pelc Petar Prelog Lektura Mirko Peti Likovno i grafičko oblikovanje Franjo Kiš, ArTresor naklada, Zagreb Tisak ISBN: 978-953-6106-79-0 CIP HRVATSKA UMJETNOST Povijest i spomenici Zagreb 2010. Predgovor va je knjiga nastala iz želje i potrebe da se na obuhvatan, pregledan i koliko je moguće iscrpan način prikaže bogatstvo i raznolikost hrvatske umjetničke baštine u prošlosti i suvremenosti. Zamišljena je Okao vodič kroz povijest hrvatske likovne umjetnosti, arhitekture, gradogradnje, vizualne kulture i di- zajna od antičkih vremena do suvremenoga doba s osvrtom na glavne odrednice umjetničkog stvaralaštva te na istaknute autore i spomenike koji su nastajali tijekom razdoblja od dva i pol tisućljeća u zemlji čiji se politički krajobraz tijekom povijesnih razdoblja znatno mijenjao. Premda su u tako zamišljenom povijesnom ciceroneu svoje mjesto našli i najvažniji umjetnici koji su djelovali izvan domovine, žarište je ovog pregleda na umjetničkoj baštini Hrvatske u njezinim suvremenim granicama. Katkad se pokazalo nužnim da se te granice preskoče, odnosno da se u pregled – uvažavajući zadanosti povijesnih određenja – uključe i neki spomenici koji su danas u susjednim državama. Ovaj podjednako sintezan i opsežan pregled djelo je skupine uvaženih stručnjaka – specijalista za pojedina razdoblja i problemska područja hrvatske
    [Show full text]
  • Art in Europe 1945 — 1968 the Continent That the EU Does Not Know
    Art in Europe 1945 Art in — 1968 The Continent EU Does that the Not Know 1968 The The Continent that the EU Does Not Know Art in Europe 1945 — 1968 Supplement to the exhibition catalogue Art in Europe 1945 – 1968. The Continent that the EU Does Not Know Phase 1: Phase 2: Phase 3: Trauma and Remembrance Abstraction The Crisis of Easel Painting Trauma and Remembrance Art Informel and Tachism – Material Painting – 33 Gestures of Abstraction The Painting as an Object 43 49 The Cold War 39 Arte Povera as an Artistic Guerilla Tactic 53 Phase 6: Phase 7: Phase 8: New Visions and Tendencies New Forms of Interactivity Action Art Kinetic, Optical, and Light Art – The Audience as Performer The Artist as Performer The Reality of Movement, 101 105 the Viewer, and Light 73 New Visions 81 Neo-Constructivism 85 New Tendencies 89 Cybernetics and Computer Art – From Design to Programming 94 Visionary Architecture 97 Art in Europe 1945 – 1968. The Continent that the EU Does Not Know Introduction Praga Magica PETER WEIBEL MICHAEL BIELICKY 5 29 Phase 4: Phase 5: The Destruction of the From Representation Means of Representation to Reality The Destruction of the Means Nouveau Réalisme – of Representation A Dialog with the Real Things 57 61 Pop Art in the East and West 68 Phase 9: Phase 10: Conceptual Art Media Art The Concept of Image as From Space-based Concept Script to Time-based Imagery 115 121 Art in Europe 1945 – 1968. The Continent that the EU Does Not Know ZKM_Atria 1+2 October 22, 2016 – January 29, 2017 4 At the initiative of the State Museum Exhibition Introduction Center ROSIZO and the Pushkin State Museum of Fine Arts in Moscow, the institutions of the Center for Fine Arts Brussels (BOZAR), the Pushkin Museum, and ROSIZIO planned and organized the major exhibition Art in Europe 1945–1968 in collaboration with the ZKM | Center for Art and Media Karlsruhe.
    [Show full text]
  • Modeli Interpretacije Djela Mladena Stilinovića
    Modeli interpretacije djela Mladena Stilinovića Tomljenović, Anja Master's thesis / Diplomski rad 2020 Degree Grantor / Ustanova koja je dodijelila akademski / stručni stupanj: University of Zagreb, University of Zagreb, Faculty of Humanities and Social Sciences / Sveučilište u Zagrebu, Filozofski fakultet Permanent link / Trajna poveznica: https://urn.nsk.hr/urn:nbn:hr:131:773455 Rights / Prava: In copyright Download date / Datum preuzimanja: 2021-10-07 Repository / Repozitorij: ODRAZ - open repository of the University of Zagreb Faculty of Humanities and Social Sciences SVEUČILIŠTE U ZAGREBU FILOZOFSKI FAKULTET Odsjek za povijest umjetnosti Diplomski rad MODELI INTERPRETACIJE DJELA MLADENA STILINOVIĆA Anja Tomljenović Mentorica: dr. sc. Lovorka Magaš Bilandžić, doc. ZAGREB, 2020. Temeljna dokumentacijska kartica Sveučilište u Zagrebu Diplomski rad Filozofski fakultet Odsjek za povijest umjetnosti Diplomski studij MODELI INTERPRETACIJE DJELA MLADENA STILINOVIĆA Models of Interpretation of Mladen Stilinović's Works Anja Tomljenović SAŽETAK U fokusu rada je analiza interpretativne recepcije umjetničkih radova Mladena Stilinovića na međunarodnim izložbama na Zapadu. Stilinović je jedan od najprisutnijih hrvatskih autora na svjetskoj umjetničkoj sceni. Dvaput je pozvan na Venecijansko bijenale i njegovi radovi predstavljeni su u brojnim uglednim svjetskim muzejima poput Muzeja moderne umjetnosti u New Yorku i Centra Georges Pompidou u Parizu. Pitanje interpretacije njegova rada postavlja se u širi kontekst nove geopolitičke podjele svijeta nakon 1989. godine te interesa Zapada za umjetnost i kulturu dotad „nepoznatih“ zemalja koje nisu dio dominantnog kanona. S obzirom na Stilinovićev umjetnički interes i propitivanje ideologije, politike i ekonomije, njegov opus zanimljivo je analizirati upravo iz rakursa zapadnjačke percepcije o umjetniku postjugoslavenskog prostora. Na primjeru međunarodne izložbene prakse nakon 1989. godine u radu se analizira zapadnjački pogled na Stilinovićeve najčešće izlagane radove.
    [Show full text]
  • PROSTOR POSEBNI OTISAK/SEPARAT 82-95 Znanstveni Prilozi Vladan Djokiæ Goran Mickovski
    PROSTOR 23 [2015] 1 [49] ZNANSTVENI ÈASOPIS ZA ARHITEKTURU I URBANIZAM A SCHOLARLY JOURNAL OF ARCHITECTURE AND URBAN PLANNING SVEUÈILIŠTE POSEBNI OTISAK / SEPARAT OFFPRINT U ZAGREBU, ARHITEKTONSKI FAKULTET Znanstveni prilozi Scientific Papers UNIVERSITY OF ZAGREB, FACULTY 82-95 Goran Mickovski Okružni ured za osiguranje Social Security District Office OF ARCHITECTURE Vladan Djokiæ radnika u Skopju arhitekta in Skopje Designed by the Architect Drage Iblera, 1934. Drago Ibler, 1934 ISSN 1330-0652 CODEN PORREV Izvorni znanstveni èlanak Original Scientific Paper UDK | UDC 71/72 UDK 725.1 D. Ibler (497.7, Skopje)”19” UDC 725.1 D. Ibler (497.7, Skopje)”19” 23 [2015] 1 [49] 1-194 1-6 [2015] Sl. 1. D. Ibler i D. Galiæ: Okružni ured za osiguranje radnika u Skopju, 1934. Fig. 1. D. Ibler and D. Galiæ: Social Security District Office, Skopje, 1934 PROSTOR Znanstveni prilozi | Scientific Papers 23[2015] 1[49] 83 Goran Mickovski, Vladan Djokiæ Univerzitet „Sv. Kiril i Metodij” The Ss. Cyril and Methodius University of Skopje Arhitektonski fakultet Skopje Faculty of Architecture Makedonija - 1000 Skopje, Bulevar Partizanski odredi 24 Macedonia - 1000 Skopje, Bulevar Partizanski odredi 24 Univerzitet u Beogradu University of Belgrade Arhitektonski fakultet Faculty of Architecture Srbija - 11000 Beograd, Bulevar kralja Aleksandra 73 Serbia - 11000 Belgrade, Bulevar kralja Aleksandra 73 [email protected] [email protected] [email protected] [email protected] Izvorni znanstveni èlanak Original Scientific Paper UDK 725.1 D. Ibler (497.7, Skopje)”19” UDC 725.1 D. Ibler (497.7, Skopje)”19” Tehnièke znanosti / Arhitektura i urbanizam Technical Sciences / Architecture and Urban Planning 2.01.04.
    [Show full text]