Private and family photographs are our most personal images taken at significant events of our lives. We used to put these photos into albums or just kept them in boxes without specific orders, and we only opened up these personal archives when we wanted to share our memories and stories with family members or close friends. These common habits regarding how we take and share private photos have changed a lot due to the digital turn, the increasing number of digital cameras, and the broadening usage of the Internet and social media platforms. Archives are often places of safeguarding memories, places that make us remember and places of preservation. However, in recent years, the questions related to them and the archiving methods are mostly focused on how digitization has transformed them. The varying ways and effects of technical image usage caused by the technological boom are some of the most characteristic and defining elements of our times. In my paper titled Our Photographs, Old and New, I examine — through a contemporary artwork by Gergely Barcza — how private photography practices and private photo archives have changed in the last decades.
{"title":"Our Photographs, Old and New","authors":"Judith B. Geller","doi":"10.31664/zu.2022.111.05","DOIUrl":"https://doi.org/10.31664/zu.2022.111.05","url":null,"abstract":"Private and family photographs are our most personal images taken at significant events of our lives. We used to put these photos into albums or just kept them in boxes without specific orders, and we only opened up these personal archives when we wanted to share our memories and stories with family members or close friends. These common habits regarding how we take and share private photos have changed a lot due to the digital turn, the increasing number of digital cameras, and the broadening usage of the Internet and social media platforms. Archives are often places of safeguarding memories, places that make us remember and places of preservation. However, in recent years, the questions related to them and the archiving methods are mostly focused on how digitization has transformed them. The varying ways and effects of technical image usage caused by the technological boom are some of the most characteristic and defining elements of our times. In my paper titled Our Photographs, Old and New, I examine — through a contemporary artwork by Gergely Barcza — how private photography practices and private photo archives have changed in the last decades.","PeriodicalId":41082,"journal":{"name":"Zivot Umjetnosti","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69467132","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this paper a case study of constructing a photographic archive in a museum context, and the ways of contextualising seemingly marginal and insignificant photographic material, is being showcased and analysed. The focal point of the paper is the personal photographic archive of Miroslav Zdovc (1929–2009), a prominent Slovenian professional photographer as well as an artist using photography who, however, did not receive a deserved place in local and regional history of photography and art. Therefore, his extensive body of work that has nearly disappeared from the public eye is now in the process of being reviewed and re-evaluated. His extensive archive consists of diverse materials: personal imagery, documentary photographs, documents of artworks, and (his own) photographic artworks. The paper thus presents the project in the making in which the curators of Božidar Jakac Gallery – Museum of Modern and Contemporary Art, Kostanjevica na Krki have been conducting the process of cataloguing, evaluating and finally showcasing his immense body of work. It also brings forward the most significant elements of his artistic practice that spanned from the 1950s to the 1990s, and which was changing and developing in accordance with the concurrent tendencies in photography and art.
本文以博物馆背景下的摄影档案建设为例，对看似边缘和无关紧要的摄影材料进行语境化的方法进行了展示和分析。本文的重点是Miroslav Zdovc(1929-2009)的个人摄影档案，他是斯洛文尼亚著名的专业摄影师，也是一位使用摄影的艺术家，然而，他在当地和地区的摄影和艺术史上并没有得到应有的地位。因此，他几乎从公众视野中消失的大量作品现在正在被重新审视和评估。他的大量档案包括各种各样的材料:个人图像、纪实照片、艺术品文件和(他自己的)摄影作品。因此，本文介绍了Božidar Jakac画廊- Kostanjevica na Krki现代和当代艺术博物馆的策展人正在进行的项目，该项目一直在进行编目，评估并最终展示他的大量作品。同时也提出了他在20世纪50年代到90年代的艺术实践中最重要的元素，这些艺术实践是根据摄影和艺术的共同趋势而变化和发展的。
{"title":"Miroslav Zdovc: Contextualising the Archive","authors":"Miha Colner","doi":"10.31664/zu.2022.111.10","DOIUrl":"https://doi.org/10.31664/zu.2022.111.10","url":null,"abstract":"In this paper a case study of constructing a photographic archive in a museum context, and the ways of contextualising seemingly marginal and insignificant photographic material, is being showcased and analysed. The focal point of the paper is the personal photographic archive of Miroslav Zdovc (1929–2009), a prominent Slovenian professional photographer as well as an artist using photography who, however, did not receive a deserved place in local and regional history of photography and art. Therefore, his extensive body of work that has nearly disappeared from the public eye is now in the process of being reviewed and re-evaluated. His extensive archive consists of diverse materials: personal imagery, documentary photographs, documents of artworks, and (his own) photographic artworks. The paper thus presents the project in the making in which the curators of Božidar Jakac Gallery – Museum of Modern and Contemporary Art, Kostanjevica na Krki have been conducting the process of cataloguing, evaluating and finally showcasing his immense body of work. It also brings forward the most significant elements of his artistic practice that spanned from the 1950s to the 1990s, and which was changing and developing in accordance with the concurrent tendencies in photography and art.","PeriodicalId":41082,"journal":{"name":"Zivot Umjetnosti","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69467184","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Rad istražuje ulogu medijskih, umjetničkih i verbalnih slika pandemije bolesti COVID-19 u stvaranju osjećaja straha i užasa koji djeluju paralizirajuće na pojedinca, povezujući ih s pojmom uzvišenog Edmunda Burkea. Uvažavajući interpretaciju Williama J. T. Mitchella o Burkeovu razlikovanju umjetničkog i političkog uzvišenog, analizira se revolucionarni potencijal djelovanja slika odnosno njegov izostanak. Medijske slike sadrže jasan ikonografski obrazac koji uključuje temeljne Burkeove karakteristike uzvišenog: mračne su i opskurne te utjelovljuju najsnažniji od svih strahova — strah od smrti. Analiza umjetničkih slika pokazuje dominaciju lišavanja kao još jednog važnog aspekta uzvišenog, a stvara osjećaj usamljenosti i tišine. Metaforički jezik diskursa koji prati pandemiju pojačava paralizirajući učinak medijskih i umjetničkih slika, stvarajući mentalne slike virusa kao subjekta koji napada, širi se, prijeti… Slike su sveprisutne i izložene konzumiranju, pojedinci ne okreću glavu od prikazanih užasa, već doživljavaju empatiju koju Burke smatra ključnom za integraciju u društvo. Istodobno, društvo se lišava političkog potencijala kroz fragmentaciju u niz izoliranih jedinki koje komuniciraju posredstvom tehnologije.
该作品探讨了媒体、艺术和语言对新冠肺炎的大流行图像在制造使个人瘫痪的恐惧和恐怖情绪方面的作用，并将其与埃德蒙·伯克的想法联系起来。针对威廉·J·T·米切尔对伯克区分艺术和政治优越性的解释，分析了图像参与的革命性潜力，或者说没有这种潜力。媒体包含了一个清晰的图像模式，其中包括伯克的主要特征：黑暗和晦涩，并影响到对死亡的最强烈的恐惧。对艺术图像的分析表明，移除是提升的另一个重要方面，并创造了一种孤独和沉默的感觉。疫情讨论的隐喻性语言加强了媒体和艺术图像效果的瘫痪，创造了病毒作为攻击、传播、威胁主体的心理图像……这些图像都是呈现和展示的消费，个人不会对恐怖视而不见，而是体验到一种同理心，伯克认为这是融入社会的关键。伊斯托多布诺，društvo se lišava političkog potencijala kroz fragmentciju u niz izoliranih jedinki koje koje comuniciraju posredstvom technologije。
{"title":"Edmund Burke i ikonologija pandemije u medijskim slikama i suvremenoj umjetnosti","authors":"Iva Podnar","doi":"10.31664/zu.2022.110.05","DOIUrl":"https://doi.org/10.31664/zu.2022.110.05","url":null,"abstract":"Rad istražuje ulogu medijskih, umjetničkih i verbalnih slika pandemije bolesti COVID-19 u stvaranju osjećaja straha i užasa koji djeluju paralizirajuće na pojedinca, povezujući ih s pojmom uzvišenog Edmunda Burkea. Uvažavajući interpretaciju Williama J. T. Mitchella o Burkeovu razlikovanju umjetničkog i političkog uzvišenog, analizira se revolucionarni potencijal djelovanja slika odnosno njegov izostanak. Medijske slike sadrže jasan ikonografski obrazac koji uključuje temeljne Burkeove karakteristike uzvišenog: mračne su i opskurne te utjelovljuju najsnažniji od svih strahova — strah od smrti. Analiza umjetničkih slika pokazuje dominaciju lišavanja kao još jednog važnog aspekta uzvišenog, a stvara osjećaj usamljenosti i tišine. Metaforički jezik diskursa koji prati pandemiju pojačava paralizirajući učinak medijskih i umjetničkih slika, stvarajući mentalne slike virusa kao subjekta koji napada, širi se, prijeti… Slike su sveprisutne i izložene konzumiranju, pojedinci ne okreću glavu od prikazanih užasa, već doživljavaju empatiju koju Burke smatra ključnom za integraciju u društvo. Istodobno, društvo se lišava političkog potencijala kroz fragmentaciju u niz izoliranih jedinki koje komuniciraju posredstvom tehnologije.","PeriodicalId":41082,"journal":{"name":"Zivot Umjetnosti","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69466254","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
U članku se obrađuju i prezentiraju ilustracije češkog slikara Karela Svobode (1824.– 1870.) nastale za nikad objavljeno djelo Ljudevita Gaja Dogodovština Ilirije Velike. Analiza Svobodinih drvoreza i crteža, sačuvanih u Zbirci rukopisa i starih knjiga Nacionalne i sveučilišne knjižnice u Zagrebu, uključuje ikonografsko određivanje i tumačenje prizora, njihovo postavljanje u kontekst kulturnopolitičkih zbivanja 1840-ih godina te početaka historijskog slikarstva u Hrvatskoj i na širem području Habsburške Monarhije.
{"title":"Ljudevit Gaj, Karel Svoboda, ilustracije Dogodovštine Ilirije Velike i počeci historijskog slikarstva u Hrvatskoj","authors":"Dragan Damjanović, Ivan Kokeza","doi":"10.31664/zu.2022.110.02","DOIUrl":"https://doi.org/10.31664/zu.2022.110.02","url":null,"abstract":"U članku se obrađuju i prezentiraju ilustracije češkog slikara Karela Svobode (1824.– 1870.) nastale za nikad objavljeno djelo Ljudevita Gaja Dogodovština Ilirije Velike. Analiza Svobodinih drvoreza i crteža, sačuvanih u Zbirci rukopisa i starih knjiga Nacionalne i sveučilišne knjižnice u Zagrebu, uključuje ikonografsko određivanje i tumačenje prizora, njihovo postavljanje u kontekst kulturnopolitičkih zbivanja 1840-ih godina te početaka historijskog slikarstva u Hrvatskoj i na širem području Habsburške Monarhije.","PeriodicalId":41082,"journal":{"name":"Zivot Umjetnosti","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48083159","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper is dedicated to the student journal Umjetnost i mi [Art and Us], an art history annual that was edited and published by the students of the VII Gymnasium in Zagreb under the guidance of Professor Jadranka Damjanov in the 1960s. This valuable and high-quality publication serves as an indispensable source for research into the beginnings of visual arts education in Croatian secondary schools, while its innovativeness and creativity make it relevant within the modern educational context as well.
本文献给学生期刊《Umjetnost i mi[艺术与我们]》，这是一本艺术史年度杂志，由萨格勒布第七体育馆的学生在20世纪60年代在Jadranka Damjanov教授的指导下编辑出版。这本有价值和高质量的出版物是研究克罗地亚中学视觉艺术教育开端的不可或缺的来源，其创新性和创造性也使其在现代教育背景下具有相关性。
{"title":"The Annual Umjetnost i mi: Jadranka Damjanov’s Contribution to the Beginnings of Visual Arts Education in Croatia","authors":"Josipa Alviž, Jasmina Nestić","doi":"10.31664/zu.2022.110.07","DOIUrl":"https://doi.org/10.31664/zu.2022.110.07","url":null,"abstract":"This paper is dedicated to the student journal Umjetnost i mi [Art and Us], an art history annual that was edited and published by the students of the VII Gymnasium in Zagreb under the guidance of Professor Jadranka Damjanov in the 1960s. This valuable and high-quality publication serves as an indispensable source for research into the beginnings of visual arts education in Croatian secondary schools, while its innovativeness and creativity make it relevant within the modern educational context as well.","PeriodicalId":41082,"journal":{"name":"Zivot Umjetnosti","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48394289","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Umjetnička djela za interijer Zgrade društveno-političkih organizacija (tzv. Kockice) u Zagrebu građene od 1961. do 1968. predstavljaju monumentalan primjer povezivanja arhitekture, dizajna i likovne umjetnosti u kontekstu narudžbe na republičkoj razini vlasti. Na prijedlog arhitekta Ivana Vitića, uz konzultanta likovne opreme Raula Goldonija, arhitektura Kockice upotpunjena je djelima renomiranih umjetnika: Jagode Buić, Dušana Džamonje, Raula Goldonija, Stevana Luketića, Ede Murtića i Zlatka Price. Nastavljajući se na svoja dotadašnja ostvarenja, umjetnici su ostvarili djela apstraktnoga likovnog izraza, koji je vlast samo nekoliko godina prije javno i institucionalno odbacivala. Umjetnička djela u interijeru Kockice tako su predstavljala ne samo umjetničke dosege na razini pojedinih opusa umjetnika, koji su do 1968. već bili sudjelovali u realizaciji mnogih rješenja za interijere javnih ustanova, nego su u zgradi od najvišeg političkog značenja u SR Hrvatskoj, odnosno u sjedištu CK SKH-a potvrdile i službeni stav vlasti prema slobodi umjetničkog izraza, afirmirajući apstraktni likovni izraz i ideju sinteze svih umjetnosti. U radu se na temelju arhivskoga gradiva, onodobnoga tiska i dosadašnjih istraživanja pojašnjava proces narudžbe umjetničkih djela u interijeru Zgrade društveno-političkih organizacija. Također, ostvarena umjetnička djela interpretira se u kontekstu prakse opremanja interijera javnih ustanova, odnosno u kontekstu ideje o sintezi umjetnosti općenito.
{"title":"Između ideje i realizacije: prilog poznavanju umjetničkih djela u interijeru Zgrade društveno-političkih organizacija — Kockice","authors":"Patricia Počanić","doi":"10.31664/zu.2022.110.06","DOIUrl":"https://doi.org/10.31664/zu.2022.110.06","url":null,"abstract":"Umjetnička djela za interijer Zgrade društveno-političkih organizacija (tzv. Kockice) u Zagrebu građene od 1961. do 1968. predstavljaju monumentalan primjer povezivanja arhitekture, dizajna i likovne umjetnosti u kontekstu narudžbe na republičkoj razini vlasti. Na prijedlog arhitekta Ivana Vitića, uz konzultanta likovne opreme Raula Goldonija, arhitektura Kockice upotpunjena je djelima renomiranih umjetnika: Jagode Buić, Dušana Džamonje, Raula Goldonija, Stevana Luketića, Ede Murtića i Zlatka Price. Nastavljajući se na svoja dotadašnja ostvarenja, umjetnici su ostvarili djela apstraktnoga likovnog izraza, koji je vlast samo nekoliko godina prije javno i institucionalno odbacivala. Umjetnička djela u interijeru Kockice tako su predstavljala ne samo umjetničke dosege na razini pojedinih opusa umjetnika, koji su do 1968. već bili sudjelovali u realizaciji mnogih rješenja za interijere javnih ustanova, nego su u zgradi od najvišeg političkog značenja u SR Hrvatskoj, odnosno u sjedištu CK SKH-a potvrdile i službeni stav vlasti prema slobodi umjetničkog izraza, afirmirajući apstraktni likovni izraz i ideju sinteze svih umjetnosti. U radu se na temelju arhivskoga gradiva, onodobnoga tiska i dosadašnjih istraživanja pojašnjava proces narudžbe umjetničkih djela u interijeru Zgrade društveno-političkih organizacija. Također, ostvarena umjetnička djela interpretira se u kontekstu prakse opremanja interijera javnih ustanova, odnosno u kontekstu ideje o sintezi umjetnosti općenito.","PeriodicalId":41082,"journal":{"name":"Zivot Umjetnosti","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69466346","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Posvuda oko nas - žene","authors":"Sandra Križić Roban","doi":"10.31664/zu.2022.110.09","DOIUrl":"https://doi.org/10.31664/zu.2022.110.09","url":null,"abstract":"","PeriodicalId":41082,"journal":{"name":"Zivot Umjetnosti","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69466417","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Slika u knjizi, knjiga u slici","authors":"Ivana Mance Cipek","doi":"10.31664/zu.2022.110.12","DOIUrl":"https://doi.org/10.31664/zu.2022.110.12","url":null,"abstract":"","PeriodicalId":41082,"journal":{"name":"Zivot Umjetnosti","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69465973","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The paper explores the interdisciplinary trajectory of the terms "utopian" and "dystopian". It acknowledges the fact that "utopia" and "dystopia" are originally terms from literary theory that refer to specific literary genres. In the light of a recent crossover of the term "dystopian" into the vocabulary of art criticism (exhibition reviews and catalogues), as well as a current curatorial fashion of devising exhibitions on the basis of binary opposites of "utopian" and "dystopian", the paper aims to define the range of meanings, connotations and denotations of the terms "utopian" and "dystopian" in visual arts, by means of discussing the particular contexts in which they are used. The use of the term "dystopian" is discussed in the context of the following artists: Alexis Rockman, Michael Kerbow, Fabrice Monteiro, Kushal Tikle, Alice Tye, Jon Rafman, as well as in the context of Croatian artists Jasenko Rasol and Sebastijan Dračić. The term "utopian" is discussed in the context of theoretical discussions about avant-garde art, the socially engaged artistic actions of artists from the second half of the 20th century (in particular, Joseph Beuys), as well as in the context of Croatian art, specifically of Ivan Rabuzin's paintings. The paper argues that, though the terms "utopian" and "dystopian" are transmedia terms, their range of meaning differs in relation to a particular kind of art they refer to. During the approximately last one hundred years, the term "utopian" has been used in theoretical considerations as a means of describing art movements, practices and works. Sometimes it refers to a specific artistic principle, that is, an "impulse" or intention of art that implies a desire for social change through art; at other times, it refers to the visual aspect of an artwork, implying idealistic and/or idealising imagining and visualization. The term "dystopian" has been employed in the context of visual arts only recently, that is, approximately in the last ten years. It is used with the aim of describing a certain mood or atmosphere. It is usually related to the specific iconographical aspect of a work of art. Art works described as "dystopian" most often explore the themes of ecology, consumerism, oppressive social and political systems, power relations and inter-species dynamics. Both utopian and dystopian art is created as a critical response to social reality.
本文探讨了“乌托邦”和“反乌托邦”这两个术语的交叉发展轨迹。它承认“乌托邦”和“反乌托邦”最初是来自文学理论的术语，指的是特定的文学类型。鉴于最近“反乌托邦”一词在艺术批评词汇(展览评论和展览目录)中的交叉，以及当前以“乌托邦”和“反乌托邦”二元对立为基础设计展览的策展时尚，本文旨在通过讨论“乌托邦”和“反乌托邦”在视觉艺术中使用的特定语境，来定义“乌托邦”和“反乌托邦”这两个术语的意义范围、内涵和外延。在以下艺术家的背景下讨论了“反乌托邦”一词的使用:Alexis Rockman, Michael Kerbow, Fabrice Monteiro, Kushal Tikle, Alice Tye, Jon Rafman，以及克罗地亚艺术家Jasenko Rasol和Sebastijan dra。“乌托邦”一词是在关于前卫艺术的理论讨论的背景下讨论的，前卫艺术是20世纪下半叶(特别是约瑟夫·博伊斯)艺术家的社会参与艺术行为，也是在克罗地亚艺术的背景下讨论的，特别是伊万·拉布津的绘画。本文认为，尽管“乌托邦”和“反乌托邦”这两个术语都是跨媒体术语，但它们的含义范围与它们所指的特定艺术类型有关。在过去的大约一百年里，“乌托邦”一词在理论考虑中被用作描述艺术运动、实践和作品的手段。有时它指的是一种特定的艺术原则，即一种艺术的“冲动”或意图，暗示着通过艺术改变社会的愿望;在其他时候，它指的是艺术作品的视觉方面，暗示理想主义和/或理想化的想象和可视化。“反乌托邦”这个词直到最近才在视觉艺术的语境中被使用，也就是说，大约在过去的十年里。它用于描述某种情绪或气氛。它通常与艺术作品的特定图像方面有关。被描述为“反乌托邦”的艺术作品通常探索的主题是生态、消费主义、压迫性的社会和政治制度、权力关系和物种间的动态。乌托邦和反乌托邦艺术都是作为对社会现实的批判性回应而创作的。
{"title":"“Utopian” and “Dystopian” in the Context of Visual Arts","authors":"Svjetlana Sumpor","doi":"10.31664/zu.2022.110.03","DOIUrl":"https://doi.org/10.31664/zu.2022.110.03","url":null,"abstract":"The paper explores the interdisciplinary trajectory of the terms \"utopian\" and \"dystopian\". It acknowledges the fact that \"utopia\" and \"dystopia\" are originally terms from literary theory that refer to specific literary genres. In the light of a recent crossover of the term \"dystopian\" into the vocabulary of art criticism (exhibition reviews and catalogues), as well as a current curatorial fashion of devising exhibitions on the basis of binary opposites of \"utopian\" and \"dystopian\", the paper aims to define the range of meanings, connotations and denotations of the terms \"utopian\" and \"dystopian\" in visual arts, by means of discussing the particular contexts in which they are used. The use of the term \"dystopian\" is discussed in the context of the following artists: Alexis Rockman, Michael Kerbow, Fabrice Monteiro, Kushal Tikle, Alice Tye, Jon Rafman, as well as in the context of Croatian artists Jasenko Rasol and Sebastijan Dračić. The term \"utopian\" is discussed in the context of theoretical discussions about avant-garde art, the socially engaged artistic actions of artists from the second half of the 20th century (in particular, Joseph Beuys), as well as in the context of Croatian art, specifically of Ivan Rabuzin's paintings. The paper argues that, though the terms \"utopian\" and \"dystopian\" are transmedia terms, their range of meaning differs in relation to a particular kind of art they refer to. During the approximately last one hundred years, the term \"utopian\" has been used in theoretical considerations as a means of describing art movements, practices and works. Sometimes it refers to a specific artistic principle, that is, an \"impulse\" or intention of art that implies a desire for social change through art; at other times, it refers to the visual aspect of an artwork, implying idealistic and/or idealising imagining and visualization. The term \"dystopian\" has been employed in the context of visual arts only recently, that is, approximately in the last ten years. It is used with the aim of describing a certain mood or atmosphere. It is usually related to the specific iconographical aspect of a work of art. Art works described as \"dystopian\" most often explore the themes of ecology, consumerism, oppressive social and political systems, power relations and inter-species dynamics. Both utopian and dystopian art is created as a critical response to social reality.","PeriodicalId":41082,"journal":{"name":"Zivot Umjetnosti","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69466261","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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