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The Real and the Symbolic within the Poetics of the Multi-Screens and Images
No full textPonavljanjem i umnažanjem elemenata i segmenata umjetničkog djela otkrivaju se nova značenja koja gledatelj treba za sebe konstruirati. Značenje je na taj način prisutno (skriveno) „između“ i s onu stranu tog vidljivog i plasiranog – metaforički se može reći „između ponavljanja“. U radu se razmatraju serijalne slike i jednokanalna ili višekanalna (multi-channel) umjetnička djela iz područja umjetničkog videa/filma te videoinstalacije koje na neki način impliciraju koncept ponavljanja i umnažanja. U vremenu i u prostoru ponavljaju se pokretne ili statične slike i ekrani (kao multi-screens). Kategorije realnog i simboličkog djelomično se referiraju na Lacanove registre zbilje, trojstvo imaginarnog – simboličkog - realnog, što predstavlja poretke unutar kojih se ustanovljuje ljudska subjektivnost. S obzirom na značajnu ulogu gledatelja-spektatora u videoinstalaciji i ispred videorada razmatra se problematika pogleda kao dvojne pojave - kao pogled-izvan-subjekta (gaze) i pogled subjekta-kao-spektatora (look). Ključnim pojmovima: ponavljanju, realnom, simboličkom, slici, vremenu, intervalu, pogledu, spektatoru te videomediju pristupa se interdisciplinarno zbog složenosti, slojevitosti i konceptualnosti razmatranih umjetničkih formi i djela, u kojima se zrcale razne paradigme iz umjetničkog, filozofskog, znanstvenog i medijskog prostora. Istražuju se ekspresivni, simbolički i ritmički potencijali, te uloga prostornih i vremenskih intervala pri pokušajima konstruiranja slojevitih značenja. Rad se sastoji se od deset cjelina i dvadesetak poglavlja s potpoglavljima u kojima se prvo uspostavlja teorijski okvir, a zatim se kroz dvosmjernu uzročno-posljedičnost produbljuje razumijevanje navedenih pojava i pojmova u relaciji prema umjetničkim diskursima. U pretposljednjem dijelu opisuju se djela vlastite umjetničke prakse, videoradovi i videoinstalacije nastali u dijalogu s teorijskim istraživanjima. Ako je kategorija realnog (prema Lacanu) ono što još nije simbolizirano, što izmiče simbolizaciji, tada se upravo to skriveno i maskirano možda može intuitivno naslutiti u procesu gledateljeve „mentalne montaže“ koju svjesno ili nesvjesno izvodi iz predočenog teksta (kao simboličkog).The aim (purpose) of this theoretical research is to deepen the understanding of the phenomena and concepts mentioned in the title in relation to the relevant artistic discourses and works and, in turn, in relation to the author's own artistic work. The theoretical part comprises twenty chapters, divided into seven thematic units: "Image, screen and frame", "Video media, installation art and spectator", "Realistic and symbolic in artwork", "Repeating and multiplying images, screens and actions". "Time and space in video / film and video installations", "View" and "Own artistic practice". After establishing a theoretical framework in which key concepts and phenomena are defined, there is an attempt of recognizing these concepts and phenomena as materialized in examples of works of art. The keywords, i.e. repetition, realistic and symbolic (largely based on the approach established by Jacques Lacan and the reviewers of his work ), image, time, interval, view, spectator and video media are approached interdisciplinary because of the complexity and conceptualism of the works of art that reflect the various paradigms of artistic, philosophical, scientific and media realms. The works considered, in the form of serial images, single-channel experimental film / video and single- or multi-channel (multi-screens) film / video installations are related via the imperative of repeated repetition or multiplication of exactly the same or similar (varied, modified) visual and / or sound elements in the continuum(s) of time or / and space. Authors such as Bruce Nauman, VALIE EXPORT, Ragnar Kjartansson, Wolf Vostell, Shirin Neshat, Paul Sharits, Harun Farocki, Dalibor Martinis, Andy Warhol, Douglas Gordon, Bill Viola, Frank Gillette and Ira Schneider, and Marina Abramovic problematize, in different ways, the concept and procedures of multiplication - repetition, but not in the sense of "copying" and "repetition" of reality or of the original, but of repeated repetitions of the simulacrum. The term "multiplication" focuses on a dual issue. On the one hand, this is a multiplication of images in space presented through a number of movie / video screens (or multiple graphic prints of the same motif in serial images by Andy Warhol). Multiplication, on the other hand, is present in time as motion or static video / movie images that are successively repeated on a single screen. The categories of Real and Symbolic mainly refer to Lacan's registers of reality, where the trinity of the Imaginary - Symbolic - Real represent the orders within which human subjectivity is established. Referential works of art are often connected by the theme of the traumatic. Repetitions of images and situations are a response to the traumatic (experience) - repetition 19 itself is a symptom of trauma. On the other hand, repeating and multiplying traumatic images results in a new traumatic effect or cancels it. Within the boundaries of Lacan's registers, the real is the subject of anxiety, that is, the "missed encounter with the real" is manifested in the form of trauma, as Dylan Evans writes in An Introductory Dictionary of Lacanian Psychoanalysis (1996, p. 163). Some of the questions to which answers are being sought are: What are the reasons, modes and effects of repeating and multiplying images and screens in a work of art - primarily in video, film / video installations and serial images? How can simple forms of expression such as multiplication, variation and repetition - simple movements, situations, gestures and phrases - as symbolic equivalents of reality - express the complexity, multilayer quality and multiplicity of social and individual realities? What are the reasons and effects of repeating and multiplying traumatic images / scenes / situations in works of art? In what ways can I relate the categories of Real and Symbolic to works of art that assimilate the repetition, multiplication and seriality of images and screens? How does the viewer / spectator experience time in video and video installations, in video / movie loops, in a repetitive video, and in installations with multiplied screens and images? How are time and space intervals present, and what is their role in works of art that assimilate repetitions or multiplications? In what way does the performer in the video relate to the camera, what is the "outside view", and in what relation is the viewer's (spectator's) view in relation to the human character in the video? In the unit entitled "Image, Screen and Frame", these categories are analysed as well as the category of multiple and multiplied screens, which initially developed from a film experiment and the appearance of expanded cinema. The theoretical background is found in the texts written by Robert Mitchell and Jacques Khalip, Kresimir Purgar, Gilles Deleuze, Michel Chion, Noël Carroll, Meyer Schapiro, Lev Manovich, Ann Fridberg and Ante Peterlić. The term image here implies various modalities and appearances: visual images, sound images, verbal images (prime, primary, and so-called prime verbal images - prime verbal images and verbal images proper) and their inter-combinations (audio-logo-visual images, according to Michel Chion), then material, mental, moving and immobile images. Repeated images are evident as movie / video frames, frames, as larger time-series sequences, as assembly circuits, movements, situations, actions, motifs or sounds - sometimes they are exactly the same (as endless cycle loops) or they are similar, varied or modified. For example, the coherent interaction of disjointed, self-contained and equal visual and sound images appears in the structuralism film T.O.U.C.H.I.N.G. (1968) by Paul Sharits. Sound elements also contribute to the visual impact. By contrasting and quick exchange of the 20 same and similar images, colours and a rhythmic repetition of sounds (speech), a powerful emotionally irritating effect was achieved. First-rate primary verbal images in the field of experimental film and video art are recognizable, for example, in Zorn Lemma's experimental film Hollis Frampton (1970) - in the first part through speech, and further through the presentation of various New York street signs in alphabetical order. Verbal imagery is also evident in the aforementioned film T, O, U, C, H, I, N, G (1968), when the spoken words destroy, amplify, intensify and direct the reception of inserted frames with invasive scenes. The categories of screens, frames and formats, and situations inside / outside the frame and the orientation of the projected image are the spatial components of video installations. The term screen refers to all forms of presentation of images - images presented through various media. Lev Manovich (2001) distinguishes among classic screens (with still images, such as easel or mural), dynamic (with moving television, movie or video images), real-time screens and interactive screens. This paper mainly focuses on the so-called dynamic screens that are non-material (projections on a flat surface) or material (television, video and computer monitors). Visual artists, as well as video and film authors, experimented with frame sizes and proportions, but also with slanted images or screens, set upside down, rotated ninety degrees, or angled. Although such practices can imply a variety of symbolic meanings (for example, visualisation of the metaphor of an "upside down world" or evoke psychological (disturbed) personality traits, emphasize quirkiness or defamiliarization quality, etc.), such upside down, at a sharp angle or vertically rotated screens or images almost always disorient the viewer as they are set "wrongly" in space relative to its vertical axis. When screens (such as "monitor-screens" or "projection screens") are multiplied in space (multi-screens), simultaneous or successive projections are reproduced, it causes simultaneous viewing and attention is divided among multiple and juxtaposed projected images, which reflects very complex and chaotic contemporary reality of life where many things happen simultaneously and simultaneously on multiple levels. In the realm of film, the simultaneity of events was shown on a single screen by means of the “parallel editing” (crosscut) technique, double exposure or split screen. For Ann Friedberg, "parallel editing" is the cinematic equivalent of "meanwhile" because it treats sequential images as simultaneous events (2009, p. 146). In multi-channel video installations, the viewer compares opposing, sometimes conflicting and contrasting video images or simulates simultaneity. The unit “Video medium, installation art and spectator” defines the stated installation strategies, their genealogy, specificities and types through the texts of Claire Bishop, Chris 21 Meigh-Andrews, Michael Rush and Kate Mondloch. In the process of spotting and discovering the interrelationships and interactions of all segments, which make up the installation as a whole, the spectator is inevitably involved, as it is often literally physically present in the work (immersion). In a multi-screen art and video installation, the spectator independently selects objects of perception and, in the process of "mental assembly", connects and decodes separate fragments of the whole. In line with the spectators’ characters, appearances or actions, they sometimes participate in the installation as its constitutive element. This activation of the spectator was also considered as emancipation because it is analogous to the viewer's participation (engagement) in the world. Chapters on the activated spectator and the ego of the body are referenced by Claire Bishop, Maurice Merleau-Ponty and Kaja Silverman. The spectator is especially aware of their proprioceptive or sensory body when perceiving video / film works where the author turns the picture against natural laws. The spectators seek to adjust, align their body in space (i.e. their view) with respect to that altered image - they lean in, watch from a distance ... The examples are Bruce Nauman's performance films, such as Bouncing in the Corner # 1 (1968) and Slow Angled Walk, i.e. Beckett Walk (1968). The spectator responds to film and video installations physically and with regard to screen dimensions, parameters of real (physical) space, screen layout, static / dynamic relationships; with respect to all pictorial (i.e. color, movement,...) but to sound elements as well. The concept of the Real and the Symbolic, in terms of the French psychoanalyst Jacques Lacan, are sought to be defined within the unit "Real and Symbolic in Artwork" so that their manifestation or latent presence can be "recognized" or implied in the poetics of works that assimilate repetitions. The concept of the Real, according to Jacques Lacan, is not easy to define because Lacan himself develops, supplements, modifies and contradicts it over the years. There are different interpretations of Lacan's observations that, even at key points, are fundamentally different. It is difficult to determine precisely and unambiguously due to the fact that Lacan speaks the least about it - the Real thus remains the most unreachable and mysterious of all three orders. According to Dylan Evans (1996), the Real becomes "a place of radical indeterminacy". The aforementioned thematic unit overviews and compares several different views of the concept of the Real in an effort to identify and find an acceptable interpretation based on which the referential works of art will be interpreted and decoded. Ultimately, theoretical support was found in the related contributions of Dylan Evans, Slavoj Žižek, Bruce Fink and psychoanalyst Leslie Chapman that "allowed" to recognize and "incorporate" something like the "ineffable"- namely the Real - into the interpretation of audio- 22 visual-spatial works. His own interpretations are also inspired by analytical studies in which, through their category of punctum, the authors (Hal Foster, Slavoj Žižek and Roland Barthes) directly associate works of art with the category of the Real. Žižek says that the Real is not some external phenomenon that cannot be caught in a symbolic network, that is, which cannot be included in the symbolic order, but the Real is, however a "crack", a "gap" in that symbolic network - more precisely, the Real is the effect of these cracks and gaps. (Žižek, 2012, p. 98, 99). In the book Watching Distortion, Žižek speaks of the Real as being on the surface, which is not always the "inaccessible nucleus hidden beneath layers of symbolization", but manifests as "excessive distortion of reality" - like a "grimace of reality," like the Joker's stiff smile in Batman (Žižek, 2013, p. 56). An artist who wants to indirectly disguise himself by "talking" through a multi-part work of art, as if "circulating", "touring", bypassing the "core of the problem" or works in order to avoid directness and to initiate multilayer quality. The separate segments of such a unit can be compared to separated and mixed words that "beat around the bush" and do not strike the core (messages) and "serve as a bridge between the Symbolic and the Real." It is only by their totality that the outline of what is intended is (partly) outlined. It is just partly, because even then one cannot speak of a “properly articulated sentence”. Attempts to articulate will take place in the viewer's spectator’s consciousness (or below the threshold of consciousness, at an intuitive level). The Real appears as a "fragmentation" of the symbolic order in a multi-part work of art. Fragments of an artistic wholeness, such as a multi-channel video installation, can be substantively linked (e.g. cause-and-effect as parts of a narrative or associative or conceptual level) and thus constitute the "words" of an "articulated sentence". Since the fragments form a whole (belong to the marking chain), we can treat them as markers-in-relation. On the other hand, some video installations may also include a screen that appears to be out of context, to behave on its own and has an "intruder" function - these could be dubbed markers-in-isolation. Being of a multi-part quality, such a whole is fragmented and can be treated as ‘"cracked Symbolic"’. Fragmentation can also be interpreted as a traumatic situation. Žižek (2013) refers to coincidence as the "response of the Real", and in this case such a coincidence (tyche) can be represented by non-synchronized images, whose combinations are unpredictable and the result of coincidence. Lacan's Real (according to Slavoj Žižek) is also invisible, hidden, implicit sense; something beyond the Symbolic; as an area of irrelevance that cannot be reduced; "Between" or "below" 23 visible images; "Between the lines" of visible text; "Outside" space, as amplification, intensification, rendering - rendu; as a "grimace" of reality, as a return through the traumatic; as anger, discomfort, insecurity; as a stain on the surface; as restraint; as a coincidence, as a rift effect; as “off-image” and “off-sound”,... The unit "Repetition and Multiplication of Images, Screens, and Actions" connects philosophical reflections on the phenomenon of repetition - notably the reflections of Gilles Deleuze and Søren Kierkegaard - with video works and video installations by Bruce Nauman, Ragnar Kjartansson, VALIE EXPORT, Wolf Vostell and Shirin Neshat. Deleuze's understanding of the term repetition describes works of art in which repetition is manifested as repetition and difference, repetition as a step change, repetition "as the highest object of will and freedom", repetition as a compulsive "¸obligation", repetition as "contestation and indulgence" and repetition both as irony and as humour. In the context of a work of art, one can talk about the idea-concept-term-intention expressed by the artist by using various forms of repetition (external, material, visible repetition, i.e. "naked", according to Deleuze). Such repetitions of elements (images in space or moving visual and sound images in time) suggest a "covert", "latent" ("dressed") repetition – i.e. "hidden", "latent" term-intention-idea. Repeating in this way reveals a "deeper truth" that the viewer needs to decode, and which is hidden "under" the technical manifestation of the multiplied images. It is not only images, sounds and screens that is repeated - something else is repeated through them as well, even if in some cases the very idea of repetition is repeated. In repeating "the same", for example, it is "obsessive ritual" or "schizophrenic stereotype". What is mechanical in such "bare" repetitions, i.e. the "element of seeming repetition" (in the video installation God, 2007, by Ragnar Kjartansson it is a repetition of the same verses and melody), has the role of "a curtain for a deeper repetition that plays in another dimension, (...).” (Deleuze, 2009). For example, in Nauman's films such as Bouncing in the Corner, No. 1 (1968) and Walking in an Exaggerated Manner Around the Perimeter of a Square (1967/68), the challenging issue for the artist is mastering "default" actions, "perfecting" them through rhythmic repetition. He chooses "temptation" - which means: a given activity which he overcomes through repetition. Reflections on repetition as a temporal and spatial phenomenon are in line with the chapters of the unit "Time and Space in Video / Film and Video Installations" that link philosophical 24 considerations of space and time and experience temporality with their manifestation in works of art. The observations about time and the relation of perception and memory are, in accordance to Henry Bergson and his conception of duration (durée) as "quality of quantity", furtherly substantiated through video installations and performances by Ragnar Kjartansson. In the experience of a musical phrase, when each new stimulus, that is, new notes are added to the previous ones, there is a constant change in the quality of the whole (in totality); in the same way there is a constant qualitative change while viewing the performance (or the performance video) in which repetitions of almost the same or similar elements occur (the repetitions of difference, also discussed by Žarko Paić). This "qualitative impression" of the work is constantly changing as the performance progresses until the final impression that comes to an end with the end of the work. The video works intended to be displayed as a video loop, express the idea of infinite duration ("pure time," according to Bergson). The Loop wants to be present at all times - to fixate in time. Wholeness is unrecognizable because the intention is to make the effect infinitely cyclic. The unit on the relationship between repetition and time through the past-present-future relationship is based on Deleuze's thesis on the three syntheses of time. Deleuze's theory seeks to apply the analysis of the complex film / video conceptions of Shirin Neshat, Andy Warhol and Dalibor Martinis. In his discussion, Deleuze says that the succession of moments does constitute time but dissipates it as well. "Time," Deleuze continues, "is constituted only in the original synthesis which refers to the repetition of moments." (Deleuze, 2009, p. 124). In this synthesis, consecutive independent moments are contracted one in another. Synthesis thus creates an experienced living present in which time takes place. According to Deleuze (which is supplemented by Bergson), the present comprises (contracted) moments of the past (the previous moments) and the future (which is present through expectation), and thus the time in the present (living present) unfolds. D
Autoportret
No full textKreacijom autoportreta čovjek može naučiti stvari o sebi koje nije znao. Radim autoportrete različitim tehnikama slikarstva, kiparstva i grafike, te u svakom otkrivam svoju psihu i različite osobine ličnosti. Moji radovi govore o različitim osobinama jedne osobe koje se mogu zbog nedostatka ravnoteže oteti kontroli i izazvati bitke sa samim sobom. Inspirirani djelima impresionista i umjetničke zabavne industrije moji radovi prikazuju te probleme, vibrantnom i ekspresivnom energijom
Autoportret / Unutrašnjost autoportreta / Utočište
No full textAutoportret u slikarstvu bio je početak mojeg istraživanja te teme i time same sebe kroz mogućnost različitih prikaza vlastitog lika. Korištenje ogledala s pukotinom i varijacije na temu, pridonijele su zanimljivosti i uzbudljivosti radu. Razni formati i razne tehnike, upotpunile su cijeli proces rada. Slike i crteži autoportreta potaknuli su me da se i u kiparstvu iskušam u toj temi. Krenula sam od temelja, realnog izgleda svojeg lica, kojega sam sa svakim novim autoportretom izobličavala i mijenjala. Glina mi je pružila lakoću u varijacijama oblika. Kako sam u radu kiparstva došla do produbljivanja same teme i osobnog prihvaćanja nekih stvari, u grafici sam na drugi način pristupila istraživanju crteža i pronalasku utočišta. Razvijala sam svoj osobni crtež, kroz koji sam se oduvijek osjećala bezbrižno i sigurno, nevezan za autoportret, te sam u tehnici bakropisa i suhe igle neke od tih crteža uspjela izraziti na novi način
Niti / Riječi - Poveznice - Prekretnice / Ovdje sam duže nego paprat
No full textGlavni fokus mog rada u akademskoj godini 2019./2020. bile su misli te kako se one manifestiraju u ljudskoj svakodnevici. Kroz kolegij Kiparstvo 3/N bavila sam se poveznicom između riječi i niti te koje su njihove zajedničke karakteristike.
Kombinacija teksta i crteža provlači se gotovo kroz sve moje radove. U kolegiju Grafika i primijenjena grafika 2 njihov odnos i kompoziciju koju tvore nadopunile su slučajne mrlje ili ogrebotine koje se dešavaju pri otiskivanju matrica.
Slučajne mrlje nastaju kod procesa uklanjanja kozmetičkih proizvoda. Kroz kolegij slikarstvo 2/N prepoznala sam njihovu slikarsku kvalitetu, te poveznicu između slučajnih mrlja i slučajni misli
