JELENA KRIVOKAPIĆ
Gallery “Beograd”, Belgrade, Serbia
capeline33@yahoo.com

PARADIGME ORNAMENTALNOG U SAVREMENOJ SRPSKOJ UMETNOSTI
THE PARADIGMS OF THE ORNAMENTAL IN CONTEMPORARY SERBIAN ART

Journal 12/2016 (Museum of Applied Art), pages 45-54

Article category: scientific review

UDC:
7.02(497.11)”19/20”
7.01

Abstract (original language):
Istraživanje fenomena ornamentalnog, izvan pitanja stila (Riegl, 1893) ili formativne volje u umetnosti (Gombrich, 1979), a kao filozofske kategorije po sebi, intenzivira se na kraju XX veka kroz brojne teorijske i umetničke prakse. Na deo ambicija savremene umetnosti, kao i na oživljavanje istorijske

Key words: (original language)
ornament, stil, filozofska paradigma ornamentalnog, postmodernistička umetnost, Žak Ransijer (Jacques Rancière)

Summary:
By coining syntagm “the distribution of the sensible”, the French philosopher Jacques Rancière refers, from a philosopher's point of view, to the life of the early 20th -century art avant-garde – the distribution of the sensible between politics and art, the omnipresent decorative character of the planarity of depicted signs and its ornamentality, the unstable interweaving of the power of speech and the images, the distribution of the sensible between the fine and decorative arts, etc. However, as a contemporary, he advocates for the recognition of those forms of sensibility in the works of contemporary artists which most convincingly create a redistribution of the sensible as an “equivalent principle of art's 'plastic' revolution and the shared political experience within the community” – reflecting some of the most convincing positions of the modern world and the most mature solutions in the opuses of contemporary art.
The works of Serbian artists – Bora Iljovski, Slobodan Trajković, Dejan Kaluđerović and Milica Rakić – integrate a specific vision of the ornamental and the style, as simultaneously variable, cross-cutting and complementary plastic and ideological categories, but also something that Rancière would designate as the creation and exchange of new "aesthetic acts". This might be the practices that indicate the revival of the spaces in which poetic and political experiences of (common) life gradually intertwine and the formal boundaries of traditional aesthetics are being shifted.

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