ЈЕЛЕНА КРИВОКАПИЋ
Продајнa галеријa „Београд“, Београд, Србија
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ПАРАДИГМЕ ОРНАМЕНТАЛНОГ У САВРЕМЕНОЈ СРПСКОЈ УМЕТНОСТИ
THE PARADIGMS OF THE ORNAMENTAL IN CONTEMPORARY SERBIAN ART

Зборник 12/2016 (Музеј примењене уметности), страна 45-54

Категорија чланка: прегледни рад

УДК:
7.02(497.11)”19/20”
7.01

Апстракт:
Истраживање феномена орнаменталног, изван питања стила (Riegl, 1893) или формативне воље у уметности (Gombrich, 1979), а као филозофске категорије по себи, интензивира се на крају XX века кроз бројне теоријске и уметничке праксе. На део амбиција савремене уметности, као и на оживљавање историјске

Кључне речи:
орнамент, стил, филозофска парадигма орнаменталног, постмодернистичка уметност, Жак Рансијер (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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