теоретичар уметности и медија, Академија лепих уметности, Београд


Зборник 7/2011 (Музеј примењене уметности), страна 111-118

316.776:72.012.7/.8 ; 316.334.56:316.752 ; 72.012.7/.8:792.021
ИД 188185100

У време масовне производње и потрошње свега, па и уметничких дела, када тржиште у целини преузима логику, средства и карактер позоришта и примењује их у сваком аспекту савременог живота, театрализација комерцијалних излога постаје парадигма „друштва спектакла“. Процес грађења идентитета продавн

Кључне речи:
визуелна трговина, дизајн излога, занатска радња, излог, продавница комерцијалне робе, сценски дизајн, урбана комуникација

Although today we can consider each space–time unit as a space of spectacle, contemporary city becomes a dominant spatial framework for different stage phenomena. In the time of mass production and consumption of everything, including the works of art, when market takes over the logic, means and character of the theatre and applies them to every aspect of contemporary life, theatricality of commercial shop windows becomes a paradigm of „the society of spectacle“. The philosophy of commodities display assumes a significant use of stage tools. By linking visual merchandising with the overall profit of a shop, the concept of commodity presentation acquires a stage value or intentional scenic quality that directly and unambiguously enters in the service of the consumer society. This is why the identity building process of a commercial shop is based on the overall ideology of a brand name or the constitution of the image of the life style represented by that brand. In becoming a significant part of the entire stage design image of the space in front and behind the „set“, the „scene“ in the window of a commercial shop resembles the real stage space and becomes the place of persuasion and satisfaction of the consumers' imagination. At the same time, an authentic expression of an artisanal shop window, notwithstanding the fact that soon such a window will no longer exist in the real life of a contemporary city, remains a lasting value and an example of a possible organic link between the producer, the product, the presenter and representation. The business philosophy of a traditional artisanal shop assumes a specific way of display – the artisan himself not only creates the product but also places it in the window and the product thus becomes the means of representation. With their shapes, the properties of the material, colour and spatial interrelations, the displayed objects create an ambience in which the product itself unintentionally incurs a scenic value. Such a shop window can establish communication through its closeness and create a specific relationship between the „stage“ and the „auditorium“. An artisanal shop window thus becomes the paradigm of integrated approach to the process of production and presentation.

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