Temporálny aspekt ruiny : dve prípadové štúdie z oblasti umenia pohyblivého obrazu
| Autoři | |
|---|---|
| Rok publikování | 2016 |
| Druh | Článek v odborném periodiku |
| Časopis / Zdroj | Profil súčasného výtvarného umenia |
| Fakulta / Pracoviště MU | |
| Citace | |
| www | http://www.profilart.sk/wp-content/uploads/2017/02/3-cast-4_2016_strbakova-ruiny.pdf |
| Obor | Umění, architektura, kulturní dědictví |
| Klíčová slova | contemporary art; ruin; post-medial situation; turn to a movie; remediation; postproduction; moving image art; assemblage; time; temporality; heterochrony |
| Popis | The presented paper discusses the temporary aspect of the motif of a ruin in contemporary Slovak and Czech visual art. The issue is being examined on the background of the mixing of media within the conditions of the post-medial situation. The paper initially indicates the scope and diversity of the theme of a ruin as such, but without attempting to cover all its positions and a complete “iconography”. The study focuses on processuality as an inherent property of the selected motif, which leads us to the understanding of a ruin as the result of layering times. The semantic planes of the ruin are demonstrated using two examples chosen from the field of moving image art, which was, from its very beginning, a carrier of the mixing of art forms. The strategies that have already been applied in the works I have been 30 for 60 years (Adéla Babanová,2010) and Assemblage (Katarína Hládeková and Jiří Kovanda,2015) are associated with the method of the historical research of Walter Benjamin. In both cases, the central role is played by assemblage as the method and form of knowledge. By the process of destruction and subsequent construction taking place at the level of selecting the fragments of time, as well as of the mixing of medial forms, seemingly unrelated temporal areas merge in the artworks. The form and the semantic plane of the artworks refer to the present understood as a common occurrence of heterochronic areas of time. While, the nature of the artworks beseems to the nature of the ruin, in which, through the conflicting modes of signification, all timelevels evenly sediment. Thus, the motif of the ruin in the representations of contemporary art functions as a metaphor of the heterochronic present, but also as a metaphorical expression of the conditions of the post-medial situation. The presented paper does not have the ambition to arrive at the procession of the topic in its entirety, it is rather a fragment abstracted form the given issue. |
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