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Rad će analizirati projekat Vladimira Nikolića Hod sa vodom (2022) kao primer novomedijske umetničke prakse koji istražuje fundamentalna i konstitutivna pitanja slike i njenog odnosa prema realnosti u okvirima savremene digitalne i internet kulture i njima oblikovanih režima vizuelnog opažanja. Fokus će biti na pitanjima postupka, načina i metoda realizacije slike. Analiziraće se efekti i značenja odnosa optičkog doživljaja fizičke stvarnosti i neposrednog telesnog iskustva prostora, s jedne strane, i slike, kao ’duplikata’ tog doživljaja, s druge, te njihovih različitih materijalnosti, raskoraka između slike i realnosti koju slika zastupa/(teži da) prikazuje. Razmatraće se da li video-radovi u okviru ovog projekta takođe donose novu likovnost kakvu je moguće realizovati u okvirima digitalne tehnologije, ali pre svega da li postupci, metodi realizacije slike i sama slika govore u prilog artikulaciji jedne postantropocentrične kritičke pozicije i prevrednovanju korisnika slike u postantropocentričnog posmatrača i subjekta., The paper discussed Vladimir Nikolić’s project Walking with Water (2022) as an example of new media art practice that investigates the basic and constitutive questions of the image and its relationship to reality within the context of contemporary digital and internet culture and the visual perception regimes shaped by this culture. The Walking with Water project was a challenging and ambitious installation of the monumental scale, juxtaposing two video artworks: 800 meters (2019) and Document (2022), conceived for the Serbian Pavilion at the Venice Biennale 2022. The procedure, techniques, and methods of image realization as well as the significance and the meaning of references to the history of abstract art and the modernist concept of self-referentiality, were the main topics of discussion. The effects and meanings of the relationship between the optical experience of physical reality and the immediate bodily experience of space on the one hand and the image as a “duplicate” of that experience on the other hand, as well as their different materialities, the gap between the image and the reality that the image represents/aspires to represent, were analyzed. Both video artworks are based on the exploration of an optical image that would rethink the relationship between senses and media and reassess Kittler’s assertion about media as tools that provide a model or metaphor for understanding our senses. Secondly, these two video artworks are an expression of the problematization of life as a function of images and imagination that, as Flusser says, “slide into hallucination” or, to put it more simply, into the “tyranny of choice” and consumption. The paper also discussed whether the video artworks in this project also entail new pictorial effects that can be realized with digital technology, but above all whether the procedures, the methods of image realization and the image itself speak for the articulation of a post-anthropocentric critical position and the re-eval

The scholarly monograph "Networked Image" by Maja Stanković turns our attention to two aspects of contemporary art. The first is the “disappearance of clear differences between the artistic and non-artistic” as a continuation of radical ideas and challenging traditional views of art initiated in the context of avant-garde art movements in the early 20th century and new ways of technological reproduction. The second aspect is the process of “the moving and circulation of images in different registers” in which art also participates, which, according to Stanković, revealed the liquid context, and which now serves as a starting point for the theory of networked images as an interpretative tool or method for exploring contemporary art.

U ovom članku će se raspravljati o lokaciji umetničkog u radu koji je istovremeno performativan i materijalan, koji nastaje u procesu uspostavljanja situacije iz preseka događaja zabeleženog u nekom mediju ili medijima, a na primeru zidne foto-instalacije Ere Milivojevića Crno i belo oko iz 1995. godine. Namera je da se u svetlu nedoumica izazvanih radnim materijalom u zaostavštini ovog umetnika, kao i u svetlu izvedene/zatečene postavke navedenog rada na izložbi „Refleksije našeg vremena: Akvizicije Muzeja savremene umetnosti 1993–2019”, u istoimenom muzeju u Beogradu u vreme njegove smrti, mapiraju i analiziraju aspekti slučaja, promene, performativnosti i vizuelnosti te ukaže na njihovu međuzavisnost i njihov udeo u realizaciji umetničkog dela kao celine (ili u postajanju umetničkog dela) u sklopu umetničke prakse Ere Milivojevića., The paper will discuss the location of the artiness of an artwork that is both performative and material, and which develops in the process of establishing the situation from the cross-section of events recorded in a medium or media as it is in the case of wall photo-installation Black and White Eye (1995) by Era Milivojević. In the light of doubts caused by the material founded in the legacy of this artist, as well as in light of the performed / found setting of the work at the exhibition “Reflections of our time: Acquisitions of the Museum of Contemporary Art 1993–2019” in the museum of the same name in Belgrade the intention is to analyze aspects of chance, change, performativity and visuality and point out their interdependence and their contribution in the realization of an artwork as a whole (or in becoming an artwork) within the artistic practice of Era Milivojević.