Search

Aktualna izložba dio je višegodišnje izlagačke djelatnosti Odsjeka za slikarstvo Umjetničke akademije u Splitu usmjerene prema osposobljavanju studenata za samostalno izlaganje i za njihovo pozicioniranje na nacionalnoj umjetničkoj sceni. Davor Drčelić, Ivan Jerončić Grba, Ivo Mateljak, Mia Minigo i Ivona Pupačić recentno su diplomirali slikarstvo na Umjetničkoj akademiji u Splitu, u klasi profesora Vedrana Perkova. O stvaralačkim mogućnostima ove obećavajuće generacije umjetnika svjedoče dosadašnja skupna i samostalna izlaganja te umjetnički radovi što su okosnica trenutne izložbe. Predstavljene autore zanimaju teme poput post-panoptizma (pomak sa nadzora i pojedinaca i „javne sfere“ na sveprisutni tehnologijski nadzor „privatne“ i svake druge „sfere“, ali bez prisutnosti ili uz dehumanizaciju subjekta kao njenog središta) ; „metaverzuma“ (ali kao metaslike – slike o slici – pa i neke vrste onoga što William John Thomas Mitchell naziva hiperikonom) ; polusvjesnog procesualnog slikarstva koje kroz medij crteža nanovo razotkriva slikovnu „rešetku“ (grid) i iluzionizam kojima „fizička“ slika nikako ne uspijeva umaći ; i konačno, reprezentacije ili tumačenja specifičnih pojava u našemu društvu putem osobnih ikonografija ili „likovnih semiotika“. Izložba je održana u Splitu (Sveučilišna galerija Vasko Lipovac), Osijeku (Galerija Knifer) i u Zagrebu (Galerija SC).

Slikarstvo je predmet kojim se José Ortega y Gasset iscrpno bavio u svojem djelu s gledišta koje je označio kao raciovitalizam ili filozofiju životnoga uma. U ovom se radu ispituje je li pojam živopis vjerniji principima raciovitalističke filozofije od pojma pintura koji koristi Ortega y Gasset. Drugim riječima, postavlja se pitanje o tome ne nadmašuje li prijevod, u tom slučaju, sâm original. U skladu s Orteginom tezom o povijesnosti ljudskih tvorevina, potražit će se i podrijetlo riječi »živopis«, što će doprinijeti zaključku o tome je li ona odgovarajuće ime za umjetnost slikarstva iz perspektive jedne filozofije života., José Ortega y Gasset studied painting in depth from the standpoint he called ratio-vitalism or the philosophy of vital reason. This paper explores whether the term živopis corresponds more to ratio-vitalist philosophy than the term pintura used by the Spanish philosopher. In other words, the question is whether the translation, in this case, is better than the original. Following Ortega’s thesis on the historicity of human creations, we will look for the origin of the word živopis, which contributes to the consideration of whether it is an appropriate word for the art of painting from the perspective of the philosophy of life.

Ovaj rad bavi se životom slikara Save Šumanovića koji je pre 80 godina, 30. avgusta 1942. streljan na pravoslavnom groblju u Sremskoj Mitrovici, zajedno sa 120 građana Šida, mesta u kojem je u roditeljskoj kući proveo najvažnije formativne, kao i poslednje godine svog života. Do danas mu se ne zna grob. Bio je jedna od najpoznatijih žrtava ustaškog režima u Drugom svetskom ratu u Jugoslaviji. Rad ne tumači slikarstvo Save Šumanovića, već nastoji da oslika milje u kojem je slikar živeo i radio te kroz njegovu biografiju i događaje pokušava da objasni istorijski kontekst koji je doveo do tragičnog kraja Šumanovića. Slike i skice Save Šumanovića danas se nalaze u Parizu, gradu u kojem je živeo u tri navrata, u Zagrebu, gde se školovao, u Beogradu, gde je priređena njegova poslednja samostalna izložba, pred sam početak Drugog svetskog rata, u Novom Sadu u Spomen-zbirci Pavla Beljanskog te u Šidu u kojem je nastao najveći deo njegovog opusa i u kojem je 1952. osnovana Galerija slika “Sava Šumanović”, zahvaljujući daru Savine majke, Perside Šumanović. U radu su, osim biografskih knjiga i zapisa savremenika o Savi Šumanoviću, korišćena i ekskluzivna pisma Save Šumanovića, koja su ljubaznošću porodice kolekcionara Milana Vereša bila dostupna autoru. Autor je koristio i intervjue koje je radio sa poznavaocima života i dela Šumanovića, kao i arhivske novinske članke, arhivu Televizije Beograd, te knjigu služavke Marije Demšar koja je tokom Drugog svetskog rata radila u kući Šumanovića u Šidu., This article is about the life of painter Sava Šumanović, who was executed 80 years ago (on 30 August 1942) at the Orthodox cemetery in Sremska Mitrovica, together with 120 other citizens of Šid, the city in which he spent his most important formative years. His body was never found to be burried. Šumanović is one of the most publically known victims of the Ustashe regime of the WWII in Yugoslavia. This paper does not discuss Šumanović's artistic contribution but rather the social and political context in which he worked and circumstances that led to his tragic death by brutal execution in front of a firing squad. Paintings and other Šumanović's works are today available in cities that had been connected to him through his life: in Paris (in which he lived on three occasions), Zagreb (in which he studied), Belgrade (the place of his last exhibition, just before the beginning of the war in 1941), Novi Sad (Pavle Beljanski Collection of Arts) and in Šid – where he was most productive as painter. His works were donated to Sava Šumanović Gallery in Šid, through donation by his mother, Persida Šumanović. This article is based on original sources such as Šumanović's personal letters, available from Milan Vereš's personal collection, as well as interviews, newspaper and TV archives, memoirs and biographies of Sava Šumanović.

Većinu svog slikarskog opusa Vesna Šojat posvetila je kamenu, a u ovom članku analiziramo jedan segment njena opusa - motiv kotorskih i kliških tvrđava

U radu se analizira simbolistički opus nedovoljno istraženog djela slikara Mihe Marinkovića. Školovan na Akademiji likovnih umjetnosti u Münchenu, poglavito je poznat kao slikar zaumnih tema, koje se mogu svrstati u korpus simbo- lističkih tema krajem devetnaestog stoljeća. Od 1904. godine nastanjen u Beogradu, bio je aktivni sudionik kulturne scene srpske prijestolnice. Marinkovićeve su slike izlagane u Paviljonu Kraljevine Srbije na Međunarodnoj izložbi u Rimu 1911. godine. Njegov simbolisitički opus obuhvaća standardne teme simbolističkog slikarstva: Meduza, Lucifer, Grešnik, koje upućuju na umjetnikovu ličnost i na kompozitno doba na razmeđu vjekova. Simbolizam u Marinkoviće- vu opusu odražavaju njegove pouke stečene u Münchenu, koji je krajem 19. i početkom 20. stoljeća bio europski cen- tar somnambulnih tema i umjetničkih eksperimenata. Marinkovićev je opus promatran u skladu s općim strukturama simbolizma, s posebnim osvrtom na münchenski simbolizam. Upućeno je na pojedine likovne kritike Marinkovićevih simbolističkih slika, koje svjedoče o povijesti recepcije njegova djela u kulturi Kraljevine Srbije početkom dvadesetog stoljeća. Pozitivno prihvaćanje Marinkovićevih slika u srpskoj sredini potvrđuje skladištenje trideset i pet njegovih djela u fundusu Narodnog muzeja u Beogradu., The paper analyses the symbolist works in the under-researched opus of painter Miho Marinković. Trained at the Munich Academy of Fine Arts, he is primarily known as a painter of intricate themes that can be categorized as late 19th-century symbolism. In 1904, he settled in Belgrade and became an active participant in the cultural scene of the Serbian capital. In 1911, Marinković’s paintings were exhibited in the Pavilion of the Kingdom of Serbia at the International Exhibition in Rome. His symbolist oeuvre covers the standard themes of symbolist painting, such as Medusa, Lucifer, or The Sinner, which speaks both of the artist’s personality and of the eclectic turn of the century. Symbolism in Marinković’s work reflects his training in Munich, which in the late 19th and early 20th centuries was the European centre of somnambular themes and artistic experiments. In this paper, his oeuvre has been considered in the context of general symbolist structures, with particular references to the Munich symbolism. Some reviews of Marinković’s symbolist paintings have been pointed out, which testify to the history of the reception of his work in the Kingdom of Serbia in the early 20th century. The positive reception of Marinković’s paintings in the Serbian setting is evident from the fact that as many as thirty-five of his works have been included in the holdings of the National Museum in Belgrade.

Sam naslov magistrske naloge napeljuje na pojem, ki je v njej vodilen, tj. spomin: »Spomin reke in njeni obrazi«. Povedano drugače – gre za spomin mojega življenja, obrazov, ki so se zapisali vanj s svojimi vstopi in izstopi, s sledmi, ki so jih neizbrisljivo pustili za sabo, v meni, mojem domačem prostoru, in me vseskozi nagovarjajo na zavestni in podzavestni ravni. Osredotočim se na spomin in kaj le- ta pomeni za človeka, oziroma zame kot umetnico, moj umetniški izraz. Spomin pojmujem kot nekaj, kar je prešlo, a še vseeno biva in vznika v moji sedanjosti - kot vrzel, ki je ni mogoče zapolniti, saj sem v resnici sama vsa potopljena v njej kot likovna ustvarjalka in pesnica. In kot takšna se ne morem dotakniti svojih podob in pesmi, ker sem sama njihov izvor. Ne morem jih sleči in odvreči, ker sem odeta v njihovo goloto. Spomin dojemam tudi kot ruševino, ki se v nekem oziru kaže v svoji ničnosti, včasih nevidni, a vseeno neizbrisljivi sledi. Tej tematiki se tudi najbolj posvetim. V pričujočem magistrskem delu izpostavim tudi življenje in delo Bogdana Borčića, s katerim, glede na to, da nimam eksplicitno izbranih vzornikov v svetu likovne umetnosti, najdem največ vzporednic in skupnih življenjskih resnic ter pogledov, iz katerih je izhajal. Ker se sama ukvarjam tudi s poezijo, v zaključku naloge ob reprodukcijah grafičnih del navajam tudi nekaj svojih pesmi, ki jih pojmujem za segmente, pomembne za razumevanje celote pričujoče magistrske naloge, lastnega razmišljanja ter produkcijo umetniških del, ki so tesno prepletena z njimi, saj vznikajo sinhrono v medsebojni simbiozi. The title of the master's thesis itself suggests a leading concept of the master’s thesis. The memory. “The memory of the river and its faces.” In other words, the memory of my life, of the faces that have left a mark on my life by entering and leaving it, by leaving the indelible traces in me, in my home space, which constantly speak to me on a conscious and subconscious level. I have focused on the memory and what it means to a human being or to me as an artist, to my artistic expression. I consider memory as something that has passed, yet still resides and arises in my present as a gap that cannot be filled, because I am deeply immersed in it as a fine artist and a poet, who cannot touch her images and poems, because I am their source. I cannot take them off and throw them away, since I am covered in their nudity. In some respects, I consider memory as a ruin, that in some ways shows itself in its voidness, its sometimes invisible yet indelible trace. This is the subject I have focused most on. The thesis is also focused on the life and the work of Bogdan Borčić, with whom, since I have no explicitly chosen role models in the world of fine arts, I have found most of the parallels, shared life truths and points of view that the was inspired by. Being a poet myself, along with the reproductions of my graphic works, I have also added some of my poems at the end, which I consider to be the segments that are important for the understanding of my master’s thesis as a whole, of my thoughts and the production of the artworks that are closely intertwined with them, as they synchronously emerge in mutual symbiosis.

Tema ovog rada jest simbolika biljaka zapažena u slikarskim djelima autora djelatnih na području današnje Dalmacije tijekom razdoblja 15. i 16. stoljeća. Rad čitatelju pruža uvid u detaljnu raščlambu kolektivne struje svijesti vezane uz simboliku vegetabilnih motiva odabranog geografskog područja i povijesno-umjetničkog razdoblja, te slikarske tematike naznačene u naslovu. Uključuje dekonstrukciju ikonografije bilja na komponente koje su doprinijele realizaciji njezina sakralnog identiteta; znanost i kršćansku duhovnost. Polazi se od ideje da je kroz razvoj biljne simbolike u likovnoj umjetnosti moguće promatrati kulturna, vjerska i znanstvena previranja odabranoga društva. Istovremeno se razmatraju različite interpretacijske mogućnosti uprizorena bilja, cvijeća i plodova na djelima slikara koji su živjeli i djelovali u spomenutom razdoblju. Sagledavaju se i stilska rješenja autora te uzajaman odnos likovnog govora i fitomorfne simbolike uzimajući u obzir sve njihove podudarnosti. Akcent je na specifičnom umjetničkom stvaralaštvu koje korištenjem biljne motivike s pripadajućom simboličkom vrijednosti daje odgovor na ljudsku percepciju isprepletenosti materijalnog i nematerijalnog svijeta., The subject matter of this thesis refers to plant symbolism found in the paintings of authors active in the area of today's Dalmatia between the 15th and the 16th century. The thesis provides the reader with an insight into a detailed analysis of the collective consciousness related to the symbolism of plant motifs found in the selected geographical area within the art period and theme indicated in the title. It includes the deconstruction of plant iconography into components that contributed to the realization of its sacral identity; science and Christian spirituality. This introduces the idea that it is possible to observe cultural, religious and scientific turmoil of a particular society through the lens of the evolution of plant symbolism in fine art. At the same time, various interpretive possibilities of depicted plants, their flowers and fruits, in the works of painters that lived and worked throughout the given time period, are being considered. The stylistic solutions of these authors and the mutual relationship between their artistic expression and phytomorphic symbolism, along with all of their similarities, are also being examined. The emphasis is on a distinct artistic creation that uses plant motifs, along with their corresponding symbolic values, in order to respond to the human perception of the commingling of a tangible and an ethereal world.

V magistrski nalogi raziskujem otroštvo kot družbeni in osebni konstrukt. Tematika je obširna, kompleksna in večplastna, zato sem se pri pisanju omejila in osredotočila predvsem na tiste vidike, za katere menim, da pripomorejo k lažjemu razumevanju praktičnega dela magistrske naloge. V teoretičnem delu sem najprej raziskala, kako se je dojemanje otroštva skozi zgodovino spreminjalo, nato pa s pomočjo različnih teorij, tudi psihoanalitičnih, poskušala pojasniti, kako zgodnje izkušnje vplivajo na razvoj osebnosti in kako z nami »ostajajo« v odraslosti. V praktičnem delu magistrske naloge sem se spraševala o naravi naše zaznave, o simboliki svetlobe otroka, kot ponavljajoči se motiv v svojem ustvarjanju, pa poskušala reflektirati na sebi lasten način. Opis tematike risb in grafik sem zaključila z mislimi o družbenih notah, ki se odražajo v samih delih. Nadaljevala sem z daljšim opisom mojih risarskih in grafičnih tehničnih postopkov, ki se mi zdijo pomemben del moje umetniške prakse. This thesis explores childhood as a social and personal construct, which is vast, complex and multi-layered topic it is limited and oriented mostly by those aspects, which lead to understanding the practical part of this masters’ thesis. The theoretical part first researches, how the perception of childhood changed through the history what follows is an attempt to explain, how the early experiences, which often stay with us in adulthood, affect the development of a personality with the help of various theories, including psychoanalytical theories. The description of the practical part of the thesis includes wondering about the nature of our perception, the symbolism of light and to reflect the child as a reoccurring motif in my own work in its own approach. I concluded the theme description of my drawings and prints with thoughts about the social aspects that are present in my work. I went on to a longer description of own drawing and graphical technical procedures, which are an important element of my art practice

V magistrski nalogi sem raziskoval svoj umetniški pristop skozi lastna umetniška dela, referenčne točke v umetnosti in teoriji. Zanimajo me grafika, interakcija grafike, risbe, ploskev in prostora. Grafične tehnike narekujejo proces ustvarjanja in premislek o podobi, ki se preko stika z matrico odtisne na nosilec podobe in jo je možno reproducirati. Kolaž in asemblaž sta v mojih delih ključni izrazni strategiji, ker mi omogočata ustvariti umetniška dela s sestavljanjem iz različnih materialov in oblik, ki v sopostavitvi oblikujejo novo umetniško delo. Hkrati omogočata povezovanje in prehajanje iz enega v drug medij. Grafiko poskušam povezati s kiparskim principom dela, kolaže dopolnjujem z asemblaži. Preizprašujem pozicijo grafike z drugimi načini ustvarjanja kako se prepletata ustvarjanje na dvodimenzionalnem nosilcu in ustvarjanje v prostoru. V kolažih govorim o razmerju med predmetnim in ploskovitim objektom, dejanskostjo in iluzijo. Ustvarjam s plastenjem na dvodimenzionalnem nosilcu in plastenjem realnih materialov v prostoru. Pri iskanju ustreznih strategij želim združiti posamezne oblikovne in likovne rešitve na področju grafike, kolaža in asemblaža. In my master’s thesis, I explored my artistic approach through independent works of art, reference points in art and theory. My primary interest is printmaking, and the interaction of prints, drawings, surfaces and space. Printmaking techniques dictate the process of creation and consideration of the image, which is imprinted on the image carrier through contact with the matrix and can be reproduced. Collage and assemblage are key expressive strategies in my works because they allow me to create works of art by assembling various materials and shapes, that in juxtaposition form a new work of art. At the same time, they enable connection and transition from one medium to another. I try to interweave printmaking with the sculptural principle of work, I complement collages with assemblages. I question the position of printmaking with other ways of creating how a two-dimensional medium and creation in space will connect. With collages, I explore the relationship between an object and the flat object, reality, and illusion. I create by layering on a two-dimensional support and layering concrete materials in space. In search of appropriate strategies, I want to combine individual forms and art solutions of printmaking, collage and assemblage.

Izhodišče magistrske naloge so deformirani družinski portreti. V prvem delu raziskujem obraz in njegovo upodabljanje ter reprodukcijo, za kar sem našla izhodišča v delu Hansa Beltinga: Faces – Zgodovina obraza. Zanima me, kakšen pomen je imel obraz skozi zgodovino. Raziskujem, kaj se zgodi z obrazom, ko se spremeni v portret. Pomembno se mi zdi vprašanje, kakšno moč imajo podobe in kako lahko vplivajo na ljudi med drugim navedem primere iz dela Davida Freedberga: Moč podob – Študije iz zgodovine in teorije odzivanja. Ker pri svojem procesu dela pretvorim analogne fotografije v digitalne, na kratko predstavim tudi témo o fotografiji in njeni zgodovini ter o razlikah med digitalno in analogno fotografijo. Napišem definicijo slikarstva in navedem nekaj primerov, kako se lahko fotografija in slikarstvo med seboj povezujeta. Temu sledijo reprodukcije mojih slikarskih del, kjer predstavim tudi referenčne umetnike, ki ustvarjajo na podoben način. This MA thesis is based on deformed family portraits. In the first part, I study the face and how it is portrayed and reproduced, which is addressed in Hans Belting's Faces: Une histoire du visage. I want to determine the significance of the face through history and study what happens to the face once it is transformed into a portrait. I find it important to address the power of images and their effect on people among others, I list examples from David Freedberg's The Power of Images: Studies in the History and Theory of Response. As my work process entails transforming analogue photographs into digital photographs, I also discuss photography, its history, and the differences between digital and analogue photographs. I then define painting and list some examples, showing how photography and painting can be mutually linked. I go on to portray reproductions of my paintings, presenting also referential artists who adopt a similar approach to art.

Iako su rad i život Ivana Meštrovića (1883.–1962.) predmet brojnih izučavanja, klasična komponenta njegova stvaralaštva nije do sada bila protumačena i objedinjena. Ona se formalno i tematski prepoznaje u svim segmentima njegova umjetničkog, arhitektonskog, pedagoškog i esejističkog djelovanja, te se analizira u tri glavne cjeline, koje vremenski obuhvaćaju prva dva desetljeća 20. stoljeća, međuratno razdoblje i poslijeratnu fazu. Jedan je od rezultata istraživanja, koji se odnosi na prvu cjelinu, uvođenje pojma utopijske skulpture, izlučenog iz konceptualne i povijesne reperkusije Partenona na europsku skulpturu kraja 19. i prve polovice 20. stoljeća. On se tumači na primjeru Vidovdanskoga hrama. Francuski kipari pružaju glavni komparativni materijal na temelju kojeg se uočava Meštrovićeva transgresija od prihvaćanja načela fragmentarne skulpture i asamblaža, arhajskoga monumentalizma i neoklasicizma. U međuratnom razdoblju klasična komponenta prepoznaje se kao stil sâm (neoklasicizam). On je zamjetan na monumentalnim skulptorskim i arhitektonskim djelima, koja održavaju ideje moći i stabilnosti. Razdoblje „povratka redu“ korespondira s tezama antimodernizma, programatski formuliranima u esejima o Michelangelu Buonarrotiju. Posljednje razdoblje shvaća se kao rekapitulacija stečenog iskustva, iskazanog kroz zreli ekspresionizam, realizam, autoreferencijalni neoklasicizam i pastišni eklekticizam ili eklektički monumentalizam. Eklektički pristup tradiciji autentičan je umjetnikov iskaz; taj iskaz je kompleksan (opreka modernizam – antimodernizam) i neusporediv s drugim hrvatskim i europskim kiparima i arhitektima. Meštrovićev se klasični, mnogofasetni identitet potvrđuje kao ključna odrednica njegova opusa, bez koje ga je nemoguće cjelovito interpretirati i kontekstualizirati u okviru modernoga hrvatskog i europskog kiparstva. Iako je većina ostvarenja općepoznata, ona do ovog istraživanja nisu bila cjelovito objedinjena kroz kategorizaciju, koja sagledava stilsko i tematsko formiranje – od antičkih uzora do neoklasicizma. Although for more than a century now the life and work of Ivan Meštrović (1883–1962) have been studied by numerous research scholars, both foreign and domestic, the classical component of his artistic work has never to date been interpreted, contextualised and brought together between the covers of a single work. In this research, this component has been identified formally and thematically in Meštrović’s sculpture, in his architecture, in the drawing, painting and printmaking that also constitute parts of his oeuvre, in his teaching at the Zagreb Academy of Fine Arts and in his writings about art. The classical component, which is considered to be one of the most important characteristics of the work of this artist and architect, is analysed in three main units, covering in terms of time the first two decades of the 20th century and the interwar and post-war phases. In the introductory part, after the chronological framework of the discussion of Meštrović’s art is established, the frame of reference for the concept of the classical component is addressed. It presumes the internalisation and reinterpretation of patterns of theme and composition from a number of periods of art history. Meant here are Antiquity (the period that extends from the appearance of writing in the 4th millennium BC, via the civilisations of Mesopotamia and Egypt down to the collapse of the Roman Empire), the Renaissance (in the oeuvre of Meštrović this mainly means invoking the art of Michelangelo Buonarroti) and the Neoclassicist period. Then the definition of terminology is addressed (archaism, the archaic and archaistic style, the influences of the Bronze Age and classicism as against Neoclassicism), as well as the determination of the chief comparative context, which is French modern sculpture. In addition, to reinforce the need for the study – in terms of the framework of the problem given – reference is made to recent domestic and international exhibition and publishing projects, and to texts in which modernism is redefined precisely in relation to the reinterpretation of the classical tradition. In the first two decades, the presence of classical elements is interpreted as one of the tendencies associated with the stylistic formations of Impressionism, Secession, Symbolism and Expressionism. Keeping up with references to classical culture can be discerned at the very beginnings of the artist’s engagement with sculpture, during the Vienna years (1900–1907), when Meštrović quite plainly advanced negative views about the tradition. In connection with the comparative context, the familiarity of Meštrović’s French critical fortune is expanded, that is, the reception of his participation at the most important exhibitions of the time in 1908 and 1909 (Salon d’Automne, Salon de la Société nationale des beaux-arts). The transition from rejection of the classical tradition to invocation of it, from the development of the lexis of (monumental) archaism to (monumental) neo-classicism is observed through a comparison with French sculptors, with Auguste Rodin, Antoine Bourdelle and Aristide Maillol, who had defined the relation of modern sculpture and Ancient and Renaissance art. Here Rodin’s invention of fragmentary sculpture and assemblage needs particularly to be picked out and attention drawn to the fact that Meštrović was the first Croatian sculptor to employ it. One result of the research into the problem was the introduction of the concept of utopian sculpture. It is derived from the conceptual and historical repercussions of the architecture of the sculpture of the Parthenon on European sculpture of the end of the 19th and the first half of the 20th century. The concept is interpreted with use of the St Vitus Day Temple (1908–1912) and, pursuant to the stylistic and ideological similarities, it is expanded to several other contemporary examples, mainly of Czech and French artists. The temple itself, and the Kosovo Cycle and the Prince Marko Cycle that belong to it, are described in detail and analysed in order to be able to distinguish the finer features of the appropriation of Ancient sculptural and architectural motifs, elements and symbolic meanings. The second decade of the last century was marked by the sculptor’s consideration of Ancient iconographic templates (Venera pudica) and motifs (women dancing) that enabled Meštrović to develop the theme of the female nude further. He also went on pondering the male nude in two directions – the archaic, heroic monumentalism (the monument Victor, Belgrade, 1913) and the anti-hero (for example, Pensive Youth, London, 1915). Subsequently in the thesis through all the periods and within all the units, there is a continued interpretation of reliefs and medals that prove to be particularly suitable for the depiction of the adoption of classical formal patterns, and for the reception of the then current stylistic tendencies (modernism). In the interwar Zagreb period (1922–1942), the classical component can be identified as the main determinant of the style, as the style itself, then (Neoclassicism). This stylistic tendency is perceptible in the monumental sculptural and architectural productions, which reflect the idea of power and stability, for which an ideal framework can be found in elements taken from Antiquity, the Renaissance and Neoclassicism. In the design of the nudes and works of religious topics, Meštrović often resorts to the repertoire of forms and themes that were established by Michelangelo. The focus of the research is on the importance of the sculptural workshop, its role in the transmission of knowledge, skills and the return to the sources of classical, Mediterranean culture. In the case of Meštrović, the problem of workshop is seen through the short-lasting workshops organised for the purpose of his monumental and architectural projects, then through the activity and formation of young sculptors in his studios, and through the organisation and reform of teaching at the Academy of Fine Arts in Zagreb, where he was president and professor. The characteristics of the phenomenon identified as “the return to order” correspond with the thesis of anti-modernism, which he programmatically formulated in essays about Michelangelo (Ivan Meštrović, “Michelangelo (an introduction to a study)” of 1926; Ivan Meštrović Conversations with Michelangelo, 2007; Ivan Meštrović, Michelangelo – essays of an artist about an artist, 2010) and embodied in his own works, which were supposed to be a model for the younger generation of artists and avert them from the destructive influences of the avant-garde. In these essays, he joined the string of French artists who in a similar way had engaged with the Italian sculptor (Rodin, Émile Bernard). It should be pointed out that antimodernism is not necessarily not-modern, that is, outside the currents of the time in which it came into being, which, among other things, is confirmed by Meštrović’s sensitivity to current artistic and political circumstances. In the context of Meštrović ’s reception of Michelangelo, it should be pointed out that in this thesis for the first time his long-lasting engagement with the theme of Moses (1915– 1952) and with portraits of Michelangelo, done in the media of sculpture and drawing is analysed and presented as a whole for the first time. In this part of the thesis, there is discussion of Meštrović’s monumental and architectural oeuvre, to which a particular quantitative impetus was imparted in the third and fourth decades of the century, during which Meštrović won his place as the main state sculptor of the Kingdom of the Serbs, Croats and Slovenes, later known as the Kingdom of Yugoslavia. Because of the closeness with political circles (with, for example, the Karađorđević and Masaryk families) and thanks to the success of his international exhibitions he had a large number of commissions for public sculpture in Croatia, other parts of Yugoslavia and in Europe, the USA and South America, Since these projects have been discussed in previous researches, the objective of the current investigation was to establish the typological development (the equestrian monument, for example, the motif of the winged goddess of victory, Nike) and his correlation with the classical tradition (for example, derivations of the architectural vocabulary of the ancient world, the variation of the ancient structure of temple and its adjustment to contemporary needs of a public and a personal purpose). Still, the dissertation includes some unknown facts and material related to the Speer Memorial of Denver, which was never brought to fruition (1934). The discussion is expanded to Croatian and European (Czech and Latvian) production of monuments, by the consideration of the influence of Meštrović’s public sculpture on the formation of the following generation of Croatian and Slovene sculptors (the defining of the Zagreb Sculpture School) and on the reception of Neoclassicism and monumentalism in the public sculpture of central and northern Europe. The last period of Meštrović’s life and work in Rome, Switzerland and the USA (1942– 1962) is seen as a recapitulation of the experience garnered up to that time. Stylistic derivations are recognised as mature Expressionism, realism and self-referential Neoclassicism. The latter inclination is a confirmation of the long duration of the classical tradition that is sketched out in the thematic stratum (mythology, religion) and in compositional self-referential and referential (Michelangelo, Rodin, Bourdelle) figurativeness. The interpretation is expanded to the phenomenon of eclecticism, that is, of the eclecticism of the pastiche, of eclectic monumentalism, which is attributed in this dissertation above all to his architectural designs (the Njegoš Mausoleum at Lovćen, 1924–1974) and to his sculptural productions in all periods. An eclectic approach to the tradition and to his own artistic past is the authentic expression of this artist. Accordingly, he is both polyvalent and complex (the opposition of modernism and anti-modernism) and is not comparable to other Croatian and European sculptors and architects. The thesis also introduces some little known (for instance, two sculptures on the topic of the slave of 1903) or completely unknown productions (for example, the drawing Source of Courage, 1906 (?) published in the journal Český svět in 1909). From the beginning of his career, from his days as a student in Vienna, right until the last, the American, period, it is possible to recognise and track, with complete clarity, the artist’s specific manner of referring to and reinterpreting classical (mythological, for example) subjects, as well as approaches to form and composition (for example, the different versions of the depiction of Aphrodite or Venus – Venera pudica, Aphrodite, Anadyomene and so on), from sources in Antiquity, which necessarily include not only Greek and Roman but also other ancient world traditions, as well as from the Renaissance and Neoclassicism. Hence this research too was oriented to the chronological coverage of stylistic appropriations of classical motifs, through all the phases of the artist’s work, Nevertheless, sometimes, for the sake of comprehensiveness and readability, a given subject will be covered together in a sub-chapter with productions from different periods (for example, the theme of Domagoj’s Archers, Venera Pudica, Moses, Pietà, the historical origins of memorial architecture and so on). Finally, although most of the works from the periods mentioned are universally known and have been presented in previous interpretations, until this research they were not discussed in a single place and contextualised through stylistic treatment and categorisation that covers stylistic and thematic formation, from ancient sources up to Neoclassicism. The research was founded mainly on works and documents kept in the Ivan Meštrović Museums (Meštrović Atelier in Zagreb, Meštrović Gallery in Split) but also on those to be found in other domestic and foreign museums, libraries, state and private archives. Prior research was crucial – that devoted to Ivan Meštrović, anti-modernism and that addressing the international context. Meštrović’s writings about Michelangelo, the publications he possessed, his collection of photographs and reproductions of Ancient and Renaissance art and architecture tell of his continued and dedicated study of historical periods, the lessons of which he deliberately incorporated into his own productions and adjusted to the current moment and visual style. This thesis shows that Meštrović’s classical, multi-faceted identity is a key determinant of his creative work, which cannot without it be interpreted integrally and contextualised within the framework of modern Croatian and European sculpture.

U ovom radu istraţujem vlastito nesvjesno kroz motiv autoportreta. Uljanim bojama na mediapanu i figurativno – reprezentativnim pristupom pokušala sam utjeloviti vlastite sjene. Rad je podijeljen na dvije cjeline. U prvoj cjelini, kako bi se mogla razumjeti ideja iza rada, objašnjava se C.G. Jungov koncept sjene koji je bio inspiracija za sliku. Drugi dio bavi se praktiĉnim dijelom diplomskog rada, te navodi primjere umjetnika koji su se takoĊer bavili sjenom u svom radu. In this work, I explore my own unconscious through the motif of self-portrait. I tried to embody my own shadows with oil paints on medium-density fibreboard and a figurative-representative approach. The paper is divided into two parts. In the first part, in order to understand the idea behind the work, C.G. Jung’s concept of shadow is explained which was the inspiration for the painting. The second part engages in the practical part of the master’s thesis, and gives examples of artists who have also dealt with the shadow in their work.

Izhodišče diplomske naloge je premislek odnosa med digitalno podobo in slikarstvom, ki pogojuje vsakršno prenašanje podob med obema medijema. Pluralnost interpretacij pojma digitalno zahteva členitev raziskovanja na tehnološko in kulturno komponento, ki vzajemno pogojujeta sodobne slikarske prakse. Umeščenost le-teh v sodobno kulturno in medijsko krajino, nasičeno z nostalgičnim obujanjem preteklih form digitalne vizualnosti, predstavlja izhodišče za kritično obravnavo skozi prizmo retrofetišizma in hauntologije. Medijsko hibridizacijo in diseminacijo slikarstva ter digitalne podobe si prizadevam pojasniti skozi prizmo postmedijske teorije. Na primerih obravnavanih umetnikov Avery Singer in Juliusa Hofmanna, lastne ustvarjalne prakse, koncepta ekstenzije slikarstva in teorije postinterneta orišem tudi teren, ki leži onkraj konceptualizacij postmedijskega slikarstva. The starting point of this diploma thesis is the reflection on the relationship between the digital image and painting, which determines any transfer of image between the two mediums. The plurality of interpretations of the term digital requires the division of research into the technological and cultural component, which are mutually conditioned by contemporary painting practices. Their placement in the contemporary cultural and media landscape, saturated with nostalgic revivalism of past forms of digital visuality, represents the starting point for critical treatment through the prism of retrofetishism and hauntology. I aim to explain the media hybridization and dissemination of painting and digital image through the prism of post-media theory. Using the examples of artists Avery Singer and Julius Hofmann, my own creative practice, the concept of the extension of painting and post-internet theory, I also outline the terrain that lies beyond the conceptualizations of post-media painting.

V magistrskem delu raziskujem povezave med dolgčasom, umetnostnim objektom in odpadnim materialom. Raziščem razvoj modernega koncipiranja pojmovanja dolgočasja kot pojava, ki briše svojo lastno zgodovino, in pojma, ki predstavlja estetsko kategorijo. Dolgčas nato opredelim kot »atrofijo izkušnje«, ki ima za končni rezultat »empatijo s komoditetami«. Ob tem vzpostavim povezavo med dolgočasjem in vse hitrejšimi cikli pridobivanja in odstranjevanja produktov, ki končajo kot smeti. Sledi raziskovanje modernističnega toka umetnosti, ki pomembno vpliva na povojno umetnost, toka, ki z vključevanjem smeti, dolgočasja in banalnega, vzpostavi estetiko kot kritični jezik težnje po brisanju dihotomije med umetnostjo in življenjem. Osredotočim se na povezavo med slikarstvom in odpadnim materialom ter slikarstvom in redukcijo vizualne stimulacije, ključnima aspektoma vzpostavljanja slike kot objekta. Nato se posvetim kreativnemu dolgočasju in principu uporabe najdenega materiala v svojih delih, ki se skozi plastenje in montažo odpadnega materiala vzpostavijo kot objekti. The present paper aims to explore the relationships between boredom, the art object, and waste materials. I examine the development of the conception of boredom both as a phenomenon that effaces its own history and as a concept that represents an aesthetic category. I then define boredom as ''atrophy of experience'', which results in ''empathy with commodities''. In doing so, I establish a link between boredom and the ever-faster cycles of retrieving and disposing of products that end up as garbage. This is followed by an exploration of the modernist art movement, which has a significant impact on post-war art, a movement that, by incorporating rubbish, boredom, and banality, establishes aesthetics as a critical language of the tendency to erase the dichotomy between art and life. I turn my attention to correlation between painting and waste material and painting and the reduction of visual stimulation, key aspects of establishing the painting as an object. Finally, I focus on creative boredom and summarize the principle of using the found material in my works, which are established as objects through the layering and assembly of waste material and paint.

V pričujoči diplomski nalogi raziskujem pozicijo živali v človeški družbi in se skozi primerjavo s fotografijo lotevam vprašanja človekove percepcije živali. V besedilu se osredotočam tudi na problematiko človekovega pogleda na žival, kjer med drugim opišem, kako je (lahko) način srečevanja z živalmi v času družbe, ki jo definira prenasičenost podob, predrugačen. Tovrsten diskurz tako predpostavlja, da je med vidnejšimi karakteristikami odnosa sodobnega človeka do živali antropomorfizacija, preko katere utemeljujem pozicijo psa v človeški družbi. Figura psa spremlja celotno besedilo in se nenazadnje pokaže tudi kot osrednji motiv lastnih slikarskih del, v katerih se lotevam obravnave zamirajočega športa pasjih dirk. In the following thesis, I explore the position (and condition) of animals in human society and, through comparison with photography, address our perception of animals. The text also focuses on the issue of the human gaze, where I explore how human-animal encounters are altered and transformed in a society, defined by image overload. The discourse thus suggests that one of the most prominent characteristics of modern human-animal relationships is anthropomorphization, through which I substantiate the position of dogs in human society. The motif of a dog is explored through the entire text and, last but not least, shows itself as the central theme of my own paintings, in which I address the fading sport of dog racing.

Diplomsko delo, kratki igrani film Slepo polje se ukvarja z razširjenostjo tesnobe med študenti v času epidemije covida-19. Opravil sem anketo, s katero sem želel izvedeti dejansko stanje glede študentov in tesnobe, za njihove izkušnje in njihovo mnenje glede zadostnega ozaveščanja o tesnobi. Namen diplomskega dela je opozoriti na posledice epidemije na študentih, izboljšati njihovo duševno stanje in omogočiti boljši dostop do strokovne pomoči v času epidemije covida-19. V diplomsko delo sem vključil tudi umetnike, psihologe in filozofe, katerih dela so tesno povezana s tesnobo. Rezultati ankete so pokazali, da se je večina študentov znašla v stiski zaradi epidemije covida-19. Njihove izkušnje sem skušal zaobseči v celoto in stanje med študenti v času epidemije covida-19 čim bolj pristno prikazati v kratkem igranem filmu. The short film Blind Field deals with the prevalence of anxiety among students during the COVID-19 epidemic. I surveyed to find out the actual situation with students and anxiety, their experiences, and their opinion on sufficient awareness of anxiety. The purpose of this thesis is to draw attention to the consequences of the epidemic on students, improve their mental state, and provide better access to professional assistance during the COVID-19 epidemic. I also included artists, psychologists, and philosophers whose work is closely related to anxiety in my dissertation. The results of the survey showed that most students found themselves in distress due to the COVID-19 epidemic. I tried to capture their experiences as authentically as possible in a short film.

Ogledalu je človek že od prvih dni naše zahodne civilizacije pripisoval različne mitološke in nadnaravne lastnosti. Običajni človek je v ogledalu prirejal samega sebe, filozof pa je namesto o narobe obrnjenem posnetku originala razmišljal o ideji objekta, ki se je zrcalilo v svetu onkraj ogledala. Od Sokrata in Platona naprej je človek v zrcalih spoznaval samega sebe, umetnik pa je v njem poleg sebe spoznaval še okolico, v kateri je živel in ustvarjal. Z ogledali si je umetnik pomagal razširjati in spoznavati realni in likovni prostor ter postavljal vprašanje o zrcalu in odsevu kot membrani med svetovi. Various mythological and supernatural qualities have been attributed to the mirror since the first days of our Western civilization. The common man arranged himself in the mirror, and the philosopher, instead of looking at the wrong-turned image of the original, thought of the idea of an object mirrored in a world beyond the mirror. From Socrates and Plato onwards, man got to know himself in mirrors, and in addition to himself, the artist got to know the surroundings in which they lived and created. Through mirrors, the artist helped to expand and comprehend the real and the artistic space, and asked the question of the mirror and the reflection as a membrane between worlds.

V diplomski nalogi skušam orisati postopne mutacije sodobne umetnosti v relaciji do njenih tehnoloških okoliščin, pri čemer se posebej osredotočam predvsem na implikacije algoritmov in nevronskih mrež. Prek primerov nekaterih nedavnih umetnostnih praks ter z njimi povezanih teoretizacij ponazorim sodobne strategije mišljenja in izvajanja kulturne produkcije, ki se prilagajajo medijski krajini sedanjosti in prihodnosti, pri čemer spreminjajo odnos do avtorstva, inovacije, reprezentacije, politike in umetnostnega trga. Po kratki razlagi tehnologije nevronskih mrež v zaključku predstavim tudi svojo avtorsko prakso in načrt za samostojno razstavo, v katerem ponazorim aplikacije predlaganih strategij. In my dissertation I try to outline the gradual mutations of contemporary art in relation to its technological circumstances, with a special focus on the implications of algorithms and neural networks. Through examples of some recent art practices and related theorizations, I illustrate contemporary strategies of thinking and performing cultural production that adapt to the media landscape of the present and the future while changing attitudes towards authorship, innovation, representation, politics and the art market. After a brief explanation of neural network technology, I present my practice and a plan for a solo exhibition through which I illustrate some applications of the proposed strategies.

Krajina predstavlja osrednji pojem, na podlagi katerega sem raziskovala odnos med človekom in naravo v tehnološko rapidno napredujoči sodobni družbi ter vpliv tega odnosa na motiv krajine v sodobnem slikarstvu. Najprej definiram pojem narave in njen odnos z umetnostjo. Nadaljujem z razlago širokega pomena krajine in jo skozi upodobitve narave umestim v zgodovinski kontekst. Nadalje opredelim razvoj zahodnega krajinskega slikarstva skozi različna zgodovinska obdobja, s poudarkom na upodabljanju krajine danes, ko vsak umetnik na svoj način demonstrira, kaj vse je lahko pokrajina. Spoznanju, da je naše doživljanje na naravo zapleteno, sledi poglavje o estetskem vrednotenju narave, nakar ta odnos še definiram skozi pojem ruševine. Zaključim s predstavitvijo analize svojega umetniškega ustvarjanja v sklopu serije slik JOMO. FOMO. YOLO! in ugotavljam, kako v sodobnem času interpretirati ta stoletja razvijajoči se motiv krajine. Landscape painting delineates the central concept through which I delved into the relationship between people and nature within our society, marked by rapid technological advancement, and the influence of the said rapport on the landscape motif in the field of contemporary painting. Commencing this thesis by defining the concept of nature and its relation to art, I then elaborate on the broad significance of a landscape and historically contextualise it through its rendering of nature. Further, I characterise the development of western landscape painting throughout its various historical periods and emphasise contemporary landscape depictions, presenting how artists express their individualities by demonstrating their unique interpretations of the breadth of the landscape concept. An acknowledgment of the complexity of human perception of the environment is followed by a chapter on its aesthetic appraisal and the definition of this correlation through the concept of an anthropogenic derelict. In the conclusion, I analyse my artistic production within the JOMO. FOMO. YOLO! series of paintings and ascertain a contemporaneous interpretation of landscape, a motif that has sustained centuries of development.

Ustvarila sem spletno stran Zdravilni izraz, na kateri sem objavila vaje in besedila za samopomoč pri čustvenem izražanju ter posledično lajšanju psihičnih travm. V teoretičnem delu sem se oprla na psihoanalitike, psihologe in umetnostne terapevte, kot so Alice Miller, Luise Reddmann in Cathy A. Malchiodi. Raziskala sem vzroke in posledice psihičnih travm, zanemarjanje v otroštvu ter kako si pomagati z različnimi vajami in umetnostno terapijo. V praktičnem delu sem s pomočjo vaj raziskala vpliv le teh na posameznika, kakšna je možnost zdravljenja z njimi ter če se s pomočjo umetniškega ustvarjanja izboljša tudi posameznikova zaznava čustev in misli. I created a website Healing Expression (Zdravilni izraz) where I published some exercises and texts for self-help with emotional expression and consequently relief of psychological trauma. In theoretical part I leaned on psychoanalysts, psychologists and art therapists such as Alice Miller, Luise Reddmann and Cathy A. Malchiodi. I researched the causes and consequences of psychological trauma, childhood neglect and how to help yourself with different exercises and art therapy. In practical part, with the help of exercises, I explored the effect of these on the individual, what the possibility of healing with them is and if individual’s perception of emotions and thoughts improves with the help of artistic creation.

V aktualnem besedilu se fokusiram na sodobne smernice v filozofiji (spekulativni realizem), implikacijo abjekta in estetiko campa ter produkcijo objektov iz termoreverzibilnih materialov in epoksija. Dekadentni romanopisec Joris Karl Huysmans, natančneje njegovo delo Proti toku, mi služi za analogijo ustvarjalca, potopljenega v modalnosti svojega umetniškega objekta. Definiram virtualen, navidezen kontekst, iz katerega so ti objekti ekstrahirani, in se ukvarjam z razpršeno naravo njihove distribucije. Kot ključne oporne točke pri vizualni produkciji uporabim delo Charlotte Posenenske, glasbeni video Grace Jones v režiji Nicka Hookerja, postinternet in Evo Hesse. Slednja mi je v pomoč pri odkrivanju serialnega značaja lastnega dela. Koncentriram se na princip semplanja, transgresijo, najdeni predmet in objektu določim konkretno fizično dispozicijo v prostoru. My thesis focuses on contemporary trends in philosophy (speculative realism), the implication of the abject, camp aesthetics and the production of objects from thermoreversible materials and resin. Joris-Karl Huysmans, French decadent novelist, or more precisely, his work Against Nature, provides an analogy for a creator immersed in the modality of his art object. I define the virtual context from which these objects are extracted, and deal with the dispersed nature of their distribution. Charlotte Posenenske, Grace Jones’ video directed by Nick Hooker, Postinternet and Eva Hesse are used as key points in my visual production. I rely on the latter to discover the serial character of my work. I concentrate on the principle of sampling, transgression, the found object and determine the object’s physical disposition in space.

V magistrski nalogi se bom ukvarjala s tematiko plastenja realnosti. Realnost je zelo subjektivna, večplastna in v znanosti težko razložljiva. Ob odkrivanju osnovnih gradnikov naše realnosti hitro naletimo na težave, saj se zaradi pomanjkanja informacij, možnosti opazovanja in omejenosti našega razumevanja resnici težko približamo. S podobnim problemom se soočamo tudi v vsakdanjem življenju, saj je naše subjektivno dojemanje realnosti v resnici izkrivljeno: svet, kakršnega vidimo, je le prefinjena halucinacija naših možganov, ki nam omogoča delovanje v svetu. Izkrivljeno je tudi naše dojemanje samih sebe in drugih ljudi, saj je to nenehno odvisno od več dejavnikov, kot so pretekle izkušnje, trenutno počutje itd. V tem so razvidne izmuzljivost in večplastnost realnosti ter njene številne subjektivne interpretacije, ki jih bom raziskovala v teoretičnem delu svoje naloge. V praktičnem delu bom plasti realnosti prikazala s pomočjo barvne svetlobe, pri čemer bodo posamezne barve svetlobe razkrivale različne motive na sliki. Vsi ves čas haluciniramo le ko se med seboj strinjamo o naših halucinacijah, temu rečemo realnost. In my masters thesis I will work on the subject of layers of reality. Reality is very subjective, multilayered and hard to explain with science. When we dwelve into discovery of the fundamental particles of our reality, we get into trouble soon enough, for we lack information, observational possibility and our understanding is limited. Thus getting to the bottom of truth is tricky. We find problems with reality in our daily life aswell, for our subjective comprehension of reality is mangled the world as we see it is only a delicate hallucitnation of our brain that enables us to function. Offcourse our perception of fellowmen is just as magled as is our self- perception, because it is based on past experiences, our current mood etc. All this points to reality being very elusive, layered and subjective. This is exactly what I will focus my research on, in hopes of coming closer to understanding rality. In the practical part I will attempt to show these layers of reality with the help of coloured light, where different colours will reveal different motives on the painting. We are halucinating all the time, only that when we agree on our hallucinations we call it reality.

V diplomski nalogi raziskujem kraje in prostore, ki se razlikujejo od antropološkega pojmovanja kraja. Od filozofije, antropologije in sociologije do umetnosti predstavim različne načine spoprijemanja s temo drugosti krajev in prostorov. Ob prebiranju čtiva izstopa pojem drugosti, odnosa, ki ga vzpostavljamo na vseh možnih mestih. S tem razumevanje krajev postane prevpraševanje sebstva in posledično odnosa do tistega drugega, ki ni jaz. Tako kot ustvarjamo meje lastnega telesa, ustvarjamo tudi meje prostora in množice, ki ji je vstop dovoljen. To pripelje do segregacij in tako imenovanih praznih prostorov. Odločitev, da se osredotočim na nekraje, ki jih srečujemo na potovanjih, izhaja iz lastne fascinacije z njimi. Ti nam omogočajo, da v samoti postanemo opazovalci ljudi, skozi katere lahko analiziramo lastno vedenje in se urimo v sprejemanju drugih. Vendar do tega pridemo le z lastno željo in ne zgolj dispozicijo, ki nam jo nudijo nekraji. Z ustvarjanjem filma Impresije odtujenega potnika predstavljam lastno dojemanje nekrajev, ki je vidno v trenutkih, ki se jih odločim zapečatiti. Vizualnost dopolnjujem s podnapisi, ki so zapisi razmišljanj, ki jih v meni vzbujajo potovanja. In my bachelor thesis, I explore places and spaces which differ from the anthropological conception of place. From philosophy, anthropology, sociology to art, I present different ways of dealing with the theme of the otherness of places and spaces. While going through books and articles, what stood out the most was the notion of otherness, a relation which we establish in all possible places. Thus understanding places become a questioning of the self and consequently questioning of relations to those other than me. Just as we create the boundaries of our own body, we also make the boundaries of space and the crowd which is allowed to enter it. This leads to segregation and so-called empty spaces. The decision to focus on the places we encounter on our travels stems from my fascination with them. They allow us, within our solitude, to become observers of people, through which we can analyze our behaviour and train ourselves in accepting others. However, we can arrive at such a conclusion only with our desire and not just the disposition offered to us by the non-places. By creating the film Impressions of an Alienated Passenger, I present my perception of non-places, which is visible in the moments I decide to commemorate. I compliment the visuals with subtitles, which are records of the thoughts that travel evokes in me.

V diplomi me lasten način gradnje likovnih del po principu repeticije oblik vodi k raziskovanju formalnega vidika vzorcev in načina njihove percepcije. Vizualno percepcijo »utelesim« na podlagi spoznanj z začetka 19. stoletja o človekovih senzoričnih organih, nato pa pristranskost, perspektivo, ki jo poraja vsako živo telo, osvetlim še s spoznanji biologa in filozofa Jakoba von Uexkülla ter teorije avtopoiesisa, ki dodatno pojasnjuje odnos med zaznanim in zaznavajočim. Na ta način utemeljim, zakaj je percepcija nujno aktiven proces, pogojen z biološkim, evolucijskim ustrojem človeka. V ustvarjanju me torej zanima lastna pristranskost, zaradi česar se pogosto postavljam v stransko vlogo urednika, ki ureja, preoblikuje podatke, katerih del je tudi sam (saj so na nek način njegov lasten telesni proizvod). Ob tem pa prav opazovani podatki podajo nove podatke o opazovalcu samem. Nastale vzorce zato dojemam kot strukture, v katerih so vpisane tako nekatere moje lastnosti, kakor tudi lastnosti uporabljenega materiala in njegova zmožnost sprejemanja vplivov iz okolja. Nekatera lastna dela pri tem raziskujem z biološkega vidika – podobnosti med ustvarjenim vzorcem in (mikro)organizmom vidim predvsem v načinu povezave posameznih modularnih enot v celoto, v njihovi zmožnosti »integracije« zunanjih vplivov ter v dinamiki, ki jo v urejeno strukturo vnaša pojav motnje. This thesis explores formal aspects of patterns and the way they are perceived. It stems from my individual approach to constructing visual art, which relies on the principle of formal repetition. I “embody” visual perception by looking at its physical aspects in the context of early 19th century notions of human sensory organs. I then look at bias, a perspective generated by each living body, and further elucidate it by referring to the work of biologist and philosopher Jakob von Uexküll and the theory of autopoiesis, which provides an additional framework for understanding the relationship between what is being perceived and the subject perceiving it. In doing so, I explain why perception is inevitably an active process, conditioned by human biological and evolutionary structures. I explore my creativity predominantly by focusing on my own bias, which is why I often adopt the (side) role of an editor, editing and reworking information which I am part of (since it is produced by my body). This perceived information simultaneously provides new data about the observer. I thus see the resulting pattern as a structure which is imprinted by my features as well as the characteristics of the material used and its ability to receive environmental stimuli. I further examine my works through a biological lens – I see the similarity between created patterns and (micro)organisms primarily in the way in which individual modular units connect into a whole, in their ability to absorb external stimuli, and in the dynamics triggered in balanced structures by disturbance.

Diplomsko delo Lažje si je predstavljati konec sveta zarisuje teoretski okvir in praktično izvedbo serije modrotiskov Neznani fotograf, ki na podlagi fotografij, posnetih med letoma 1941 in 1944 ter preobraženih sprva v digitalne kolaže in zatem v modrotiske (ter sitotiske), preiskuje in preizprašuje sodobne oblike in vzvode (kapitalističnega) ideološkega aparata, njegovo navidezno neideološkost, nezamenljivost in njegovo vizualno, simbolno manifestacijo (oziroma njeno nevarno odsotnost). S pomočjo teorije kapitalističnega realizma serija (modrotiski Neznani fotograf 1–4) – z njo pa tudi diplomsko delo – izpostavlja tudi fenomen napačnega spomina in koncept ironične distance (potlačitev ne obstaja navkljub, temveč s pomočjo sprejetja potlačenega, kapitalizem pa ne navkljub, temveč s pomočjo antikapitalizma), nasloni pa se tudi na vprašanje gospodarjevega pogleda in teorijo recepcijske estetike ter koncept emancipiranega gledalca, ki zaznamuje tudi serijo Neznani fotograf, katere vprašanja o sodobnih ideoloških aparatih in njihovih (vizualnih) manifestacijah se vsebinsko izpopolnijo le skozi gledalca in njegov (vizualni) horizont pričakovanj. The BA thesis It is Easier to Imagine the End of the World outlines the theoretical framework and practical implementation of the cyanotype series The Unknown Photographer, which (on the basis of photographs taken between 1941 and 1944 and transformed first into digital collages and then into cyanotypes and screen prints) explores and questions the current (capitalist) ideological apparatus, its seemingly non-ideological stance, seeming irreplaceability and its visual, symbolic manifestations (or their absence). Through the theory of capitalist realism, the series (cyanotypes The Unknown Photographer 1–4) – and with it the thesis – also explores the false memory phenomenon (fausse reconnaisance) and the concept of ironic distance (capitalism does not exist despite, but because of anti-capitalism). At the same time, it focuses on the question of the master's gaze, the theory of reception aesthetics and the concept of the emancipated spectator. The latter concept also heavily influences The Unknown Photographer series, whose questions about modern ideological apparatuses and their (visual) manifestations are finalized and completed only through the viewer and his (visual) horizon of expectations.

V svojem diplomskem delu »Ustvarjanje v fotografiji in slikarstvu« sem raziskovala razliko med ustvarjanjem v fotografiji in slikarstvu. Sprašujem se, ali je v fotografiji dovolj svobode, da se enači s slikarstvom na ravni možnosti tematiziranja posamezne likovne ideje. Morda vsaka dopolnjuje svoje pomanjkljivosti drugače, a zdi se, da ima slika širši razpon likovnega jezika. Obravnavala sem določen miselni proces v obeh medijih, in sicer skozi abstrakcijo. Izbrano temo sem obravnavala z raziskovanjem literature o fotografiji in slikarstvu ter raziskovanjem pomembnih avtorjev na tem področju. Praktični del pa sem razdelila na slikanje in fotografijo ter v vsak medij umeščala enake vsebinske komponente. Zanima me razpon možnosti oblik, barv, formata in dimenzij. Končni izdelek sta fotografija in slika v primerjavi. In my thesis »Creating in photography and pinting«, I explored the difference between creating in photography and painting. I wonder if there is enough freedom in photography to equate it with painting at the level of the possibility of thematizing a particular artistic idea? Maybe each complements its flaws in a different way, but the painting seems to have a greater range of visual language. I addressed a particular thought process in both media, namely through abstraction. I addressed the chosen topic by researching the literature on photography and painting and by researching important authors in this field. I divided the practical part into painting and photography and placed the same content components in each media. I am interested in the range of shape, color, format and dimensional options. The final product is a photo and pictures compared.

V diplomskem delu se bom ukvarjala s pojavom zaslepitve, ki ga ustvari barva kot ekran med vidnim in zastrtim. Pojem ekrana uporabljam v pomenu prepreke pred uvidom resničnega bistva in ni vezan na psihoanalitsko pojmovanje zaslona. Z zaslepitvijo mislim na zdrs od vidljivosti, utripajoč učinek barvnih kontrastov na organ vida, ki med drsenjem po površini slike prej zaznava barvne odnose kot odnose v obliki, zato se mu razkritje motiva izmika. Ker zaslepitev proizvaja barva, je ta tudi središče mojega zanimanja, zato začenjam z orisom barvnega fenomena. Nato se bom lotila analize pojava zaslepitve s pomočjo fenomenologije in Didi-Hubermanovih spoznanj iz knjige Confronting Images, v kateri se avtor ukvarja z nenavadnim, zaslepljujočim učinkom beline na fra Angelicovi freski Oznanjenje. Navedeno uporabim kot matrico tudi za razumevanje delovanja barve kot ekrana zaslepitve v svojem delu. In my dissertation, I will deal with the phenomenon of blinding created by color as a screen between the visible and the veiled. I use the notion of the screen as a barrier against seeing the real essence and it is not tied to the psychoanalytic notion of the screen. By blinding, I mean the slip from visibility, the flickering effect of color contrasts on the apparatus of vision, which, as it scrolls over the surface of the image, perceives color relationships rather than relationships in form, so the disclosure of the motif eludes it. Since blinding effect is produced by colour, the latter is also the center of my interest, so I begin by outlining the color phenomenon. I then proceed to analyse the phenomenon of blinding through phenomenology and Didi-Huberman’s insights from the book Confronting Images, in which the author deals with the unusual, blinding effect of whiteness on Fra-Angelico’s fresco The Annunciation. I use this as a matrix, also to understand how colour works as a screen of blinding, in my own work.

V diplomskem delu se na začetku osredotočim na stop-motion animacijo in njen razvoj skozi čas ter širok spekter možnosti, ki jih ponuja ta klasična tehnika animacije. V drugem delu se skozi analizo treh konkretnih primerov posvetim tematiki narave. Poleg stop-motion animiranega filma sem kot primera analizirala še deli s širšega področja avdiovizualne umetnosti, ki sta mi bili vir navdiha pri praktičnem delu diplomskega dela. V tretjem delu diplomske naloge pa opišem nastanek animiranega filma Pesem kitov, od začetnih idej in tem, ki jih obravnava, ter ostalih faz predprodukcije, do produkcije in snemanja v stop-motion tehniki ter montaže in zvoka v postprodukciji. At the beginning of my Bachelor’s thesis, I focus on the stop-motion animation, its development over time, and the wide specter of possibilities that this classical animation technique offers. In the second part, I address the theme of nature by analyzing three specific examples. Apart from the example of a stop-motion animated movie, I also analyze the two works from the broader area of Audiovisual Arts that served me as an inspiration for the practical part of my Bachelor’s thesis. In the third part of the thesis, I describe how I made the stop-motion animated movie The Song of the Whales. I explain the initial ideas and the themes addressed, as well as other phases of pre-production. I also describe the processes of production, filming in stop-motion technique, editing, and audio post-production

V tem besedilu raziskujem implikacije lastne umetniške prakse, ki jo navdihuje krščanska apokalipsa, skozi lečo zgodovinskega, antropološkega in filozofskega apokaliptičnega konteksta. Raziskujem izvirni kontekst knjige Razodetja in kako so se njene obravnave sčasoma spremenile, pa tudi, kako so jo drugi umetniki uporabili pri svojem delu, v primerjavi s tem, kako sem jo pri svoj uporabila jaz. Antropološko sem raziskala, kako ljudje, ki z njo interagirajo, zaznavajo ne le apokaliptično, ampak tudi vsakodnevno versko umetnost in kakšno vlogo ta igra v njihovem življenju. Vsaka apokaliptična umetnost, ustvarjena v sedanjem trenutku, neizogibno poziva tudi k razpravi o današnjih političnih in gospodarskih razmerah ter predvsem podnebni krizi, zato sem si vzela nekaj časa za analizo vpliva, ki ga ima ta realnost na gledalčevo percepcijo mojega dela. In this paper, I explore the implications of my own Christian apocalypse inspired art practice through the lens of historical, anthropological and philosophical apocalyptic context. I explore the original context of the book of Revelation and how its readings have changed over time, as well as how other artists have used it in their work, versus how I’ve used it in mine. Anthropologically, I investigate how not only apocalyptic but also everyday religious art is perceived by people that interact with it and what kind of role it plays in their lives. Any apocalyptic art made in the present moment also inescapably invokes the discussion of today’s political and economic situation, and first and foremost the climate crisis, so I also spent some time analysing how this reality might influence the viewer’s perception of my work.

Diplomsko delo je pogled na lastno slikarsko prakso kot obliko zapisovanja videnega, doživetega. Slika je nosilec, prek katerega subjekt doseže svojo potrditev, daje občutek, da je ta afirmacija shranjena, arhivirana in na varnem. Težnjo po inkarnaciji minimuma pomnjenja, ki ga v svojih delih omenja Samuel Beckett, obravnavam z zavestjo o elementu absurdnosti, ki jo spremlja. V diplomskem delu interpretiram vlogo fotografije kot referenčnega gradiva, podlage za sliko. Slikarska dela so razložena kot zaznamki, upodobitve trenutka zaznave in analiza le-tega prek vpogledov v doživljanje časa in spomina. This paper offers an insight into painting practice as a form of recording what was seen and experienced. A painting is a carrier through which a subject achieves confirmation and is made believe that this affirmation is stored, archived and safe. I study the aspiration for the incarnation of the minimum of memory, mentioned by Samuel Beckett in his works, with the accompanying element of absurdity in mind. In this paper, I interpret the role of a photograph as reference material, as a basis for paintings. Paintings are explained as markers, as depictions of the moment of perception and its analysis through insights into the perception of time and memory.

V diplomski nalogi se posvečam svojim slikarskim in risarskim delom. Vsem delom, ki so nastala v zadnjih nekaj letih, je skupen motiv Kozjanskega, ki se pojavi do neke mere abstrahiran. Ker sem imela občutek, da sem se v tem ustvarjalnem procesu res našla, sem se odločila, da tej temi posvetim raziskovanje v diplomski nalogi. Samo prebiranje različnih virov mi ni le razširilo znanja o modernistični umetnosti, ampak tudi odprlo nove možnosti v likovnem procesu. V svojih delih sem našla določene vzporednice z avtorji Paulom Cezannom, Richardom Diebenkornom in Perom Kirkebyjem. Vsem trem je skupen motiv abstrahirane krajine ter obdobje modernizma. Tako sem v diplomski nalogi poskušala še podrobneje opredeliti njihovo smer, obdobje in različne sloge, v katerih so ustvarjali. Raziskovala sem tudi, kakšen je bil v teh obdobjih in slogih splošni odnos do krajine in kakšen odnos do krajine so imeli obravnavani umetniki. Opredelila sem tudi bistvene značilnosti, ki se mi zdijo pri teh avtorjih pomembne za njihov ustvarjalni proces. Vso to pridobljeno znanje sem poskušala reflektirati tudi v njihovih delih, zato sem njihova dela formalno analizirala po Muhoviču (2018). Ker se mi je zdelo pomembno, kako poteka njihov ustvarjalni proces tako pri risanju kot pri slikanju, sem analizirala po eno risarsko in eno slikarsko delo vsakega umetnika. V nadaljevanju diplomske naloge sem vse tri avtorje primerjala med sabo in kasneje naredila primerjave še s svojimi likovnimi deli. Tisto, kar se mi je zdelo uporabno za moj ustvarjalni proces, sem uporabila pri svojem ustvarjalnem procesu in to združila z motivom Kozjanskega. Med vsemi nastalimi deli sem izbrala sedem risarskih in tri slikarska dela, ki sem jih razdelila v tri različne sklope po motivih: Gubno, Stari kozolec in Kovačnica. The focus of the degree paper is my drawing and painting artworks. Common to all of the artworks of the past few years is the motif of the Kozjansko region, which appears to be abstracted to some extent. I decided to dedicate my diploma research to this creative process because I felt I really found myself in it. The reading of the various sources hasn’t merely deepened my knowledge of modern art, but it has also opened up new opportunities for me in my creative process. I found certain parallels between my works and the works of artists such as Paul Cezanne, Richard Diebenkorn, and Pero Kirkeby. All three of them share the period of artistic creation, modernism, and the motif of the abstracted landscape. The goal of the degree paper thus became to minutely define their art movement, period, and artistic styles. Moreover, the research focuses on the general attitude towards landscape and nature during these movements and periods and on specific viewpoints that each of the authors held. Additionally, I defined key characteristics that seemed to have influenced each of the artist’s creative processes. I tried to reflect on the acquired knowledge through the analysis of their artworks, according to Muhovič (2018). I analysed one drawing and one painting per artist, as it seemed important to analyse their creative process in both of those techniques. The continuation of the paper compares the authors among themselves and later compares them to my artworks. I adapted that which seemed useful to my own creative process and merged it with the motif of the Kozjansko region. I chose seven drawings and three paintings among all of the artworks and separated them into three different sets based on motifs: “Gubno”, “Stari kozolec”, and “Kovačnica”.

Non-finito je pojam koji označava nezavršenost nekog djela, referirajući se pritom na vidljivost medija u kojem je ono nastalo, odnosno nastajalo. Djelo može ostati nezavršeno ili kao posljedica povijesne slučajnosti, ili autorovom intencijom, gdje se non-finito koristi kao pikturalni pristup, što ga dovodi u kompleksan odnos s različitim mimetičkim teorijama. Dok su se prijašnja istraživanja ovih tema uglavnom fokusirala zasebno na pojedini fenomen, ovaj rad razmatra narav njihovog odnosa, osvrćući se u osnovi na teoriju i praksu slikarstva 16. i 17. stoljeća. S obzirom na kompleksnost i non-finita i mimezisa, čija definicija ovisi o načinu na koji određena kultura, razdoblje, regija, autor ili djelo percipiraju stvarnost, nije uvijek jednostavno nedvojbeno odrediti jesu li oni kontradiktorni ili komplementarni. Ipak, općenito rečeno, ukoliko se mimezis smatra potpunom iluzijom gdje je razlika između umjetnosti i stvarnosti neprimjetna, non-finito je protumimetičan, jer ometa čistoću te iluzije. S druge strane, nudi slikarima metodu stvaranja slika koje su naizgled stvarnije od konvencionalno završenih, putem aluzije i sugestije, radije nego opisom motiva, što im omogućuje izražavanje kompleksnijih značenja jednako ukorijenjenih u formi, kao i sadržaju djela. Non-finito is a term used to identify an artwork as unfinished, while referring to the visibility of the medium in which it was (being) made. A work can be left unfinished either as a result of historical coincidence, or by its author’s intention, where non-finito is used as a pictorial principle, which puts it in a complex relation with different mimetic theories. While the previous explorations of these themes focused separately on each phenomenon, this work explores the nature of their relation, regarding the theory and practice of mainly 16th and 17th century painting. Considering the complexity of both non-finito and mimesis, whose definition depends on the way in which a certain culture, period, region, author, or work perceive reality, it is not always simple to unequivocally determine whether they are contradictory or complementary. However, in general terms, if mimesis is considered a total illusion where the difference between art and reality is unnoticeable, non-finito is then anti-mimetic, as it disrupts the clarity of said illusion. On the other hand, it offers painters a method of creating pictures even more seemingly real than those conventionally finished, alluding and suggesting, rather than describing their subjects, which enables them to express more complex meanings rooted equally in form as in the content of the work.

V diplomskem delu se bom ukvarjala z japonskim slikarskim stilom nihonga, katerega ime lahko dobesedno prevedemo kot japonsko slikarstvo. Stil nihonga se je razvil v obdobju Meidži (1868-1912), v katerem se je Japonska modernizirala in sprejela vplive zahoda. Takrat se je pojavila tudi želja in potreba po ločitvi japonskega avtohtonega slikarstva od zahodnega slikarstva, ki se je na Japonskem razvijal pod imenom yōga. Tako bi lahko rekli, da se je stil nihonga razvil kot odgovor na prihod zahodne umetnosti in preobrazbe japonske družbe v obdobju Meidži. Vendar slikarski stil nihonga zagotovo ni osamljen primer odziva japonske umetnosti na prihod tujih vplivov na Japonsko ozemlje. V diplomskem delu želim predstaviti nastanek slikarskega stila nihonga, potrebe po njegovi ločitvi, od zahodnega slikarstva in kako delujejo današnji umetniki stila nihonga. Najprej se bom lotila predstavitve razvoja japonskega slikarstva in zgodovinskega ozadja obdobja Meidži. Izpostavila bom tudi razlike med slikarskima stiloma nihonga in yōga, ter predstavila delovanje ene izmed današnjih japonskih umetnic v stilu nihonga –Matsui Fuyuko. Od obdobja Meidži dalje se je stil nihonga spreminjal in se po besedah slikarke Matsui Fuyuko še vedno spreminja. Umetnica sicer uporablja nekatere elemente zahoda, tudi če to počne nezavedno, vendar to ne moremo trditi za druge sodobne umetnike stila nihonga. This paper explains the theme of graduation thesis, the style of Japanese painting nihonga and its development. The expression “nihonga” means Japanese painting, but it was first used in Meiji era (1868-1912) to distinguish between wester influenced painting and Japanese style painting. One could say that the nihonga style developed as a response to Western style painting and the transformation of Japanese society during Meiji period. However the nihonga painting style was not an isolated example of the response of the Japanese art to the arrival of foreign influences on Japanese territory. In this thesis I want to present the origin of the painting style of nihonga style, the need for its separation from Western painting and how today’s artists of nihonga style work. I will first present the development of Japanese painting and the historical background of the Meiji era. I will also present the differences between the painting styles of nihonga and yōga, and present the work of one of today’s Japanese artists in the style of nihonga – Matsui Fuyuko. Since the Meiji period, the style of nihonga has changed and, according to Japanese painter Matsui Fuyuko, continues to change. The artist does use some elements of the Wester Art, even if she does so unconsciously, but this cannot be said for other contemporary nihonga style artists.

Avtorica magistrske naloge skozi refleksijo dnevniškega zapisa in likovnih del zagovarja svoj pristop k pojmovanju abstraktne umetnosti, ki ga utemeljuje na metodi ozaveščenega gibanja plesne prakse 5Ritmov. Nanašajoč se na zgodovino avantgardne umetnosti, ki je v umetnosti prepoznavala subverzivni značaj, tudi avtorica naloge prisega na subverzivni potencial sodobne abstraktne umetnosti kot oblike utelešenega slikanja, slikarski pristop pa sama poimenuje intuicija telesa. Pri tem izhaja iz psihosomatičnega prepričanja, da ima telo spomin in nam kot tako omogoča in daje najbogatejšo izkustvo življenja. V navezavi na zgodovino akcijskega slikarstva in performativno prakso Yvesa Kleina tako sama sebe postavlja v vlogo čopiča, ki je kreator, slikajoče se, ki iz nič, iz čiste in popolne predaje trenutku in zaupanja intuiciji, ustvarja. The author of the master's thesis defends her approach to the concept of abstract art through the reflection of diary entries and works of art, which she bases on the method of conscious movement of the dance practice 5Rhythms. Referring to the history of avant-garde art, which recognised the subversive character in art, the author also swears by the subversive potential of contemporary abstract art as a form of embodied painting, and calls the painting approach the intuition of the body. In doing so, it derives the psychosomatic belief that the body has a memory and as such allows and gives us the richest experience of life. In connection with the history of action painting and the performative practice of Yves Klein, she thus places herself in the role of a brush, a creator who creates from nothing, from pure and total surrender to the moment and trust the intuition.

Članek prikaže, kako se z osebnim spominom najlaže približamo kolektivnemu spominu. Takšno je tudi sporočilo francoskega umetnika Christiana Boltanskega (roj. l. 1944). Njegove instalacije sugerirajo tragično usodo žrtev druge svetovne vojne, in sicer tako, da so na njih razstavljeni predmeti, ki vzbudijo empatijo do kolektivnih spominov na osebni ravni prek čustvenega spomina (nošena oblačila, stare fotografije in knjige itd.). Na drugi strani platna nemškega slikarja Anselma Kieferja (prav tako roj. l. 1944) spomine na drugo svetovno vojno obudijo na podlagi kolektivnih (germanskih) mitov in osebnih spominov na povojni čas. V zadnjem delu članka avtorica obravnava opus slovenskega slikarja Zorana Mušiča (1909–2005), zlasti serijo del Nismo poslednji (1970–1987), ki jih je umetnik ustvaril na podlagi svojih bolečih izkušenj v koncentracijskem taborišču Dachau. Članek se zaključi z razmislekom o simbolni vrednosti umetnosti, o tem, ali simbolno vrednotenje neke umetnine zmanjšuje njeno konkretno vrednost.