Dolgčas, smeti in umetniški objekt / Dolgoročno smo vsi mrtvi

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.