Umělec 2003/1 >> Terror = Décor: Art Now Просмотр всех номеров
Журнал Umělec
Год 2003, 1
6,50 EUR
Послать печатную версию номера:
Получить подписку

Terror = Décor: Art Now

Umělec 2003/1

01.01.2003

Zuzana Štefková | venice biennale | en cs

Despite the fact that the Slovenian exposition Terror = décor: art now in Venice cam away with no prizes, it ranks alongside some of the most interesting projects in this summer’s Biennale. Žiga Kariž works with the theme of the commodification of violence in his project, with the viewpoint that artwork comes back to the viewer.
The equation Terror = décor contains different possible readings for this project. The first interpretation deals with the way in which art appropriates drastic subjects and transforms them into objects of esthetic interest. Most of the pictures/objects capture scenes whose violent content is subordinate to the cold esthetics of luxurious design, suggestive of the screen surfaces of a home cinema. (The presence of one image with a light Mondrianesque composition neutralizes the portrayal of violence, and allows the abstract quality to emerge.) On the other hand we could reverse the formula and interpret the result (Décor = terror) as a warning against the trap in which the pictures/objects are hiding: the fisheye of the camera films everything happening in front of the pictures.
Thus it is impossible to reduce the whole project to the objects physically present in the gallery. The indivisible component he creates is more than anything a system beyond the picture (in the metaphorical and factual meaning of the word), which casts the viewer in the role of the observed. We are able to understand the theme of the reciprocal view, in which image captures the viewer, in the context of art history (in the catalogue the curator of the pavilion, Jurij Krpan, mentions, for example, work by Velázquez and Manet), but at the same time purely contemporary associations of a somewhat sociological nature emerge. The viewer knows that his movement in the gallery is being monitored, and at the same time he watches several screens broadcasting events in Venice homes, in which other pictures/objects were placed. The project Terror = décor then opens up the theme of medialization of privacy, and at the same time the extent of the control which the average citizen exhibits as he moves through public space. Privacy in our time has become a very touchy subject, whether it is at the center of attention in the voyeurism of nosey journalists, the sensational audience that compliments the total exhibitionism of participants in television contests like Big Brother, or in the possibilities of taking advantage of the camera industries and other technologies intended for our protection.
Uncovering the mechanism of pictures/objects leads the viewer to reconsider his own role in the entire system, where in place of the traditional economic view the viewer/picture functions with a certain ambiguity.
The viewer becomes a participant in a scene observed by the invisible eyes of someone else. Aside from these interactive aspects, we also find in the exposition artifacts dealing with the problem of the commodification of artwork, its reduction to being merely an object on the market, especially characterized by market value. His map of world art centers with the listed number of galleries, collections, artists and art market turnover is (like the entire Slovenian exposition) a part of the wider intention to map out “what causes the movement of pictures” (see the catalogue for the Slovenian pavilion, text by Blaž Križnik), in other words, what are the rules of law at play in art in its socio-political, economic and historical contexts.
However the key question the Slovenian exposition asks is whether pictures can be something more than mere decoration in a world of terror, and it seems that the work of Žiga Kariž offers a positive response by means of deconstructing the mechanisms of the art market and the function of representation, or as we can read in Igor Zabel’s Bomba v obraze (Bomb in the Picture), published in the catalogue for the Venice exposition: Art can “overcomes its own limitations only by uncovering its own situation.”





Комментарии

Статья не была прокомментирована

Добавить новый комментарий

Рекомендуемые статьи

Acts, Misdemeanors and the Thoughts of the Persian King Medimon Acts, Misdemeanors and the Thoughts of the Persian King Medimon
There is nothing that has not already been done in culture, squeezed or pulled inside out, blown to dust. Classical culture today is made by scum. Those working in the fine arts who make paintings are called artists. Otherwise in the backwaters and marshlands the rest of the artists are lost in search of new and ever surprising methods. They must be earthbound, casual, political, managerial,…
An unsuccessful co-production An unsuccessful co-production
If you know your way around, you might discover that every month and maybe even every week you stand the chance to receive money for your cultural project. Successful applicants have enough money, average applicants have enough to keep their mouths shut, and the unsuccessful ones are kept in check by the chance that they might get lucky in the future. One natural result has been the emergence of…
My Career in Poetry or: How I Learned to Stop Worrying and Love the Institution My Career in Poetry or: How I Learned to Stop Worrying and Love the Institution
An American poet was invited to the White House in order to read his controversial plagiarized poetry. All tricked out and ready to do it his way, he comes to the “scandalous” realization that nothing bothers anyone anymore, and instead of banging your head against the wall it is better to build you own walls or at least little fences.
Nick Land – An Experiment in Inhumanism Nick Land – An Experiment in Inhumanism
Nick Land was a British philosopher but is no longer, though he is not dead. The almost neurotic fervor with which he scratched at the scars of reality has seduced more than a few promising academics onto the path of art that offends in its originality. The texts that he has left behind are reliably revolting and boring, and impel us to castrate their categorization as “mere” literature.
ArtLeaks
27.07.2014 19:39
Следующий шаг?
out - archeology
S.d.Ch, Solitaires and Periphery Culture (a generation born around 1970)
S.d.Ch, Solitaires and Periphery Culture (a generation born around 1970)
Josef Jindrák
Who is S.d.Ch? A person of many interests, active in various fields—literature, theater—known for his comics and collages in the art field. A poet and playwright foremost. A loner by nature and determination, his work doesn’t meet the current trends. He always puts forth personal enunciation, although its inner structure can get very complicated. It’s pleasant that he is a normal person and a…
Читать дальше...
out - poetry
THC Review and the Condemned Past
THC Review and the Condemned Past
Ivan Mečl
We are the fifth global party! Pítr Dragota and Viki Shock, Fragmenty geniality / Fragments of Charisma, May and June 1997. When Viki came to visit, it was only to show me some drawings and collages. It was only as an afterthought that he showed me the Czech samizdat publication from the late 1990s, THC Review. When he saw how it fascinated me, he panicked and insisted that THAT creation is…
Читать дальше...
prize
To hen kai pán (Jindřich Chalupecký Prize Laureate 1998 Jiří Černický)
To hen kai pán (Jindřich Chalupecký Prize Laureate 1998 Jiří Černický)
Читать дальше...
birthing pains
Who’s Afraid of Motherhood?
Who’s Afraid of Motherhood?
Zuzana Štefková
Expanding the definition of “mother” is also a space for reducing pressure and for potential liberation.1 Carol Stabile The year was 2003, and in the deep forests of Lapák in the Kladno area, a woman in the later phase of pregnancy stopped along the path. As part of the “Artists in the Woods” exhibit, passers-by could catch a glimpse of her round belly, which she exposed especially for them in…
Читать дальше...
Knihy, multimédia a umělecká díla, která by vás mohla zajímat Войти в e-shop
As a new edition of Teledivision, Divus and Eastern Alliance have published a compilation of 27 German videos and short...
Больше информации...
6 EUR
New book of horror, fun, unexpected adventure and disaster by Mike Diana. Official release date is March 17 2017. More than 112...
Больше информации...
31 EUR
Mens, 1994, acrylic paintings on paper, 38 x 28, framed
Больше информации...
550 EUR
Limited edition of 10. Size 100 x 70 cm. Black print on durable white foil.
Больше информации...
75 EUR

Studio

Divus and its services

Studio Divus designs and develops your ideas for projects, presentations or entire PR packages using all sorts of visual means and media. We offer our clients complete solutions as well as all the individual steps along the way. In our work we bring together the most up-to-date and classic technologies, enabling us to produce a wide range of products. But we do more than just prints and digital projects, ad materials, posters, catalogues, books, the production of screen and space presentations in interiors or exteriors, digital work and image publication on the internet; we also produce digital films—including the editing, sound and 3-D effects—and we use this technology for web pages and for company presentations. We specialize in ...
 

Цитата дня Издатель не несет ответственности за какие-либо психические и физические состояния и расстройства, которые могут возникнуть по прочтении цитаты.

Enlightenment is always late.
KONTAKTY A INFORMACE PRO NÁVŠTĚVNÍKY Celé kontakty redakce

DIVUS NOVA PERLA
Kyjov 36-37, 407 47 Krásná Lípa
Czech Republic

Gallery, Bookshop and Cafe
open from Wednesday to Sunday
between 11am to 10pm

and on appointment
at shop@divus.cz, +420 606 606 425

 

Divus Perla
Gábina Náhlíková, gabina@divus.cz, +420 604 254 994


Divus Publishing
Ivan Mečl, ivan@divus.cz, +420 602 269 888

 

Design, Pre-Press and Printing Studio Divus
studio@divus.cz

 

Magazine Umělec
Palo Fabuš, umelec@divus.cz

 

Cafe, Bookshop & Library
Hana Turynová, shop@divus.cz, +420 606 606 425

DIVUS LONDON
Arch 8, Resolution Way, Deptford
London SE8 4NT, United Kingdom

news@divus.org.uk, +44 (0) 7526 902 082

 

DIVUS BERLIN
berlin@divus.cz


DIVUS WIEN
wien@divus.cz


DIVUS MEXICO CITY
mexico@divus.cz


DIVUS BARCELONA
barcelona@divus.cz

DIVUS MOSCOW & MINSK
alena@divus.cz

NOVINY Z DIVUSU DO MAILU
Divus We Are Rising National Gallery For You! Go to Kyjov by Krásná Lípa no.37.