Umetnost med naravnim, tehnološkim in mentalnim

Abstract

V pričujočem besedilu obravnavam dela treh sodobnih umetnikov, ki v referenci na naravne pojave, procese in nevidne naravne zakonitosti izpostavijo pomen optične-taktilnosti in vlogo nevizualne, telesno senzorične percepcije podob. Interpretacije narave v umetniških delih Carstena Nicolaija, Olafurja Eliassona in Michela Blazya se razlikujejo tako v formalnih kot konceptualnih pristopih, povezujejo pa jih specifične opredelitve določenih vidikov telesnega (biološkega, fiziološkega ali organskega) v odnosu do zaznave in njene vloge pri konstituiranju zavednih in nezavednih mentalnih sfer. Optična taktilnost (Eliasson), nevidne, magične povezave med vidnim in slišnim (Nicolai) in pomen olfaktorne dimenzije ali dvoumnega nerazlikovanja med živim in neživim (Blazy) označuje tudi določen duchampovski ‘infraizem’ v subtilnem preučevanju in vzpostavljanju inteligibilne, subsenzorične dimenzije v umetninah. Ti umetniki delujejo v polju nevidne zaznavno-imaginarne podobnosti, v prostoru čutnih, cerebralnih in nematerialnih simbolnih povezav v umetniškem delu in estetskem doživljanju pri gledalcu, ter širijo meje zaznavanja, zavedanja in zavesti.

Keywords

sodobna umetnost;prostorske instalacije;umetniški projekti;teorija umetnosti;Eliasson;Olafur;Nicolai;Carsten;Blazy;Michel;

Data

Language:	Slovenian
Year of publishing:	2009
Typology:	1.01 - Original Scientific Article
Organization:	UL ALUO - Academy of Fine Arts and Design
UDC:	7.01
COBISS:	2792302
ISSN:	0352-7263
Views:	11
Downloads:	0
Average score:	0 (0 votes)
Metadata:

Other data

Secondary language:	English
Secondary title:	Art between the natural, technological and mental
Secondary abstract:	This article treats the works of three contemporary artists. In reference to natural phenomena, processes and invisible natural laws all three of them show optical tactility and expose the role of the non-visual, bodily sensory perception of images. The interpretation of nature in the artwork of Carsten Nicolai, Olafur Eliasson and Michel Blazy differ in their formal and conceptual approaches. However, they are all linked by their specific definitions of the bodily (biological, physiological or organic) in relation to perception and its role at constituting conscious and subconscious mental spheres. The optical tactility (Eliasson), the invisible, magic connections between the visible and the audible (Nicolai) and the meaning of the olfactorius dimension or the ambiguous undifferentiating between the animate and inanimate (Blazy) marks a certain Duchampian ‘infraism’ in the subtle study and establishment of an intelligible, sub-sensory dimension of the artwork. These artists operate in the field of invisible sensory-imaginary similitude, in a space of sensory, cerebral and non-material symbolic connections within artworks that create an aesthetic experience withinthe viewer, and broaden their boarders of perception, realisation and consciousness.
Secondary keywords:	contemporary art;installations;art projects;art theory;
Type (COBISS):	Article
Pages:	str. 80-99
Issue:	ǂŠt. ǂ89/90
Chronology:	zima 2009
ID:	21049420