primer opusa Ota Rimeleta
Tjaša Šavorič (Avtor), Božidar Kante (Mentor), Mojca Puncer (Komentor)

Povzetek

V magistrski nalogi so obravnavani konceptualni in izkustveni vidiki svetlobe, prostora in barve v sodobni umetnosti na Slovenskem. Posebej je izpostavljen opus mariborskega slikarja Ota Rimeleta, katerega slikarstvo je zavezano vprašanjem barve, svetlobe in postavitve umetnin v prostor, ki preko minimalistične govorice aktivirajo gledalca. Njegovo delo zahteva poglobljen angažma obiskovalca, ki se je sposoben prepustiti estetskim in simbolnim učinkom. Skozi njegovo slikarstvo je problematiziran nematerialni vidik svetlobe, njen relativen, fluiden in ambivalenten značaj. V prvem delu naloge je podan zgodovinski pregled pojma svetlobe kot generatorja življenja, nosilca informacij o prostoru in času ter posrednika simbolnih informacij. Svetloba je že od začetkov civilizacije predmet poglobljenih filozofskih razprav, zato je narejen kronološki pregled filozofskih konceptov svetlobe, izpostavljeni so tudi najpomembnejši mejniki v razumevanju vloge svetlobe v sodobni vizualni kulturi, ki so zaznamovali pojmovanje in upodabljanje svetlobe, ter odločilno vplivali na dojemanje le-te. Obravnavana sta fenomen naravne svetlobe in fenomen sence, ki izhajata iz antične filozofije in Platonovega (427-347 pr. n. št.) bipolarnega koncepta svetlobe in sence, znamenite prispodobe o votlini v sedmi knjigi Države, ki ohranja aktualnost vse do sodobnosti. Svetloba že od nekdaj vzbuja asociacije onkraj materialnega, kar je predstavljeno skozi delo Ota Rimeleta. Narejena je analiza, kako se skozi svetlobo in barvo odraža prostor v slikah mariborskega slikarja ter kakšno je njegovo dojemanje svetlobe in barve. Slednja je v nalogi ovrednotena kot izrazno sredstvo in nosilka energije. Izpostavljeno je tudi vprašanje dematerializacije, v kolikšni meri lahko govorimo o njej in na kakšen način se odraža v Rimeletovem slikarstvu. V zadnjem delu naloge je predstavljena ideja razstavnega prostora, umetniške instalacije in z njo povezana problematike razsrediščenosti gledalca in njegova izkušnja. Navedeni so štirje modeli gledalske izkušnje: (1) psihološki/psihoanalitični model; (2) fenomenološki model; (3) model izgube oz. dezintegracije subjekta, ki se odraža zlasti kot mimetično zajetje in (4) model družbeno politične aktivacije gledalca. Rimeletov model prostorske postavitve močno asociira na fenomenološko izkušnjo aktivacije gledalca, kot jo v navezavi na minimalizem opredeli Claire Bishop v knjigi Instalation Art.

Ključne besede

magistrska dela;filozofija umetnosti;svetloba;senca;barva;prostor;prostorska postavitev;gledalčeva izkušnja;Rimele;Oto;1962-;

Podatki

Jezik: Slovenski jezik
Leto izida:
Tipologija: 2.09 - Magistrsko delo
Organizacija: UM FF - Filozofska fakulteta
Založnik: [T. Šavorič]
UDK: 7.01(043.2)
COBISS: 23066632 Povezava se bo odprla v novem oknu
Št. ogledov: 1705
Št. prenosov: 201
Ocena: 0 (0 glasov)
Metapodatki: JSON JSON-RDF JSON-LD TURTLE N-TRIPLES XML RDFA MICRODATA DC-XML DC-RDF RDF

Ostali podatki

Sekundarni jezik: Angleški jezik
Sekundarni naslov: Conceptual and experiental aspects of light and space in contemporary Slovenian art
Sekundarni povzetek: In the master's thesis, we deal with the conceptual and experiential aspects of light, space and colours of modern art in Slovene. Special attention is given to the opus of the painter Oto Rimele, an artist from Maribor, whose painting is particularly committed to the question of colour, light and formation of art in space, which activate viewers through minimal expression. His work of art requires a total commitment of a viewer who is capable to accept the aesthetic and symbolic effect. In his work of art, he problematizes the intangible aspects of light, her relative, fluid and ambivalent character. In the first part of the master's thesis, we present a historical overview of the concept of light as a generator of life, the carrier of information in space and time and the medium of symbolic information. The light itself has been the subject of various intense philosophical debates since the beginning of civilisations. Therefore, a chronological overview of philosophical concepts of light is made. We pinpointed the most important milestones for better understanding of the role of light in contemporary visual culture, which marked the conception and rendering of light, and had a decisive influence on the perception of it. We deal with the phenomenon of natural light and shadow, which is derived from ancient philosophy and Plato's (427-347 BC) bipolar concept of light and shadow, the famous allegory of the cave in the seventh book The Republic, which keeps the actuality all the way to modern time. The light itself has always been arising beyond the material associations, which is presented through work of art of Oto Rimele. We analysed how space is reflected in the art of a painter from Maribor through light and colour and what his perception of light and colour is. The latter is in the master's thesis evaluated as a means of expression and carrier of energy. We emphasised the question of dematerialisation, to which extent we can talk about it and how it reflects in Rimele's work of art. In the last part of the master's thesis, we present the idea of exhibition space, art installations and the issues connected with decentralisation of the viewer and his experience. Four models of the viewer experience are stated: (1) philosophical/ psychoanalytic model; (2) phenomenological model; (3) the model of loss or the disintegration of the entity, which is particularly reflected in a mimetic coverage and (4) model of socio-political activation of the viewer. The Rimele's model of spatial layout strongly associates to the phenomenological experience of the viewer, as stated by Claire Bishop in the book Installation Art in reference to minimalism.
Sekundarne ključne besede: master theses;philosophy of art;light;shadow;colour;space;spatial layout;viewer experience;
URN: URN:SI:UM:
Vrsta dela (COBISS): Magistrsko delo/naloga
Komentar na gradivo: Univ. v Mariboru, Filozofska fak., Oddelek za filozofijo
Strani: III, 122 f.
ID: 9590303