Finale 2011 Producirani radovi Arhiva Finale 2012

 

 

 

 

Jelena Petrović Luković

Otuđenost
Predstavljeni radovi deo su serije grafika koje su prikazane u okviru praktičnog dela doktorskog umetničkog projekta „Filozofija egzistencijalizma u angažovanom grafičkom izrazu – izložba litografija“. Projekat je koncipiran tako da, pored teorijske eksplikacije, u praktičnom delu obuhvati seriju radova - litografija velikog formata nastalih tokom doktorskih studija na grafičkom odseku Fakulteta likovnih umetnosti u Beogradu. Teorijska i idejna polazišta rada odnose se na put kojim su se kretale umetnost i književnost prve polovine dvadesetog veka u prikazu razgradnje ljudskog lika, te utvrđivanje određenih zakonitosti na kojima počiva apokaliptični duh epohe. Početak istraživanja datira iz 2010. godine, kada sam, u okviru master studija, finalizovanih u radu „Ljudsko telo u ratnim dejstvima kao likovni motiv“ započela istraživanje određenih tema (identitet, egzistencijalizam, apsurd), koje uzimam kao središnje motive doktorskog umetničkog projekta. Filozofska misao o ljudskoj egzistenciji i apsurdu neodvojiv je činilac u procesu formiranja literarno-umetničke misli dvadesetog veka, a osnovu mog rada čini ideja o egzistencijalnom (filozofiji egzistencijalizma) kao načinu da se pronikne u sveopšte. Budući da je idejna zamisao projekta zahtevala ostvarenje najneposrednije veze sa posmatračem, odlučila sam se za figurativan likovni izraz i portret kao način komunikacije. Crtački performans i zamisao korišćenja sopstvenog tela kao instrumenta koji će ostaviti trag na površini kamena, sugeriše ritualno i simboličko prisustvo. Gradnja crteža se odvijala dvojako: dodavanjem i oduzimanjem boje. U prvom slučaju, konstantnim utiskivanjem boje određena je tekstura tela na kamenu. Boju sam utiskivala prstima i dlanovima, ostavljajući na kamenu otiske prstiju s namerom da, između ostalog, stvorim asocijaciju na iskorišćenost ovih tela i narušavanje ličnog, intimnog prostora figure. Svojevrstan pandan radovima nastalim dodavanjem, je serija radova koja je stvarana oduzimanjem, grebanjem i razaranjem nabojene površine kamena. Namera je dovođenje (raz)gradnje crteža u vezu sa idejama ugroženosti i nasilja. U grafici uobičajen linearni crtački postupak se rastvara u mrlje i fleke i, kao takav, postaje glavni formalni element mojih radova. Statičnost kompozicije, izuzimanje fizičkih pokreta, bitumenski tamni tonovi suprostavljeni ekspresivnom rukopisu, brzom beleženju i snažnom svetlosnom kontrastu rezultiraju, istovremeno, i smirenom i pulsirajućom strukturom. Otuđena figura suprotstavljena je krajnje intimnom crtačkom postupku i javlja se kao sugestija i projekcija ličnog doživljaja čovekove egzistencijalne tragičnosti. Subjektivno osećanje i vizija izraženi su kroz usamljenost i ogoljenost, bez nepotrebnog dekora, opterećivanja bojom i koplikovanom kompozicionom strukturom. Oštro osvetljenje, kontrolisana ekspresija, prikaz psihičkih stanja, uvođenje prostora (pozornice) kao dramskog elementa, redukovan kolorit, sredstva su koja koristim u gradnji portreta modernog čoveka. Bez podtekstnih tumačenja, nameravala sam da oblikujem jasne asocijacije na nečovečnu, dehumanizovanu i obezličenu epohu. Projekat, u svojoj konačnici, treba da odgovori na postavljene zadatke koji se tiču ostvarivanja ideje egzistencijalističke misli u ličnom, angažovanom grafičkom izrazu. Ostvarenju postavljenog cilja prethodilo je dokazivanje ideje da jedan sveobuhvatan filozofski sistem poseduje univerzalni jezik koji se da implementirati u „sve ljudske delatnosti čiji je cilj prenošenje njegovih osnovnih ideja stimulisanjem uma posredstvom čula“. Likovni i književni govor u svom radu koristim kao međusobne korektive u istraživanju i analizi građe, kako bi se došlo do univerzalnih kategorija – čitljivih podražaja, koji će aktivirati unutrašnje mehanizme posmatrača. Represented prints are a part of the series of works that were presented as a part of a Doctoral art project „Philosophy of Existentialism in the Engaged Graphic Form – Lithography Exhibition“. The project is conceptualised in a way that will include, in addition to the theoretical explication, a series of works - large format lithographs created during the doctoral studies at the Graphic department of Faculty of Fine Arts in Belgrade. The theoretical conception of the project refers to the development of literature and art during the first half of the twentieth century and their exposure of degradated human figure as well as establishment of certain principles, that corespond to the apocalyptic spirit of the time. Begining of the resarch dates back to the year 2010, when, as a part of my MA studies I finalised the work "The Human Body in a War as a Visual Motif", and started researching certain topics (identity, existentialism, absurd), which I have used as the central motives of my PhD project. Philosophical ideas on human existence and absurdity are inseparable elements in the proces of creating literary-artistic theories of the twentieth century, and my work is based on the idea of existentialism (the philosophy of existentialism) as a method to grasp and comprehend universal. Since the idea of the project required to establish the most direct conection with the viewer, I chose figurative and portrait art form as a method of our communication. Drawing performance and the idea of using my own body as an instrument that will leave a mark on the surface of lithographic stone, suggest a ritual and symbolic presence. Drawings were created in two ways: by adding and subtracting colour. In the first case, colour, that was constantly imprinted, determined the texture of the represented figure on the stone. I'd been applying colour with my fingers and palms, leaving fingerprints on the surface of the stone, with the intention to, among other things, create an association to the utilisation of these bodies and violance against personal, intimate space of the figures. A sort of counterpart to the works created by adding is a series of works that were created by subtracting, scratching and destroying the surface of the stone. The intention is to bring the idea of (de)construction of drawings in connection with the concept of threat and violence. A conventional linear drawing method in printmaking has been dissolved into stains and spots and, as such, has become the main formal element of my works. The static composition, exclusion of the phisical movement and bitumen-dark tones, that are opposed to the expressive, quick drawing and strong light contrast, resulted, simultaneously, in a calm and pulsing structure. Alienated figure, opposed to the ultimate intimate drawing procedure, appears as a sugestion and projection of personal experience of man's existential tragedy. Personal feelings and visions are expressed trough loneliness and nakedness, without unnecessary decor, not burdened by colour and complicated compositional structure. Strong light contrast, controlled expression, representation of psychological condition, introduction of the space (stage), as an element of drama, reduced colours...are used in the proces of construction of the portrait of a modern man. Without interpreting the underlying meaning, I intended to establish clear associations to inhuman, dehumanized and depersonalized epoch. In the end, the project should respond to certain tasks, that corespond with the main concept of the work: the realisation of existential ideas in personal, engaged graphic form. Realisation of the setted goals was perceded by the proof of the idea that a comprehensive philosophical system (Philosophy of Existentialism) possess a univeral language, that can be implemented in "all human activities whose aim is transferring its basic ideas by stimulating the mind through the senses." Languages of art and literature were used in this project as mutal correctives in the proces of research and analysis of some elements, in order to reach universal categories - readable stimulations, which are going to activate the inner mechanisms and subconscious of the observer.


Beznađe
Predstavljeni radovi deo su serije grafika koje su prikazane u okviru praktičnog dela doktorskog umetničkog projekta „Filozofija egzistencijalizma u angažovanom grafičkom izrazu – izložba litografija“. Projekat je koncipiran tako da, pored teorijske eksplikacije, u praktičnom delu obuhvati seriju radova - litografija velikog formata nastalih tokom doktorskih studija na grafičkom odseku Fakulteta likovnih umetnosti u Beogradu. Teorijska i idejna polazišta rada odnose se na put kojim su se kretale umetnost i književnost prve polovine dvadesetog veka u prikazu razgradnje ljudskog lika, te utvrđivanje određenih zakonitosti na kojima počiva apokaliptični duh epohe. Početak istraživanja datira iz 2010. godine, kada sam, u okviru master studija, finalizovanih u radu „Ljudsko telo u ratnim dejstvima kao likovni motiv“ započela istraživanje određenih tema (identitet, egzistencijalizam, apsurd), koje uzimam kao središnje motive doktorskog umetničkog projekta. Filozofska misao o ljudskoj egzistenciji i apsurdu neodvojiv je činilac u procesu formiranja literarno-umetničke misli dvadesetog veka, a osnovu mog rada čini ideja o egzistencijalnom (filozofiji egzistencijalizma) kao načinu da se pronikne u sveopšte. Budući da je idejna zamisao projekta zahtevala ostvarenje najneposrednije veze sa posmatračem, odlučila sam se za figurativan likovni izraz i portret kao način komunikacije. Crtački performans i zamisao korišćenja sopstvenog tela kao instrumenta koji će ostaviti trag na površini kamena, sugeriše ritualno i simboličko prisustvo. Gradnja crteža se odvijala dvojako: dodavanjem i oduzimanjem boje. U prvom slučaju, konstantnim utiskivanjem boje određena je tekstura tela na kamenu. Boju sam utiskivala prstima i dlanovima, ostavljajući na kamenu otiske prstiju s namerom da, između ostalog, stvorim asocijaciju na iskorišćenost ovih tela i narušavanje ličnog, intimnog prostora figure. Svojevrstan pandan radovima nastalim dodavanjem, je serija radova koja je stvarana oduzimanjem, grebanjem i razaranjem nabojene površine kamena. Namera je dovođenje (raz)gradnje crteža u vezu sa idejama ugroženosti i nasilja. U grafici uobičajen linearni crtački postupak se rastvara u mrlje i fleke i, kao takav, postaje glavni formalni element mojih radova. Statičnost kompozicije, izuzimanje fizičkih pokreta, bitumenski tamni tonovi suprostavljeni ekspresivnom rukopisu, brzom beleženju i snažnom svetlosnom kontrastu rezultiraju, istovremeno, i smirenom i pulsirajućom strukturom. Otuđena figura suprotstavljena je krajnje intimnom crtačkom postupku i javlja se kao sugestija i projekcija ličnog doživljaja čovekove egzistencijalne tragičnosti. Subjektivno osećanje i vizija izraženi su kroz usamljenost i ogoljenost, bez nepotrebnog dekora, opterećivanja bojom i koplikovanom kompozicionom strukturom. Oštro osvetljenje, kontrolisana ekspresija, prikaz psihičkih stanja, uvođenje prostora (pozornice) kao dramskog elementa, redukovan kolorit, sredstva su koja koristim u gradnji portreta modernog čoveka. Bez podtekstnih tumačenja, nameravala sam da oblikujem jasne asocijacije na nečovečnu, dehumanizovanu i obezličenu epohu. Projekat, u svojoj konačnici, treba da odgovori na postavljene zadatke koji se tiču ostvarivanja ideje egzistencijalističke misli u ličnom, angažovanom grafičkom izrazu. Ostvarenju postavljenog cilja prethodilo je dokazivanje ideje da jedan sveobuhvatan filozofski sistem poseduje univerzalni jezik koji se da implementirati u „sve ljudske delatnosti čiji je cilj prenošenje njegovih osnovnih ideja stimulisanjem uma posredstvom čula“. Likovni i književni govor u svom radu koristim kao međusobne korektive u istraživanju i analizi građe, kako bi se došlo do univerzalnih kategorija – čitljivih podražaja, koji će aktivirati unutrašnje mehanizme posmatrača. Represented prints are a part of the series of works that were presented as a part of a Doctoral art project „Philosophy of Existentialism in the Engaged Graphic Form – Lithography Exhibition“. The project is conceptualised in a way that will include, in addition to the theoretical explication, a series of works - large format lithographs created during the doctoral studies at the Graphic department of Faculty of Fine Arts in Belgrade. The theoretical conception of the project refers to the development of literature and art during the first half of the twentieth century and their exposure of degradated human figure as well as establishment of certain principles, that corespond to the apocalyptic spirit of the time. Begining of the resarch dates back to the year 2010, when, as a part of my MA studies I finalised the work "The Human Body in a War as a Visual Motif", and started researching certain topics (identity, existentialism, absurd), which I have used as the central motives of my PhD project. Philosophical ideas on human existence and absurdity are inseparable elements in the proces of creating literary-artistic theories of the twentieth century, and my work is based on the idea of existentialism (the philosophy of existentialism) as a method to grasp and comprehend universal. Since the idea of the project required to establish the most direct conection with the viewer, I chose figurative and portrait art form as a method of our communication. Drawing performance and the idea of using my own body as an instrument that will leave a mark on the surface of lithographic stone, suggest a ritual and symbolic presence. Drawings were created in two ways: by adding and subtracting colour. In the first case, colour, that was constantly imprinted, determined the texture of the represented figure on the stone. I'd been applying colour with my fingers and palms, leaving fingerprints on the surface of the stone, with the intention to, among other things, create an association to the utilisation of these bodies and violance against personal, intimate space of the figures. A sort of counterpart to the works created by adding is a series of works that were created by subtracting, scratching and destroying the surface of the stone. The intention is to bring the idea of (de)construction of drawings in connection with the concept of threat and violence. A conventional linear drawing method in printmaking has been dissolved into stains and spots and, as such, has become the main formal element of my works. The static composition, exclusion of the phisical movement and bitumen-dark tones, that are opposed to the expressive, quick drawing and strong light contrast, resulted, simultaneously, in a calm and pulsing structure. Alienated figure, opposed to the ultimate intimate drawing procedure, appears as a sugestion and projection of personal experience of man's existential tragedy. Personal feelings and visions are expressed trough loneliness and nakedness, without unnecessary decor, not burdened by colour and complicated compositional structure. Strong light contrast, controlled expression, representation of psychological condition, introduction of the space (stage), as an element of drama, reduced colours...are used in the proces of construction of the portrait of a modern man. Without interpreting the underlying meaning, I intended to establish clear associations to inhuman, dehumanized and depersonalized epoch. In the end, the project should respond to certain tasks, that corespond with the main concept of the work: the realisation of existential ideas in personal, engaged graphic form. Realisation of the setted goals was perceded by the proof of the idea that a comprehensive philosophical system (Philosophy of Existentialism) possess a univeral language, that can be implemented in "all human activities whose aim is transferring its basic ideas by stimulating the mind through the senses." Languages of art and literature were used in this project as mutal correctives in the proces of research and analysis of some elements, in order to reach universal categories - readable stimulations, which are going to activate the inner mechanisms and subconscious of the observer.


Strah
Predstavljeni radovi deo su serije grafika koje su prikazane u okviru praktičnog dela doktorskog umetničkog projekta „Filozofija egzistencijalizma u angažovanom grafičkom izrazu – izložba litografija“. Projekat je koncipiran tako da, pored teorijske eksplikacije, u praktičnom delu obuhvati seriju radova - litografija velikog formata nastalih tokom doktorskih studija na grafičkom odseku Fakulteta likovnih umetnosti u Beogradu. Teorijska i idejna polazišta rada odnose se na put kojim su se kretale umetnost i književnost prve polovine dvadesetog veka u prikazu razgradnje ljudskog lika, te utvrđivanje određenih zakonitosti na kojima počiva apokaliptični duh epohe. Početak istraživanja datira iz 2010. godine, kada sam, u okviru master studija, finalizovanih u radu „Ljudsko telo u ratnim dejstvima kao likovni motiv“ započela istraživanje određenih tema (identitet, egzistencijalizam, apsurd), koje uzimam kao središnje motive doktorskog umetničkog projekta. Filozofska misao o ljudskoj egzistenciji i apsurdu neodvojiv je činilac u procesu formiranja literarno-umetničke misli dvadesetog veka, a osnovu mog rada čini ideja o egzistencijalnom (filozofiji egzistencijalizma) kao načinu da se pronikne u sveopšte. Budući da je idejna zamisao projekta zahtevala ostvarenje najneposrednije veze sa posmatračem, odlučila sam se za figurativan likovni izraz i portret kao način komunikacije. Crtački performans i zamisao korišćenja sopstvenog tela kao instrumenta koji će ostaviti trag na površini kamena, sugeriše ritualno i simboličko prisustvo. Gradnja crteža se odvijala dvojako: dodavanjem i oduzimanjem boje. U prvom slučaju, konstantnim utiskivanjem boje određena je tekstura tela na kamenu. Boju sam utiskivala prstima i dlanovima, ostavljajući na kamenu otiske prstiju s namerom da, između ostalog, stvorim asocijaciju na iskorišćenost ovih tela i narušavanje ličnog, intimnog prostora figure. Svojevrstan pandan radovima nastalim dodavanjem, je serija radova koja je stvarana oduzimanjem, grebanjem i razaranjem nabojene površine kamena. Namera je dovođenje (raz)gradnje crteža u vezu sa idejama ugroženosti i nasilja. U grafici uobičajen linearni crtački postupak se rastvara u mrlje i fleke i, kao takav, postaje glavni formalni element mojih radova. Statičnost kompozicije, izuzimanje fizičkih pokreta, bitumenski tamni tonovi suprostavljeni ekspresivnom rukopisu, brzom beleženju i snažnom svetlosnom kontrastu rezultiraju, istovremeno, i smirenom i pulsirajućom strukturom. Otuđena figura suprotstavljena je krajnje intimnom crtačkom postupku i javlja se kao sugestija i projekcija ličnog doživljaja čovekove egzistencijalne tragičnosti. Subjektivno osećanje i vizija izraženi su kroz usamljenost i ogoljenost, bez nepotrebnog dekora, opterećivanja bojom i koplikovanom kompozicionom strukturom. Oštro osvetljenje, kontrolisana ekspresija, prikaz psihičkih stanja, uvođenje prostora (pozornice) kao dramskog elementa, redukovan kolorit, sredstva su koja koristim u gradnji portreta modernog čoveka. Bez podtekstnih tumačenja, nameravala sam da oblikujem jasne asocijacije na nečovečnu, dehumanizovanu i obezličenu epohu. Projekat, u svojoj konačnici, treba da odgovori na postavljene zadatke koji se tiču ostvarivanja ideje egzistencijalističke misli u ličnom, angažovanom grafičkom izrazu. Ostvarenju postavljenog cilja prethodilo je dokazivanje ideje da jedan sveobuhvatan filozofski sistem poseduje univerzalni jezik koji se da implementirati u „sve ljudske delatnosti čiji je cilj prenošenje njegovih osnovnih ideja stimulisanjem uma posredstvom čula“. Likovni i književni govor u svom radu koristim kao međusobne korektive u istraživanju i analizi građe, kako bi se došlo do univerzalnih kategorija – čitljivih podražaja, koji će aktivirati unutrašnje mehanizme posmatrača. Represented prints are a part of the series of works that were presented as a part of a Doctoral art project „Philosophy of Existentialism in the Engaged Graphic Form – Lithography Exhibition“. The project is conceptualised in a way that will include, in addition to the theoretical explication, a series of works - large format lithographs created during the doctoral studies at the Graphic department of Faculty of Fine Arts in Belgrade. The theoretical conception of the project refers to the development of literature and art during the first half of the twentieth century and their exposure of degradated human figure as well as establishment of certain principles, that corespond to the apocalyptic spirit of the time. Begining of the resarch dates back to the year 2010, when, as a part of my MA studies I finalised the work "The Human Body in a War as a Visual Motif", and started researching certain topics (identity, existentialism, absurd), which I have used as the central motives of my PhD project. Philosophical ideas on human existence and absurdity are inseparable elements in the proces of creating literary-artistic theories of the twentieth century, and my work is based on the idea of existentialism (the philosophy of existentialism) as a method to grasp and comprehend universal. Since the idea of the project required to establish the most direct conection with the viewer, I chose figurative and portrait art form as a method of our communication. Drawing performance and the idea of using my own body as an instrument that will leave a mark on the surface of lithographic stone, suggest a ritual and symbolic presence. Drawings were created in two ways: by adding and subtracting colour. In the first case, colour, that was constantly imprinted, determined the texture of the represented figure on the stone. I'd been applying colour with my fingers and palms, leaving fingerprints on the surface of the stone, with the intention to, among other things, create an association to the utilisation of these bodies and violance against personal, intimate space of the figures. A sort of counterpart to the works created by adding is a series of works that were created by subtracting, scratching and destroying the surface of the stone. The intention is to bring the idea of (de)construction of drawings in connection with the concept of threat and violence. A conventional linear drawing method in printmaking has been dissolved into stains and spots and, as such, has become the main formal element of my works. The static composition, exclusion of the phisical movement and bitumen-dark tones, that are opposed to the expressive, quick drawing and strong light contrast, resulted, simultaneously, in a calm and pulsing structure. Alienated figure, opposed to the ultimate intimate drawing procedure, appears as a sugestion and projection of personal experience of man's existential tragedy. Personal feelings and visions are expressed trough loneliness and nakedness, without unnecessary decor, not burdened by colour and complicated compositional structure. Strong light contrast, controlled expression, representation of psychological condition, introduction of the space (stage), as an element of drama, reduced colours...are used in the proces of construction of the portrait of a modern man. Without interpreting the underlying meaning, I intended to establish clear associations to inhuman, dehumanized and depersonalized epoch. In the end, the project should respond to certain tasks, that corespond with the main concept of the work: the realisation of existential ideas in personal, engaged graphic form. Realisation of the setted goals was perceded by the proof of the idea that a comprehensive philosophical system (Philosophy of Existentialism) possess a univeral language, that can be implemented in "all human activities whose aim is transferring its basic ideas by stimulating the mind through the senses." Languages of art and literature were used in this project as mutal correctives in the proces of research and analysis of some elements, in order to reach universal categories - readable stimulations, which are going to activate the inner mechanisms and subconscious of the observer.


 

 

Web site

https://www.behance.net/gallery/52339951/Doctoral-Art-Project-Lithography-exhibition