Alinejin video kurs savremene umetnosti 28.11. at Skc Filmoforum, Utorak u 19h
Deveta epizoda: Hibridnost
Učesnici: Simona Ognjanović i Stevan Vuković
Tema ovog izdanja Alinejinog video kursa savremene umetnosti biće medijski i stilski hibridi, kao i ukrštanja semantičkih sistema i režima predstavljanja u savremenoj umetnosti. Oni uglavnom nastaju iz želje metnika da proizvedu neki odmak od toga što je od njih i od njihovog rada unapred očekivano i što je već podrazumevano, kao i toga što se putem dominantnih paradigmi nalaže autorima da bi njihovi radovi bili jasno čitljivi, te i uklopivi u standardne klasifikacije kojema se u znatnoj meri olakšavaju njihova tumačenja, ali se i limitiraju njihov uticaj. Pa ipak, nekada svojstveni uglavnom samo avangardnim, pa neoavangardnim pravcima, koji su se suprotstavljali akademskim stilovima i modernističkom medijskom čistunstvu, danas su postupci hibridizacije opšteprisutni u umetničkim praksama čiji rezultati postaju delom muzejskih zbirki i predmetom istorijskih tumačenja. Pitanje je onda kako se prema njima postaviti, i kako ih kontekstualizovati?Alineyn’s video course of contemporary art 28.11. at Skc Filmoforum, Thursday at 07 pm
Ninth Episode: Hybridity
Participants: Simona Ognjanović and Stevan Vuković
The theme of this edition of the Aliney’s video course of contemporary art will be media and stylistic hybrids, as well as cross-semantic systems and representation regimes in contemporary art. They are mostly derived from the desire of the Meters to produce some distance from what is expected of them and their work in advance, as well as the fact that through the dominant paradigms the authors are required that their works be clearly legible, and they are compatible in standard classifications, which make their interpretation much easier, but their impact is also limited. Nevertheless, sometimes characteristic mainly of avant-garde, and neo-avant-garde lines that have opposed academic styles and modernist media purification, today hybridization processes are common in artistic practices whose results become part of museum collections and the subject of historical interpretations. The question then is how to set them up, and how to contextualize them?