E

7

3590
j, 2010

PoD
nvilic.blogspot.com

:

, 2008
:
, 60 2008,

, ,

37

101

105

[Lets Talk Critic Arts] Seecult.org () : SCCA/Artservis.org
(), () Kulturpunkt.hr ().
, . ,
, , [www.seecult.org; www.artservis.org; www.
forumskopje.com www.kulturpunkt.hr]. From
Consideration to Commitment: Art in Critical Confrontation to
Society (Belgrade, Ljubljana, Skopje, Zagreb: 1990-2010)

,

20 , ,
. ,
, :
(, , , ), , ,

ii

From Consideration to Commitment

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: http://talkingcriticarts.
files.wordpress.com/2011/04/ltca_publication_art_in_critical_-confrontation_to_society.pdf.


iv

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vi

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- 2010
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vii

viii

. 1

All art is quite useless

(Wilde, 2006: 4)

- ,
( ,
2007, ...)
, , .
[. 1]
: All Art is Quite Useless.
, ,
-
: Not everything in black and white makes sense,
, :
. useless

: , , - .
, ,

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. 2 , , 2002

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,
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? ,
.

? ?

[Jacques Rancire],
(),
: [A]rtistic practice is not the outside of the work but
its displaced form of visibility. The democratic distribution of
the sensible makes the worker into a double being. It removes
the artisan from his place, the domestic space of work, and
gives him time to occupy the space of public discussion
and take on the identity of a deliberative citizen. (Rancire,
2006: 43) o
() , ,
[D]iscoursive and bodily practices suggest forms
1
,
. . , ,

.

of community [...] in which works of art or performances

are involved in politics, [through] artists social modes of
integration, or the manner in which artistic forms reflect
social structures or movements. (13) , , , ( )
,
,
, . His [] very refusal to entrust literature
with any message whatsoever was considered to be evidence
of democratic equality. His adversaries claimed that he was
democartic due to his decision to depict and portray instead
to instruct. This equality of idifference is the result of a poetic
bias: the equality of all subject matter is the negation of any
relationship of necessity between a determined form and
determined content. [...] This equality destroys all of the
hierarchies of representation and also establishes a community
of readers as a community without legitimacy, a community
formed only by the radnom circulation of the written word.
(14) ,
,

[surface] ( ,


[...]
[]

.

[] ,
:

, ,
[] []
, ,
, o
.

. 3 , No tittle, no comment, 2003

1915):
, , .

This is how the planarity of the surface of depicted signs, the form of
egalitarian distribution of the sensible stigmatized by Plato, intervened as the

10

. 4 , 2001, 2006

, a
,
[Timothy Brennan]


. ,
-
, , ,
principle behind an arts formal revolution at the same time as the principle
behind tyhe political redistribution of shared exeprinece. (17)

11

/ [belief,
cultures of belief ]? (Brenan,
2006: x)

/ , 20 .
, ,
, ?
( - ) , ,
. (173)

, :
( )
, ,
( ).

, ,
20 .

1989
: .
,
, 1989 ,
, -.

12

. 5 , , 2007

, /, -68 ,
( ) . ,



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/,


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13

20 . , ,
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.
,
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,
(
) .

14

, [Ilya Kabakov,
Ausstellung eines Buches], 1989/90, DAAD
, [DAAD-Galerie, Berlin].
(. 6) .
;
, ,

.

( , 1,40 ,
, , , , .).

, ,
: [ ].


( )
( )
, .
,
. ,
, ,
(, , ) .
hat nicht die letzte Wort,
,
. .

. (Kabakov, 1990: 240-1)


. 6 , , 1989/90

15

16

einfacher Mensch, ganz normal, ganz alltglich. Er ist

kein Prophet, kein Genius, stellt nur
die Fragen, er hat keine Antworten, : Die Frage natrlich ist der Text. Kunst
ist nur der Katalysator fr diesen Diskussionprozess. , ,
- :
,
, , , ,
, , . ,

,
. (Sloterdijk, 1988: 80)
, (Kabakov, 1994: 91-2, 142)
.

,
,
- .

T-

,
[Barbara Kruger, All violence is the
illustration of a pathetic stereotype], 1991, , [Mary Boone Gallery,
New York]. (. 7)

.; , ,
. , , , .; ; , , .
. (240)

17

. 7 ,
, 1995

18

, .
,
, .
, (
: We dont need another hero,
Endangered species, In space no one can hear your scream).

der Weltraum nur zum Paradies fhren kann, uns der Weltraum auf direktestem Weg
die Katastrophe bringt. (Owens, 1987: 134) (
) ,
. -
, : These were objects. I wasnt going
to stick them on the wall with pushpins. I wanted them to
enter the marketplace because I begun to understand that
outside the market there is nothing Thats what the
frames [of the works] were about: how to commodify them.
It was the most effective packaging device. Signed, sealed and
delivered. (Mller-Pohle, 1995: 87) .

.; , , .

. .
,
. : . : ,
, .


19

, ( )
(
), - .

, [Shirin
Neshat, Iranian woman], 1995. (. 8)
, ,
.

,
.
(Nanjo and Friis-Hansen, 1995: 2) ,
, ,
,

. ,

, ~, ~
: ,
, (
) , ,
, , , . (Budney and Pultz,
1995: 74)
: ()
(
)
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20

. 8 , , 1995

21

, , ),
,
. . /
(, ) :
.
, , ;
, :
,
.

,

,
- .

, [Hans Haacke, Germania], 1993.
(. 9) o
[Klaus Bumann]
45

. (Bumann, 1993: 172)
, the
art world is a site of symbolic and, as a consequence, also a

22

political power, (173) .

1. EINE DEUTSCHE MARK [
] , EINZIGE DEUTSCHE MARK
[ () ], ,
, EINZIG DEUTSCHLAND [
].
,
, . (172)
,
(
- ) [Nam June Paik]
: . , ,
. (

)
. (Fry, 1987: 92)

, , ,

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. /
.10

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10
20

. 9 , , 1993

23

24

,
, - .

. ,

.

.

.
, ,
,
.11 . ,
, , . !
11
- ( -).
: Slikari su prvi poeli da posmatraju socijalistiki [ 1934] ne samo kao ki, sredstvo birokratske
manipulacije i dravne propagande, ve kao tekst proet stereotipima i
mitovima, koji su oni mogli da pretvore u novi savremeni jezik, kadar da
dekonstruie zvanine mitove kroz termine samih tih mitova. Oni su u
sovjetskoj ideolokoj strukturi otkrili konvencionalni sistem sa detaljno

25

, ,

.
,
.12 , (
) .
e.13 razraenim ikonostasom likovnih i verbalnih kanonskih predstava. ... Ovaj
specifini nain proricanja sakralnih vrednosti totalitarne kulture jako se
razlikuje od ranijih nezvaninih stvaralakih pojava.. (Tupicina, 1989: 13)
12


. f. Barck, 1994: 129-33.
13

(
):
?,
? , .
, : Den Medien Schrift und Bild
entschprechen zwei unterschiedliche Rezeptionsformen: Schriften werden
gelesen, Bilder werden erkannt. Whrend der Kode, der Schrift lesbar macht,
erst frmlich erlernt werden mu, kann das, was auf Bildern dargestellt ist,
in der Regel spontan identifiziert werden. Der entscheidende Unterschied
zwischen beiden Medien und ihren Rezepzionformen liegt darin, da
Schrift eine Einzelsprache abbildet, whrend Bilder auereinzelsprachliche
Gegenstnde und Sachverhalte reprsentieren. [
:
, . ,
, ,
, , .

, -
.] cf. Assmann,
1994: 135.

26

. 10 , , .
(1963), 2004

.14

. mit den Mitteln der Werbung den Blick hinter die
Fassaden prosperierender Wirtschaftsunternehmen zu lenken [ .]. (cf. Hbl, 1987: 84)
(
14

27

, ~, ~, ~
, , .


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28

. 11 , Para Olympic Games Skopje 2052, 2004

, ,
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.
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29

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30

, , ,
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20 ,
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, ( , , ,
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18, 3, 29, 30, 20,10),
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, ( , , ) (. 19, 32, 2).
,
(
, , , , , ) (. 13,
12, 5, 11).

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31

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32

. 12 , 3:

- 001,

2005, ()

. (, 2009: 117-8) ,
, ,

. (Vili, 2010)

,


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.
,

33

,
, . , ,

,
.

,
: ,
- Not everything in
black and white makes sense,

?

, :

Diversity of opinion about a work of art shows that the

work is new, complex, and vital. (Wilde, 2006: 3)

, , :
The cult of art presupposes a revalorisation of the abilities
attached to the very idea of work. However, this idea is less
the discovery of the essence of human activity than a recomposition of the landscape of the visible, a recomposition of

34

the relationship between doing, making, being, seeing, and

saying. Whatever might be the specific type of economic
circuit they lie within, artistic practices are not exceptions
to other practices. They represent and reconfigure the distribution of these activities. (Rancire, 2006: 45)

//

some

//FUL

35

36

37

38

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42

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1968 ,
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.
:
1960- 1970-,
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1996: 25)
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44

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45

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46

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[Achille Bonito Oliva]
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47

. 16 , 1975
2004, 2004

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48

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50

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Brich ab Geschicklichkeit, verwirf den Nutzen! So finden keine
Ruber sich und Diebe.
[ , !
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15

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51

. 18 , ( -)
, 2007

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52

. 19 , Neboja Vili is Dead, 2005

. ,
, , , , ? ,
, ?

: Die Kunst
faltet sich ein [ ]
,17 , ..
, - 17
Sie [die Kunst] lt die Frage zu, ob Glcksbezeugung und Vornesein
dasselbe bedeuten knnen. (Sloterdijk, 1989: 183)

53

,
, ,
, .
-

, , . , ,
- : The rise of the NGOs is one of the
most remarkable things that happened since the fall of the
Berlin Wall18 ,

( ) ,
, - :
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, (
),
.
, ...

. (The Wall Street
Journal, 2005)
18

54

, ,
( ; . [Die
Philosophen haben die Welt bisher nur auf verschiedene
Weise interpretiert; der Punkt ist, es zu ndern.])
? , ,
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56

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58

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. 23 , , 15 2009

62

[Jacques Lacan]

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64

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[Freizeitindustrie] 19,
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( )
Ich kann schon nicht mehr denken was ich denken will. Die
beweglichen Bilder haben sich an den Platz meiner Gedanken gesetzt.
[ . .] (Duhamel, 1930: 52
Benjamin, 1977: 41); Das Publikum ist ein Examinator, doch
ein zerstreuter. [ , .] (Benjamin,
1977: 41)
19

65

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66

. 26 a , / desidero ergo sum, 2007, ()

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von Raum und Zeit. (Nicht Probleme der Naturwissenschaft sind ja zu
lsen.) [
. (, .)] (Wittgenstein, 2003: 109-10)
21

67

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76

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78

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100

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. 16 , 1975
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.
. 20 , 5 !, 2006;
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. 21 22 , 2008,
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. 27 , , 2008,

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110

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12-1/9, , .
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