Drawing Exhibition Catalogue

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description

A catalogue of an exhibition of students' drawings in DKSG Gallery, Belgrade 2009.

Transcript of Drawing Exhibition Catalogue

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Crtanje

Izložba prikazuje izbor studentskih radova realizovanih na predmetu Crtanje u klasi docenta Dejana Grbe tokom školske godine 2008/2009 na Fakultetu likovnih umetnosti u Beogradu.

Izbor radova reflektuje program klase koji je usmeren ka nadgradnji crtačkog iskustva uvođenjem i razumevanjem pojmova strukture, koncepcije, taktike, strategije, politike, jezičkih i kulturnih igara i drugih činilaca savremenog umetničkog delovanja.

http://tinyurl.com/yj4s862

Crtež je tekst? Zar ne.

Crtež je ipak i dalje neka vrsta manuelnog/telesnog traga upisa ili događaja na površini, mada danas možemo govoriti uslovno ili bezuslovno o „crtežu“ kao prostornom, vremenskom, bihevioralnom ili medijskom događaju upisivanja/ispisivanja ili utiskivanja traga „negde“ i u „nešto“ (papir, platno, prašinu, ekran, softver, kožu, telo koje se kreće amo-tamo). Crtež je bio jedini vizuelni izvorni izraz, zapravo, arhi-izraz koji prethodi delu, te, zatim, sekundarna praksa beleženja. Danas je crtež pre svega dijagram u odnosima vidljivog i nevidljivog proizvodnog umetničkog rada koji svedoči o upisu ili je dijagram koji svedoči o potencijalnosti projekta koji se prevodi sa „ideje“ u vizuelno uputstvo.

Crtež je moguć i hibridizovan.

Kada je reč o tekstu u opštem smislu razlikuju se pojam govornog, pisanog, vizuelnog, prostornog, vremenskog, zvučnog, bihevioralnog, ekranskog itd. teksta. Crtež je vizuelni tekst nastao manuelnim, mašinskim ili bilo kojim drugim ostavljanjem traga negde ili na nečemu ili „kroz“ nešto. Crtež je danas pre otvoreno delo nego „striktni likovni žanr“ manuelno-telesnog upisa traga na površinu.

Crtež je neka vrsta vizuelnog teksta-događaja. Crtež kao tekst je, uopšteno, svaka struktura znakova koja posreduje značenja i odlaže prisutnost za pogled – ali, danas je crtež pre fluks znakova, nego zamrzavanje znakova u odlučnom/neodlučnom gestu crtača. Tradicionalni crtež bio je zatvorena struktura vizuelnih znakova. U poststrukturalizmu crtežom kao tekstom se smatra otvorena struktura znakova koja stiče svoja značenja trenutnim odnosom s drugim znakovima ili tekstovima aktualne ili istorijske javne, odnosno, privatne kulture umetnika i posmatrača. Crtežom se naziva i svaka praksa, bez obzira na medij, načina vizuelne komunikacije, proizvodnje, razmene i potrošnje upisanih značenja. Crtež ispostavlja značenjske zastupnike: ruka koja crta, mašina koja pokreće mehaničku ruku crtača, mlaz elektrona koji pada na katodnu cev, raspored predmeta koji obrazuju „liniju u prostoru“, digitalni izraz koji se odnosi u bilo kom smislu na istorije/tradicije crtanja i pisanja, ruka robota koji je stohastički izvođač crteža itd.

Crtačkom tekstualnom produkcijom se, zato, imenuju različite pluralne, arbitrarne i fikcionalne prakse ili postupci proizvodnje, razmene i potrošnje značenja-traga ili značenja-traga-afekta u kulturi koje odlažu neposrednu prisutnost tela umetnika.

Miško Šuvaković

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Nemanja Nikolić | +381 64 439 9896 | [email protected]

Isidora Krstić | +381 64 511 7547 | [email protected]

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Nina Ivanović | +381 64 502 3264 | [email protected]

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Nikola Krstić | +381 62 255 890 | [email protected]

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Lidija Delić | +381 64 184 6319 | [email protected]

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Nataša Stojanović | +381 63 751 0436 | [email protected]

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Sava Knežević | +381 64 526 5441 | [email protected]

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Ivan Iliev | +381 62 174 9778 | [email protected]

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Jelena Čolić | +381 64 263 2560 | [email protected]

Velimir Popović | +381 64 359 3827 | [email protected]

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Drawing

This exhibition presents a selection of students' projects created in 2008/2009 in the Drawing class of Dejan Grba at the Faculty of Fine Arts in Belgrade.

It reflects the class programme that expands the drawing experience by creatively exploring the structure, concept, tactics, strategy, politics, language- and cultural games, and other qualities of contemporary art.

http://tinyurl.com/yg5xep7

Drawing is a Text? Isn’t It.

Drawing is still a kind of manual/corporeal mark of the inscription or the event on the surface. Today, however, we can, arguably or not, also talk about “drawing” as a spatial, temporal, behavioral or media event of input/output or insertion of the mark “somewhere” and into “something” (paper, canvas, dust, screen, software, skin, body that moves here and there). Drawing used to be the only archetypal visual expression that precedes the final work, and subsequently the secondary practice of registration. The contemporary drawing is primarily a diagram of the relations between the visible and invisible artistic production that gives the testimony of the inscription, or it is a diagram that verifies the potential of the project which is translated from the “idea” into the visual instruction.

Drawing is possible and hybridized.

We generally discern the aspects of the text as spoken, written, visual, spatial, aural, behavioral, screen-projected, etc. Drawing is a visual text generated by manual, mechanic or any other means of leaving the trace somewhere or in something or “through” something. Today, drawing is more an open work than a “strict visual technique” of manual/bodily inscription.

Drawing is a kind of visual text-event. Drawing as text is, generally, any structure of signs that negotiates the meaning and postpones the presence for the gaze – but drawing is more a flux of signs than a suspension of signs in the confident/unconfident draughtsman’s gesture. The traditional drawing was a self-contained structure of visual symbols. The post-structuralism considers the drawing as text to be an open symbolic structure that acquires its meanings through the instant relation with other signs or texts of the present, historic or private culture of the artist and the observer. Drawing is also considered to be any practice, regardless of the medium, of visual communication, production, exchange and consumption of the inscribed meanings. Drawing brings about the agents of meaning: a drawing hand, a machine that actuates the draughtsman’s hand, a stream of electrons falling on the cathode tube, a set of objects arranged into the “spatial line”, a digital rendering that relates in any sense to the histories/traditions of drawing and writing, a robotic arm that performs the drawing stochastically, etc.

A drawing textual production, therefore, designates the diverse, arbitrary and fictional cultural practices or procedures for the creation, exchange and consumption of the meaning-trace or the meaning-trace-affect that suspend the immediate presence of the artist’s body.

Miško Šuvaković

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Izdaje: Dom kulture Studentski gradBulevar Zorana Ðinđića 179Novi Beograd011/2691 442

Dizajn: Lidija Delić, Ivan IlievKorice: Dejan Grba Štampa: Cakum pakum, BeogradTiraž: 300

CIP - Katalogizacija u publikacijiNarodna biblioteka Srbije, BeogradISBN 86-7933-036-1COBBIS.SR-ID 119239948

Umetnički savet Galerije Doma kulture Studentski grad:Milorad I. Vukanović - Mišel; Marko Lađušić, vanredni profesor FPU u Beogradu;Gordan Nikolić, redovni profesor FLU u Beogradu; Maja Stanković, magistar istorije umetnosti

Dejan Grba | +381 62 207 749 | [email protected] | http://dejangrba.dyndns.org