MLADEN BUNDALO
Converging?
I admit that the performative series under the name “The Big Machine Art” from the author Miroslav Stakić, represents a complete cognitive challenge for me, in the sense of understanding the cause and methods used by the author. Then again, even if I happened to think of a more consistent and intricate semantic web, a problem would arise of which medium to use in order to represent such a mental interpretation to the audience, making sure that it is concise and referring to potentially “objective” values of Miroslav’s performative act, in the process. On that account, with a textual interpretation, I hereby offer several diagrams which I used as assisting means together with this critical text >>> .
Konvergencija?
Priznajem da mi je serija performansa Miroslava Stakića pod radnim nazivom Big machine art potpuni kognitivni izazov, u smislu razumjevanja povoda i metoda kojim se autor služi. Sa druge strane, ako mi se i desila konzistentna, složenija semantička mreža, nastaje problem kojim medijom publici reprezentovati mentalnu interpretaciju, a da bude prihvatljivo koncizna, te referentna na potencionalno „objektivneˮ vrijednosti Miroslavovog, performativnog akta.
Tim povodom, uz tekstualnu interpretaciju, prilažem nekoliko dijagrama, kojima sam se služio u prilog pronicljivosti ovog kritičkog teksta >>> .
LJILJANA SUBOTIĆ (SKC GALERIJA)
The anatomy of thoughts
Is the feeling of insignificance becoming the experience of new generations? Is a way out of this chaotic state, ambiguity and darkness to be found in art, which becomes the messenger? All forms of social injustice as the fruits of civilization are slowly transforming human consciousness. Forcibly imposing specific concepts subconsciously steers man’s thinking in a suggested direction. >>>
Анатомија мисли
Да ли осећање безначајности постаје искуство нових генерација и да ли је излаз од хаотичности, двосмислености и мрачног, у уметности која постаје гласник поруке? Сви облици друштвене неправде као плодови цивилизације лагано трансформишу људску свест. Упорно наметање одређених појмова несвесно формира човеково мишљење у сугерисаном правцу. >>>
PREDRAG TERZIĆ
Of difficulty and easiness
Every thing is about to disappear, it’s what it seeks. (Jean Nouvel)
A man was always seeking for a story. Whether drawn or in the written form, depended on the artist. In any case, an artist has his/her own way of telling his story, which consequently leads to the appearance of various drawings. Using the Volvo EC240 machine, Miroslav Stakić found his own way of telling us a story about art (drawing) and technology. As Dana Arnold put it: “The physical attributes of a work of art have a deep impact on how we understand them as objects.” In Miroslav’s case, we have a question of how to understand the usage of excavator’s bucket as a tool for creating the work of art? The connotation of an excavator is more familiar to each of us in its natural surrounding, like the mining or construction site in our vincinity >>> .
O lakoći i težini
Svaka je stvar spremna nestati, to je sve što ona traži. Žan Nuvel (Jaen Nouvel)
Čovek je oduvek tražio priču. Da li bi ona bila napisana ili nacrtana to je zavisilo od umetnika. U svakom slučaju, umetnik ima svoj način ispisivanja priče, što dovodi dalje i do toga da se pojavljuju i različiti crteži. Miroslav Stakić je pomoću Volvo-a EC240 našao svoj put da nam ispriča priču o umetnosti (crtežu) i tehnologiji. Kako kaže Dana Arnold (Dana Arnold): ”Fizičke osobine umetničkog dela bitno utiču na to kako ih razumemo kao objekte.” Kod Miroslava nam se javlja još jedan problem, kako da razumemo upotrebu bagera-kašike kao sredstva za postizanje umetničkog dela? Bager nam je svima razumljiviji u njegovom prirodnom prostoru, poput rudarskog kopa ili gradilišta koji se trenutno nalazi u našoj blizini >>> .
IGOR BOŠNJAK
A man or machine
I’m going to say something to those who despise the body... A soul
is just one word for body. The body is a great wisdom, a cluster with one
meaning, a war and peace, a herd and a shepherd.
The Cartesian dualistic theory of dividing the mind and body was criticized from the very beginning, since its first appearance. In his work “Machine Man” (1748.), Julien Offray de la Mettrie explicitly rejected the Cartesian theory and suggested the existence of connection between the material (the material body) and the one signified as esprit (mind, spirit or soul), claiming that the different conditions of soul are always connected to those in the body. The Cartesian logic emphasised the fact that the body needs to be transcendental, i.e. according to Freud’s terminology, it has to be either repressed or neglected. It should be pointed out that, even though the repressions of the body had been successful in the Cartesian theory, the body still had considerable and important repercussions in the discourse of the history of art. In the second half of the 20th century, such discourses are reflected within the mechanisms of binary or opposing relations according to performative basis: body/work of art >>> .
ČOVJEK I MAŠINA
Reći ću nešto onima koji preziru tijelo… Duša je samo
jedna riječ za tijelo. Tijelo je velika mudrost, mnoštvo
sa jednim smislom, rat i mir, stado i pastir.
Kartezijanska kritika razdvajanja uma i tijela osuđena je još na početku, prilikom svog prvog artikulisanja. U svom traktatu Čovjek mašina iz 1748.godine, Žilijan Ofrej de la Metr eksplicitno kritikuje kartezijanstvo, te špekuliše o postojanju veze između materije (materijalnog tijela) i onoga što označava kao esprit (um, duh ili duša) objašnjavaući da su različita stanja duše uvek u korelaciji sa onima u tijelu. Kartezijanska logika je naglašavala da tijelo mora da bude transcedentno tj. po Frojdovoj terminologiji tijelo je moralo biti potisnuto ili ga se trebalo odreći. Treba naglasiti, da iako su uspješni pokušaji potiskivanja tijela u kartezijanskoj misli, ono, tijelo je imalo duboke i važne reperkusije u diskursu istorije umjetnosti. Takvi diskursi u drugoj polovini XX vijeka se očituju unutar mehanizama binarnih ili opozitnih relacija po performativnoj osnovi: tijelo/umjetničko djelo >>> .