The Decameron 2020 started in Croatia as an online literary event in the time of thefirst quarantine caused by the Covid-19 pandemic and resulted in an e-book offifty-two selected short stories. Its ...initiators and editors, Ana Cerovac, Vesna Kurilić and Antonija Mežnarić, recognized the peculiarity of the experience of living in the end times, as well as the potential for comparison of the e-book withBoccaccio’s classic, and set up an online space where authors from Croatia andthe region could ( re )create or transform their experiences, or reflect upon them.This paper focuses on four stories from the collection in which nature is givenspecial significance: Algernonova osveta (Algernon’s Revenge) by Nataša Milić,Zaražena (Infected) bySunčica Mamula, Redukcije(Reductions) byAnaKutleša and2030 byRadmila Rakas. It investigates the range of feelings and attitudes towardsnature in the time of pandemic and quarantine, as reflected in these four stories.
Rad istražuje interdisciplinarnu putanju termina „utopijsko” i „distopijsko”. Polazi od činjenice da su „utopija” i „distopija” izvorno književnoteorijski termini koji se odnose na specifične ...književne žanrove. U svjetlu recentnog proboja termina „distopijsko” u rječnik likovne kritike (u osvrtima na izložbe i u katalozima izložbi), kao i u posljednje vrijeme učestale kustoske prakse koncipiranja izložaba na temelju binarnih suprotnosti „utopijsko – distopijsko”, ovaj rad nastoji odrediti spektar značenja, denotacija i konotacija povezanih s terminima „utopijsko” i „distopijsko” u likovnoj umjetnosti razmatranjem specifičnih konteksta u kojima se upotrebljavaju. Razmatra se uporaba termina „distopijsko” u kontekstu umjetničkih izričaja Alexisa Rockmana, Michaela Kerbowa, Alice Tye, Kushala Tiklea, Fabricea Monteira, Jona Rafmana te, u kontekstu hrvatske umjetnosti, Jasenka Rasola i Sebastijana Dračića. Termin „utopijsko” razmatra se u kontekstu teorijskog promišljanja avangardne umjetnosti, socijalno angažiranih umjetničkih akcija umjetnika u drugoj polovici 20. stoljeća (napose Josepha Beuysa) te, u kontekstu hrvatske umjetnosti, slikarstva Ivana Rabuzina. Rad zastupa tezu da, unatoč tome što su „utopijsko” i „distopijsko” transmedijski termini, spektar njihova značenja promjenjiv je ovisno o vrsti umjetnosti na koju se odnosi. Termin „utopijsko” upotrebljava se u teorijskim promišljanjima za opise umjetničkih pravaca, umjetničkih praksi i samih umjetničkih djela u proteklih više od stotinu godina. Ponekad se odnosi na specifičnu vrstu načela umjetnosti, odnosno na umjetnički „impuls” ili namjeru, pri čemu implicira želju za društvenom promjenom putem umjetnosti; ponekad se odnosi na vizualni aspekt nekog djela, pri čemu implicira idealističko i/ili idealizirajuće zamišljanje i vizualizaciju. Termin „distopijsko” upotrebljava se u kontekstu likovnih umjetnosti tek odnedavno, posljednjih desetak godina. Upotrebljava se u cilju opisivanja određenog raspoloženja ili ugođaja. Uglavnom ga se povezuje sa specifičnim vizualnim, ikonografskim aspektom likovnog djela. Likovna djela koje se opisuje kao „distopijska” najčešće tematiziraju ekološka pitanja, konzumerizam, ugnjetavačke društveno-političke sustave, odnose moći i odnose među vrstama. I utopijska i distopijska umjetnost nastaju kao kritički odgovor na društvenu stvarnost.
The paper explores the interdisciplinary trajectory of the terms "utopian" and "dystopian". It acknowledges the fact that "utopia" and "dystopia" are originally terms from literary theory that refer ...to specific literary genres. In the light of a recent crossover of the term "dystopian" into the vocabulary of art criticism (exhibition reviews and catalogues), as well as a current curatorial fashion of devising exhibitions on the basis of binary opposites of "utopian" and "dystopian", the paper aims to define the range of meanings, connotations and denotations of the terms "utopian" and "dystopian" in visual arts, by means of discussing the particular contexts in which they are used. The use of the term "dystopian" is discussed in the context of the following artists: Alexis Rockman, Michael Kerbow, Fabrice Monteiro, Kushal Tikle, Alice Tye, Jon Rafman, as well as in the context of Croatian artists Jasenko Rasol and Sebastijan Dračić. The term "utopian" is discussed in the context of theoretical discussions about avant-garde art, the socially engaged artistic actions of artists from the second half of the 20th century (in particular, Joseph Beuys), as well as in the context of Croatian art, specifically of Ivan Rabuzin's paintings. The paper argues that, though the terms "utopian" and "dystopian" are transmedia terms, their range of meaning differs in relation to a particular kind of art they refer to. During the approximately last one hundred years, the term "utopian" has been used in theoretical considerations as a means of describing art movements, practices and works. Sometimes it refers to a specific artistic principle, that is, an "impulse" or intention of art that implies a desire for social change through art; at other times, it refers to the visual aspect of an artwork, implying idealistic and/or idealising imagining and visualization. The term "dystopian" has been employed in the context of visual arts only recently, that is, approximately in the last ten years. It is used with the aim of describing a certain mood or atmosphere. It is usually related to the specific iconographical aspect of a work of art. Art works described as "dystopian" most often explore the themes of ecology, consumerism, oppressive social and political systems, power relations and inter-species dynamics. Both utopian and dystopian art is created as a critical response to social reality.
Prikaz knjige
HUBERT DAMISCH, Porijeklo perspektive, (prev.) Zlatko Wurzberg, Zagreb, Institut za povijest umjetnosti, 2006., 446 str., ISBN 953-6106-62-0
