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Pojam lijepog i digitalno doba: je li koncept zastario ili trebamo stvoriti mjesta za nove definicije?

Potraga za lijepim i njegovom definicijom činila je srž umjetničke produkcije i teoretizacije do dvadesetog stoljeća. Potreba da se umjetničko naziva lijepim i obratno dio je inventara svake tradicionalne estetike i često teži normativizaciji stvaralaštva. Funkcija i definicija lijepog mijenjale su se u skladu s zeitgeistom određenog perioda i teško je bilo pod nazivnikom ‘lijepo’ obuhvatiti raznovrsne umjetničke artefakte različitih perioda. Povijest pojma lijepog iz današnje perspektive povijest je usmjerena dominantne označiteljske prakse određenog razdoblja koje su zapravo kreirale pojam čovjeka na određen način, drugim riječima lijepo je ono što je lijepo po prirodi ili ono što predstavlja kulturni ideal, ali nipošto sam čovjek bez konstrukta.

Neovisno o tome što se pojam lijepog danas u medijima čini nezaobilaznim i što više no ikad šutjemo kultove različitih tipova lijepog, moglo bi se zaključiti kako je ‘lijepo’ promijenilo domenu, pa se o njemu najmanje govori kada je u pitanju umjetnost. Ona će tako biti karakterizirana kao šokantna, trivijalna, intelektualna ali usitinu rijetko kad lijepa, osim nominalno u pojmovima koji su ionako izmijenili svoje značenje ( lijepa književnost; beletristika). Govor o lijepom performansu, lijepoj instalaciji ili bilo kojem djelu u suvremenom mediju ili tehnici umjetničkog izražavanja najčešće će biti shvaćen kao sarkastična opaska.

Umjetnost koja rabi tehnologiju možda će i pokušati izazvati lijepo, no češće biva aktualizirana na druge načine. Kada bismo uopće mogli govoriti o cilju umjetnosti, vjerojatno ne bismo mogli reći da pod njega danas spada stvaranje ljepote jer mnogi zaziru od tvrdnji da je nešto, stvoreno artificijelnim putem, u okviru promišljenog projekta, digitalizirano i moguće mašinirane vanjštine, ono što će se nazvati lijepim.

S druge strane, možda je greška samo u našemu vokabularu? Možda još nismo prilagodili jezik drugačijim konceptima umjetnosti, i stoga, čak i ako definiciju lijepog više ne tražimo kao sveti gral i svjesni smo toga da lijepo istovremeno može postojati u raznim pojavnostima i da ga ne treba definirati da bismo u njemu uživali, ne postoji razlog da nova umjetnost ne bi bila lijepa.

Mislite li da potpuno treba odustati od ideje umjetnički lijepog? Ili možda treba zahtjevati od umjetnosti da se odoptereti toga pojma? Je li smiješno u digitalnom dobu uopće govoriti o ljepoti?

Autor: Eva Simčić

Izvještaj s radionice “Studentski kulturni centar” od 19. listopada 2012.

Radionica „Studentski kulturni centar“ održala se u petak, 19. listopada od 10 do 15 sati u MultiArt centru Akvarij na Kampusu. Cilj radionice bio je razgovor o ideji Studentskog kulturnog centra – predstavljanje studentima same ideje te rasprava i donošenje relevantnih zaključaka vezanih uz njegovo osnivanje i djelovanje. Voditelj radionice bio je Tomislav Čop a prisustvovalo je desetak studenata.

Radionica je bila organizirana u dva dijela. U prvoj polovici nakon predstavljanja sudionika krenulo se s iznošenjem individualnih stavova o kulturi općenito, o stanju u kulturi u gradu Rijeci te angažiranost studenata u produkciji i konzumiranju kulture kao i dijagnosticiranje razloga takvoga stanja. Nakon toga je voditelj radionice predstavio sudionicima sam projekt USSUD i njegov širi kontekst nastanka, razvoja te glavnih ciljeva. Nakon toga iznijeta je ideja o osnivanja i postojanju Studentskog kulturnog centra koje je jedan od glavnih ciljeva projekta USSUD. Nakon što su sudionici upoznati s navedenim, otvorena je rasprava gdje se diskutiralo o organizaciji budućeg SKC-a, njegovoj važnosti za studentski angažman u domenama kulture, njegovom mogućem smještaju i sl. Potom je sudionicima radionice djelatnik Sveučilišta Zoran Baljak predstavio rezultate empirijskog istraživanja koje je provelo Sveučilište u Rijeci u kojem je obuhvatilo analizu trenutne situacije u kontekstu mladih i kulturnog života u Rijeci. Namjera je bila da rezultati ankete posluže kao podloga za određenje postojećeg odnosa studenata prema kulturi koji je iznimno relevantan i o kojem bi trebalo voditi računa u osnivanju i radu Studentskog kulturnog centra.

Drugi dio radionice bio je organiziran kao okrugli stol s ekspertnim gostima od kojih je svaki iznio svoja mišljenja o stanju u kulturi u gradu Rijeci, angažiranosti studenata u domene kulture te unutar tog konteksta iznio mišljenja o osnivanju, organizaciji, radu i važnosti budućeg Studentskog kulturnog centra. Gosti okruglog stola bili su: pročelnik odjela za kulturu grada Rijeke Ivan Šarar, savjetnica za međunarodnu suradnju odjela za kulturu grada Rijeke Irena Kregar Šegota, prorektorica za nastavu i studentska pitanja Sveučilišta u Rijeci Snježana Prijić-Samaržija, voditeljica inicijative Kvadart i djelatnica ureda za kulturu Sveučilišta Daniela Urem, Nataša Lah; profesorica na odsjeku za povijest umjetnosti Filozofskog fakulteta u Rijeci, Nebojša Zelić; profesor na odsjeku za filozofiju Filozofskog fakulteta u Rijeci te kritičarka i novinarka Novog lista, Svjetlana Hribar. Nakon što su predstavnici Grada Rijeke i Sveučilišta u Rijeci detaljnije predstavili ideju SKC-a a ostali gosti je kontekstualizirali s obzirom na vlastita relevantna iskustva u domeni kulture, u zajedničkoj raspravi sudionika radionice otvorilo se više važnih pitanja. Prvenstveno je bilo riječ o glavnim ciljevima SKC-a; djelatnostima kojima bi on trebao biti posvećen, načinu organiziranja kojim bi se uspješno ostvarivali ti ciljevi te načinu na koji bi on trebao povećati angažman studenata u produkciji i konzumaciji kulture na Sveučilištu i gradu.

Radionica je prvenstveno bila namijenjena studentima Sveučilišta u Rijeci kojima se je željelo prenijeti ideje i ciljevi projekta USSUD, ideja o osnivanju i postojanju Studentskog kulturnog centra na Sveučilištu u Rijeci te se osim informiranja studenata kroz zajednički razgovor od njih željelo dobiti ideje i prijedloge koji kroz različite aspekte problematiziraju ideju studentskog kulturnog centra kako je navedeno, čime se potvrdilo neki od glavnih ciljeve projekta USSUD – snažnije uključivanje Sveučilišta u Rijeci u organiziranje kulturno-umjetničkih aktivnosti, poticanje aktivnijeg sudjelovanja studenata Sveučilišta u kulturno-umjetničkim događajima na području Grada Rijeka, a ovdje prvenstveno usmjereno i manifestirano kroz potencijalno osnivanje i rad studentskog kulturnog centra. Time je osim edukativne uloge radionice ostvaren i drugi temeljni dio – otvorena komunikacija između eksperata i institucija kao nositelja projekta osnivanja i vođenja SKC-a te studenata – glavnih dionika zbog kojih bi budući SKCi trebao postojati.

Publika, nove umjetnosti i komoditet: Snosi li recipijent odgovornost u kreiranju vlastite kulture?

Savladavanje mimezisa, uspostavljanje novih medija, generalna dostupnost informacija i potraga za nekonkluzivnim umjetničkim rješenjima omogućili su stasanje nove generacije autora koji su prilagođavajući se novonastalim uvjetima prihvatili odgovornost razmišljanja o vlastitom radu, odnosu prema prethodnicima i koji nisu mogli izbjeći intelektualni teret koji za sobom povlači vrijeme u kojem žive. Sasvim je nebitno koliko su pojedini radovi direktno, indirektno ili nikako u sebi inkorporirali neku teoriju, međutim ono što je neizbježno jest da su svi oni prema istoj ostvarili neki tip odnosa. I dok su krugovi koji su na ovaj ili onaj način nužno vezani uz umjetničku produkciju i kulturni sektor definitivno sudjelovali u procesu stvaranja art worlda, postavlja se pitanje kakva je pozicija publike u kreiranju istog? Iako je jasno kako struka predstavlja jednu klasu recipijenata, ovo se pitanje odnosi na ono nestvarno, papirnato, a opet tako kompleksno i teško shvatljivo biće prisutno u svim umjetničkim raspravama zvano ‘prosječan čovjek’.

Umjetnost je uspijela dobiti svoj marketinški prostor i na društvenim mrežama pa su tako čak i Facebook i Youtube, u početku shvaćeni isključivo kao zabavni mediji, postali mogućnost za neku vrstu edukacije i učinili umjetnost itekako dostupnom. Međutim, dostupnost izgleda ne može riješiti problem manjka interesa i stava i to zato što se čini kako je glavni bauk današnje umjetničke produkcije to što traži publiku. Drugim riječima, interaktivna umjetnost, performans, zvučne instalacije, pa čak i suvremena književnost od svojih recipijenata traže angažman i više nije dovoljno samo promatrati i očekivati od umjetnosti da u nama izazove određenu emociju. Recipijent je aktivan, on svojim prisustvom mijenja tijek i ostvaraj i obavezni je dio svakoga procesa. Aktivnost pritom ne označava samo fizički čin, već i to kako umjetnost koja je u nekim svojim ostvarajima postala suptilnija, odbija servirati gotov stav i to je nešto za što se publika treba izboriti promišljanjem o djelima i radu na vlastitome ukusu. Smiješno je to što se čini kako je umjetnost stoljećima probijala društvene barijere i pokušavala osloboditi prostor za slobodu govorenja, ali kada smo u konačnici došli na korak do toga da ne postoji ono što se uopće htjelo reći. Šutnju publike može se shvatiti kao stav, međutim, mnogo jasnije implikacije upućuju na to da je riječ o strahu od govorenja. Strahu koji se ne odnosi na to da će nas netko ušutkati, nego strahu od izražavanja uopće.

Miranda July upotrijebila je takav strah publike u nizu performansa nazvanih Things We Don’t Understand and Are Definitely Not Going to Talk About  kojima se ispituje spremnost recipijenata da sudjeluju u događaju koji je prezentiran kao njezin monolog o trivijalnim ili besmislenim temama:

Ako parafraziramo Mcluhanovu krilaticu Medij je poruka, prihvativši kako je i sam recipijent postao medij, nailazmo na kontradikciju: vrijeme koje obiluje samopromocijom, u kojem svatko ima pravo o sebi plasirati u svijet one informacije koje želi i nuditi svijetu reklamu svoje osobnosti i bivanja na društvenim mrežama istovremeno je svijet u kojem se ne iskazuje stav o tome je li nešto dobro, loše, nebitno u onim područjima koja za takvim stavom vape.

Smatrate li da kao publika niste pozvani komentirati, bojite li se interaktivne umjetnosti ili mislite da se od publike previše očekuje? Radi li se tu o strahu od neznanja ili jednostavno o nezainteresiranosti?

Autor: Eva Simčić

Radionica „Ah, te izložbe“

Radionica „Ah, te izložbe“ održala se u petak, 26. listopada od 10 do 15 sati u atriju HKD-a na Sušaku i u galeriji Kortil. Posebnost ove radionice bila je ta da smo ju namijenili samo studentima povijesti umjetnosti i kulturologije Filozofskog fakulteta i studentima Akademije primijenjenih umjetnosti, od kojih su se odazvali studenti povijesti umjetnosti i Akademije. Razlog selekcioniranju studenata bio je taj što smo predstavljali galeriju Kortil i mogućnosti izlaganja u njoj što je usko vezano uz spomenute studije.

Odazvalo se 11 polaznika koji su od samog početka bili izrazito zainteresirani i spremni na suradnju. Posebna tema koja se provlačila kroz čitavu radionicu bila je rad s publikom u galeriji Kortil i ostalim izložbenim prostorima u gradu Rijeci. Općeniti dojam polaznika bio je da organizatori izložba završe svoj angažman nakon otvorenja same izložbe. Posljedica toga je mala zainteresiranost publike, nedostatak osjećaja dobrodošlice te izostanak stručne osobe s osnovnim, a kamoli dodatnim informacijama o sadržaju izložbe. Glavna tema, izlaganje u galeriji Kortil, polaznicima je bila uglavnom nepoznata, činilo im se komplicirano i nedostupno studentima. Srećom, imali smo ih priliku putem ove radionice upoznati s procedurom i birokracijom samog Natječaja za financiranje javnih potreba u kulturi, kao i s pravnim statusom galerije.

Dodatno iznenađenje za polaznike bilo je vodstvo kustosice Fatime Hellberg po izložbi „From Below as a Neighbour“ (u sklopu festivala „Moje, tvoje, naše – Praktične utopije“ udruge Drugo more) gdje su se mogli upoznati sa stvaralačkim procesom stručne kustosice i izloženim radovima. To je bila dobra priprema za drugi dio radionice na kojem su polaznici izrađivali svoj prijedlog projekta, prethodno se upoznavši s dijelovima projekta i načinom ispunjavanja obrazaca.

Prijedlozi su bili iznimno zanimljivi, ali prijedlog „Papercut“ posebno se istaknuo te su njega detaljnije razradili kroz grupni rad. Spomenut ćemo samo neke ideje iz predstavljenih projekata: skupljanje papira za recikliranje i zatim izrada uporabnih predmeta od njega, radionice s djecom i odraslima na temu izrade papira na starinski način, upoznavanje građanstva s vrstama papira i mogućnostima upotrebe istoga, izložba umjetničkih radova od papira, brendiranje papira kao originalni riječki proizvod koji postaje riječki suvenir i sl.

Naši dojmovi:

Drago mi je da su studenti razumjeli koliko je postavljanje izložbe složen posao i da zahtjeva koordinaciju, angažman i znanje mnogih.“ - Iva Baršić Derenčin

Zbog odaziva i reakcija studenata mogu samo zaključiti da je mogućnost sudjelovanja i kreiranja programa izrazito zanimljivo mladima, ali da se istovremeno osjećaju nedobrodošlo, zbunjeno i čak nepoželjno. Mislim da je ova radionica korak naprijed da to promijenimo.“ – Ivana Golob

Studenti su pokazali izrazitu zainteresiranost, sudjelovali su u timskom radu i u diskusijama su bili prilično aktivni, a istodobno i opušteni.“ - Božidarka-Matija Čerina


Osvrt na radionicu „PUSTI GLAS!“ održanu 22. listopada 2012. od 17-20h u MultiArt centru Akvarij na Kampusu

Radionici Pusti glas! odazvalo se petnaestak sudionika, mahom studenata, s kojima se raspravljalo o mnogim pitanjima vezanim za riječku glazbenu scenu.

Tema radionice vrlo je široka pa se tako nastojalo obuhvatiti sva glazbena događanja u gradu, od noćnih izlazaka mladih, posjećivanja glazbenih festivala, interesa prema godišnjim kulturnim manifestacijama (Riječke ljetne noći, Ljeto na Gradini), Studentskog dana, Hartere, pa do najdražih mjesta za izlaske i glazbe koju preferiraju slušati.

Kroz razgovor se moglo zaključiti kako je jedan od velikih faktora njihova nezadovoljstva monotonost glazbene ponude   koja se može čuti vikendom u riječkim lokalima i klubovima, a neki od sudionika su se požalili kako upravo zbog takve ponude koja zapravo uopće ne prati njihove interese i glazbene afinitete,   nemaju potrebu aktivnijega posjećivanja glazbenih sadržaja.

Također smo pokušali ispitati što je najveći razlog zbog kojeg se mladi ne odazivaju općenito na kulturne, pa tako i glazbene manifestacije u Rijeci. Tijekom razgovora se pokazalo da je jedan od najvažnijih uzroka neodazivanja studenata kulturnim događanjima upravo visoka cijene ulaznica. Iz pozicije riječkoga studenta, naročito onoga koji, primjerice, dolazi iz drugog grada te mora svakodnevno izdvajati značajan novac za mnoge  izdatke, zaključili smo da je  teško izdvojiti dodatan   iznos za pojedini glazbeni događaj, stoga bi  najviše  40 kn izdvajanja bilo  primjereno cijeni koštanja ulaznice za  programe u kulturi.

Primijećeno je da pojedine ustanove u kulturi predviđaju popuste za studente koji imaju prosjek 4,00 ili više, što je  među sudionicima radionice ocijenjeno diskriminatornim. Većinski je stav da je i kultura jedan vid zabave, pa tako i glazba (nevažno radi li se o klasičnoj ili nekoj drugoj, „ozbiljnoj ili neozbiljnoj“), stoga mora biti svima dostupna. Značajniji popust za sve mlade osnovne i srednje škole i studente, također je jedan od načina privlačenja mladih ljudi glazbenim i ostalim kulturnim sadržajima. Ne treba zanemariti da odlasci na takva događanja posljedično dovode do  razvoja kritičnog stava gledatelja kao i edukacije koju se teško može dobiti u formalnim edukacijskim ustanovama tijekom školovanja, barem sudeći prema iskustvima studenata na našoj radionici.     

Ispostavilo se  da su mladi nedovoljno informirani u pogledu glazbenih zbivanja. Ne postoji, naime, niti jedan medij, odnosno sveobuhvatni glazbeni portal, koji bi informirao o svim bitnim događanjima u našem gradu, stoga su sudionici radionice razrađivali ideju  pokretanja web-stranice koja bi izborom svojih sadržaja nudila cjelovitije informacije o glazbenim zbivanjima.

Posljednji zaključak trosatne radionice  jest da je otvorena velika tema u kojoj mladi žele imati svoje mjesto i ulogu izravnih kreatora aktivno involviranih u kulturni život grada, stoga nam preostaje žurno  razmišljati o novim budućim radionicama na temu glazbe koje mladi željno očekuju.

Sastavili: Matea Marić i Dino Antonić

Tehnologija i paranoja: obračunava li se umjetnost s monstrumom tehnologije ili monstrumom vlastite podsvijesti?

Zaziranje ili štovanje tehnokratskog razmišljanja propituje krhku poziciju čovjeka kada je sukobljen s tehnologijom i kada  njome čovjek gradi monumente koji su veći od njega- tehnologija se proziva kao oruđe otuđenja, ona je ta koja biva monstuizirana i njezine instance  dovode do paranoidnih scenarija sukoba s birokratskim aparatom (koji u toj vizuri postaje tehnološko nadmoćan ili je u mogućnosti kreiranja arbitrarnih zakona bez čovjekova sudjelovanja, mašina koja se otela kontroli), obračuna s prirodom i njezinim mogućnostima da preživi napredak ili scenarija u kojem je čovjek zapravo jedini višak u trijadi ( priroda-tehnologija-čovjek).

Distopijska varijanta ovoga sukoba nužno povezuje tehnologiju i totalitarizam i pojedincu zabranjuje privatno stalno ga nadzirući, pa su tako već Huxleyjev Vrli novi svijet, Orwellova 1984.-a, ili pak Langov Metropolis uputili na strah od tehnokratskog društva i mogućnosti da će tehnologija biti ta koja će omogućiti sustav sprege bez ispliva pojedinca.

Jan Švankmajer, češki nadrealistički redatelj, u filmu Spiklenci slasti poigrao se premisom straha i otuđenosti pojedinaca u svakodnevnom bivanju, gdje tehnologija nije ta koja ih nadzire, već ona koju privatno koriste i stvaraju kako bi mogli zadovoljiti svoje društveno nedopuštene porive, nesvjesni kako čitava zajednica od koje skrivaju mehanizme koje smatraju perverznima zapravo dijeli i „atipičan fetiš“, ali i strah od toga da bude u konzumaciji istog razotkrivena:

Iako je za očekivati kako će umjetnost koja se bavi ekstremima eskalacije sukoba, dakle umjetnost koja tematizira apokalipsu ili  postapokalipsu biti usmjerena na neodrživost tehnološkog napretka pod danim uvjetima, čini se kako je ona danas promijenila fokus interesa te ju više ne zanima samo raspad postojećih tehnoloških sistema, već mnogo radije ukazuje na podsvijest, odnosno, apokalipsa koja ju zanima postaje ljudska psiha. Primjeri takve umjetničke djelatnosti, nisu kao što bi frima facie mogli zaključiti, samo SF i filmovi katastrofe, nego i instance hiperrealizma, primjerice Considinov Tyrannosaur ili Iñárrituov Biutiful u kojima postaje očito kako apokalipsa nije opasnost koja dolazi izvana, nije izvanzemaljska, tehnološka ili prirodna sila, već monstrum ljudske psihe i greška kolektivne savjesti koja deklarativno cijeni dignitet ljudskoga bića, a istovremeno mu nameće sustav u kojem on ne može opstati.

Poigravanje promjenom, tehnologijom i čovjekom na drugačiji je način rješeno u skulpturama Patrcije Piccini koja prikazuje hibride nastale eksperimentima genetičkim materijalom koji su stavljeni u kontekst u kojem nisu čudovišta, niti opasnost, nego najjednostavnije rečeno bića prisutna i inkorporirana u društvo promjena:

The Long Awaited

Označujete li umjetnost koja tematizira tehnologiju jednoznačno žanrovski ili smatrate da je moguća na više razina? Zašto monstuoznost pokušavamo smjestiti negdje drugdje i tražimo da umjetnost bude ta koja će umiriti naše strahove optužujući Drugo?

Autor: Eva Simčić