TIHO PROLEĆE. EKOLOŠKI SISTEMI I AKTIVIZAM U SKULPTURI OD 1960-IH GODINA. ČETIRI STUDIJE SLUČAJA: HANS HAKE, PJER UIG, ANE DUK HI DŽORDAN, DAJANA LELONEK
Ključne reči:
Ne-ljudske žive skulpture, skulpture kao sistemi u realnom vremenu, skulptorska estetika živih bića, Hans Hake, Pjer Uig, An Duk Hi Džordan, Dijana Lelonek, Đerđ KepešApstrakt
Oslanjajući se na tvrdnju Đerđa Kepeša o ekološkoj svesti u umetnosti (1972) i uzimajući Tiho proleće (1962) Rejčel Karson za polaznu tačku, u radu će biti ispitan kontinuirani rast u povezanosti između umetnosti i ekoloških problema na primerima kao što su: Ne-ljudske žive skulpture Hansa Hakea i biološki sistemi (1965–1972), skulpturalne situacije13 Pjera Uiga Bez naziva (2012) i Posle života koji nas čeka (2017), skulpture sačinjene od organizama i hrane Ane Duk Hi Džordan Centar za živa bića (od 2016) i The Seaberry Slagheap stand (akcija) Dajane Lelonek. Gledajući unazad, poslednjih šezdeset godina odnos između umetnosti i onoga što je nazivano prirodom u istorijskom, kulturnom i naučnom smislu je prošao kroz velike promene. Kao što je poznato, brojne teorije o posthumanoj prirodi i ekofikciji postale su uticajne tokom poslednjih decenija. Ostavljajući iza sebe utvrđene dualizme, proširena ideja o ekologiji mogla bi da pomogne razumevanju ovih umetničkih pozicija i njihovoj specifičnoj skulptorskoj estetici živih bića.
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