Популарни постови

уторак, 21. април 2015.

The most dangerous game by Connell

The novel “The most dangerous game” by Richard Connell stimulates its readers for the new attitudes towards humanity and people in general that seek for a picture of a reality but instead encounter to a huge aquarium with many piranhas inside. 

In addition, while reading this novel any bookworm will fell as hunted by the novel. And when he come back to reality he will conclude the same as author resolved a hundred years ago: people can be transformed, people can change their characters, becoming better or worse, more or less evil persons. But there are not people who are always bad, always hunters or always good persons. There is a life which could transform the man. 

Wild animals are often beyond man's actions. Wild animals are hunting for basic existence in order to survive: for food, to protect their cubs... They defend their territory and often in the groups secure themselves from other enemies. Even piranhas do not kill on a whim, just differently perceive the threat from the enemy. 

On the other hand, as described in the novel, human consciousness is vulnerable to the transformations - as the people actually spend their whole lives playing instead of surviving. This game sometimes is in the favor of men, when they are the ones who are hunting, but sometimes is the benefit of those who are hunted. 

As people represent the highest beings, their role of predators is reflected in their superiority over the rest of the living world. Although many studies confirm that humans are at “the top of the food chain”, it turns out we are actually somewhere in the middle. 
On the other hand, human superiority is reflected not by the place that man occupies in the food chain, but in his need to demonstrate his invincibility using various "sports" games in which animals are executed. 

The only way to understand the paradox of a sports’ hunting, where men hunt for their own fun, gaining trophies and hardening of their status in the society is to give them the chance to be hunted. As the main protagonist of this novel, was the case of the same most dangerous game, he certainly felt even for a moment as the animals in the same situation. And he could understand how animals suffered until he acquires the points which are described in many books and make him famous in “best hunters of the world”. Yet, this does not mean that this situation in which he found himself hunted by equally superior man, made him wise up and change his attitude.
People perceive their existence on earth as the most important position on the top compared to the entire flora and fauna. Even man does not stop there. He leads the war and try to tame the nature, changing her primary role. In the end, man will spend his whole life playing different games rather than surviving. But because of transformation of a person's character man will not always be in a position to realize that he overdid it.

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недеља, 11. јануар 2015.

What is Art and Why Should We Protect and Preserve It?

Art is about giving and sharing all powerful manifestations of our deepest expressions. It is the
creation of the highest inner sentiment transported to the reality as the total theater. In order to respect all its protagonist and receptors we are obligated to preserve all this appearances inherited from the past that will affect in the future.

Through the art you can find the unlimited number of answers that testify about human presence built on mysterious idea of the beauty. In accordance to keep our collective memory in life by preserving art and artifacts we are able to recognize the image of ourselves. Therefore, all of the visual phenomena are focused on complementation and confirmation of our material and physical existence on the earth.

Humanistic side of our personality does not allow us to keep our knowledge demotes. In order to have progressive knowledge with its exactness it must be helped by objects.

Those exact testimonies are entrusted to the variety of cultural heritage institutions whose mission is to present, preserve and mark objects’ time and place in the unique continuum of human evolution.

Necessity to keep things from oblivion implies that we should care about them by established polices and rules, based on holistic approach to the subject. As long as we keep our tangible and intangible testimonials in life - as long as healthy, expedient and influential they could be, further we will keep the memory of our existence.

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среда, 03. децембар 2014.

Manifesto 'What Art Is Not' by My Beloved Friend, Colleague and Daughter of the Art JM

What art is not? by Jelena Marković
The more we thought about what art is or is not, the more we become aware that we are in need to question ourselves and our ulterior motives.
For example, if we’re into fashion,  than we should probably know that Art is not a trend, so if we want to wear mosaic printed dress, we better don’t go to Sicily, because walls there will match our outfit. We must bear in mind that Art is not tasteless, but when we use it the wrong way it could make us queens of kitsch. 
Or we are a nature children who’re having their own GMO free garden and we aren’t into artificial stuff, but we must like the idea although Art is not produced from ground by mother nature, we can have all the pretty apples and grapes, on our wall to look at regardless of season.
If we need chaos in our lives, it’s good to find  a “wrong one”, then after a huge fight we can go to museum and enjoy Art, because Art is not stressful, it’s not hateful, and it’s not irritable like our future ex.  
Even if we are intellectually challenged we should learn about arts, because, Art is not stupid, it’s not enslaved, so we can’t take over the world that easy. Adolf  couldn’t do it and he was a painter, he could kill people not art, Art is not mortal.
But most of all, Art is not something that we can feel part heartedly so we need to love it, with or without understanding. 

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What Art Is Not - My Manifesto

Art is not a singular
Art is not a replica
Art is not to be handled
Art is not for a physical use
Art is not irrelevant
Art is not concrete
Art is not possible to repeat
Art is not vincible
Art could not vanish
Art is not disposable
Art is not interchangeable
Art is not technique
Art is not a skill
Art is not as you see
Art is not for a brief guide
Art is not exclusive
Art is not private
Art is not separable
Art is not passive
Art is not insensitive
Art is not dispassionate and without feelings
Art is not dead
Art is not the end
Art is not opposite to life
Art is not a category
Art is not current
Art is not restricted by imagination
Art is not without ideas
Art is not a straight line of development
Art is not a short-lived concept
Art is not possible to distinguish
Art is not defined
Art is not everything artist wanted it to be
Art is not only what can be seen
Art is not possible to lose
Art is not an independent
Art is not created by itself
Art is not a mass production
Art is not limited
Art is not possible to force
Art is not a natural occurrence
Art is not infertile
Art is not done
Again, Art is not dead 

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Konstrukcija slike je rekonstrukcija boje u delima Gorana Rakića

Superiornost belog koja je podrazumevani konstrukt svake boje još uvek nije izašla iz bitke kao samostalni pobednik. Ona čak nije dobila priliku da i sama nastupi. Belina jeste nevidljiva i pretpostavlja se kao norma, kao početak. Sve druge boje moraju se obeležiti belom, dakle izvan te norme. 

Do sada.

Pokušaj da se belina učini vidljivom često je spoj iritacije i neprijateljstva prema slikarskim fazama koje su bile preopterećenje bojama. Na taj način kreirani su izuzeci slikarskog impulsa Gorana Rakića koji se se našli u fazi Čistilišta, egzistencijalnim manirom koji bi se pre ili kasnije kao izazov našao pred ovim umetnikom.

Goran Rakić je svojim izuzetnim kolorističkim opusom ušao u ovu fazu kako bi svoja platna velikog formata svojevrsnim načinom samopropitivanja, uspeo da pročisti i izvede ih na pravi put. Zato je za njega Čistilište mesto preispitivanja koloristiškog angažmana ali i tehničkog unapređenja plastičke razrade slike.

Svrha proučavanja beline kao glavnog karaktera plohe podrazumeva svojevrsno ispitivanje šta jedna individua izvan svog podrazumevanog konteksta, u kome je ona samo podrazumevana, može da učini samostalno?

Odgovore pronalazimo u ciklusu Gorana Rakića koji rekonstrukcijom boja konstruiše autentičan odgovor na uvek otvoreno pitanje: Da li je belina samo svetlost? Da li belina može da stvori sliku?

Do sada se uviđalo samo koliko je belina korisna jer u slikarskim postupcima „ona je ta koja sve trpi“. Ali, ona ne trpi definicije jer se stalno uzima u kontekst. Ona je uvek deo nečega „drugog“, uvek povučena u stranu.  Jer svrha proučavanja belog jeste da se belina učini svesnom da je bela, kako bi se moglo dalje preispitivati o tome šta je sve zapravo belina.

O beloj se nikada ne priča jer se ona pretpostavlja, ona je osnova svega i stoga vrlo amorfna. Ona je tu da konfrontira otuđenost i pasivnost posmatrača, da osvetli nesigurnost individualnog i kolektivnog identiteta.

Umetnik je koristi kao duhovno i fizičko Čistilište od njegovih prethodnih faza fovističkog manira, ne samo da bi otkrio sve tajne koje belinom može da predstavi, već i da bi nakon ove katarzične pojave uspeo da isplanira nove kolorističke tretmane slike koji će se u njegovom stvaralaštvu tek „ponovo“ pokrenuti.

Goran Rakić dopušta belini da na bojnom polju slikarskog platna bude superiorna, ali joj ne daje za pravo da lako izađe kao pobednik. On joj suprotstavlja savremene medije i u sliku unosi snažne kolorističke rascepe, isečke iz novina i karton. 

U njih inkorporira i priču o sebi gde na tkz. „antiautoportretu“, sopstvene četkice – simbol manuelnog rada umetnika, povlađuje belini slike. Svojim „belim ciklusom“ Goran Rakić pokušava da razruši i sopstveni autoritet kao umetnika, izazivajući potpuni paradoks.

Slikarstvom destrukcije boja, sa odlikama brut arta, direktnim intervencijama na platnu sintetičkog kubizma i poetikom enformela Goran Rakić je uspeo da Misovim poduhvatom „manje je više“ doprinese uljuljanoj savremenoj umetničkoj sceni. 

Supremacija beline jeste kontrakultura tradicionalnom. Zašto gomila bele na vrhu beline? Zašto dodavati nešto što je već tamo? Ranije je bela bila tu ali je mi nismo videli. Bela je svetlost i o nju se grejemo. Ali belina je u pravom trenutku umetničkog stvaranja poslužila da bude vodilja preispitivanja umetničkih stremljenja i pomoć na pitanje - Kuda sada?

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