2295 KB0 KB200120252022Gnamuš, Nadjaštevilka:2letnik:24str. 9-36COBISSID:151836419ISSN:1580-688XURN:URN:NBN:SI:doc-HHNZHHQ8slAlma Mater Europaea-Institutum Studiorum Humanitatis, Fakulteta za podiplomski humanistični študijMonitor ISHcultural recyclingdigitalizacijadigitalizationinter-media exchangeintermedijska umetnostmedia culturemedijska kulturapaintingreciklažaslikarstvoSlovenijaMedijska kultura in slovensko slikarstvo| oris izbranih praks po letu 1990|: In the Slovenian art space, the nineties were a period of specific artistic transition, characterized by the introduction of new cultural and theoretical paradigms. Since the demise of modernist aesthetics, it has been taken for granted that medium-specific innovation was succeeded by re-use and redefinition, autonomy and immanence of artistic form by appropriation and readymade, form by attitude and skill by deskilling. The text discusses the key painterly ideas, which evolved in Slovenian painting within this context. It outlines the specific geopolitical, historical and theoretical contexts, which define the position of Slovenian painting today and points to its major artistic and theoretical influences. The major paradigm shift in recent Slovenian painting was in great deal formulated around the screen as a symbolic form of ”network-society” and the issue of how its mediated visuality and cultural imagery were reflected in painting. The focus is on various forms of influence that a screen exerts on the visual-sensory apparatus of painting, particularly regarding the ways in which painting constructs its representational space in relation to other image-mak-ing techniques and media and its discursive framework. Painting has become a vehicle of inter-media exchange, exploring either the social context of technology, its social and cultural impacts, ideology and the politics of representation, intertwining of art, market and creative industry or is focused on a phenomenology of human-technology relationshipDevetdeseta leta dvajsetega stoletja so v slovenskem umetnostnem prostoru odmevala kot obdobje specifične umetniške tranzicije, ki je vpeljala nove kulturne in teoretične paradigme. V kontekstu slikarstva so se nasledki modernistične estetike in njenih samokritičnih in medijsko jasno zamejenih postavk umaknili sociološkim, kulturnim in institucionalnim umestitvam slike, slikarstvo pa se je spremenilo pod vplivom medijske kulture in tehnološkega okolja, ki je obvladovalo področje vizualnega. V konkurenci z vedno bolj avtomatizirano produkcijo podob so umetniki uporabljali različne strategije, s katerimi so se odzvali na preoblikovan status slike v digitaliziranem svetu, kar se je najvidneje izrazilo v vsebinskem prilaščanju in reciklažah medijske ikonosfere ter v različnih strategijah uporabe in interpretacije digitalnih slik. Ekran kot simbolna forma »digitalne družbe« je postal osišče paradigmatskih slikarskih sprememb. Vprašanji, kako podobe učinkujejo skozi druge medije in tehnološke nosilce ter kako nas ideološko in zaznavno zaznamujejo, sta postali pomembni tematiki slikarstva. Besedilo analizira, kako so umetnice in umetniki vstopali v nov intermedijski kontekst, ki ga zaznamuje prehajanje med različnimi mediji in tipi podob. Na eni strani so jih zanimali sociološki vidiki sodobnih tehnologij, njihovi kulturni učinki in ideološka vprašanja reprezentacije, na drugi so se usmerili na fenomenološke vidike tehnizirane izkušnjeTEXTznanstveno časopisjejournalsSlovenian National E-content AggregatorNational and University Library of SloveniaInstitutum Studiorum Humanitatis - Fakulteta za podiplomski humanistični študij