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1.
The emergence and establishment of Yugoslav dada : from Prague to Zagreb (1920-1922)
Kristina Pranjić, 2021, original scientific article

Abstract: The article focuses on the transnational aspect of Yugoslav Dadaism, which was already an integral part of its founding stage in Prague in 1920, when the main Yugoslav Dadaist, Dragan Aleksić, was a student there. Through an analysis of the already known (but rare) primary and secondary sources and a presentation of some newly found primary sources, the article presents the cooperation between Yugoslav and Czech artists and clarifies the circumstances of establishing this Yugoslav avant-garde movement. Furthermore, because Aleksić’s work was closely connected to Ljubomir Micić’s Zenitism and the activity of Branko Ve Poljanski in Prague, we compare their journals(Zenit, Dada-Jok, Dada Tank, Dada Jazz) and emphasize the points of conflict and competitiveness among them, which was a constructive part for the further development of Yugoslav Dadaism. Thus,the article contributes to both the local and international positioning of the Yugoslav Dada in the context of the Central European avant-garde.
Keywords: Jugoslovanski dadaizem, Dragan Aleksić, jugoslovanska avantgarda, zenitzem, Branko Ve Poljanski, Ljubomir Micić
Published in RUNG: 11.10.2021; Views: 1753; Downloads: 0
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2.
Apstraktni dinamički ambijent Avgusta Černigoja i tršćanske konstruktivističke grupe
Kristina Pranjić, 2021, independent scientific component part or a chapter in a monograph

Abstract: The article presents the Trieste Constructivist Cabinet (1927) by Slovenian avant-gardist Avgust Černigoj and his Constructivist group, as one of the significant events in the context of abstract artistic ambient of historical avant-garde. El Lissitzky’s Proun is pointed out as the greatest influence on this artwork, while at the same time presenting the thesis of its original contribution, in the sense of dynamization of the cabinet using Stepančič’s levitation constructions. The kinetic potential of these hanging constructions draws the visitor into a two-way communication, a permanent feedback loop. It is this continuum, the duration i.e. process nature that such an installation allowed, i.e. produces, that is placed in the forefront, alongside space and motion. In addition to this pinnacle of Slovenian avant-garde being placed in the context of European historical avant-garde, the work of the Slovenian constructivists is also contextualized within the framework of the Yugoslav avant-garde movements. Special attention is paid to the Tank magazine (1927), which started being published in Ljubljana after the ban on the publication of Zenit in 1926, in an attempt to maintain continuity in the publication of Yugoslav avant-garde periodicals. It is a known fact that Černigoj’s avant-garde art was based on constructivist principles, while the article also points out his concurrent use of subversive Dadaist principles: the process of destruction of old meanings using methods of isolation and relocation of artistic material, in the sense of ready made or objet trouvé; similarly, desemantization is carried out in the linguistic material (“g”, “jublj”); use of mass produced materials (fragments of slogans that the artist transposes into artistic rhetoric); the performative nature of the entire event / exhibition. Also presented are the close ties between Slovenian constructivism and Micić’s Zenitism and Dragan Aleksić’s Dadaism, as well as the shift in the sense of forming an original program and establishing an own avant-garde formation, whose most important and most representative work is precisely the Trieste Constructivist Cabinet, which represents a characteristic synthesis of the Yugoslav and the European avant-garde tendencies at the time.
Keywords: Avgust Černigoj, slovenski konstruktivizem, Tržaški konstruktivistični ambient, revija Tank, El Lissitzky, Edvard Stepančič, instalacija v umetnosti, abstraktni ambient, zenitizem, dadaizem
Published in RUNG: 04.10.2021; Views: 1661; Downloads: 0
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3.
Nadrealizem v filmu : Nelinearna filmska narativa
Ana Bahor, 2017, undergraduate thesis

Abstract: Diplomsko delo raziskuje razvoj nadrealističnega umetniškega gibanja iz njegovega predhodnika, dadaizma. V nadaljevanju bodo predstavljeni zgodovinski, družbeno-politični in kulturni dejavniki, kot je med drugim pojav prve svetovne vojne, ki je v veliki meri vplivala na upor umetnikov proti idejam tedanjih oblasti in družbe ter omejitvam, ki jih je predstavljala tradicionalna umetnost. Kratkotrajno gibanje dada je imelo velik vpliv na razvoj kasnejših umetniških gibanj, kot je nadrealizem, ki služijo bodisi kot pobeg iz realnosti v sanjski svet bodisi za iskanje razuma med političnimi idejami, ki jih je sprejemala takratna družba. Med drugim je vzpostavilo nove pristope k predstavitvi zgodbe skozi medij filma. Čeprav so bili filmi z enotnim pripovednim slogom – linearno filmsko naracijo – v filmskem svetu še vedno prisotni v veliki meri, se je mnogo filmarjev, kot sta izvornemu nadrealizmu zvest Luis Bunuel in nekoliko kasneje z nadrealističnimi vplivi navdahnjen Federico Fellini, obrnilo k drugačnemu načinu pripovedovanja skozi nelinearno filmsko pripoved. Diplomsko delo raziskuje tudi elemente nelinearne filmske pripovedi na podlagi nekaterih najbolj znanih primerov filmov s tovrstno pripovedno strukturo skozi zgodovino, ki so služili tudi kot navdih za nastanek praktičnega dela diplome.
Keywords: Nadrealizem, dadaizem, pripoved, nelinearna pripoved, nadrealistični film
Published in RUNG: 29.11.2017; Views: 5007; Downloads: 281
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4.
Nadrealizem Davida Lyncha : Srdohrd
Ester Ivakič, 2016, undergraduate thesis

Abstract: Pričujoče diplomsko delo govori o elementih nadrealizma znotraj filmskega opusa režiserja Davida Lyncha. Posveča se njegovemu načinu ustvarjanja podob ter odpira razmislek o stičnih točkah z izvornimi načeli nadrealističnega gibanja; posledično diplomsko delo predstavi tudi nadrealistični film. Praktični del diplomske naloge sestoji iz posnetega kratkega filma Srdohrd in opisa procesa produkcije le-tega. Ker sem pri samem snovanju filma delovala precej intuitivno in ga gradila iz podob, za katere nisem natančno vedela, kaj pomenijo in jih nisem analizirala, temveč sem jim verjela, bi lahko na tem mestu potegnila zelo grobo vzporednico s teoretičnim delom naloge. Teoretični del diplomskega dela se začne z analizo nadrealističnega gibanja. Nadrealistični pisci in umetniki so čutili močno željo po izražanju na način prvinskih in intuitivnih, tako imenovanih »avtomatskih« načinov. Razvilo se je avtomatsko pisanje, nastal je Nadrealistični manifest izpod peresa Andréja Bretona, bržkone najbolj ključnega ideologa tega gibanja. Pod vplivi tega je nastal prvi radikalno nadrealistični film Andaluzijski pes (Luis Buñuel, Salvador Dalí, 1929). Film se je izkazal kot najboljši medij za prenos nezavednih podob med ljudi in je dobil vidno mesto v med ustvarjalnimi načini in mediji tega gibanja. Med vojno je nadrealistični film poniknil, vendar zametki nadrealizma odmevajo v številnih delih, ki so nastajali v preteklih nekaj desetletjih vse do danes. Eden takih ustvarjalcev sodobnega časa je zagotovo David Lynch, saj podobje njegovih filmov – kot da so preneseni iz prostora nezavednega - vedno šokira.
Keywords: David Lynch, nadrealizem, Twin Peaks, Mulholland Drive, Eraserhead, Andaluzijski pes, dadaizem, nadrealistični manifest, André Breton, Luis Buñuel
Published in RUNG: 01.02.2017; Views: 6872; Downloads: 302
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