1. Slovenian bio-art, new materialism and posthuman feminism : an introductory lecture at the conference "The Life of Signals?"Peter Purg, 2025, vabljeno predavanje na konferenci brez natisa Opis: This study explores Slovenian bio-art through the lens of new materialism and feminist posthumanism, focusing on six prominent artists: Saša Spačal, Robertina Šebjanič, Špela Petrič, Doroteja Dolinšek, Zoran Srdič Janežič, and Maja Smrekar. Their work interrogates interspecies relationships, ecological entanglements, and technological mediation, offering critical insights into contemporary bio-media practices. Positioned within a robust institutional framework of long-standing associations and a national funding scheme, these artists have achieved international recognition while contributing significantly to the development of intermedia art globally. Exemplified by a selected artwork each, their artistic practices are situated within new materialist, media ecological and posthuman feminist theoretical discourses. The paper highlights how contemporary bio-artistic practices challenge anthropocentric narratives, foster multispecies ethics, and redefine both uman and non-human agency. The particular ecosystem of the globally entangled yet in some ways also specifically Slovenian bio-art may demonstrate how artistic practices can facilitate ecological awareness and technological critique while fostering alternative modes of knowing, and eventually contribute to positioning art as a transformative force in contemporary cultural discourse.
Ključne besede: Slovenian bio-art, feminist posthumanism, new materialism, political ecology, media anthropology, Saša Spačal, Robertina Šebjanič, Špela Petrič, Doroteja Dolinšek, Zoran Srdič Janežič, Maja Smrekar
Objavljeno v RUNG: 19.02.2025; Ogledov: 505; Prenosov: 0
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2. Borderless aeasthetics : the new uglySandra Jovanovska, 2024, magistrsko delo Opis: Through the lens of ugliness, the purpose of this Master’s thesis is to explore a potential model of a new unrestricted aesthetics. I, hereby, refer to an aesthetics beyond its canonical order, an individualistically-driven scheme of standards or perhaps no standards at all. All can be simplified with Eco’s quote on the opposition of the beautiful and the ugly: ’A beautiful nose shouldn’t be longer than that or shorter than that, on the contrary, an ugly nose can be as long as the one of Pinocchio, or as big as the trunk of an elephant, or like the beak of an eagle, and so ugliness is unpredictable, and offers an infinite range of possibility’. While the aesthetics of beauty has already positioned framework of rules in regards to proportion, symmetry, and harmony, the aesthetics of ugliness has no particular guidelines and limitations whatsoever. Unlike the beautiful, what we perceive as ugly doesn’t have its lawfulness, because for a long time in the history of art, ugliness was just the opposite face of beauty. As a consequence, the ugly embodies a big category of undetermined standards in visual arts and culture, which leads to it becoming a large unmapped territory of boundless autonomy. The ugly is in that context the key to facing and unleashing our phenomenological fears of bleak dark deformed realities that lie unchallenged and unaddressed on account of ugliness’ taboo status. Thus, when familiarised, I believe ugliness in art has a powerful impact, a quality that we have to yet begin to understand to get a full image of ourselves, for if we rely on beauty, as we did for such a long time in history, we are depriving ourselves of a true holistic proportion in art.
Ključne besede: art, man, ugliness, new, aesthetics, beauty, artist, time, image, Dada, history, context, different, body, personal, culture, transform, political, philosophy, standard, perspective.
Objavljeno v RUNG: 10.05.2024; Ogledov: 1656; Prenosov: 23
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5. Red modernism : the films of Miklos Jansco2022, radijska ali televizijska oddaja, podkast, intervju, novinarska konferenca Opis: One of the most acclaimed Eastern European directors of the late 1960s, Miklos Jancsó became known for his abstract long-take style which explored the intersections of power, politics, history, and myth. (“Radical form in the service of radical content,” as the Village Voice film critic, James Hoberman, put it back then.) Now that the Beacon Cinema in Columbia City is hosting a retrospective of six of his films (including Red Psalm, which won him the best director prize at the 1972 Cannes Film Festival), Red May has invited three film scholars--Eszter Polonyi, Zoran Samardzija, and Steven Shaviro—to discuss Jancsó’s boldly stylized film language with Tommy Swenson, Film Curator of the Beacon Cinema
Ključne besede: Film history, East-Central cinemas, political cinema, art history
Objavljeno v RUNG: 31.05.2022; Ogledov: 3057; Prenosov: 13
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7. Tito’s No to Schmitt: Against the compatibility of the partisan figures, against the Blut und Boden ideology of populismGal Kirn, 2020, izvirni znanstveni članek Ključne besede: Critique of Schmitt, telluric, partisan figure, left Schmittianism, Chantal Mouffe, revolutionary struggle, Yugoslav People's Liberation Struggle, WW2, radical political theory, critique of populist reason
Objavljeno v RUNG: 18.12.2020; Ogledov: 3608; Prenosov: 0
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