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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: 109; Prenosov: 4
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Opis: Jernej Habjan and Gal Kirn have edited a special issue of Slavica tergestina devoted to the Yugoslav Partisan art (1941-1945). All the chapters are in English, with abstracts in Russian and English as well as summaries in Slovenian. We highlight the theoretical discussion between Rastko Mocnik and Miklavz Komelj. The chapters are preceded by the introduction by Gal Kirn, and followed by reviews of new books on the Yugoslav Partisan art.
Ključne besede: partisan art, left art, political aesthetics, propaganda, liberation struggle, new Yugoslavia
Objavljeno v RUNG: 19.08.2020; Ogledov: 2625; Prenosov: 0
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