Vizualna poezija

Krušec, Maja (avtor), Kirbiš, Dušan (mentor)

Začetek pojavljanja vizualne poezije seže kar globoko v preteklost. Tako v slikarstvu kot v literaturi se hkrati po svetu začnejo pojavljati eksperimentalne prakse, ki spadajo v obseg celotne konkretne poezije. Vizualna poezija je lahko danes označena kot oblika neoavantgarde, nove eksperimentalne umetniške prakse, ki jo od začetkov do danes spremljajo različna poimenovanja: v povezavi z umetniškim gibanjem OHO se vzpostavi beseda reizem, kasneje pa še montaža, topografska, kinetična, materialna, tehnološka, multidimenzionalna, iznajditeljska poezija in mnoge druge. V Sloveniji so prvi konkretistični poskusi demontaže jezika opazni pri Zagoričniku, Šalamunu in Kermavnerju, prvi pesniški eksperimenti z vidnimi zamahi v likovnost pa pri Pogačniku, Plamnu in Matanoviču. Prve samostojne publikacije v konkretno-vizualni smeri so začele izhajati leta 1966. Kot take so opredeljene zbornik EVA ter številne kasnejše publikacije in katalogi, ki so izhajali v majhnih nakladah in bili tako dostopni le majhnemu številu občinstva. V Bežigrajski galeriji v Ljubljani se že leta in leta prireja konkretistične razstave, katere spremljajo tudi skrbno napisani razstavni katalogi. Veliko del vizualno-konkretnega značaja pa še vedno ni bilo nikoli objavljenih – povečini zato, ker so to dela brez naslovov ali celo tudi brez avtorjevega podpisa. Obenem so si dela med seboj tako različna, da jih ne moremo z lahkoto pripisati niti določenemu avtorju niti točnemu obdobju, v katerem je ta ustvarjal. Danes se vizualna poezija – kot lahko vidimo pri Železnikarju – seli v območje digitalne umetnosti. Bolj natančno je ta pojav imenovan elektronska ali računalniška poezija. Izjemno interaktivna jezikovno-likovna dela so na nek način nadgradnja dosedanjih dosežkov vizualne poezije. V skladu s to umetniško prakso se pojavljata še poimenovanji programirana umetnost ter NETART ali spletna umetnost. Zadnje strani diplomskega dela so posvečene lastnim izdelkom, njihovi interpretaciji in razpravi z zaključki, kjer so v pregled postavljeni tako cilji kot namen diplomskega dela, ki podajo povzetek celotne raziskave.

• Jezik: Slovenski jezik
• Ključne besede: vizualna poezija, konkretna poezija, OHO, Westeast
• Vrsta gradiva: Diplomsko delo/naloga
• Organizacija: NTF - Naravoslovnotehniška fakulteta
• Leto izida: 2017
• PID: 20.500.12556/RUL-95400
• Datum objave v RUL: 20.09.2017

Sekundarni jezik

• Jezik: Angleški jezik
• Naslov: Visual poetry

Izvleček

The origins of visual poetry date far back in the past. New experimental practices in painting and in literature, falling into the category of concrete poetry, started emerging simultaneously all over the world. Visual poetry can be nowadays characterized as a form of Neo-Avantgarde, a new experimental art practice, which has been called differently from its beginning to date – i.e. “reism” in correlation with the OHO art movement, and later on montage, as well as topographic, kinetic, material, technological, multidimensional, inventive poetry and many others. In Slovenia, the first concretist attempts at dismantling the language can be observed in works by Zagoričnik, Šalamun and Kermenavner, while the first poetic experiments with clear tendencies towards visual arts can be found in works by Pogačnik, Plamen and Matanovič. The first independent publications leaning towards the concrete and visual started being published in 1966, for instance, the booklet Eva and numerous other catalogues and publications that reached a smaller audience. For many years, the Bežigrad Gallery in Ljubljana has been holding concretist exhibitions that are accompanied by meticulously written exhibition catalogues. However, many work of the visual-concretist character were never published, mainly because they do not have a title or even the author’s signature. At the same time, works differentiate from one another to such extent that they cannot be easily associated with a particular author or a precise period of his or her creative process. Today, visual poetry – as seen in works by Železnikar – has been moving towards the digital art field. More specifically, this phenomenon is called electronic or computer poetry. In a way, the incredibly interactive lingual-visual works of art are an upgrade of previous achievements of visual poetry. In line with this art practice, names such as programmed art and NETART or web art are also used. The last part of the paper is dedicated to my own contributions, their interpretation and discussion with a conclusion, which includes an overview of goals and the purpose of this diploma paper and gives a summary of the research in its total.

• Ključne besede: visual poetry, concrete poetry, OHO, Westeast