Odlivanje prezence v večno in (ponotranjeni) prostori krajine / Onkraj

Vučko, Teja (author), Berlot Pompe, Uršula (mentor), Kariž, Žiga (mentor)

Magistrsko delo obravnava tiste vidike umetniškega dela, ki so vezani na njegovo časovnost in resnico. Pri tem je izpostavljena problematika delovanja slikarstva na območju iluzije. Na posameznih primerih je motiv krajine analiziran prek njenih osnovnih gradnikov, ter globljih razsežnosti, kot sta področje spomina in sublimnega. Zaradi specifike žanra je posebej obravnavano kitajsko krajinsko slikarstvo s svojim edinstvenim estetskim stališčem. Umetnost raziskuje polje minljivega, zato delo prevprašuje, čemu dojeti in sprejeti (lastno) minljivost tako z vidika/gledišča človeka, kot umetnika. Tematika časa je predstavljena predvsem v filozofskem kontekstu in v več možnih odnosih; z (ne)omejenostjo, torej z večnostjo nasproti minljivosti, s prezenco kot izpostavljenim časovnim odsekom, kakor tudi s časom v odnosu s samim motivom krajine. Na podlagi tega je pojasnjena preobrazba dela, obračajočega se v brezčasje. Poleg časovne razsežnosti je hkrati poudarjena tudi prostorska, ki je sicer nakazana že v poglavju motiva krajine. Cilj je ? znotraj umetnosti in krajinskega slikarstva, raziskati, kar je neminljivo, ter večplastnost prostora. Lastna serije del, ki predstavlja del naloge, temelji na prostorski študiji izbranega motiva in je interpretacija osebne izkušnje potovanja, odpirajočega se kot prostora samozavedanja, želje in tranzicije.

• Language: Slovenian
• Keywords: Slikarstvo, Umetnost, Krajina, Narava, Prostor, Večnost, Prezenca, Magistrska naloga
• Work type: Master's thesis/paper
• Organization: ALUO - Academy of Fine Arts and Design
• Year: 2019
• PID: 20.500.12556/RUL-108317
• Publication date in RUL: 28.06.2019

Secondary language

• Language: English
• Title: Casting the Presence into the Eternal and (the Internalized) Spaces of Landscape / Beyond

Abstract

The master's thesis deals with those aspects of the artwork related to its time and truth, exposing the problem of the functioning of painting in the area of illusion. In individual cases, the landscape is analyzed through its basic building blocks, as well as deeper dimensions, such as the area of memory and sublime. Due to the specificity of the genre, Chinese landscape painting is specifically addressed with its unique aesthetic position. Art explores the field of the transitory, therefore the artwork questions why comprehend and accept one’s (own) transience, both, from the perspective/point of view of human and the artist. The theme of time is presented primarily in the philosophical context and in several possible relations; with (un) boundedness, that is, with eternity versus transience, with presence as an exposed time segment, as well as with time in relation to the very motif of the landscape itself. On this basis, the transformation of the work turning to timelessness is explained. In addition to the time dimension, the spatial is also emphasized, which is already indicated in the chapter of the motif of the landscape. The goal is to explore, within art and landscape painting, what is eternal, and the multi-layeredness of space. The own series of works, which forms part of the thesis, is based on a spatial study of the chosen motif and is an interpretation of the personal experience of a journey, opening up as a space of self-awareness, desire and transition.

• Keywords: Painting, Art, Landscape, Nature, Space, Eternity, Presence, MA thesis