U percepciji umjetni\u010dke keramike jo\u0161 je previ\u0161e u javnosti prisutna dimenzija uporabnog elementa, vezana uz kontekst strogo primijenjene umjetnosti. No, postoje umjetnici koji druga\u010dije vide potencijal umjetni\u010dke keramike: Jana Grgasovi\u0107 kontinuirano u svojim radovima te\u017ei vratiti keramiku u polje skulpture, objekta ili prostorne instalacije. U novom djelu, ona se (auto)ironi\u010dno odmi\u010de od \u201epopularnih radionica izrade kerami\u010dkih tanjura i \u0161alica\u201c (Jana), gdje razvija ideju da keramika smije biti ukras, ali bez nagla\u0161ene uporabne funkcije. Prepoznajem to u njezinim radovima gotovo na razini umjetni\u010dkog manifesta pa \u010dak i na granici revolta, \u0161to umjetnici daje posebnu motivaciju i snagu da razbija granice kerami\u010dkog medija.<\/p>\n
Tako je stvorena nova kerami\u010dka instalacija, kao scenografija pseudoznanstvenog eksperimenta \u010diji je predmet ispitivanje jedne \u201chrpe\u201d klasifikacijske oznake CLX.44.T3.<\/p>\n
Rezolutno dokidanje uporabne funkcije keramike asocirat \u0107e na dadaisti\u010dke postupke, gdje su pred nama artefakti koji promatra\u010da \u0161okiraju konstrukcijama i nespojivim elementima forme. Dopadljivost je tako\u0111er upitna kategorija, \u0161to umjetnica koristi vrlo svjesno i sarkasti\u010dno, dadaisti\u010dki se \u201ecere\u0107i\u201c u lice promatra\u010du. Ta \u201ehrpa\u201c \u0107e nas asocirati i na Koonsovo djelo \u201ePlay-Doh\u201c, u ironiji dokidanja \u201elijepe skulpture\u201c. No, geneza njezinog djela ide u amplitudama od nadrealisti\u010dke skulpture i objekta pa sve do povijesnog manirizma. Ideja (concetto) da se stvaraju djela tzv. artificijelnog izgleda koja postoje samo u ma\u0161ti i snu, odnosno, izvan prirode, manifest su maniristi\u010dkih umjetnika, gdje se vi\u0161e stolje\u0107a kasnije napajao europski nadrealizam s tzv. fantomskim objektima i objektima iz snova.<\/p>\n
Iva K\u00f6rbler<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=”” gradient_type=”default”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][toggles style=”minimal”][toggle color=”Default” heading_tag=”default” heading_tag_functionality=”default” title=”English”][vc_column_text]\n
Pile: Model CLX.44.T3<\/p>\n
In the public perception of artistic ceramics, the dimension of functionality is still too dominant, tied to the context of strictly applied art. However, there are artists who see the potential of artistic ceramics differently: in her work, Jana Grgasovi\u0107 consistently strives to return ceramics to the field of sculpture,<\/p>\n
object, or spatial installation. In her new work, she auto)ironically distances herself from \u201cpopular workshops for making ceramic plates and cups\u201d (Jana), developing the idea that ceramics may be decorative, but without an emphasized utilitarian function. I recognize this in her work almost at the level of an artistic manifesto, even on the verge of revolt, which gives the artist a special motivation and strength to break the boundaries of the ceramic medium. Thus a new ceramic installation has been created, conceived as the set design of a pseudo-scientific experiment whose subject is the examination of a \u201cpile\u201d with the classification label CLX.44.T3.<\/p>\n
The resolute abolition of the utilitarian function of ceramics evokes Dadaist procedures, where we are faced with<\/p>\n
artifacts that shock the viewer through constructions and incompatible formal elements. Likeability is also a questionable category, which the artist uses very consciously and sarcastically, Dadaistically \u201cgrinning\u201d at the viewer. This \u201cpile\u201d<\/p>\n
will also bring to mind Koons\u2019s work Play-Doh, in its irony of abolishing the \u201cbeautiful sculpture.\u201d However, the genesis of her work ranges in amplitude from surrealist sculpture and object all the way to historical Mannerism. The idea (concetto) of creating works of so-called artificial appearance that exist<\/p>\n
only in imagination and dream\u2014outside of nature\u2014is a manifesto of Mannerist artists, from which, centuries later, European Surrealism drew sustenance through so-called phantom objects and dream objects.<\/p>\n
Iva K\u00f6rbler<\/p>\n[\/vc_column_text][\/toggle][toggle color=”Default” heading_tag=”default” heading_tag_functionality=”default” title=”Romski”][vc_column_text]\n
Butipe: Modelo CLX.44.T3<\/p>\n
Ani percepcia e artutne keramikakiri panda ano putardipe isi jekh dimenzia katar o labaripasko elemento, phandlo uzal o konteksto e durustane kerdikane artipaskiri, Ama, isi thaj artutne save so averikane dikhen o potencialo e artikane keramikakoro: Jana Grgasovi\u0107 palpalutnes ani peskiri biti mangel te iranel i keramika ani umal e skulpturakiri, objektoskiri vaj thanikane instalaciakiri. Ani nevi buti, voj (auto)ironikane na\u0161el katar e \u201epopularnikane butjakere sikavipa kolende keren pe keramikane \u010dare thaj taxtaja\u201c (Jana), kote vazdelkerel i idea kaj i keramika \u0161aj te ovel pulipe, ama bizo akcentirime labaripaskere funkciasa. Pend\u017eljarav adava lakere butjate ko sa thaj ko nivelo e artikane manifestoste thaj buteder ki granica e revolteskiri, so e artutnjake del ulavdi motivacia thaj zor te phagel e granice e keramikane mediengiri.<\/p>\n
Adjaxar si kerdi nevi keramikani instalacia, sar scenografia ko pseudod\u017eantrikano eksperimento koleskoro objekto si o pu\u010dljaripe jekhe \u201ebutipaskoro\u201c save isi klasifikaciakoro genj CLX.44.T3.<\/p>\n
O rezulutnikano \u010dhindipe e labaripaskere funkciakoro e keramikakoro ka del asociacia ko dadaikane kerdipa, kote si anglo amende artefaktia save e deletutne \u0161okirinen e konstrukcie thaj e biphandle elementia e formakere. O Mangipkeripe si adjaxar pu\u010dipaskiri kategoria, so i artutni labarel but minsale thaj sarkastikane, dadaistikane \u201easalkerel pe\u201c ki vulica e deletutneskiri. Adava \u201ebutipe\u201c ka kerel amenge asociacia thaj ko Koonsoskoro ikaldipe \u201ePlay-Doh\u201c, thaj ki ironia e phagljaripaskiri e \u201e\u0161u\u017ee skulpturakoro\u201c. Ama, i geneza olakere butjakiri d\u017eal ani amplituda katar e upralrealistikane skulture thaj objektia thaj sa d\u017ei historikano manirizmo. I idea (concetto) te keren pe butja a.v. artificielnikane dikhipasa kola so aven sade ko minsipe thaj suno, vaj, avrial katar i prakrita, si manifesto e maniristikane artutnengoro, kote so buteder \u0161eliber\u0161a palpalal piljarelas o europikano upralrealizmo e a.v. fantomikane objektonca thaj objektonca katar e sune.<\/p>\n
Iva K\u00f6rbler<\/p>\n[\/vc_column_text][\/toggle][\/toggles][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” disable_element=”yes” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” gradient_type=”default” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” 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