Title Plastični III.
Author Matea Krklec
Mentor Božica Dea Matasić (mentor)
Granter Josip Juraj Strossmayer University of Osijek Academy of Arts and Culture in Osijek Osijek
Defense date and country 2020, Croatia
Scientific / art field, discipline and subdiscipline FIELD OF ART Fine Arts Sculpture
Abstract Rad Plastični III. inspiriran je globalnom ikonom dijeljenja s računalnog korisničkog sučelja društvenih elektroničkih medija. U današnjem svijetu i tempu ţivota, osim same informiranosti, brzina je takoĎer vaţan dio komunikacije, a opcija share u sebi objedinjuje i dijeljenje i brzinu. Budući da se izvorno radi o plošnom, grafičkom simbolu, ova je skulptura nastala njegovom transformacijom u trodimenzionalni oblik. Čini ju cjelina sastavljena od šest geometrijskih tijela; tri kugle, dvaju
... More valjaka i kubusa, odnosno postamenta. Ove ponavljajuće, jednostavne forme, glatke i jednolične površine, racionalna geometrijska shema te korištenje industrijskih alata umjesto ručnog rada daju joj obiljeţja minimalističke umjetnosti. Pojedinačni gradbeni elementi skulpture nastali su obradom volumena sastavljenog od slojevito spajanih ploča, što simbolički ukazuje na sloţenost znanja i informacija. Naziv Plastični III. nosi metaforičko i ironijsko značenje s obzirom na to da se plastika izuzetno sporo razgraĎuje, a informacije pohranjene u virtualnim metadatotekama imaju slično svojstvo postojanosti. Ironijski aspekt naziva Plastični III. odnosi se na korištenje drva kao materijala izvedbe. Naime, dva prethodna pokušaja izrade ovog rada od plastičnih materijala – Plastični I. i Plastični II. – nisu bila uspješna. Naziv takoĎer sugerira niz, kontinuitet eksperimentiranja te nadogradnju znanja i informacija u vezi s korištenjem materijala i tehnika. Ova skulptura simbolički prikazuje isječak vremena potreban da bi se pokrenuo proces online komunikacije i dijeljenja. Dok je za opciju share na računalu dovoljan jedan klik mišem, nastanak ovog rada iziskivao je mjesece angaţmana. U društvu obiljeţenom površnošću i brzinom ovakav temeljit i sistematičan proces u realnom vremenu moţe djelovati kao svojevrstan atavizam, ali upravo to suprotstavljanje suvremenog i tradicionalnog ovaj rad čini aktualnim. U društvu koje polako ‘gubi kompas’ u površnosti, ispraznosti i prividnoj lakoći, nastanak ovog i ovakvih radova te njihovo doţivljavanje pruţa nam odmak i mogućnost drukčijeg sagledavanja stvarnosti. Less
Abstract (english) The piece Plastic III. is inspired by the global "share" icon from the computer user interface of social electronic media. In today's world and pace of life, in addition to being informed, speed is also an important part of communication, and the "share" option combines sharing and speed. Since it was originally a flat, graphic symbol, this sculpture was created by its transformation into a three-dimensional form. It consists of a whole composed of six geometric bodies; three spheres, two
... More rollers and a cube, or pedestal. These repetitive, simple shapes, smooth and uniform surfaces, rational geometric scheme and the use of industrial tools instead of handwork give it the characteristics of minimalist art. The individual building elements of the sculpture were created by processing a volume composed of layered joined plates, which symbolically indicates the complexity of knowledge and information. Name Plastic III. carries a metaphorical and ironic meaning since plastic decomposes extremely slowly, and information stored in virtual metadata files has a similar property of permanence. The ironic aspect of the name Plastic III. refers to the use of wood as a performance material. Namely, two previous attempts to make this artwork from plastic materials – Plastic I. and Plastic II. – were not successful. The name also suggests sequence, continuity of experimentation, and upgrading of knowledge and information regarding the use of materials and techniques. While one click on the computer is enough for the "share" option, the creation of this work required months of engagement. In a society marked by superficiality and speed, such a thorough and systematic process in real time can act as a kind of atavism, but it is precisely this opposition of the modern and the traditional that makes this work relevant. In a society that is slowly ‘losing its compass’ in superficiality, vanity and apparent lightness, the emergence of this and such works and their experience gives us a distance and the possibility of a different perception of reality. Less
Keywords
minimalizam
suvremena umjetnost
fragment
geometrijsko oblikovanje
dijeljenje
Keywords (english)
minimalism
contemporary art
fragment
geometric design
share
Language croatian
URN:NBN urn:nbn:hr:251:519448
Study programme Title: Graduate study of Fine Arts Study programme type: university Study level: graduate Academic / professional title: magistar/magistra edukacije likovne kulture (magistar/magistra edukacije likovne kulture)
Type of resource Text
File origin Born digital
Access conditions Open access
Terms of use
Created on 2020-10-19 13:55:08