Fenomen tišine u savremenoj umetnosti

Abstract

U ovom radu, fenomen tišine u savremenoj umetnosti razmatraće se kao paradigma muzike, slikarstva i filma u korespondenciji sa savremenim teorijama. Tišina u savremenoj umetnosti nije artikulisana u vidu negacije, odsustva i ništavila, već kao multidimenzionalan prostor u kome je mapirano mnoštvo nesagledivih potencijalnosti i budućih označitelja. Tišina je i oblik govora, jezika i način komunikacije, koja svojim konceptima omogućava konstituisanje nove forme otvorenog dela, odnosno dela u pokretu. Za razliku od subordiniranog statusa u tradicionalnoj umetnosti, u 20. i 21. veku tišina se izjednačava sa zvukom i slikom, pri čemu ne stiče samo ravnopravnost, već i dominantnu ulogu u pojedinim delima. Promena statusa dela uzročno-posledično uslovljava i promenu odnosa u trijadi koju čine autor, izvođač i publika, čime se ukidaju ustaljeni tradicionalni obrasci i hijerarhije. Najizraženiji i centralni primer tišine u 20. veku je multimedijalno stvaralaštvo Džona Kejdža (John Cage) i njegova estetika tišine, u koju su inkorporirani inovativni i interdisciplinarni pristupi u umetnosti. U slikarstvu, najekstremniji primeri su monohromatske bele i crne slike, dok film objedinjuje vizuelni i zvučni koncept tišine, koji doprinosi izgradnji likova i toka radnje i tako formira složenu mrežu značenja. U ovom radu uvodim pojmove piramidalne teorije tišine i piramidalnog modela tišine, koji zaokružuju sve karakteristike i funkcije tišine u različitim umetnostima i pojedine premise savremenih teorija. Radom Fenomen tišine u umetnosti dokazujem da je tišina oblik transdisciplinarnog i transmedijskog znaka, pri čemu tišina nije samo pratilac i pasivno sredstvo u službi zvuka i slike, već ravnopravan, samostalan i veoma značajan fenomen koji pomera granice umetnosti i teorije.

In this work, the phenomenon of silence in contemporary art is going to be analyzed as a paradigm of music, painting and film in the corespondence with contemporary theories. Silence in contemporary art is not articulated as a negation, absence or nothingness, but as a multidimensional space in which the plantitude of posibillities and future signifiers are mapped. Silence is also a form of language, speech and the way of communication, that by its concepts allows the constitution of the new form of work, the work in progress. Unlike the subordinated status in the traditional art, the silence is equalized with the sound and the image in the 20th and 21st century and whereby, it does not gain only the equality, but also the dominant role in some works. The change of status of work is causaly related to the change of the realtion in the triad consisting of the author, the interpretator and the audience that makes the suppresion of traditional patterns and hierarchies. In the 20th century, the most pronounced and central example of silence is the multimedial work of John Cage and his aesthetics of silence in which the inovative and interdisciplinary approaches in art are incorporated. In painting, the most extreme examples are the monochrome white and black paintings, while film on the other hand combines visual and auditive concept of silence that contributes to build up the characters and the course of action, and thereby form the complex network of meaning. In this work, I am introducing the term pyramidal theory of silence and pyramidal scheme that consequently gathers together all charasteristics and functions of silence and some premises of contemporary theories. I am proving with text The phenomenon of silence in contemporary art, that silence is a form of transdisciplinary and transmedial sign whereby, the silence is not only the accompanist and passive medium in the service of sound, but an equal, independent and very important phenomenon that pushes the boundaries of art and theory.