Kustoski gest u svetu savremene umetnosti
Doktorand
Vesić, JelenaMentor
Šuvaković, Miodrag![](/themes/MirageNardus/images/orcid.png)
Članovi komisije
Subotić, IrinaDenegri, Jerko
Todić, Milanka
Dedić, Nikola
![](/themes/MirageNardus//images/creativecommons/arr.png)
Metapodaci
Prikaz svih podataka o disertacijiSažetak
Kako je definisano i samim naslovom, centralno mesto analize u ovom radu zauzima
pojam sveta savremene umetnosti i način njegove afirmacije i ekspanzije kroz polje
kustoskih praksi. Uz kritički osvrt na dosadašnju debatu u ovom polju, pokušaću da
uspostavim jedan nedostajući teorijski pogled na današnju funkciju kustosa, koji bi
retroaktivno bacio svetlo i na samu konstrukciju i mehanizam ekspanzije termina
savremena umetnost. Iz tog razloga se neću baviti samo problemima
institucionalizacije profesije kustos u okviru ‘akademije’ ili ‘scene’, već ću pokušati
da pokažem kako je glagol curating upleten u različite sfere savremenog društva koje
utiču kako na spoljašnje (institucionalne, ekonomske i kontekstualne) tako i na
unutrašnje (jezičke, diskurzivne i estetske) aspekte savremene umetnosti i
savremenog života.
Specifičnije, u ovom radu se bavim teorijskim okvirima kustoske prakse, teorijskim
okvirima proizvodnje savremene umetnosti i savremenosti, načinima na koji
instit...ucije izlaganja i kultura događaja posreduju u uspostavljanju tih okvira, kao i
uspostavljanju fenomena savremene subjektivnosti. Jedna od tvrdnji ovog rada jeste
da su okviri institucionalnog polja savremene umetnosti fleksibilni i pomični, kao i da
se vezuju za ekspanziju i transformativni potencijal same umetnosti.
Kao centralnu karakteristiku savremene umetnosti ovaj rad izdvaja gest pokazivanja i
format izložbe – odnosno, ono što se naziva izložbenom retorikom ili diskutuje pod
pojmom izlagački kompleks. U tom smislu, uvođenjem pojma kustoski gest želim da
istovremeno obuhvatim kako šire, tako i specifičnije odlike “izlagačkog kompleksa”
kao dominantne “retoričke figure” savremene umetnosti, da upotrebim termine Tonija
Beneta (Tony Bennett) i Brusa (Bruce) Fergusona, neke od kritičara i teoretičara čije
radove ova disertacija proučava i jukstapozira uporedo sa radom pionirskih
nezavisnih kustoskih figura kao što su Set Sigelaub (Seth Siegelaub) ili Harald Zeman
(Szeemann).
Ovaj rad, takođe, utvrđuje premisu da je upravo izloženost javnosti ono što čini
umetničko delo prisutnim u svetu (ili istoriji umetnosti).
Pokušaj da govorim o curating-u u širem smislu radije nego o kustoskoj praksi
proprium, da pitanje kustosa postavim u prošireno polje – kako su ovu teorijsku i
umetničku operaciju nazvali kritičari modernističke samodovoljnosti objekta – u
ovom radu predstavlja i jedan pokušaj materijalističke analize, kao i ideološke kritike
fenomena prestrojavanja umetnosti u šire polje globalnih kultura, ili, preciznije
rečeno, kulturne logike kasnog kapitalizma (Jameson). Recentni fenomen globalne
kulture koji institucionalno i fenomenološki prožima savremenu umetnost
podrazumeva aproprijaciju i utilizaciju nekadašnjeg koncepta buržoaske visoke
kulture i umetnosti u masovnu potrošnju različitih kultura (komunikacije, kognitivnog
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turizma, životnog stila, informisanosti, itd.).
Takođe, ovaj rad kao jednu od svojih ambicija ima da u našem akademskom prostoru
predstavi presek kritičkog razmatranja istorije i etimologije funkcije i figure kustosa
koja je zabeležena tokom poslednje dve dekade, kao i specifičnosti kustoskih praksi
epohe savremenosti koja podrazumeva deregulaciju važećih istorijskih kategorija i
prostorno-geografskih i disciplinarnih ograničenja.
Jedan od zaključaka koji ovaj rad uspostavlja jeste da praksa umetničke proizvodnje i
mišljenja kroz kritički prilaz kustoskim studijama radije treba da bude sagledana kao
kolektivna i kao procesualna – odnosno, kao projektna – kao i da ćemo bolje uvide u
disciplinu dobiti ne kroz bavljenje singularnim kustoskim pozicijama i stilovima, već
radije kroz paradigme, odnosno kroz polje uzroka i efekta koje obuhvata delovanje
funkcije kustos, a što se izražava glagolom curating.
Kako se ispostavlja tokom istraživanja koje predstavlja ovaj rad, kustos je proizvod
odnosa, agent ili node (čvorište) u praksama povezivanja i komunikacije. Upravo
zbog te “relacione” osobine kustosa koja svakako nije i “relativizujuća” (jer je
utemeljena na materijalnosti navedenih odnosa), preciznijem značenju funkcije kustos
se, paradoksalno, radije možemo približiti kroz udaljavanje i pogled u različitim
pravcima, nego kroz pokušaj užeg definisanja i “centriranje mete”.
As it was defined by the very title, in the focus of the analysis offered by this
dissertation is the notion of the artworld, and the ways of its expansion and
affirmation through the field of curatorial practices. After offering the critical
examination of the historical and current debate in the field, this paper will attempt to
establish one missing theoretical overview of the contemporary function of curator,
which could retroactively shed more light on the very construction and the
mechanism of expansion of the term of contemporary art. Thus my concern will not
be dedicated only towards the problems of institutionalizing of the profession of
curator within the ‘Academy’ or within the ‘Scene’; I will try to demonstrate the ways
in which the verb curating is entangled with different spheres of contemporary
society, which are affecting both the outer (institutional, economical and contextual)
and inner (linguistic, discursive and aesthetically) aspects of contemporary art ...and
contemporary life.
More specific, in this work I am examining theoretical framework of curatorial
practices, theoretical framework of production of both contemporary art and
contemporaneity, and the ways in which the institution of exhibiting and the culture of
event are mediating in establishing the said frames and the phenomena of
contemporary subjectivity. One of the claims made by this work is that the frames of
the institutional field of contemporary art are flexible and movable, which is
connected with the phenomena of expansion and transformative potential of the art
itself.
As the central characteristics of contemporary art this work will outline the gesture of
displaying and the format of exhibition – that is, what is called exhibition rhetoric or
discussed under the term of exhibitionary complex. By introducing the term of
curatorial gesture I aim to encompass both the wider, but also more specific
characteristics of the “exibitionary complex” as a dominant “rhetorical figure”, to use
the terms by Tony Bennett and Bruce Ferguson, some of the theorists and critics
whose works are examined in this dissertation and juxtaposed with the works of the
pioneering figures of independent curating such are Seth Siegelaub or Harald
Szeemann.
This work, also, reaffirms the premise that it is precisely the act of being exhibited in
public (and to public) what is making a work of art to be present within the world (or,
within history of art).
My attempt to speak of curating in a wider sense rather then of curatorial practice
proprium, to position the issue of curator in one expanded field – as this theoretical
and artistic operation was named by the critics of modernistic self-sufficiency of the
object – in this work also presents the attempt of material analysis, as well as
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ideological critique of realigning and deploying of art within the wider field of global
culture, or, more precisely, within the cultural logic of late capitalism (Fredric
Jameson). A recent arrival of global culture which is permeating contemporary art in
institutional and phenomenological sense underestimates the appropriation and
utilization of the former bourgeois concept of high culture and high art by the
principles of mass consumption of various different cultures (communications,
cognitive tourism, lifestyle, informatics, etc).
One of the conclusions implied by this work, regarding the approach towards
curatorial education, is that the practice of artistic production and thinking should be
understood as collective, and as processual – that is, as a project-based practice – and
that the best observation on this discipline will come trough examining paradigms,
that is, by examining the causes and effects of the function of curator, expressed by
the very verb of curating, rather the by examining the singular curatorial positions and
style.
As it unfolds during the research presented by this work, curator is the product of
relations, an agent or a node in the practices of conjunction and communication.
Precisely for this “relational” characteristic of curator that is decidedly not
“relativizing” (because of it base in the materiality of said relations), we can approach
a more precise meaning of the function of curator in a somewhat paradoxical manner;
not trough the attempts to make narrower definition and to “set the target”, but rather
trough distancing and observing from various different angles instead.