Umělec magazine 2003/1 >> Terror = Décor: Art Now List of all editions.
Umělec magazine
Year 2003, 1
6,50 EUR
Send the printed edition:
Order subscription

Terror = Décor: Art Now

Umělec magazine 2003/1

01.01.2003

Zuzana Štefková | venice biennale | en cs

Despite the fact that the Slovenian exposition Terror = décor: art now in Venice cam away with no prizes, it ranks alongside some of the most interesting projects in this summer’s Biennale. Žiga Kariž works with the theme of the commodification of violence in his project, with the viewpoint that artwork comes back to the viewer.
The equation Terror = décor contains different possible readings for this project. The first interpretation deals with the way in which art appropriates drastic subjects and transforms them into objects of esthetic interest. Most of the pictures/objects capture scenes whose violent content is subordinate to the cold esthetics of luxurious design, suggestive of the screen surfaces of a home cinema. (The presence of one image with a light Mondrianesque composition neutralizes the portrayal of violence, and allows the abstract quality to emerge.) On the other hand we could reverse the formula and interpret the result (Décor = terror) as a warning against the trap in which the pictures/objects are hiding: the fisheye of the camera films everything happening in front of the pictures.
Thus it is impossible to reduce the whole project to the objects physically present in the gallery. The indivisible component he creates is more than anything a system beyond the picture (in the metaphorical and factual meaning of the word), which casts the viewer in the role of the observed. We are able to understand the theme of the reciprocal view, in which image captures the viewer, in the context of art history (in the catalogue the curator of the pavilion, Jurij Krpan, mentions, for example, work by Velázquez and Manet), but at the same time purely contemporary associations of a somewhat sociological nature emerge. The viewer knows that his movement in the gallery is being monitored, and at the same time he watches several screens broadcasting events in Venice homes, in which other pictures/objects were placed. The project Terror = décor then opens up the theme of medialization of privacy, and at the same time the extent of the control which the average citizen exhibits as he moves through public space. Privacy in our time has become a very touchy subject, whether it is at the center of attention in the voyeurism of nosey journalists, the sensational audience that compliments the total exhibitionism of participants in television contests like Big Brother, or in the possibilities of taking advantage of the camera industries and other technologies intended for our protection.
Uncovering the mechanism of pictures/objects leads the viewer to reconsider his own role in the entire system, where in place of the traditional economic view the viewer/picture functions with a certain ambiguity.
The viewer becomes a participant in a scene observed by the invisible eyes of someone else. Aside from these interactive aspects, we also find in the exposition artifacts dealing with the problem of the commodification of artwork, its reduction to being merely an object on the market, especially characterized by market value. His map of world art centers with the listed number of galleries, collections, artists and art market turnover is (like the entire Slovenian exposition) a part of the wider intention to map out “what causes the movement of pictures” (see the catalogue for the Slovenian pavilion, text by Blaž Križnik), in other words, what are the rules of law at play in art in its socio-political, economic and historical contexts.
However the key question the Slovenian exposition asks is whether pictures can be something more than mere decoration in a world of terror, and it seems that the work of Žiga Kariž offers a positive response by means of deconstructing the mechanisms of the art market and the function of representation, or as we can read in Igor Zabel’s Bomba v obraze (Bomb in the Picture), published in the catalogue for the Venice exposition: Art can “overcomes its own limitations only by uncovering its own situation.”





01.01.2003

Comments

There are currently no comments.

Add new comment

Recommended articles

Acts, Misdemeanors and the Thoughts of the Persian King Medimon Acts, Misdemeanors and the Thoughts of the Persian King Medimon
There is nothing that has not already been done in culture, squeezed or pulled inside out, blown to dust. Classical culture today is made by scum. Those working in the fine arts who make paintings are called artists. Otherwise in the backwaters and marshlands the rest of the artists are lost in search of new and ever surprising methods. They must be earthbound, casual, political, managerial,…
An unsuccessful co-production An unsuccessful co-production
If you know your way around, you might discover that every month and maybe even every week you stand the chance to receive money for your cultural project. Successful applicants have enough money, average applicants have enough to keep their mouths shut, and the unsuccessful ones are kept in check by the chance that they might get lucky in the future. One natural result has been the emergence of…
No Future For Censorship No Future For Censorship
Author dreaming of a future without censorship we have never got rid of. It seems, that people don‘t care while it grows stronger again.
Wicked / Interview with Jim Hollands Wicked / Interview with Jim Hollands
“A person must shake someone’s hand three times while gazing intently into their eyes. That’s the key to memorizing their name with certainty. It is in this way that I’ve remembered the names of 5,000 people who have been to the Horse Hospital,” Jim Hollands told me. Hollands is an experimental filmmaker, musician and curator. In his childhood, he suffered through tough social situations and…
ArtLeaks
27.07.2014 19:39
Where to go next?
out - archeology
S.d.Ch, Solitaires and Periphery Culture (a generation born around 1970)
S.d.Ch, Solitaires and Periphery Culture (a generation born around 1970)
Josef Jindrák
Who is S.d.Ch? A person of many interests, active in various fields—literature, theater—known for his comics and collages in the art field. A poet and playwright foremost. A loner by nature and determination, his work doesn’t meet the current trends. He always puts forth personal enunciation, although its inner structure can get very complicated. It’s pleasant that he is a normal person and a…
Read more...
out - poetry
THC Review and the Condemned Past
THC Review and the Condemned Past
Ivan Mečl
We are the fifth global party! Pítr Dragota and Viki Shock, Fragmenty geniality / Fragments of Charisma, May and June 1997. When Viki came to visit, it was only to show me some drawings and collages. It was only as an afterthought that he showed me the Czech samizdat publication from the late 1990s, THC Review. When he saw how it fascinated me, he panicked and insisted that THAT creation is…
Read more...
prize
To hen kai pán (Jindřich Chalupecký Prize Laureate 1998 Jiří Černický)
To hen kai pán (Jindřich Chalupecký Prize Laureate 1998 Jiří Černický)
Read more...
birthing pains
Who’s Afraid of Motherhood?
Who’s Afraid of Motherhood?
Zuzana Štefková
Expanding the definition of “mother” is also a space for reducing pressure and for potential liberation.1 Carol Stabile The year was 2003, and in the deep forests of Lapák in the Kladno area, a woman in the later phase of pregnancy stopped along the path. As part of the “Artists in the Woods” exhibit, passers-by could catch a glimpse of her round belly, which she exposed especially for them in…
Read more...
Books, video, editions and artworks that might interest you Go to e-shop
More info...
8,05 EUR
More info...
9,60 EUR
1997, 24.7 x 37.5 cm, Pen & Ink Drawing
More info...
559,20 EUR
More info...
6,50 EUR

Studio

Divus and its services

Studio Divus designs and develops your ideas for projects, presentations or entire PR packages using all sorts of visual means and media. We offer our clients complete solutions as well as all the individual steps along the way. In our work we bring together the most up-to-date and classic technologies, enabling us to produce a wide range of products. But we do more than just prints and digital projects, ad materials, posters, catalogues, books, the production of screen and space presentations in interiors or exteriors, digital work and image publication on the internet; we also produce digital films—including the editing, sound and 3-D effects—and we use this technology for web pages and for company presentations. We specialize in ...
 

Citation of the day. Publisher is not liable for any mental and physical states which may arise after reading the quote.

Enlightenment is always late.
CONTACTS AND VISITOR INFORMATION The entire editorial staff contacts

DIVUS LONDON 
Arch 8, Resolution Way, Deptford
London SE8 4NT, United Kingdom

Open Wednesday to Saturday 12 - 6 pm

 

Office: +44 (0) 20 8692 5157
 

Ivan Mečl
ivan@divus.org.uk, +44 (0) 7526 902 082

 

Shop
shop@divus.org.uk, +44 (0) 20 8692 5157

DIVUS PERLA
Former papermill area, Nádražní 101
252 46 Vrané nad Vltavou, Czech Republic
ivan@divus.cz, +420 602 269 888

Open from Wednesday to Sunday between 11am to 6pm. From 15.12. to 15.1. only on appointment.

 

DIVUS BERLIN
at ZWITSCHERMASCHINE
Potsdamer Str. 161, 10783 Berlin, Germany

berlin@divus.cz, +49 (0) 1512 9088 150
Open Wednesday to Saturday 2 - 7 pm

 

DIVUS WIEN
wien@divus.cz
DIVUS MEXICO CITY
mexico@divus.cz
DIVUS BARCELONA
barcelona@divus.cz
DIVUS MOSCOW & MINSK
alena@divus.cz

DIVUS NEWSLETTER SUBSCRIPTION
Divus New book by I.M.Jirous in English at our online bookshop.