Radionica Vii

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UMJETNOST I POVIJEST - RAZVOJ MODERNE OSJETLJIVOSTI

AARRTT AANNDD HHIISSTTOORRYY -- TTHHEE DDEEVVEELLOOPPMMEENNTT OOFF MMOODDEERRNN SSEENNSSIIBBIILLIITTYY

OTVORENOST, VIEZNA^NOST OPEN, AMBIGUITY247

otvaranje zna~enjaopening meanings

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11992222..,, KKOOLLAA@@//CCOOLLLLAAGGEE

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DRAMATI^NO OTVARANJE, OSLOBA\ANJE elemenataDRAMATIC OPENING, LIBERATING the elements

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PROPUSNOST, ÎSTI OBLIK PERMEABILITY, PURE FORM

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trajanje, propu{tanje, osloba|anjecontinuity, permeability, liberation

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iluzija prostorno-vremenskog trajanjaillusion of space-time continuity

stijenarock

vatrafire

vodawater

stablotree

zrakair

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KK OO NN TT RR AA SS TTZATVORENOST, JEDNOZNA^NOST

CC OO NN TT RR AA SS TTCONFINEMENT, UNAMBIGUOUSNESS



jasna kontura, iluzija odvajanja mase odprostora

a clear outline, the illusion of the separation mass from space

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obogotvorenje ~ovjeka: Hadrianov ljubimac(naracija), melankolija (psihologija), glatkapovr{ina (stil-idealizam)

divination of man: Hadrians favourite (narration), melancholy (psychology), closed

smooth surface (style-idealism)

oprirodnjenje boànskoga: razulareni satir (naracija),opu{tenost (psihologija), razra|ena, usitnjena povr{ina

(stil-naturalizam)

naturalisation of the divine: exuberant satyre (narration), relaxation (psychology),

articulated, minorshapes surface (style-naturalism)

PRIPITOMLJAVANJE zemlje, zraka, vode, vatre, drvetaTAMING of earth, air, water, fire, wood

BB.. DDAA MMAAIIAANNOO,, CCRROONNAACCAA::PPAALLAAZZZZOO SSTTRROOZZZZII11550033..,,FFIIRREENNCCAA//FFLLOORREENNCCEE

odjeljivanje, ~uvanje, kontroliranjeseparation, keeping, controlling

elementi su oskudno, suèno, kanalizirano prisutni

the elements are present limited, meagre, chanalled

still, about watching the first sequence. The partici-pants are instructed to try to surrender themselvesto the magic of the film even if they do not under-stand French or cannot read the English titles. c) The first sequence (about 470 m) is projected. d) After watching the film (for about 10 minutes)sheets of paper are distributed and the participantsare invited to write a word / several words on theprepared empty lines, spontaneously / as they comein to their minds in connection with what they haveseen. A fragment of the screenplay of the sequencethey have seen is printed on sheets. The participantsare invited to cultivate in themselves the sensation ofthe film, during the next week, to note every daysome words/-sentences connected with thesequence seen, evoking the magic of it.2. a) From the left projector S. Botticellis Abandoned(atribution of B. Berenson, 1495, tempera on wood,47 x 41 cm, priv. collection, Rome) is presented. Theparticipants are asked to evoke any modern painting,in order to understand why we begin the theme ofcontrast with that early renaissance painting. Theparticipants are reminded we often play with blurringa projection turning the lens, (we do it again) to sim-ulate the profound, real blur from where each look-ing/creating begins. A remark about Blake: the colouris from God, the contour from the Devil (our abstrac-tion). This painting is a result of the will to separatethe illusion of mass from the illusion of space with aclear contour. So with clear outlining Botticelli cre-ates a confined world of a secure and unambiguousperception. b) From the projector in the middle P. Picassos Sitting Woman, 1909, oil on canvas, 92 x 73 cm, the Tate Gallery London is projected.The participants are told about the great contrastbetween Botticellis paintings and Picassos concern-ing the illusion of mass and space, figure and back-ground. On Picassos canvas an illusion of space-time continuity is achieved and geometry is not usedhere to separate mass from space but to dissolve, toopen the human figure onto the environment, to cre-ate continuity. c) Photocopies of a sequence of pho-tos of a cyclist are distributed. The question is asked:what happens with the cyclist in the photos taken indifferent time exposure. We can notice that in anexposure of 1/2 sec the cyclist cannot be seen at all(he is the clearest in an exposure of 1/1000 sec). d) From the right projector M. Ernst Meeting of TwoSmiles (from, Le malheurs des immorteles, 1922,collage) is projected. The participants get a photo-copy of the illustration which was treated by M. Ernst. We talk about the interventions. We cannotice the semantic opening of the work with a maxi-mum set meaning. M. Ernst produces an explosionof meaning as a revenge to the single meaningnessbecause a single meaningness does not exist, onlythe continuity of meaning. e) We return to Botticellispainting. A story from the Old Testament is told:Tamara, raped and chased away by her brotherAmnon and revenged by the other brother Abshalom(Samuel II/13). We speak about an archetypal pat-tern, a reminder of Orpheus, Euridice and the shep-herd, of St. George, the Princess and the Dragon. f) The participants use the experience gained in con-tact with M. Ernsts artwork. They receive inenvelopes, three cut-out shapes of Botticellis paint-ing (they are not told what it is). There are three con-voluted shapes which offer interaction. The task is tocompose a story. g) A detail of the dress is projected from Botticellispainting and the three cut-out shapes are recognized.Modern sensibility undermines the single-meaning.The participants are reminded of the Soft Giant

Rezanje i savijanje Picassovih oblika izpapira/Cutting and folding Picassos shapes out ofpaper

Student tuma~i Picassove oblike/A studentexplains Picassos shapes

Nova zna~enjska organizacija Botticellijevihoblika/A new semantic organisation of Botticellisshapes.

Tuma~enje preklapanja plo{nih oblika naPicassovoj slici/Demonstrating and explaining thefolded planar shapes in Picassos painting.

Studentica pomaè u smje{tavanju pala~eStrozzi u rimski raster Firence/A student helps to place the Palazzo Strozzi in theRoman network of Florence

Voditelj i studenti pomaù sudionicima/ Theworkshop leader and the students help the partici-pants

Zadatak je smjesititi ku}u slapova upodru~je Bear Runa/The task is to place theFalling Water House in the setting of Bear Run

Studentica tuma~i/A student instructs

Prva izvedba radionica: 1996.-97.

Radionice U m j e t n o s t i p o v i j e s t - r a z v o j m o d e r n e o s j e t lj i v o s t i razlikuju seod specijaliziranih radionica po tome {to se ne radi o upoznavanju samo po jednog medija nego se svimediji objedinjuju u htijenju da se, polaze}i od najve}ih kontrasta povijesnih i modernih djela, poku{aju{to bolje razumjeti u me|usobnom odnosu. Osvije{tenost medija, postignuta u modernim djelima, vodinas u pro{lost i u druge kulture, dapa~e u cijeli okoli{ i tako se moderna djela mogu druga~ije/boljerazumjeti.Struktura radionica tako|er se razlikuje od prethodnih. Umjesto tro~lanosti u artikulaciji tema, sadasvaka radionica (opet ih je sveukupno deset) ima svoju temu (kontrasti koje moderna osjetljivostpodriva, analogije u kojima se nalazi, upitnost/neupitnost povijesnog vremena, novi krajolik kojegaotkriva fotografija, moderni teatar da bi se razumio srednjovjekovni, slojevitost svijeta koja se uvijekrazli~ito iskazuje, beskona~no koje je uvijek prisutno u svim djelima itd.). Kroz sve se radioniceprovla~i odnos prema vremenu i zato se me|usobno povezuju gledanjem filma (u svakoj radionicijedna sekvenca u slijedu) A. Resnaisa Pro{le godine u Marienbadu koji je temeljno, formalno isadràjno, zaokupljen odnosom prema vremenu.

Namjera u p r v o j radionici je usmjeriti pozornost na najve}i kontrast izme|u stilski-formalnozatvorenih kompozicija nagla{ene jednozna~nosti antike i renesanse i stilski-formalno otvorenihvi{ezna~nih kompozicija modernog vremena. Pritom se pazi na razlikovanje zna~enjskog otvaranja,od nadrealizma, preko Wrightove arhitekture do pop-arta i ~istog formalnog otvaranja, formalnepropusnosti, univerzalnosti Picassa - Brancusija - Rietvelda; ste}i iskustvo o tome kako osjetljivost zamoderna djela podriva zatvorenost pro{lih, kako iskustvo modernih djela omogu}uje otkrivanje uni-verzalne formalne razine svakoga djela, ali i skrivena-potisnuta zna~enja onih najve}e zatvorenosti-jednozna~nosti.

Ambijent: Stolovi i stolice koje su razmje{tene u odnosu na stolove. Potrebna su tri projektora, tele-vizor, video, fotokopije, {kare, pripremljeni izrezani oblici, papir, tekst scenarija, upitnik.

Struktura doga|anja1. a) Voditelj najavljuje program. U ovim radionicama pojedine tematski razli~ite radionice povezat}e se gledanjem (u devet nastavaka) filma A. Resnaisa Pro{le godine u Marienbadu (1960./1961.)snimljenog u Parizu i Mnchenu (dvorci Nymphenburg, Schlessheim), scenario: A. Robbe-Grillet,uloge: A - D. Seyrig, X - G. Albertazzi i M - S. Pitojeff. Tako }e se radionice, kojima je glavna temarazvoj moderne osjetljivosti, u ~emu odnos prema vremenu igra bitnu ulogu, ne slu~ajno proètigledanjem filma, kojeg je tema, sadràj i forma igra s vremenom. b) Daju se upute u vezi s gledan-jem filma, odnosno prve sekvence: nastojte se predati ~aroliji filma ~ak i onda ako slu~ajno ne razu-mijete francuski tekst/engleske titlove. c) Prikazuje se prva sekvenca (oko 470 m). d) Nakon gledanja(oko 10) dijele se listovi i sudionici se pozivaju da na ozna~ene redove zapi{u rije~/nekoliko rije~i kojeim spontano/najprije padaju na pamet u vezi vi|enog. Na listovima je tiskan scenarij vi|ene sekvencefilma. Sudionici se pozivaju da u sebi kultiviraju doìvljaj filma, da tijekom tjedna, svaki dan, zabil-jeè nekoliko rije~i/re~enica u vezi vi|ene sekvence evociraju}i ~aroliju.2. a) S lijevog projektora pokazuje se slika S. Botticellija Napu{tena (atribucija: B. Berenson; 1495.,tempera na dasci, 47 x 41 cm, Rim, privatna zbirka). Od sudionika se traì da dozovu u sebi neku, bilokoju modernu sliku, da bi shvatili za{to temu kontrasta zapo~injemo ovom ranorenesansnom slikom.Podsje}aju se na ~estu igru zamu}ivanja le}om (i sada se zamuti), da bi se simulirala temeljna, zbiljska,nejasna mrlja od koje po~inje svako gledanje/stvaranje. Podsje}a se na Blakea: boja je od Boga, konturaod |avla (na{a apstrakcija). Ova je slika rezultat htijenja da se iluzija mase jasnom konturom odvoji odiluzije prostora. Tako, jasnim konturiranjem Botticelli stvara zatvoreni svijet sigurne i nedvosmislenepercepcije. b) Sa srednjeg se projektora projicira Picassova @ena koja sjedi (1909., ulje na platnu, 92 x73 cm, Tate Gallery, London). Upozorava se na veliki kontrast izme|u Botticellijeve i Picassove slike sobzirom na iluziju odnosa mase i prostora, lika i pozadine. Na Picassovoj slici bojom se i karakterompoteza postiè iluzija prostorno-vremenskog trajanja, a ~ak ni geometrija ne sluì odvajanju mase odprostora, nego rastvaranju/otvaranju ljudskog lika u okoli{, dakle, stvaranju kontinuiteta. c) Dijele sefotokopije na kojima se vidi slijed fotografija bicikliste. Pitanje: {to se de{ava s biciklistom na fotografija-ma napravljenim razli~itim eksponaàma. Primje}uje se da se kod eksponaè od 1/2 sec biciklist vi{e nevidi (najbolje se vidi kod eksponaè 1/1000 sec). d) S desnog projektora projicira se slika M. ErnstaSusret dvaju osmijeha (iz Les malheurs des immorteles, 1922, kola`.). Sudionici dobivaju fotokopijuilustracije koju je obradio M. Ernst. Razgovara se o intervencijama. Primje}uje se zna~enjsko otvaranjedjela koje u najve}oj mjeri teì jednozna~nosti. Svojom intervencijom M. Ernst proizvodi eksplozijuzna~enja kao osvetu jednozna~nosti koje nema, jer zbiljski postoji samo kontinuitet zna~enja. e)Vra}amo se Botticellijevoj slici. Pri~a se starozavjetna tema slike: Tamara, silovana i otjerana od svogabrata Amnona i osve}ena od drugog brata Ab{aloma (Samuel II/13). Govori se o arhetipskom uzorku,podsje}a se na Orfeja, Euridiku i pastira, na Sv. Jurja, princezu i zmaja. f) Sudionici primjenjuju iskust-vo ste~eno s djelom M. Ernsta. U omotnici dobivaju po tri izrezana oblika s Botticellijeve slike (to im sene kaè). Rije~ je o tri razvedena oblika koji se nude da se postave u me|usobni odnos. Traì se dakomponiraju pri~u. g) Projicira se detalj haljine s Botticellijeve slike i prepoznaju se tri izrezana oblika.Podsje}a se na soft giant animals C. Oldenburga. Moderna osjetljivost podriva jednozna~nost i M. Ernst

First performance of workshops: 1996-97

The workshops Art and History - the Developmentof Modern Sensibility differ from the other, special-ized workshops because they are not an introduc-tion to one medium but all the mediums are united,wishing to start from the greatest contrast of histor-ical and modern artworks and to understand asmuch as possible all of them in interaction. Anawareness of the mediums achieved in modern art-works leads us into the past, to different cultures,even, into the whole environment and so they canbe understood in a different or better way.The structure of the workshops is also differentfrom the former ones. Instead of being tripartite inits articulation of the themes, now, each workshop(again there are ten of them altogether) has a topicof its own (contrasts which modern sensibilityundermines, analogies in which it recognizes itself,the questioned/ unquestioned historical time, a newlandscape discovered by photography, the moderntheatre in order to understand the medieval one,many layers of the world, each time differentlyexpressed, the infinite, always present in all art-works etc.). Through all these workshops there is amain theme and that is the relation to time andtherefore all of them are connected by watching afilm (in each workshop one sequence) by A.Resnais: Last Year in Marienbad where the mainpreoccupation is, both formal and substantial, arelation to time.

The intention in the first workshop is to directattention to the greatest contrast between the stylis-tically-formally confined very accentuated unam-biguous compositions (Antiquity and theRenaissance) and stylistically-formally open poly-semic compositions of modern times. Mean-whilethe intention is to distinguish between openingsemiotically from surrealism, through Wrightsarchitecture to pop-art and between a pure formalopening, formal permeability/transparency, univer-sality of Picassos - Brancusis - and Rietvelds art-work. The participants gain experience of how sen-sibility of modern artworks undermines the confine-ment of past ones, how experience enables us todiscover the universal formal level of each artwork,but also the hidden-surpassed meanings of themost confined and unambigous ones.

Ambience: Three projectors are necessary andtables and chairs placed in relation to them, a TVset, a video player, photocopies, scissors, someprepared cut-out shapes, paper, the text of thescreenplay, a questionnaire are available.

Structure of the activity1. a) Announcement of the programmme. In struc-ture this workshop differs from the specialized ones.Now each workshop is thematically independent.However watching A. Resnais film Last Year inMarienbad (1960/61) in nine sequences connectsthem all. The film was made in Paris and Munich(Nymphenburg, Schlessheim castles), screenplay:A. Robbe - Grillet, actors: A - D. Seyrig, X - G.Albertazzi and M - S. Pitoieff. The workshop whosemain subject is the evolution of modern sensibilitywhere the relation to time plays an essential role, isintentionally interwoven with watching the filmwhose subject, content and form are a game withtime. b) Instructions are given about the film, better

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the middle projector we project The Commencementof the World by C. Brancusi (1915, bronze, 15.2 x21.6 cm, Brancusis atelier, Museum of Modern Art,Paris). Instruction is given about openness-perme-ability - pure form - pure sculpture, about movingfrom particularity to universality, about the separa-tion of the tangible and visual experience (tangibleconfinement - monolithic mass and visual openness- continuity of mass and space in reflex).4. a) The participants receive a plan of Florence anda plan of Palazzo Strozzi (B. da Maiano, model: G. da San Gallo, the carnice: Cronaca, finished1503.) The task is to put the palace into an antiquenetwork (mutilated by medieval interventions) basedon a consistency between the transformed insulaand the palace. After they receive a plan of the BearRun from 1935 before Wright built there and theplan of the Falling Water House (F. L. Wright,1937). The task is to place in the situational planthe plan of the house. b) Some slides of PalazzoStrozzi and the Falling Water House are alternatedparallelly on the left and right projectors.Instructions are given about the contrast betweenthe confinement and openness concerning the ele-ments - symbols: earth, air, water, fire, tree,between the meagre, limited, chanelled, disciplinedrelation of separation, keeping, controlling, bound-ing (the tamed elements) and the dramatic opening,the liberation of all the elements (composition of theconstruction); the elements are parts of the house:a building in trees, an open fire, water in the house,a rock in the room, a hole in the roof. c) From themiddle projector we project some slides of G.Rietvelds Pavilion for sculptures in Otterlo park1958/59 The participants receive a plan and areinvited to mark the place, during the projection,from where the photograph was taken. d) Withslides we circumambulate the Pavilion and theinstruction is given about a gradation in separatingthe exterior and the interior (pavement, constructiveelements, glass wall, wall from scatteredly disposedbricks, a wall from densely disposed bricks, amortared wall). Instructions are given about thetransparency/permeability achieved in Picassospainting in Brancusis sculpture and in Rietveldspavilion in contrast to so much quibbling ofOppenheim or Rauschenberg and so much dramat-ics of Wright. We also give instructions about therole of time and about the simultaneity of the in andout, which is an analogy with Brancusis andPicassos extending of mass into environment,except that here the outer/inner are really in interac-tion and not only an illusion.

nam pomaè otvoriti nedvosmislenost Botticellijeve slike. h) Projicira se detalj Picassove @ene koja sjedi.Sudionici dobivaju komad papira, {kare i savijanjem, preklapanjem, rezanjem poku{avaju dobiti pros-torne oblike sa slike. Oblici se smotavaju/odmotavaju. i) Uspore|uju se iskustvo podrivanjaBotticellijeve jednozna~nosti i iskustvo propusnosti/transparentnosti Picassove slike.3. a) S lijevog projektora projicira se rimski kip iz 2. st. koji prikazuje Antinoja (mramor, 180 cm, muzeju Delfima) i, nakon toga, Usnuli satir (Faun Barberini) (oko 200 god. pr. Kr., mramor, 215 cm, Glyptotheka, Mnchen) kao najve}i kontrast idealizma i naturalizma; obo-gotvorenja ~ovjeka - Hadrianov ljubimac i opriro|ivanja boànskog/-~udovi{nog - razulareni satir(naracija); melankolije i opu{tenosti (psihologija); zatvorene, glatke i razra|ene, usitnjene povr{ine (stil).b) S desnog projektora projicira se Ru~ak u krznu M. Oppenheim (1936., oko 10 cm, Museum ofModern Art, New York). Nakon toga slijedi snimak Rauschenbergova Monograma, (1955.-1959.,balzamirani jarac,160 x 160,5 x 95 cm, Moderne Museet, Stockholm). Govori se o posudi kaopolazi{tu: s jedne je strane konvencionalna stvar, a s druge metafora svega blagog, pasivnog,primaju}eg, te da se obesmi{ljavanjem konvencionalne stvari otvaraju zna~enja. Defunkcionalizacija jeefikasan pokret za otvaranje svih zna~enja (suprotno Antinoju gdje se ide od partikularnog koje se obo-gotvoruje, ovdje se ide od op}enitog pojedina~nom). Tuma~i se C. Lvi-Straussov pojam bricoleur -onaj koji, od stvari s otpada koje su defunkcionalizirane, raskomadane, pravi novu funkciju, novozna~enje. c) Zatim se uspore|uju Faun Barberini i Monogram. Rauschenberg ne prikazuje jarca nego gakoristi. Prirodni oblik ima svoju strukturu i, prikazuju}i, umjetnost naj~e{}e hini tu strukturu.Rauschenberg, me|utim, kre}e od gotove strukture ìvotinje, ali intervenira u vezu izme|u njeneanatomije i oplo{ja/vune otvaraju}i zna~enja. Jarac je, u razli~itim kulturama, razli~ito shva}an - odbestidnog (antika, kr{}anstvo) do `rtve (Agni, bog vatre ja{i na jarcu, tako|er i Thor, gromovnik).Dozvana su sva zna~enja. d) Slijedi usporedba: ono {to je zajedni~ko svim ~etirima skulpturama jest daih je te{ko vidjeti kao skulpture. Kod prve dvije se ipak poku{avaju vidjeti osi, dok kod druge dvijeeksplozija zna~enjskog univerzuma apsolutno nadvladava. e) Sa srednjeg projektora projicira seBrancusijev Po~etak svijeta (1915., bronca, 15,2 x 21,6 cm, Brancusijev atelje, Muzej moderne umjet-nosti, Pariz). Upozorava se na otvorenost - propusnost - ~isti oblik - ~istu skulpturu; na kretanje odpartikularnog k univerzalnom, na razdvajanje taktilnog od vizualnog doìvljaja (taktilna zatvorenost -zbijena masa i vizualna otvorenost - kontinuitet mase i prostora u refleksu).4. a) Sudionici dobivaju plan Firenze i tlocrt Palazza Strozzi (B. da Maiano, model: G. da San Gallo,vijenac: Cronaca, zavr{ena 1503. god.). Zadatak je da se u anti~ki raster (naru{en srednjovjekovnim in-tervencijama) smjesti pala~a, na temelju slaganja omjera ve} preure|ene insule i pala~e. Potom dobiva-ju kartu Bear Runa iz 1935., prije gradnje F.L. Wrightove Ku}e slapova (1937.) i tlocrt ku}e. Zadatak jeda se na situacijsku kartu smjesti tlocrt. b) Paralelno na lijevom i desnom projektoru izmjenjuju sesnimci Palazza Strozzi i Ku}e slapova. Upozorava se na kontrast izme|u zatvorenosti i otvorenosti uodnosu na elemente - simbole: zemlju, zrak, vodu, vatru, drvo; izme|u oskudnog, suènog, ka-naliziranog, discipliniranog odnosa odjeljivanja, ~uvanja, kontroliranja, ograni~enja (pripitomljeni ele-menti) i dramati~nog otvaranja, osloba|anja svih elemenata (kompozicija konstrukcije; elementi su sas-tavni dijelovi ku}e: ugra|ivanje stabala, otvoreni kamin, voda usred ku}e, stijena usred ku}e, otvor nakrovu). c) Sa srednjeg projektora projiciraju se snimci Paviljona za skulpture G. Rietvelda, u parku uOtterlou (1958. - 1959.) Istodobno, na prethodno dobivenom tlocrtu, sudionici obiljeàvaju mjestoodakle je snimljen pojedini snimak. d) Slijedom snimaka obilazi se Paviljon i upozorava se na stupnje-vanje u odjeljivanju vanjskog i unutarnjeg (poplo~enje, konstruktivni element, stakleni zid, zid od rijetkoslaganih opeka, zid od gu{}e slaganih opeka, o`bu-kani zid). Tako|er se upozorava na transparentnostRietveldovog paviljona koja je postignuta i u Picassovoj slici, i u Brancusijevu kipu, suprotno od tolikogpetljanja Oppenheimove i Rauschenberga, i tolike Wrightove dramatike. Upozorava se jo{ na uloguvremena, na istodobnost unutra-van {to je tako|er analogno Brancusijevom i Picassovom rastezanjumase u okolni prostor samo {to se ovdje vanjsko/unutarnje stvarno proìmaju, a ne samo iluzionisti~ki.

269Animals of C. Oldenburg and M. Ernst helps us toopen the unambiguity of Botticellis painting. h) A detail of Picassos painting is projected. Theparticipants receive a piece of paper, scissors andtry, by folding, twisting, cutting, to get the spacialshapes from Picassos painting. The shapes arerolled up / unrolled. i) The experience of underminingBotticellis unambiguity and the opening of an imagi-nary volume by an illusion of flatness, then by thecontinuity of mass and the experience of permeabili-ty/transparency of Picassos painting are compared.3. a) From the left projector we project a Romansculpture from 2nd Century which representsAntinoe (marble, 180 cm, the Museum in Delphi)and after that The Sleeping Satyr (Faun Barberini)approx. 200 B. C. marble, 215 cm, Glyptothek,Munich - as the greatest contrast of idealism-natu-ralism; divination of man - Hadrians favourite andnaturalisation of divinity/monster - the unrestrainedsatyr (narration); melancholy and relaxation (psychology); closed, smooth and articulated, frag-mented surface (style) b) From the right projectorThe Luncheon in Fur by M. Oppeheim is projected,1936, approx. 10 cm, Museum of Modern Art, NewYork after that: R. Rauschenberg: Monogram, anembalmed he-goat, 1955-59, 160 x 160,5 x 95 cm.Moderne Museet, Stockholm. We talk about the ves-sel as a starting point: a conventional object, ametaphor of everything tender, passive, receptive,and that making the conventional object senselessthe meanings are opened. The defunctionalization isan effective gesture to open all the meanings (oppo-site to Antinoe where the movement is from the par-ticular to the making divine, here the generalbecomes particular.) C. Lvi-Strauss concept ofbricoleur is explained, the one that from a wasteobject defunctionalised and decomposed makesnew functions, new meanings. c) A comparisonbetween the Faun Barberini and the Monogram ismade. Rauschenberg does not represent a he-goatbut uses it. The natural form has its structure and artusually pretends this structure. Rauschenberg startsfrom a ready structure of an animal, but intervenesin the relation between its anatomy and surface/woolopening up the meanings. The he-goat is interpreteddifferently in different cultures - from shamelessness(Antiquity, Christianity) to sacrifice (Agni, the firegod rides on a he-goat, also Thor, the thunderer). All the meanings have been called up. A comparisonfollows: What is common in all the four sculptures isthat: it is very difficult to see them as sculptures. In the first and second cases we try to see the axes,but in the case of the other two an explosion of the universe of meaning is what overhelms. e) From

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univerzalna razina universal level

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HH.. AARRPP:: TTOORRZZOO @@EENNEE//FFEEMMAALLEE TTOORRSSOO,,11995533,, 8800 CCMM,, KKLLNN//CCOOLLOOGGNNEE

KK.. KKAANNTTOOCCII:: @@EENNAA SS TTEERREETTOOMM//AA WWOOMMAANN WWIITTHH AA LLOOAADD,,11996600,, DDRRVVOO//WWOOOODD,, 4466 CCMM,,ZZAAGGRREEBB

DD.. DDEE CCOORRTTOONNAA,,LLEEOONNAARRDDOO::EESSCCAALLIIEERR DDUU LLIISS,,11552266..,,CCHHAAMMBBOORRDD

LLEE CCOORRBBUUSSIIEERR:: VVIILLLLAA SSAAVVOOYY,,11992299..,, PPOOIISSSSYY

MM.. CC.. EESSCCHHEERR:: RREELLAATTIIVVNNOOSSTT//RREELLAATTIIVVIITTYY,,LLIITTOOGGRRAAFFIIJJAA//LLIITTHHOOGGRRAAPPHH,,11995511..

STUBE = uspon, inicijacija, uspe}e STAIRS = ascent, initiation, ascension

dvostrukaspirala

rampa

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KRATKA POVIJEST KIPARSTVA SHORT HISTORY OF SCULPTUREOS = veza neba i zemlje AXIS = the connection between heaven and earth

KRATKA POVIJEST GRADITELJSTVA SHORT HISTORY OF ARCHITECTURE

KRATKA POVIJEST SLIKARSTVA SHORT HISTORY OF PAINTINGGRANICA kao okvir, GRANICA kao obris = STVARANJE SVIJETA BOUNDARY as a frame, BOUNDARY as an outline= CREATING THE WORLD

univerzalna razinauniversal level

PPAARRVVAATTII ((GGOOSSPPAA OODDPPLLAANNIINNEE))//((TTHHEE LLAADDYYOOFF TTHHEE MMOOUUNNTTAAIINN)),,1133.. SSTT..//1133TTHH CC..,, CCHHOOLLAADDIINNAASSTTIIJJAA// DDYYNNAASSTTYY

PPOOBBJJEEDDAA//VVIICCTTOORRYY,, 11.. SSTT..//11TTHH CC..,, BBRROONNCCAA//BBRROONNZZEE,,119955 CCMM,, BBRREESSCCIIAA

SSTTOOLLAACC IIZZ BBAALLUUBBEE//AA CCHHAAIIRR FFRROOMM BBAALLUUBBAA,,DDRRVVOO//WWOOOODD,, 5555 CCMM,, PPAARRIIZZ//PPAARRIISS

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STUBE = prijelaz s jedne na drugu razinu STEPS = transition from one to another level

Century Ravenna; a mural from S. Angelo in Formis11th Century. 2nd set: An illumination from bishopBerwards Gospel, approx. 1000, Hildesheim; amural from Staro Nagori~ino, 14th Century; P. Lorenzetti, a mural in the lower church of S.Francesco in Assisi approx. 1340. While watchingwe talk about what the participants see, whatchanges they notice and how they mark them. 3rdset: the covers of the book from Narbonne, approx.820, ivory, detail; Buvina, the door of the Splitcathedral, 1214, wood, detail; an altar parapet fromNaumburg, approx. 1250, stone, detail. By talkingwe become aware of the relation of the massspace articulation to the frame (in the first one thecurve of the table is not followed by the composi-tion of figures; in the second one we notice a styli-sation; in the third one we notice the characteris-tics of the naturalistic theatre in the composition offigures). 4th set: The examples from this set are inspace and time very close to each other, they weremade in Venice and Florence during the 15th and16th Centuries. A. del Castagno, the fresco in theCenacolo di Santa Apolonia, 1445-50, Florence;Leonardo da Vinci, the fresco in the Cenacolo diSanta Maria delle Grazie, 1495-97, Milan; J. Tinto-retto, 1592-94, oil, in S. Giorgio Maggiore Venice.The activity is the same as in the first and secondset. First the examples are simultaneously shownwholly blurred, after they are slightly sharpenedand then gradually sharpened fully. The participantsmark the main direction they notice in the differ-ences/changes of the light on the prepared frames.5th set: contains one Baroque and two Modernexamples: N. Poussin, 1647, oil, Edinburgh; E. Nolde, 1909, oil, Seebhl; S. Spencer, 1920, oil,Cookham. The procedure is the same. The sensa-tion from the blurred to the sharp and a discussionof the similarities and differences. The conclusionis that the relation to the frame (pattern - whichconcentrates and moves the gaze) in articulation aswell as the ratio of the frame are very similar intheir fundamentals and great differences manifestthemselves only at the end of the articulation.3. A short history of sculpture comes next. Thedrawings of outlines of 5 x 3 sculptures are distrib-uted. Instruction is about that the human figure andthe axis (axis mundi, brahma sutra) are constant, apattern that concentrates and moves thegaze/hands/body of the one who looks, touches,moves around the sculpture and a pattern whichconnects the heaven and the earth. How the mass-es are composed in relation to the axis/axes isarticulated and manifested on the surface, too. Theparticipants receive the outlines of the sculptures

Ispunjava se upitnik/The questionnaire is filledPripremljeni su okviri/formati slika/

The frames/formats of paintings are prepared

Studentica mjeri visinu glave i tijelaprikazanog lika/A student-instructor is measur-ing the height of the head and the body of therepresented figure

Studentica tuma~i omjere figure u Stolcu izBalube/A student is explaining the ratios of thefigure in the chair from Baluba

U d r u g o j radionici namjera je posti}i iskustvo o tome da se bitne odrednice slikarstva (omjerikadra i temeljni na~in razrade bojom), kiparstva (razmje{taj mase i prostora u odnosu na kadar ili os),graditeljstva (istoobli~na razrada temeljnih funkcija) pojavljuju u svim razdobljima i kulturama; ste}iiskustvo o rekonstrukciji slike iz nejasne mrlje (kada su sve slike sli~ne), do krajnje razrade, kada sepojavljuju razlike.

Ambijent: Isti je kao i u prethodnoj radionici. Pripremljeni su kadrovi slika, obrisi kipova, fotokopi-je, scenarij, upitnik, krejoni.

Struktura doga|anja:1. a) Voditelj pita o doma}oj zada}i, koliko su se sudionici, tijekom tjedna, uspjeli baviti filmomPro{le godine u Marienbadu. b) Upozorenje: osim prepu{tanja ~aroliji treba obratiti pozornost nakretanje kamere (planovi), na poloàj kamere (o~i{te), na kretanje svjetlosti i na izmjenjivanje kadro-va (ritam). c) Prikazuje se druga sekvenca filma. d) Dijele se upitnici, zapisuju rije~i, re~enice. e)Dijeli se dio scenarija i jedan still i podsje}a se na zada}u: bavljenje filmom tijekom tjedna.2. Najavljuje se kratka povijest umjetnosti, najprije kao kratka povijest slikarstva. a) Dijele se 4 x 3 nacrtana kadra slika i 3 kadra-reljefa (reljef je djelomi~no plo{ni medij!) i obra}a sepa`nja na omjere kadrova: 1:1, 1:2, 2:3 itd. Najavljuje se da }e se istraìvati odnos prema kadru -razrada kadra rasporedom boja (u slikama), rasporedom mase i prostora (na reljefima). Obja{njava sezadatak: rekonstruirati sliku od sklopa nejasnih mrlja do razrade i u zadane okvire ozna~iti odnose. U1., 2., 4. i 5. setu prvo }e se projicirati po tri slike posve zamu}ene, zatim drugi stupanj o{trine slika -uno{enje primije}enih promjena u pripremljene kadrove. Dalje slijedi postupno izo{travanje do kraja -postupno razra|ivanje pogledom te znakovima u crteù. U slu~aju reljefa (3. set) rekonstrukcija seradi bez zamu}ivanja. Euharistijsko slavlje/Posljednja ve~era tema je svih petnaest djela.1. set: zidna slika iz Kalikstovih katakomba, 3. st., Rim; mozaik iz S. Apollinare Nuovo, 6. st.,Ravenna; zidna slika iz S. Angelo in Formis, 11. st.; 2. set: minijatura iz Evangelijara biskupa Berwarda, oko 1000. godine, Hildesheim; zidna slika izStarog Nagori~ina, 14. st.,; P. Lorenzetti, zidna slika u doljnjoj crkvi S. Francesco u Assisiju, oko 1340.god. Pri gledanju se sa sudionicima vodi razgovor o tome {to vide, koje promjene uo~avaju, kako ihbiljeè.3. set: korice knjige iz Narbonnea, detalj, bjelokost, oko 820. god.; Buvina, vratnice splitske katedrale,detalj, drvo,1214. god.; oltarna pregrada iz Naumburga, detalj, kamen, oko 1250. god. Razgovoromse osvje{tava odnos razrade mase i prostora prema kadru (kod prvog, krivulju stola ne prati razmje{tajlikova; kod drugog se primje}uje stilizacija, a kod tre}eg se primje}uju karakteristike naturalisti~kogteatra u razmje{taju likova).4. set: Primjeri iz ovoga seta su prostorno i vremenski veoma bliski i nastali su u Veneciji i Firenzitijekom 15. i 16. st. A. del Castagno, freska iz blagovaonice samostana Santa Apolonia, Firenza, 1445.-1450. god.; Leonardo da Vinci, freska iz blagovaonice samostana Santa Maria delle Grazie, Milano,1495.-1497. god.; J. Tintoretto, ulje, S. Giorgio Maggiore, Venecija, 1592.-1594. god. I ovoga puta prvo se primjeri istodobno pokazujuposve zamu}eno, nakon toga se neznatno izo{travaju i onda se postupno izo{travaju do kraja. Sudionici,na pripremljene kadrove, biljeè glavna usmjerenja koja primje}uju u razlikama/promjenama svjetlosti.5. set: Ovaj set sadrì jedan barokni i dva moderna primjera: N. Poussin, 1647. god., ulje,Edinburgh; E. Nolde, 1909. god., ulje, Seebhl; S. Spencer, 1920. god., ulje, Cookham. Postupak jeisti: doìvljaj od mutnog do o{trog i razgovor o me|usobnim sli~nostima i razlikama. Zaklju~uje seda su odnos prema kadru (uzorku - onom {to skupi i pokrene pogled) u razradi kao i omjeri samogakadra u temelju vrlo sli~ni i da se velike razlike pokazuju tek pri kraju razrade.3. Slijedi kratka povijest kiparstva. Dijeli se 5 x 3 crteà obrisa kipova. Sudionici se upozoravajuda je konstanta ljudski lik i os (axis mundi, brahma sutra). Os je, uzorak, poput kadra, okuplja ipokre}e pogled/ruke/tijelo onoga koji gleda/dodiruje/obilazi kip, povezuje nebesko i zemaljsko. To,kako se slaù mase u odnosu na os/osi razra|uje se i pokazuje i na oplo{ju. Sudionici dobivaju obris

273In the s e c o n d workshop the intention is togain experience about the fact that the essentialpoints of painting (the ratio of the frame and thefundamental way of articulating it with colour) ofsculpture (the composition of mass and space con-sidering the frame or axis) architecture (uniformarticulation of fundamental functions) appear in allperiods and in all cultures; to gain experience of thereconstruction of a picture from a faint blur (whenall the pictures are similar) till the final articulationwhen the differences appear.

Ambience: As in the former workshop. The materi-als are prepared, the frames of the pictures, theoutlines of sculptures, photocopies, the screenplay,questionnaires, crayons are available.

Structure of the activity1. a) The workshop leader asks about the home-work, how much the participants have succeededreflecting on the film Last Year in Marienbadduring the week. b) Instruction: besides surrender-ing themselves to the magic, they should payattention to how the camera moves (the plans),what the position of the camera is (view point),how the light moves and how the frames alternate(rhythm). c) The second sequence of the film ispresented. d) Questionnaires are distributed, thewords/sentences are written onto them. e) Fragments of the screenplay and stills aredistributed and a remark about the homework,(to reflect on the film during the week).2. A short history of art is announced, first as ashort history of painting; a) drawings of 4 x 3frames of paintings and three of the reliefs (relief ispartly a planar medium) are distributed, and theattention is directed to the ratios of the frames(1:1, 1:2, 2:3 etc.) The relation to the frame isexplored - the articulation of the frame by compos-ing the colours (in the paintings) and by compos-ing mass and space (in the reliefs). The task isexplained: to reconstruct the painting from a set offaint blurs till the final articulation and in the givenframe to mark the relations. In the 1st, 2nd, 4thand 5th set first three painting are projected whollyblurred, then the second degree of sharpness:changes are noticed and drawn into the frames.Gradual sharpening till the end and gradual articu-lating with gaze and signs in the drawing. In thecase of relief (3rd set) the reconstruction is donewithout blurring. The Eucharist / The Last Supper isthe constant subject in all of the fifteen works: 1stset: a mural from Calixtus Catacombs, 3rd CenturyRome; a mosaic from S. Apolinare Nuovo, 6th

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Kratka rasprava/A short discourse

members of the same city, citizens-civis), but toevolve sensibility for all human (culture - nurturing)].4. A short history of architecture - is an explo-ration in relation to a great invention - stairs, withrich connotations: ascension, initiation, assumptionof the soul, - Jacobs ladder. A gradual passingfrom one level to another is a universal inventionfrom the beginning of history. The characteristics -shapes - structures of the staircases are explained.a) First M. C. Eschers lithograph, Relativity, 1953,is shown, which mocks stairs and produces dizzi-ness if we try to feel it. b) Next we present threesets of three staircases each: 1st set: Phaistos, the so called theatre, approx.1500 B. C. Crete; Cistern Dhi Bin 13th CenturyYemen; Michelangelo: Bibliotheca Laurenziana, 1523(the stairs were finished by Ammannati 1560). 2nd set: Palazzo Contarini dal Bovolo, approx.1499, Venice; J. Prandtauer: The staircaise in themonastery of Melk, beginning of 18th Century; I. Nogushi: Toboggan, Venice, Biennale. 3rd set: D. Bramante: The spiral ramp in theVatican, 1503; D. da Cortona and Leonardo (?)Escalier du Lis, The double spiral staircase, 1526,Chambord; Le Corbusier Villa Savoy, The ramp/spi-ral staircase, 1929, Poissy. c) M. C. Eschers litho-graph Staircaise 1951, is projected and the task isto solve what occurs by three reflexions. d) Thetask: What would a double staircase in a plane looklike? (Double staircases are used in big ships toavoid the meeting of servants and guests, S. Planiused it in a family house in Zagreb).

kipova i ucrtavaju os/osi/kompozicijske linije i oznake za razradu povr{ine istodobno dok se s tri pro-jektora projicira pet setova snimaka kipova.1. set: boìca iz Mezopotamije, oko 4. st. pr. Kr., kamen, Louvre, Pariz; Henut-Nakhtu, oko 1300.pr. Kr., drvo, 22 x 12 cm, Egipat; Stolac iz Balube, drvo, 55 cm, Pariz.2. set: Velika boìca Svete planine iz Mari (Sumer), oko 2400. pr. Kr., Damask; Gospa od planine(Parvati), dinastija Chola, 13. st., bronca, 93 cm; Kuan Yin, boìca koja ~uje krikove svijeta, 18. st.,kineski bijeli porculan.3. set: Pobjeda, 1. st., rimska bron~ana statua, 1,95 cm, Brescia; A. Vittoria Sveti Ivan, 1584., bron-ca, San Giovanni e Paolo, Venecija; Gianbologna Astronomija, 1575., bronca, 39 cm, Be~.4. set: Madona biskupa Imeda iz Paderborna, 1051.-1076., drvo; Pavel iz Levo~e Sveta Barbara,1510.-1520., drvo; L. Bernini An|eo, 1666.-1671., mramor, S. Andrea delle Fratte, Rim.5. set: E. Degas Plesa~ica, oko 1911., bronza, 46,8 cm, Tate Gallery, London; H. Arp Torzo ène,1953., kamen, 80 cm, Kln; K. Kantoci @ena s teretom, 1960., drvo, 46 cm, u vlasni{tvu autorice.Tijekom projiciranja snimaka govori se o razlici izme|u svih vremena koja su traìla svoje srodnike upro{losti, njih priznavala, s njima se poistovje}ivala a ostale negirala, i na{eg vremena (modernaosjetljivost) koja afirmira sve na~ine i koja ljepotu ne mjeri standardima samo jednog vremena.Moderna pro{iruje sebe, svoju osjetljivost: ne samo civilizirano tolerirati svoje suvremenike(sugra|ane - civis), nego razviti osjetljivost za sve ljudsko (kultura - njegovanje).4. Slijedi kratka povijest arhitekture. Istraùje se u odnosu na jedan veliki arhitektonski izum -stube. Stupnjevano prije}i s jedne razine na drugu, univerzalni je izum s po~etka povijesnog vremena.Bogate je konotacije: uspon, inicijacija, uspe}e du{e - Jakovljeve ljestve. Tijekom projekcija tuma~e sekarakteristike - oblici - sklopovi stubi{ta. a) Uvodno se pokazuje litografija M.C. Eschera Relativnost,1953., koja se ruga stubama i proizvodi vrtoglavicu ukoliko se poku{amo uìviti u nju. b) Nakon toga se s tri projektora pokazuju tri seta snimaka stubi{ta iz razli~itih vremena i kultura: 1. set: Festos, tzv. Kazali{te, oko 1500. pr. Kr., Kreta; Cisterna Dhi Bin, 13. st., Jemen; MichelangelloBibliotheca Laurenziana, 1523. (stube zavr{ava Ammannati 1560.); 2. set: Palazzo Contarini dal Bovolo, oko 1499., Venecija; J. Prandtauer, stubi{te samostana u Melku,po~etak 18. st.; I. Nogushi Tobogan, Venecijanski bijenale, 1986.; 3. set: D. Bramante, spiralna rampau Vatikanu, 1503.; D. da Cortona i Leonardo (?) Escalier du Lis, dvostruko spiralno stubi{te, 1526.,Chambord; Le Corbusier Villa Savoy, rampa/spiralno stubi{te, 1929., Poissy. c) Projicira se litografijaM.C. Eschera Stubi{te, 1951. i traì se odgonetavanje onoga {to se zbiva s tri zrcaljenja. d) Zadatak: Kako bi izgledalo dvostruko stubi{te u ravnini? (Dvostruko stubi{te se koristi na velikimbrodovima da se posluga i gosti ne bi sreli, S. Plani} ga je koristio u jednoj obiteljskoj ku}i u Zagrebu.)

275and draw the axis/axes/compositional lines andmarkings for an articulation of the surface. Foursets of three sculptures each from different peri-ods/cultures are presented. 1th set: A Goddess from Mesopotamia, approx 4thCentury B. C., stone, Louvre, Paris,; Henut-Nakhtu,approx. 1300 B. C., wood, 22 x 12 cm, Egypt,; achair from Baluba, African, wood, 55 cm, Paris. 2nd set: The Great Goddess of the Holy Mountainfrom Mari (Sumer) approx. 2400 B. C. Damascus;The Goddess of the Mountain (Parvati), 13thCentury, bronze, 93 cm, Chola dynasty; Kuan Yin,Goddess who hears the screems of the world, 18thCentury, Chinese white porcelain. 3rd set: Victory, 1st Century, Roman bronze statue,1.95 cm, Brescia; A. Vittoria: Saint John, 1584,bronze, San Giovanni e Paolo, Venice; Gianbologna:Astronomy, 1575, bronze, 39 cm, Vienna. 4th set: Bishop Imeds Madonna from Pader-born,1051-76, wood; Pavel from Levoa: Saint Barbara,1510-20, wood; L. Bernini: Angel, 1666-71, marble;S. Andrea delle Fratte, Rome. 5th set: E. Degas: Dancer, 1911, bronze, 46,8 cm,Tate Gallery, London; H. Arp: Female Torso, 1953,stone, 80 cm, Cologne; K. Kantoci: A woman with a Load, 1960, wood, 46 cm, theartists collection. We talk about the differences of all the periods whichtried to find their relatives in the past, accepted them,identified themselves with them and negated all therest, and our time (modern sensibility) which con-firms all the modes, which does not measure beautywith the standards of only one time. Modern artexpands itself, its own sensibility: not only to tolerateones own contemporaries in a civilised way [(the

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VV RR II JJ EE MM EEISTODOBNOST

TT II MM EESIMULTANEITY

PROSTOR = VRIJEME SPACE = TIME

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WW.. MMCC KKAAYY:: MMAALLII NNEEMMOO//TTHHEE LLIITTTTLLEE NNEEMMOO,,11991122,, CCOOMMIICC SSTTRRIIPP

iluzija prozirnostiillusion of transparency

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PPEECCHHMMEERRLLEE,,PPAALLEEOOLLIITT//PPAALLEEOOLLIITTHHIICC

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avremenosttime-less-ness

svevremenostall-time-ness-ness

totalna vrtnjatotal rotation

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PP RR OO SS TT OO RRILUZIJA PRAZNINE

SS PP AA CC EEILLUSION OF VOID

vi{e o~i{taseveral viewpoints

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TEMATIZIRA se perspektivaTHEMATISATION of perspective

polagana rotacijaslow rotation

veliki broj o~ita jeSINTETIZIRAN spiralnim oblikom

a large number of viewpoints are SYNTHETISED by a spiral shape

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IZMI^E se kubnom prostoruELUDING to cubic space

Santiago de Compostela, The Creation of Adam,12th Century; El Greco: Vision of St. John, 1610-14,oil, Metropolitan Museum, New York; E. Kirchner:The Red Cocotte, oil, 1914-25, StaatsgalerieStuttgart. The procedure is the same: the studentsmeasure, the participants draw and compute theratios. There is a conclusion about the similarity inneglecting the dimension of the head / elongatedbodies, which again means freedom concerningratios but in an opposite way to the former case,however all they with a view to greater expressive-ness. A talk begins about the discoveries of theModern art, where it has searched for itsrelatives/kinship (Romanesque, Mannerism, Non-European cultures), about which we discuss. c)Projected are: A sculpture, from Gabon, wood, 59cm; a Polynesian one, from the museum in Otterlo;N. Gabo: The Head, 1916, bronze (an enlarged ver-sion 1964). Tate Gallery, London. We talk againabout the similarities: the planar and linear masseswhen convoluted/ twisted organize the space. Weremind ourselves of Picassos painting and the exer-cise in connection with it. What was pressed ontothe plane in the painting and what we wanted toopen working with it in space, that is here, natural-ly, because of the medium, already opened inspace. d) Projected simultaneously are: A. Drer:Drawing of a head, Saxonic Bibliothek, Dresden; P. Picasso: A Woman in an Armchair, 1909, oil, 92 x 73 cm, Museum Pushkin, Moskow; J. Gris: A Tourangeau, 1918, oil, Museum of Modern Art,Paris. An exercise follows: the participants receiveblurred copies of Drers drawing and the task is toopen the closed mass by geometrical figures, eitheropen it in layers as with J. Gris or interrupting theseparatedness from all sides, as in Picasso. It isnecessary to shift/leave out the strong walls of thegeometric figures which close and thus, to open themass into the environment. 4. We begin with another aspect of exploring thespace, as an illusion of the void. a) Si-multaneous-ly three paintings are projected with the subject ofmirror/mirroring: J. van Eyck: Arnolfini and hisSpouse, 1434, oil, detail, National Gallery, London;Parmigianino: Selfpor-trait, 1523-24, oil,Kunsthistorisches Museum, Vienna; P. Picasso: A Woman in Armchair, 1932, oil, Tate GalleryLondon. We speak about the role of a mirror inwidening the space (forward and backward), aboutwidening the space in the sense of different possi-bilities (deformation) and about the possibility ofsimultaneity en face/profile. Searching for simul-taneity but in different ways is present in all threeexamples. b) An exploration of space constructionsfollows. We present: Usturgum (Esztergom) an illu-mination from Sulejmanam, 1608, water-colour, 10x 16 cm, Topkapu museum, Istanbul; J. Pontormo:Visitation 1528-29, oil, Carmignano; P. Klee:Uncomposed Objects in Space, 1929, water-colourand pen, private collection. The participants individ-ually explore how, in the first painting, a large num-ber of viewpoints are synthetized by a spiral andhow, in two different ways, they elude the synthe-sis of cubic space (Pontormo, Klee). The partici-pants draw onto the photocopies. They receive aleaflet with the eye levels and perspectives and acorrection of Klees drawing. c) Three examples:P. Veroneses Annunciation from S. Giovanni ePaolo, 1568, oil, Venice; M. C. Escher: AnotherWorld II, 1947, woodcut; P. Klee: Perspective of aroom with occupants, 1921, water colour and oil,Foundation P. Klee, Bern are projected. The role ofthe viewpoint in painting is explored: from the lower

Namjera u t r e } o j radionici je upoznati djela pro{losti koja su i u svojim krajnjim razra|enimrazinama sli~na modernim; razvijati moderni pogled na pro{lost, da bi se osvijestile sli~nosti u od-nosu na konstrukciju prostora (omjeri, sklonost plo{no i linijski istanjenim masama, iluzija praznine -uloga zrcala, prostorne konstrukcije - vi{e o~i{ta, vi{e mreà, slika ulazi u prostor) i u odnosu na kon-strukciju vremena (istodobnost, transparentnost, avremenost - svevremenost); upoznati otkri}aModerne (rubni svjetovi, manirizam, romanika, apovijesne kulture, dje~ji crte`) koja omogu}ujunaivu, postmodernu, slikarstvo domi{ljanja spontanog impulsa.

Ambijent: Isti je kao i obi~no. Pripremljeni su crteì obrisa likova, blijede kopije, listi}i s crteìmao~i{ta i perspektive, fotokopije djela, papiri, krejoni, scenarij, upitnik.

Struktura doga|anja1. a) Radionica zapo~inje pitanjem/upozorenjem: rade li/da rade doma}e zada}e. b) Upozorova sena odnos slike i teksta u tre}oj sekvenci filma Pro{le godine u Marienbadu (tri su lika: X, A i M). [to~ujemo da govori X i {to istodobno vidimo? c) Prikazuje se sljede}a sekvenca (oko 10) filma. d) Dijeli se upitnik u kojega sudionici upisuju rije~i. e) Dijeli se sljede}i dio scenarija.2. Sudionici se prisje}aju odnosa povijesnih i modernih djela vi|enih u prve dvije radionice. Razgovor sevodi u smjeru osvje{tavanja kako su, podrivanjem povijesnih djela, moderna djela smanjila kontrastizme|u djela pro{losti i sada{njosti te kako, bilo naturalizam bilo idealizam dotjerani do kraja, rezultirajuRauschenbergovim pop-artom odnosno Brancusijevom apstrakcijom. Iskustvo pro{le radionice bilo je dasu mjere mrlja i mjere okvira djela iz razli~itih razdoblja sli~ne i da tek razradom dolazi do znatnihpromjena. Upozorava se da su oba iskustva vrlo dragocjena u razvijanju moderne osjetljivosti.3. Najavljuje se tema ove radionice - upoznavanje djela pro{losti koja su u svojimizo{trenim/krajnjim/razra|enim razinama sli~na modernim. Moderna, kao i druga razdoblja, pronalazisvoje srodnike (njima se bavimo u ovoj radionici), ali se upozorava da se od svih drugih razdoblja razlikuje po tome {to na univerzalnoj razini nalazi sli~nosti sa svima (tema dva prethodna sastanka).Komparacije se prvo koncentriraju na odnos prema prostoru. a) Zapo~inje se s istraìvanjem omjeralikova kod figurativnih djela, dakle jednim aspektom prostora. Istodobno se projiciraju: romani~ki reljef iz Autuna, 12. st.; kip Muisca, 13. st., Kolumbija; drvorez K. Smidt-Rottluffa Put u Emaus,1918. god. Sudionici dobivaju nacrtane konture likova. Na projiciranim reprodukcijama studenti-instruktori mjere visine likova/glava (u cm). Sudionici ucrtavaju u obrise i izra~unavaju omjere.Pozornost se usmjerava na projicirane reprodukcije i upozorava na sli~nost u nagla{avanju veli~ineglava i zanemarivanju duljine tijela - na slobodu u omjerima, bez obzira na vrijeme/kulture. b) Projiciraju se istodobno: reljef iz katedrale u Santiago de Compostela Stvaranje Adama, 12. st.; El Greco Vizija Sv. Ivana, 1610.-1614., ulje, Metropolitan Museum, New York; E. Kirchner Crvenaka}iperka, 1914.-1925., ulje, Staatsgalerie, Stuttgart. Postupak je isti: studenti mjere, sudionici ucrtavaju, izra~unavaju omjere. Ustanovljuje se da u sva tri primjera postoji sli~nost u slobodi omjera,ali na suprotan na~in nego u prethodnom slu~aju, sada u zanemarivanju veli~ine glave i nagla{avanjuduljine tijela, a jednako u svrhu ve}e izraàjnosti (ekspresivnosti). Zapo~inje razgovor o tome {to je sveotkrila Moderna, gdje je sve traìla svoje srodnike (romanika, manirizam, te izvaneuropske kulture) o~emu }e sada biti rije~i. c) Projiciraju se: kip iz Gabona, drvo, 59 cm; polinezijski kip iz muzeja uOtterlou, drvo; N. Gabo Glava, 1916. (pove}ana verzija 1964.), bronca, Tate Gallery, London.Razgovor se opet vodi o sli~nostima: plo{no i linijski istanjene mase koje, savijaju}i se, organizirajuprostor. Podsje}a se na Picassovu sliku i na vje`bu u vezi s njom. To, {to je na slici bilo pritisnuto na plohu, i {to se vje`bom otvaralo u prostor, to je ovdje, naravno zbog medija, ve} otvoreno u prostoru. d) Istodobno se projiciraju: A. Drer Crte` glave, Saksonska zemaljska biblioteka, Drezden;P. Picasso @ena u naslonja~u, 1909., ulje, 92 x 73 cm, Muzej Pu{kin, Moskva; J. Gris ôvjek izToursa, 1918., ulje., Muzej moderne umjetnosti, Pariz. Sudionici dobivaju blijede kopije Drerovacrteà i traì se da poku{aju otvoriti geometrijskim likovima zatvorenu masu. Bilo da se radi, poput J. Grisa, o otvaranju u slojevima, bilo o prekidanju odijeljenosti sa svih strana, poput Picassa, potrebnoje pomaknuti/izostaviti ~vrste zidove geometrijskih likova koji zatvaraju, i tako otvoriti masu u okolniprostor. 4. Zapo~inje drugi aspekt istraìvanja prostora kao iluzije praznine. a) Istodobno se projiciraju tri slike stemom zrcala/zrcaljenja: J. Van Eyck Arnolfini i njegova èna, detalj, 1434., ulje, National Gallery,London; Parmigianino Autoportret, 1523.-1524., ulje, Kunsthistorisches Museum, Be~; P. Picasso @enau naslonja~u, 1932., ulje, Tate Gallery, London. Govori se o ulozi zrcala u pro{irivanju prostora (napri-jed-natrag), o pro{irivanju prostora u smislu njegovih razli~itih mogu}nosti (deformacija) i o mogu}nostiistodobnosti (sprijeda/profil). U sva se tri primjera traga za istodobno{}u, ali na druga~iji na~in. b) Slijedi istraìvanje konstrukcije prostora u slici. Projiciraju se: Usturgum (Esztergom), minijatura izSulejmanama, 1608., 10 x 16 cm, Topkapu muzej, Istanbul; J. Pontormo Vizitacija, 1528.-1529.Carmignano; P. Klee Nekomponirani objekti u prostoru, 1929., akvarel i pero, privatna zbirka.Sudionici individualo istraùju kako se u prvoj slici kombinacija velikog broja o~i{ta sintetizira spiralnimoblikom {irenja i kako se na dva razli~ita na~ina izmi~e sintezi kubnog prostora (Pontormo, Klee). Crtase po fotokopijama. Dobiva se pomo}ni listi} s crteìma o~i{ta i perspektive i ispravak Kleeova crteà.c) Projiciraju se tri primjera: P. Veronese Navje{tenje iz S. Giovanni e Paolo, 1568., ulje, Venecija; M.C. Escher Drugi svijet II., 1947., drvorez; P. Klee Soba sa stanarima, 1921., akvarel i ulje, Zaklada P. Klee, Bern. Istraùje se uloga o~i{ta u slici. Razgovor se vodi o vrlo naro~itim o~i{tima: odozdo(Veronese); simultano iz razli~itih poloàja (Escher); polagana rotacija kao u nekom besteìnskom stanju (Klee). Na Kleeovoj se slici tematizira perspektiva koja nije u slu`bi kubnog prostora (vi{e o~i{ta,ali ipak postoji sredi{te iz kojega se sugerira vrtnja). Vje`ba: izvla~enje svih linija na pausu.

279The intention of the t h i r d workshop is to getto know the artworks of the past which in their fin-ished articulated levels are similar to modern ones;to evolve a modern view of the past, to becomeaware of the similarities considering the construc-tion of space (ratios, inclination towards linear andplanar masses, illusion of the void: the role of themirror, space constructions: several levels, severalnetworks, the painting enters the space) and theconstruction of time (simultaneity, transparency,time-less-ness - all-time-ness-ness); to introducethe discoveries of the Modern art (edge - worlds,Mannerism, Romanesque, ahistoric cultures, chil-drens drawings) which make the naive, the post-modernism, the painting of reflection of sponta-neous impulses possible.

Ambience: As usual. The prepared materials are:outlines of figures, blurred copies, a leaflet with eyelevels and different perspectives, photocopies ofartworks, paper, crayons, the screen play, question-naire.

Structure of the activity1. a) Question/instruction: do they do homework?b) An introduction to the relation of the image andthe text in the third sequence of Marienbad. Whatdo we hear when X speaks and what do we simul-taneously see? (three figures: X, A, M). c) The nextsequence of the film is presented (about 10 min-utes). d) The questionnaires are distributed andwords are written onto them. e) The next part of thescreenplay is distributed.2. We remind the participants of the artworks, his-torical or modern, in the first and second work-shops. Our talk is directed to becoming aware ofhow, by undermining historical artworks modernartworks have lessened the contrast between thepast and contemporary ones and that either natu-ralism or idealism when brought to the end, resulteither in Rauschenbergs pop-art or in Brancusisabstraction. The experience of the former work-shop is that the measures of spots and framesfrom different periods are similar and only througharticulation we get some great changes. Weemphasize that both experiences are very preciousin evolving modern sensibility.3. The theme of this workshop is announced - to getto know the artworks of the past which in theirsharpened/definite/articulated levels are similar tomodern ones. Modern art, as well as the other peri-ods, finds its relatives (we are occupied with themin this workshop), but a warning is given, the differ-ence from all the other periods is that on the univer-sal level the Modern artworks find similarities with allartworks (the topic of the former two workshops).The comparisons are concentrated first on the rela-tion to space. a) We begin with exploring the ratiosof figures in figurative artworks, which means withone aspect of space. Simultaneously projected are:A Romanesque relief from Autun, 12th Century; theMuisca sculpture 13th Century, from Columbia; a woodcut by K. Smidt-Rottluff The Way toEmmaus, 1918. The participants receive a drawingof the outlines of the figures. The students-instruc-tors measure the height of the figures/heads (in cm)in the projected reproductions. The participants drawonto the outlines and compute the ratios. Attentionis directed to the projected reproductions andinstructions are given about the similarity in accen-tuating the heads - about the freedom in ratios inde-pendent of time/culture. b) Simultaneously projectedare: A Romanesque relief from the cathedral of

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Istraùje se Kleeova prostornakonstrukcija/Klees spatial construction isexplored

Istraùje se Kleeova prostorna konstrukcija,studenti pomaù/Klees spatial construction isexplored, students-instructors are helping

Crte` izveden u mraku/A drawing done indarkness

Voditelj tuma~i Picassovu sliku/The workshopleader is explaining Picassos painting

Voditelj tuma~i Picassovu sliku/The workshop leader is explaining Picassospainting

Voditelj zadaje zadatak u vezi Drerovogcrteà/The workshop leader is putting the taskin connection with Drers drawing

Sudionici rade na zadatku/The participantswork on the task

7. One more way of achieving simultaneity - trans-parency is explored. a) Exercise: in total darknessthe participants are invited to draw a line on a pre-pared piece of paper with crayon, to rotate it, oreven better to allow to line to be in a free relation toits earlier phases. b) The light is switched on and the blind drawingsare compared with the projected ones from thecave in Pechmerle, paleolithic; with Klees draw-ings: Luxuriant countryside, 1931, The Winged,1931, and Klees black-white water-colours:Unravelling Ball of Wool 1932, Below and Above1932, and V. Kandinskys Improvisation 26, 1912oil. Instructions are given about the illusion of trans-parency, time-less-ness, of the prehistoric drawingand the all-time-ness of Klees. In connection withKandinskys picture brief instructions are givenabout the totally free space merging with time -there is no fixed point, if we want to enter a totalrotation is necessary up-down, left-right, forward-backward. c) To make the participants aware of thepossibility of transparency starting with some tangi-ble material (glass) to the illusion of a glass objector a water surface, we show a photograph of VillaSavoy, detail of M. Grnewalds Isenheim altarpieceand M. Caravaggios Narcissus.8. Finally instructions are given about what Modernart discovered in the past: a) edge-worlds in the-matic sense: monsters (Mermaid, the base of aRomanesque column from Arles; H. Bosch: Thegarden of Delights, the Alkemian Wedding, detailapprox. 1500, oil, Prado, Madrid; M. Ernst: Celebes,1921, oil, Tate Gallery, London), b) the ahistoricrural art (A Door from Poljani}, 19th Century) whichmade possible c) Nave art (H. Rousseau:Yadwigas Dream, detail, 1910, oil), d) the post-modern mutilation of what cannot be resisted (ElGreco: Espolio, 1579, oil, National Gallery London -F. Knigh: Espolio, version 14, 1988), e) childrensdrawings and the painting of reflection of the spon-taneous impulses (E. Nolde: The Dancers under aGreat Flower, detail, 1938-1945, water-colour,Seebll).9. Each time when our gaze finds some nonfigurativebut functional structure in the past (Navigation chartfrom Marshall Islands, out of cane, stones, shells;Quipu, the knot script of the Indians from Peru;Swing from Hagia Triada, Crete, 15th Century B. C.)influenced by Modern art (P. Mondrian, A. Calder, J.Tinguely) defunctionalises it. Talk during projections.

5. Na temelju ste~enih iskustava gledaju se snimci dvaju kasnih djela za nastajanje kojih je bilapotrebna svijest o cjelokupnoj povijesti umjetnosti. a) Pokazuju se dvije slike E. Vedove - dvijeplo{no istanjene mase kru`nog oblika, oslikane s obje strane, koje se me|usobno odnose u prostoru.Upozorava se na inverziju. U svim ranijim primjerima prostor je ulazio u sliku, sada slika ulazi uprostor. b) Projicira se jo{ i V. Vasarely Zakrivljeni prostor 1959.-1962., ulje, Basel. Podsje}a se na is-traìvanje mreè u ranijim radionicama. Ovdje se ne mijenja oblik u mreì nego mreà = oblik, obliknije drugo nego deformacija mreè. Svjesno naslikati ovakvo jedinstvo zna~i pokazati da postoji samomreà.6. Iako su sva ova istraìvanja, na neki na~in, ve} u sebi sadràvala i odnos prema vremenu, unarednim se primjerima pozornost usmjerava isklju~ivo na vrijeme. a) Istodobno se projiciraju: Maternica s ljudskim fetusom, 400. god., kamen, Cuzco; M. Chagall: Materinstvo, 1913, ulje, 194 x 115 cm, Staedelijk Museum, Amsterdam; trimo izSouillaca, 12. st. Osvje{tava se istodobnost pogleda unutra-van, gore-dolje. b) Istraùje se Kleeova slika Ad marginam, 1930., lakirani akvarel, 46 x 36 cm, Muzej moderneumjetnosti, Basel. Prvo se gledaju detalji, pronalaze se na cjelini i onda se postavlja zagonetka: kakoslika treba stajati od ~etiri mogu}e pozicije. Razgovor se vodi o razlici o~i{ta predmeta i o~i{ta slike.c) Istraìvanje vremena se nastavlja usporedbom Sassettine slike Zaruke Sv. Franje, 1437.-1444. istripa W. Mc Kaya Mali Nemo, 1912. god. Sassetta istodobno prikazuje likove koji su vremenski prijei poslije, dok Mc Kay istodobno san i javu, dakle dva vremena i dva stanja. Sassetta postavlja likoveiz dva vremena jedne pored/iznad drugih u isti pejsa`, Mc Kay prikazuje dva stanja jedno u drugom(u okviru prikaza sna je i okvir prikaza spava~a).7. Nastavlja se s istraìvanjem jo{ jednog na~ina postizanja istodobnosti a to je prozirnost. a) Vje`ba:u potpunom mraku sudionici su pozvani da po prire|enom papiru krejonom vuku liniju, odnosno daje vrte, odnosno da dozvole da se linija slobodno odnosi prema svojim ranijim fazama. b) Pale sesvjetla te se slijepi crteì uspore|uju s projekcijama crteà sa stijene u {pilji u Pechmerleu, paleolit;Kleeovih crteà Bogata zemlja, 1931., Krilati, 1931., te Kleeovih crno-bijelih akvarela Odmotavanjeklupka vune, 1932. i Ispod-iznad, 1932., te Kandinskijeve slike Improvizacija 26, 1912., ulje.Upu}uje se na iluziju o prozirnosti, na avremenost paleolitskog crteà i svevremenost Kleeovog. U vezi Kandinskijeve slike upu}uje se, na trenutak, na posve slobodan prostor koji se stapa s vre-menom - nema nijednog upori{ta, ako se ho}e u}i potrebna je totalna vrtnja gore-dolje, lijevo-desno,naprijed-nazad. c) Da bi se osvijestila mogu}nost prozirnosti od konkretnog materijala (staklo) doiluzije staklenog predmeta ili vodene povr{ine pokazuje se fotografija Le Corbusierove Ville Savoy,detalj s Isenheimskog oltara M. Grnewalda i Caravaggiov Narcis.8. Na kraju se jo{ upu}uje na to {to je jo{ moderna otkrila u pro{losti: a) rubne svjetove u tematskomsmislu: ~udovi{ta (Sirena, baza romani~kog stupa iz Arlesa; H. Bosch Vrt uìtaka, Alkemijska ènid-ba, detalj, oko 1500., ulje, Prado, Madrid; M. Ernst Celebes, 1921., ulje, Tate Gallery, London), b) seosku apovijesnu umjetnost (Vrata iz Poljani}a, 19. st.) koja je omogu}ila c) naivu (H. Rousseau:Jadvigin san, detalj, 1910., ulje), d) postmoderno obesmi{ljavanje toga ~emu se ne moè odoljeti (El Greco: Espolio, 1579., ulje,National Gallery, London; F. Knigh: Espolio, verzija 14, 1988.), e) dje~ji crte` i slikarsko domi{lja-vanje spontanog impulsa (E. Nolde: Plesa~i ispod velikog cvijeta, detalj, 1938.-1945., akvarel,Seebll).9. Svaki puta kada na{ pogled nai|e u pro{losti na nefigurativne ali funkcionalne sklopove(Navigaciona karta s Mar{alskih otoka, trska, kamen~i}i, {koljke; Kipu, ~vorno pismo peruanskihIndijanaca; Njihaljka iz Hagia Triade, Kreta, 15. st. pr. Kr.) pod utjecajem moderne (P. Mondrian, A. Calder, J. Tinguely), defunkcionalizira ih. Govori se uz projekcije.

281level (Veronese); simultaneously from differentpositions (Escher); a slow rotation as in a weight-less state (Klee). In Klees painting the perspectiveis thematised, which does not serve to establish acubic space (several viewpoints, but there is still acentre from which rotation is suggested). The exer-cise: drawing all the lines onto tracing paper. 5. On the basis of experiences we look at two latework creating for which the awareness of the wholehistory of art was necessary. a) Two paintings byE. Vedova are presented - two planar masses circu-lar shaped, painted on both sides in an interactionwith space. We point out the inversion. In all the for-mer examples the space entered the pictures, nowthe picture enters the space. b) V. Vasarelys CurvedSpace 1959-62, oil, Basle is projected. We remindthe participants of the exploration of the network inthe former workshops. Here the shape is notchanged in the network but the network = shape,the shape is the networks deformation. Consciouslypainting such a unity means demonstrating that onlythe network exists.6. In spite of the fact that all these explorationsincluded exploration of time too, in the next exam-ples attention is directed exclusively at time. a)Projected simultaneously are: Womb with HumanFetus, 400, stone, Cuzco; M. Chagall: Maternity,1913, oil, 194 x 115 cm, Staedelijk MuseumAmsterdam; Door mullion from Souillac, 12thCentury. The participants become aware of thesimultaneity of the gaze inside-outside, up-down.b) Exploration of P. Klees painting Ad marginam,1930, water-colour lacquered 46 x 36 cm,Museum of Modern Art, Basle. First we look at thedetails, then we find them in the whole of thepainting and then a puzzle is put: how to place thepainting choosing between four possible positions.We talk about the difference between the viewpointof the object and the viewpoint of the painting. c) The exploration of time is continued with acomparison of Sassettas Saint FrancisEngagement, 1437-44 Chantilly and W. Mc Kayscomic strip The Little Nemo, 1912. Sassetta repre-sents the figures which are earlier in time andthose which are later simultaneous, Mc Kaysdream and the waking state simultaneous, whichmeans two times and two states. Sassetta placesthe figures from the two times beside each other /above each other in the same landscape, Mc Kayrepresents two states one in the other (in theframe of the dream representation is the framewhich represents the sleeper/dreamer).

280





283



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QQ UU EE SS TT II OO NN EE DD // UU NN QQ UU EE SS TT II OO NN EE DDHH II SS TT OO RR II CC AA LL TT II MM EE

"jedan potez, podrijetlo postojanja"(Tao î)

"one stroke, the origin of existence"(Tao Chi)

mrlja TIEN dot

linija I-HUA line

^ÛU TTAA//CCHHUU TTAA:: DDVVIIJJEE PPTTIICCEE//TTWWOO BBIIRRDDSS,, OOKKOO//AAPPPPRROOXX.. 11669900..,,KKIISSTT//BBRRUUSSHH,, 2266 XX 3322 CCMM,, OOIISSOO

RREEMMBBRRAANNDDTT:: VVRRBBAA//VVIILLLLOOWW,, 11664488..,, PPEERROO//PPEENN,,TTOORRIINNOO

tok energije u stijenamaenergy flow in rocks

tok energije u ruci energy flow in the hand

TTAAOO ^ÎI//TTAAOO CCHHII:: ^ÔOVVJJEEKK UU KKUU]]II IISSPPOODD SSTTIIJJEENNEE//,, TTHHEE MMAANN IINN TTHHEE HHOOUUSSEEBBEENNEEAATTHH AA CCLLIIFFFF,,OOKKOO//AAPPPPRROOXX.. 11669900..,, KKIISSTT//BBRRUUSSHH,, 2277,,88 XX 2244 CCMM ,,NN WWAAII CCHHAAII

CC.. LLOORRRRAAIINN:: TTIIBBEERR UU OOKKOOLLIICCII RRIIMMAA//TTHHEE RRIIVVEERR TTIIBBEERRIISS NNEEAARRBBYY RROOMMEE,, 11664455..,, AAKKVVAARREELL//WWAATTEERR--CCOOLLOOUURR,, 2266 XX 1188 CCMM

de vlekde lijn

la tachela ligne

= Î/CHI =

282



DD VV OO JJ NN OO SS TT II JJ EE DD II NN SS TT VV OO DD UU AA LL II TT YY AA NN DD UU NN II TT YY

TEMATIZACIJA DVOJNOSTITHEMATISATION OF DUALITY

TEMATIZACIJA JEDINSTVATHEMATISATION OF UNITY

AKO SI VATRA ONA TE NE OPEÊIF YOU ARE FIRE IT WON'T BURN YOU

(Meister Eckhardt)

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O~ekuje se da pla~em, umro je moj voljeni sin, a sve je bilo napisanoExpected to cry, my beloved son is dead, but everything was written

apstrakcijaabstraction

AKO SE DOSEGNE MAJKA, UPOZNAJU SE DJECA (Lao Ce)HAVING KNOWN THE MOTHER WE MAY PROCEED TO KNOW HER CHILDREN

(Lao Tzu)

o~ekuje se radost, a sve je ìvotinjsko mesojoy is expected but everything is only animal meat

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USPOSTAVLJANJE JEDINSTVA ESTABLISHING UNITY

iz apstraktnog, univerzalnog izranja nagovje{taj partikularnogfrom the abstract, universal arises the suggesion of particularity

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pojednostavljenjereduction

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AKO SE POZNAJU DJECA, VRA]A SE MAJCIHAVING KNOWN THE CHILDREN, WE SHOULD GO

BACK AND HOLD ON TO THE MOTHER

script which represents the process of projectiveevolution of the Universe, West India, approx. 1700.(Brihadaranyaka Upanishad: He made this self ofhis into two male, white, subject, aham, Shivaopposed to female, red, object, idam, Shakti). M.Rothko: Orange, Red, Yellow, 1956, oil, is presentedThe painting is the division of the frame by bands ofcolour. e) Exercise: to perform a drawing sign of thefruit tree (the tree of growth and decay). The Greekletter K (kappa) is an abstraction of that process. A comparison is made between the depictions of atree from the Commentaries of Apocalypse byBeatus de Liebana, 10th Century, Gerona; T.Csontvry: The Great Cedar, 1907, oil, and P. Klee:The Tree with Houses, 1918, water-colour,. We rec-ognize the procedure of reduction/abstraction/trans-formation. 2. The experience of reduction and abstractiontakes us further and we notice how these proce-dures are thematized in the past and in Modern art.a) A rural Pieta, wooden sculpture from astin(18/19th Century, 45 cm, Trnava) and S. Spencer:The Leg of Mutton Nude, 1937, oil, 91,5 x 93,5 cm,London. The first subject belongs to the historicalart from Gothic to Baroque (God who suffers).The procedure of reduction takes place. The 52ndstanza of Lao Tzu's Tao te King is quoted: Havingknown the Mother, / we may proceed to know herchildren. / Having known the children, / we shouldgo back and hold on to the Mother. Before us issomething that directs us towards this last one. Tostart from the visible, to make something visible,but to feel the difference towards the invisibleimpulse which creates it. The duality is thematisedthe cunning Virgin or, in the contents: I amexpected to cry, my beloved son is dead but every-thing was written - a closed circle. In the case ofSpencer's painting Modern art will show a sensibili-ty for marginal artworks with reduction, becauseabstraction seems unbearable. A detachment fromthe visible, and then painting the visible. The con-tents: Joy is expected but everything is only animalmeat - also closed circle. c) The Romanesquerelief from Chadenac, 12th Century, is first project-ed. Between the open mouth and the tail of themonster there is represented a man: peaceful, with-out suffering or fear. The Anastenaria dancers andMeister Eckhardt are quoted: if you are fire then itwont burn you and Chuang Tzes story: from theearly years I learn how to be water. If we are abeast then the beasts teeth do not tear us, if themind space (akasha), the Tao, the Mother isreached then it is possible to be any particularity; d) C. Brancusi's The Sleepy Muse, 1909-26 plaster,16,5 x 30,5 cm, Paris is shown form the central

U ~ e t v r t o j radionici namjera je ste}i iskustvo o dva postupka, o pojednostavlje-nju i oapstrakciji odnosno o dvojnosti i jedinstvu, {to je u biti svakog umjetni~kog djela, i o njihovoj temati-zaciji u pro{losti i u Modernoj; ste}i iskustvo o suptilnoj granici/prijelazu iz univerzalnije na povr{nijurazinu (relativnost i nerelativnost povijesnog/stilskog).

Ambijent: Isti je kao obi~no. Prire|ene su fotokopije, papir, tu{, kistovi.

Struktura doga|anjaStruktura doga|anja pone{to se razlikuje od prethodnih radionica. Gledanje filma je ovoga puta usredini, a njemu prethode projekcije i vje`be.1. a) Projcira se snimak detalja egipatskog plitkog reljefa s hijeroglifima. Zadatak je da se poku{apojednostavniti prikaz Sove (Mu) tako da nam je kraj/rezultat pojednostavljenja povijesno znanohijeratsko egipatsko/feni~ko/gr~ko slovo M. Upu}uje se da je to postupak prisvajanja/fragmentarizaci-je. b) Zadaje se druga vje`ba: u crta~kom mediju (medij {iljastog sredstva na plohi)apstrahirati/izlu~iti ono bitno nebeskog svoda, nakon toga podijeliti na dva dijela i okrenuti. Dobivase gr~ko slovo (epsilon). Prema koptskim tekstovima iz 5. st. gr~ka su slova simboli stvaranja.Projicira se prva/zadnja stranica sarajevske Hagade (hebr. Pri~a), obredne knjige za pashalnu ve~eru,14. st, [panjolska. Sada je iskustvo apstrakcije potrebno primijeniti na gledanje prikaza stvaranja(doslovce okrenuti epsilon). c) Projiciraju se po jedan Kleeov (Razdioba ve~eri) i Piceljev (Varijacija 4)crte`. Na Kleeovom crteù primje}uje se stupnjevanje sivoga sa znakovima usmjeravanja. KodPiceljeva crteà je svaka linija o~itovano stvaranje jer razdjeljuje, a akumulacija linija daje iluzijuodsutnosti svjetlosti, dvije plohe pak generiraju liniju - raspuklinu koja iluzionira trag niti. d) Vje`ba:povu}i linijske znakove dvaju paralelnih tokova i onda podijeliti na gore i dolje. Dobiva se gr~ko slovoH (eta), znak razdiobe gornjih i doljnjih voda. Projicira se detalj s Michel-angelova svoda Sikstinskekapele. Najve}i kontrast - razdioba voda - prikazuje se u tematskom ruhu kao ~in ~ovjekolikog Boga.Dva lista, izvedena u gva{u, 10 x 5 cm, iz rukopisa koji prikazuje proces projektivne evolucije uni-verzuma, zapadna Indija, oko 1700. god. (Brihadaranyaka upani{ad: On je razdijelio svoje sebstvou dvoje, mu{ko/ bijelo/subjekt/aham/[iva naspram ènsko/crveno/objekt/idam/[akti). Projicira se M. Rothko Naran~asto, crveno, ùto, 1956., ulje. Slika nije nego podjela kadra pojasevima boja. e) Slijedi vje`ba: izvesti crta~ki znak za vo}ku (stablo rasta i opadanja). Gr~ko slovo K (kappa) jeapstrakcija tog procesa. Uspore|uju se prikazi stabla iz Komentara Apokalipse Beatusa iz Liebane,10. st., Gerona, T. Csontvry Veliki cedar, 1907., ulje i P. Klee Stablo s ku}ama, 1918., akvarel.Susre}emo postupak pojednostavljenja/apstrakcije/transformacije.2. Iskustvo pojednostavljenja i apstrakcije vodi dalje i uo~ava se kako se ti postupci tematiziraju uumjetnosti pro{losti i u modernoj umjetnosti. a) Na lijevom projektoru projiciraju se za redom SeoskaPieta, drveni kip iz [astina, 18.-19. st., drvo, 45 cm, Trnava i S. Spencer Noga ov~jeg akta, 1937.,ulje, 91,5 x 93,5 cm, London. Prva tema pripada povijesnoj umjetnosti od gotike do baroka (Bog-patnik). Primijenjen je postupak pojednostavljenja. Citira se 52 pjesma Lao Ceovog Tao te Kinga:Ako se dosegne majka upoznaju se djeca, ako se poznaju djeca onda se vra}a majci. Pred nama jene{to {to upu}uje prema ovom drugom. Krenuti od vidljivog, napraviti ne{to vidljivo, ali osjetiti raz-liku prema nevidljivom impulsu koji zapravo kreira. Tematizira se dvojnost lukava Bogorodica ilisadràjno: o~ekuje se da pla~em, umro je moj voljeni sin, a sve je bilo napisano - zatvoreni krug. U slu~aju Spencerove slike Moderna }e pokazati osjetljivost za marginalna djela s pojednostavljenjem,jer se u apstrakciji ne moè izdràti. Isto odmaknu}e od vidljivog uz slikanje vidljivog, sadràjno:o~ekuje se radost, a sve je ìvotinjsko meso - tako|er zatvoreni krug. c) Sa srednjeg projektora prvose projicira romani~ki reljef iz Chadenaca, 12. st. Izme|u otvorenih usta i repa nemani prikazan je~ovjek, miran, bez patnje i straha. Citiraju se Anastenarija plesa~i (gr~ki plesa~i koji prolaze krozvatru), Meister Eckhardt: Ako si vatra onda te ona ne ope~e i ûang-Ceova pri~a: Ve} se od ranemladosti u~im kako da budem voda. Ako smo zvijer onda nas ne razdiru zvjerinji zubi, ako sedosegne prostor uma (aka{a), Tao, Majka, onda se moè biti bilo koja partikularnost. d) Potom se sasrednjeg projektora pokazuje snimak Brancusijeve Zaspale muze, 1909.-1926., gips, 16,5 x 30,5 cm,Pariz. Ukazuje se na to kako iz apstraktnog univerzalnog oblika izranja nagovje{taj partikularnog.

285The intention in the f o u r t h workshop is togain experience about two procedures, about reduc-tion and about abstraction and it means about theduality and unity which are the essence of everyartwork about their thematisation in the past andestablishment in Modern art; gaining experienceabout the subtle boundary/transition from a univer-sal to a more superficial level (the relativity andnon-relativity of the historical/stylistic.)

Ambience: As usual. Prepared photocopied details,paper, Indian ink, brushes are available.

Structure of the activityThe structure of the activity is somewhat dif-ferent from the ones in the former workshops. Thepresentation of the film sequence comes in the mid-dle of the session and projections and exercises areat the beginning.1. a) A projection of a detail of an Egyptian low reliefwith hyerogliphs is shown. The task is to try to sim-plify the representation of an Owl (Mu) so that theend/result of that procedure is historically known tous, it is the hyeratic Egyptian/Phoenician/Greek letterM. Instructions are given that this procedure is a pro-cedure of appropriation/fragmentarisation. b) Thesecond task is given: in the drawing medium (themedium of a pointed device on a plane) toabstract/extract the essential of the firmament (vaultof Heaven), then, to divide it into two and turn it. Weget the Greek letter epsilon (). According to someCoptic texts of 5th Century Greek letters are symbolsof creation. We project the first/last page from theSarajevo Hagada (Hebr. story) a book of ceremoniesfor the Pass-over supper, 14th Century Spain. It isnow necessary to apply the experience of abstractionto observing the representation of creation (literally toturn the epsilon). c) Two drawings are projected, oneby P. Klee (Separation of the Evening) and the second one by I. Picelj (Variation 4). In Klees draw-ing there is a gradation of grey with signs of direc-tions added, and in Piceljs case each line is mani-festly creation because it separates (divides) and theaccumulation of lines gives an illusion of absence oflight, then two planes generate a line - a gap whichgives an illusion of being a trace of a thread. d)Exercise: to stroke the linear signs of two parallelflows and then to divide them into the upper andlower parts. We get the Greek letter eta (H) the signof the separation of upper and lower waters. A detail from Michelangelos Vault in the SistineChapel is projected. The greatest contrast - the separation of waters is represented in thematicattire as an act of the anthropomorphic God. Twosheets, done in gouache, 10 x 5 cm from a manu-

284

Sudionik crta tu{em i kistom, {iri detalj sTao îovog crteà/A participant draws withbrush and Indian ink, expands a detail out ofTao Chis drawing

Sudionik crta tu{em i kistom i {iri detaljRembrandtovog crteà/A participant drawswith brush and Indian ink and expands a detailout of Rembrandts drawing

Sudionik crta tu{em i kistom i {iri detaljLorrainovog crteà/A participant draws withbrush and Indian ink and expands a detail outof Lorrains drawing.

Sudionik gleda svoj i û Ta-ov crteÀ participant compares her and Chu Tasdrawing.

Uspore|uju se crteì: û Ta-a iRembrandta/Chu Tas and Rembrandts draw-ings are compared

Uspore|uju se crteì: û Ta-a iRembrandta/Chu Tas and Rembrandts draw-ings are compared

Zadatak je dopuniti Rembrandtovcrte`/The task is to complete Rembrandtsdrawing

Zadatak je dopuniti Tao îjev crte`/ Thetask is to complete Tao Chis drawing.


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