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Ivana Jankovi

?EE%RJ7(HIC ART"

(Summary)

In the course of his artistic career, which has lasted for more than fifty yearsnow, Vladan Radovanovi2$./BD4has created works in the domains ofelectroacoustic music, mixed electronics, metamusic, visual arts, artifugal projects,tactile art, literature, drawings of dreams, polymedial and vocovisual projects, aswell as art theory. Central to his poetics is the theme of synthesic art. Based on asynthesis of the arts and a fusion of media, the flow of his opus disturbs thelimitations of art. His synthesis of media-lines is neither a product of rationaldecision, nor is it inspired by the works of other artists. Its initial form appears in themind of the artist as a sensation or a representation that emerges from sleep anddream, or from his exploration of the mysteries of his inner being. In an attempt tocreate a classification of the arts that would suit his understanding of the nature of

G""G"arts. Single-media arts include music, poetry and painting, whereas the remainingarts belong to the multi-media group. The latter contains works created by an expan-sion of mixed forms such as theatre, opera and ballet, but in which the mediainvolved accomplish greater integrity mixedmedia (for example: happening, fluxusetc), multimedia (opera, film, environment) and intermedia (a term which posessestwo meanings: a new media that is in-between media, or a new media in which allthe elements are ;4$ !"

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he uses the term polymedia for such works. This term is analogous to polyphony," "!"+ "lines would be treated in counterpoint, in order to remain complementary and" $ % ./'& 9

initiated by his concrete artistic output. Although he had distinguished his diverseartistic output according to formal and designative characteristics, later he subordi-nated his work to the term synthesic art$

one of the models of multi-medial arts.

:@+9!+to the category of synthesic art, on many levels. First of all we tried to locate hisopus in the context of Serbian and Europian art. G was born in the context of Serbian art in the second half of the 20th century, whichwas dominated by 'moderate modernism'. His works did not fit into the existingworld of art, and therefore were marginalized and underestimated. Despite hisinnovative spirit, hunger for novelty, and aim to transcend the materiality of mate-rials, which

! G" G claims autonomy. His latest works do not fit into the current world of art either, becausehe does not want to place his poetics in the domain of contemporary post-modern poeticsand theories. His intentional evasion of fashionable currents is a product of hisconscience, which asks that he remain faithful to himself and his inner artistic vision.

Another theoretical challenge when addressing the works of this artist was tolocate his synthesic art within the larger historical and contemporary manifestationsof the total world of art, especially where his works compare with Richard Wagner'sGesamtkunstwerk$

!

"to Gesamtkunstwerk, but in no way equal. Therefore, we have examined all thecontroversies about the usage of the term Gesamtkunstwerk, as well as differenttheoretical approaches to this concept and its evolution; then, we have analyzed it interms of the theoretical and practical realization of synthesic art. By formulating in

! 9 ! Gstanding and analysis of his works of art. For example, we have analyzed several ofhis earlier multi-media works (Dreams, vocovisual works Desert (Pustolina), Poly-aedar, Ball, Change and Vocovisual omages, and polymedia projects Electrovideo-audio, Building of Rooms-Signs, The Great Sounding Tactyzone, Polim 2, Polim 3,video-work Variations for TV) as well as one of his latest synthesic works, Constel-lations, in order to describe the practical realization of his theory, and to demon-

+

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;

!C$ realizes and recognizes his artistic output and theoretical thought as a unitedproduct, as they were both created in his synthesic mind.

UDK : 78.071.1 RadovanoviV. : 781.5 (497.1) "19"