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Pozivamo autor/ice na prijavu znanstvenih i stručnih članaka za obljetnički 100. broj časopisa Život umjetnosti. Rok za predaju članaka je srijeda, 15. ožujka 2017. godine. Ukoliko imate kakvih pitanja vezano uz temu, javite se redakciji putem e-maila na adresu zivot-umjetnosti@ipu.hr. Upute autorima možete preuzeti ovdje.
Tema broja:
Ljubav. Čini li nas ljubav pokretljivima ili stuporoznima?
Tko je taj, dakle,
zaljubljeni,
koji govori
i koji kaže?
(parafraza R. Barthesa)
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Prema Hanni Arendt, riječi nisu samo medij u kojem mislimo, već i medij koji živimo. Riječ ljubav često se izgovara, no recentno doba kao da više ne shvaća složenost njeznina značenja. Je li točna tvrdna Zygmunta Baumana da smo počeli zaboravljati kako voljeti i što teorija može ponuditi u svrhu obrane uzoraka (ljubavnog) ponašanja čija je stabilnost ugrožena?
Lica koja gledaju u nas ili mimo nas, često su bijesna. Uvjeravaju nas da je sve što smo znali krivo, da je nastupilo novo doba, da su oni bolji, a drugi bezvrijedni. I zato ih treba odcijepiti, ograditi zidom i žicom. Posvuda oko nas bukti mržnja, gnjevni i ostrašćeni povici protiv nekog, protiv prava pojedinaca da odlučuju o vlastitom životu. Gdje je nestala ljubav? Je li ljubavni diskurs danas krajnje osamljen, kako tvrdi Barthes? Postajemo li slabiji ako žudimo za ljubavlju ili je javno izražavamo? Je li danas aktualna jedino ljubav prema samome sebi, planetarno obznanjena nevješto dorađenim selfijem?
Jednako kao i umjetnosti, i ljubav nas potiče da interpretiramo ono što zamjećujemo, naslućujemo, priželjkujemo. A to ne mora biti ugoda ni sreća. Jer ljubav su i prekidi i dijeljenje i igre moći.
Trasirajući porijeklo sintagme oceanski osjećaj koja se 1930. pojavljuje na samom početku studije Nelagodnost u kulturi Kaja Silverman Freudovu upotrebu termina ljubav čita u kontekstu njegovog otvorenog pisma Albertu Einsteinu napisanom u osvit Drugog svjetskog rata. Zaključuje pritom da Freudovo zazivanje pojma ljubavi ne govori ni o seksualnosti ni o emociji koja se u nama razvija kad nekome drugome dopustimo da utjelovi naš ideal, već bi to bila njegova riječ za psihičku potvrdu našeg praiskonskog srodstva s drugim stvorenjima i stvarima, afirmacija koja se otvara direktno spram oceanskog osjećaja. Konsonantno tome Rosi Braidotti, detektirajući neuralgične točke i jalovost humanističkih znanosti, danas artikulira pojam posthumanoga, odnosno nužnost otklona od dominantne paradigme humanocentrizma čije reperkusije prijete destrukcijom ukupnog ekosustava.
U ruhu istrošenosti od prekomjerne upotrebe, riječ ljubav postala je nešto što nerijetko budi zazor. Međutim, ovdje se valja prisjetiti riječi kojima je Gertrude Stein komentirala svoj čuveni stih u kojemu se riječ ruža u predikatnoj formi ponavlja četiri puta. Riječ je, dakako o nadasve ljubavnoj pjesmi Sacred Emily, napisanoj davne 1913. godine. Umjetnica čija je „revolucija poetskog jezika“ dalekosežno utjecala na rekonceptualizaciju samog pojma umjetnosti, svoj je iterativni postupak komentirala ovako: „Slušajte, ja nisam budala! Ne mislim da itko hoda uokolo beskonačno ponavljajući da je nešto nešto, ali znam da je u tom stihu u Engleskoj poeziji ruža nakon nekoliko stotina godina po prvi put postala crvena“. Stein je, dakako, umjetnički jezik poimala „stvarnom stvari“, a ne imitacijom „zvukova, boja ili emocija“. Jezik je za nju bio i ostao intelektualna rekreacija. Zahtijevala je od svakoga tko se bavi umjetnošću da se posveti jeziku kao mjestu koje u sebi sadrži svu povijest vlastite intelektualne rekreacije. Stoga, zajedno s njom, u eri post-istine pokušajmo istražiti performative riječi ljubav koji sežu s onu stranu estradizacije, spektakularizacije, i nadasve komercijalizacije. Jedna popularna pjesma kaže „ljubav se ne trži niti ne kupuje…“.
Urednice broja su Leonida Kovač i Sandra Križić Roban.
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Naslovna fotografija: Dorothy Cross, Lover Snakes, 1995., preparirane zmije i srebrne relikvije sa zmijskim srcima, 37 x 14 cm, ljubaznošću autorice i Kerlin Gallery
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Authors are invited to submit their academic papers and essays for the anniversary 100th issue of the Život umjetnosti (Life of Art) magazine. The submission deadline is March 15, 2017.
For any questions regarding the edition’s topic, please contact the editors at zivot-umjetnosti@ipu.hr
The instructions on how to format the article can be found here: https://www.ipu.hr/content/zivot-umjetnosti/ZU_upute-autorima.pdf
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The theme of the 100th issue:
Love. Does love make us mobile or numb?
So, who is
this lover
who speaks and says?
(paraphrasing Roland Barthes)
Words, according to Hanna Arendt, are not only a medium in which we think, but also a medium which we live. The word love is often spoken, however it seems that the complexity of its meaning is no longer understood in the recent times. Was Zygmunt Bauman right when he argued that we began to forget how to love and what can theory offer to defend the pattern of the (love) behaviour of which the stability is now threatened?
The faces that stare at us or pass us are often furious. They try to convince us that everything we knew was wrong, that a new age has arrived. We are persuaded that they are better, whereas others are worthless and therefore should be fenced off by wall or wire. Everywhere around us hatred is raging, together with angry and zeal shouts against someone, against the right of individuals to decide on their own life. Where has love gone? Is the love discourse extremely lonely in our day, as Barthes claims it to be? Are we becoming weaker if we long for love or express it in public? Is the only actual love today the one towards our own self, planetary declared through an unskilfully edited selfie?
Love, just as much as arts, inspire us to interpret what we perceive, sense and long for, which does not have to be pleasure nor happiness – for love also includes break-ups, divisions and games of power.
By tracing the origins of the syntagm oceanic feeling which appeared in the year 1930 in the very beginning of the study Civilisation and its Discontents, Kaja Silverman reads the Freud’s use of the term love in the context of his open letter to Albert Einstein, written in the wake of World War II. Thereat she concludes that Freud’s invocation of love does not speak of sexuality nor the emotion that wells up inside us when we allow someone else to incarnate our ideal; it was rather his word for the psychic affirmation of our primordial kinship with other creatures and things, an affirmation which opens directly onto the oceanic feeling.
Consonantly, by detecting the neuralgic points and barrenness of humanistic sciences, Rosi Braidotti articulates today the notion of the posthuman, that is to say, of the necessity to shift from the dominant paradigm of humanocentrism the repercussions of which threaten to destruct the entire eco-system.
Worn out from its excessive use, the word love has become something that often provokes revulsion. However, it is worth recalling the words which Gertrude Stein used to comment her famous verse in which the word rose repeats four times in predicate form. We, of course, refer to the undoubtedly love poem Sacred Emily, written back in 1913. The artist, whose “revolution of poetic language” has made a far-reaching impact on the re-conceptualisation of the very notion of art, commented her iterative procedure as follows: “Now listen! I’m no fool. I know that in daily life we don’t go around saying ‘is a… is a… is a…’ Yes, I’m no fool; but I think that in that line the rose is red for the first time in English poetry for a hundred years”. Stein, of course, perceived the art language as a “real thing” and not as an imitation of “sounds, colours or emotions”. The language for her was and remained an intellectual recreation. She demanded everyone who considered herself or himself an artist to stay with language as a place that contains within itself the entire history of its intellectual recreation. Therefore, together with her and in the post-truth era, let’s try to explore the performatives of the word love which reach beyond estradisation, spectacularisation and, above all, commercialisation. As one popular song goes: “love can’t be sold nor bought…”.
Issue editors are Leonida Kovač and Sandra Križić Roban.
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Cover photography: Dorothy Cross, Lover Snakes, 1995, stuffed snakes and cast silver reliquaries containing snake hearts, 37 x 14 cm, Image courtesy of the artist and Kerlin Gallery
Autor: Irena Šimić
Datum objave: 18 siječnja, 2017 4:41
