hrvatski

Ikonoklazam i konsupstancijalnost. Julije Knifer i dva života slike

In this paper, I will deal with contemporary interpretations of iconicity, so that I will start from the thesis of Marie-José Mondzain from her book Image, Icon, Economy: The Byzantine Origins of Contemporary Imaginary and Hans Belting from his work Bild und Kult: Eine Geschichte des Bildes vor dem Zeitalter der Kunst and collate them eventually with a specific type of high- modernist iconoclasm of the contemporary Croatian painter Julije Knifer. Namely, in the case of consubstantiality, the so-called natural or the real image is present in appearance not according to the level of similarity but by the kind of “economy of representation”. Likewise, the Western Christian imago and the Eastern Christian ikon differ not according to what – or to what extent – is something recognized in the image, but to what is conceptualized in it. The high-modernist ethos of the image is much closer to such a comprehension of imagination than what is usually thought. I will refer to the theses of Emmanuel Alloa from his text “Visual Studies in Byzantium: A Pictorial Turn avant la lettre” that are also in support of this interpretation. I will try to show that the radical iconoclasm of Julije Knifer is not based primarily on what it represents (different meander forms) but much more on the fact that we should understand it just or simply – as an image. With this asymmetry, Knifer creates a modern version of consubstantiality. In the age of virtuality and digitally generated images, the iconicity is not to be looked for in resemblance to the natural image (as in the Middle Ages), but in resolving the dilemma if something that looks like an image is actually an image, or is just a visual phenomenon.

Julije Knifer, konsupstancijalnost, ikonoklazam, modernizam, slika

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