Naslov
Lethe Atlas

Autori
Lah, Nataša

Izvornik
Ars & humanitas (1854-9632) 12 (2018), 2; 285-298

Vrsta, podvrsta i kategorija rada
Radovi u časopisima, članak, znanstveni

Ključne riječi
Aby Warburg, Allan McCollum, work 'Mnemosyne Atlas ', work 'Plaster Surrogates', visual form of memory, visual form of oblivion

Sažetak
Oblivion erases the border between sign and connotation. In visual form, the notional structure of oblivion is manifested as a connotatively blind image. By formalizing ‘Mnemosyne Atlas’, Warburg gave importance to the historical memory. Comparison between this paradigmatic Warburg's work and McCollum's 'Plaster Surrogates', dating from 1982, allows us to see the identical principle, one of biased selection of a set of image formats, within a layout presenting the multitude of connotatively blind images. Through its manner of formalization this, more recent, apostrophising of fragmentariness is a counterpart of ‘Mnemosyne Atlas’, albeit delivered in a fresh key, one of new paradigmatic representational regime, within a procedural context of deriving the historical oblivion. McCollum's work could be named 'Lethe Atlas', that is, a form which denies the clear borders between sign and its representation. 'Mnemosyne Atlas' remembers, says the form, since each of its fragments are filled with something. ‘Plaster Surrogates’ forgets, because each of its fragments are filled with nothing. In this manner, something and nothing appear as the form’s rhetorical effects, while two similar formalizations sketch the conceptual fullness of memory i.e. the contentual emptiness of oblivion. By the early 20th century, with the rise of abstract art, oblivion was articulated as the non- connotativity of sign (contentual emptiness). On the other hand neo-vanguard, particularly one possessing conceptual mark, radically expanded the media space of oblivion.

Izvorni jezik
Engleski

Znanstvena područja
Povijest umjetnosti, Znanost o umjetnosti, Likovne umjetnosti, Interdisciplinarno umjetničko polje

POVEZANOST RADA