{"id":4395,"date":"2021-06-17T22:29:43","date_gmt":"2021-06-17T22:29:43","guid":{"rendered":"https:\/\/zeptermuzej.rs\/?p=4395"},"modified":"2021-08-30T22:26:55","modified_gmt":"2021-08-30T22:26:55","slug":"recenzija-knjige-andrej-tisma-likovni-puls-epohe","status":"publish","type":"post","link":"https:\/\/zeptermuzej.rs\/en\/recenzija-knjige-andrej-tisma-likovni-puls-epohe\/","title":{"rendered":"RECENZIJA KNJIGE ANDREJ TI\u0160MA LIKOVNI PULS EPOHE"},"content":{"rendered":"\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-kpqsvx7c-a64c441d8a6dd86991c05420ec056372\">\n.avia-image-container.av-kpqsvx7c-a64c441d8a6dd86991c05420ec056372 img.avia_image{\nbox-shadow:none;\n}\n.avia-image-container.av-kpqsvx7c-a64c441d8a6dd86991c05420ec056372 .av-image-caption-overlay-center{\ncolor:#ffffff;\n}\n<\/style>\n<div  class='avia-image-container av-kpqsvx7c-a64c441d8a6dd86991c05420ec056372 av-styling- avia-align-center  avia-builder-el-0  el_before_av_one_fifth  avia-builder-el-first '   itemprop=\"image\" itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/ImageObject\" ><div class=\"avia-image-container-inner\"><div class=\"avia-image-overlay-wrap\"><img decoding=\"async\" fetchpriority=\"high\" class='wp-image-4397 avia-img-lazy-loading-not-4397 avia_image ' src=\"https:\/\/zeptermuzej.rs\/wp-content\/uploads\/2021\/08\/Andrej-Tisma-2009.jpg\" alt='' title='Andrej Tisma 2009'  height=\"304\" width=\"300\"  itemprop=\"thumbnailUrl\" srcset=\"https:\/\/zeptermuzej.rs\/wp-content\/uploads\/2021\/08\/Andrej-Tisma-2009.jpg 300w, https:\/\/zeptermuzej.rs\/wp-content\/uploads\/2021\/08\/Andrej-Tisma-2009-36x36.jpg 36w, https:\/\/zeptermuzej.rs\/wp-content\/uploads\/2021\/08\/Andrej-Tisma-2009-100x100.jpg 100w\" sizes=\"(max-width: 300px) 100vw, 300px\" \/><\/div><\/div><\/div>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-lrdl0-61ff3d11bd67fbdaacad01eaa61f9c6c\">\n.flex_column.av-lrdl0-61ff3d11bd67fbdaacad01eaa61f9c6c{\nborder-radius:0px 0px 0px 0px;\npadding:0px 0px 0px 0px;\n}\n<\/style>\n<div  class='flex_column av-lrdl0-61ff3d11bd67fbdaacad01eaa61f9c6c av_one_fifth  avia-builder-el-1  el_after_av_image  el_before_av_three_fifth  first flex_column_div av-zero-column-padding  '     ><\/div>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-d6y6s-89ddf34547d0645dc1740d9b5685a845\">\n.flex_column.av-d6y6s-89ddf34547d0645dc1740d9b5685a845{\nborder-radius:0px 0px 0px 0px;\npadding:0px 0px 0px 0px;\n}\n<\/style>\n<div  class='flex_column av-d6y6s-89ddf34547d0645dc1740d9b5685a845 av_three_fifth  avia-builder-el-2  el_after_av_one_fifth  el_before_av_one_fifth  flex_column_div av-zero-column-padding  '     ><section  class='av_textblock_section av-kpqsg7qh-b526648b1103b495bff29ebcd07dcdfb '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/BlogPosting\" itemprop=\"blogPost\" ><div class='avia_textblock'  itemprop=\"text\" ><p><strong>ANDREJ TI\u0160MA<\/strong><\/p>\n<p>Ro\u0111en je 1952. u Novom Sadu. Diplomirao je 1976. na Akademiji likovnih umetnosti u Pragu, na Slikarskom odseku.<\/p>\n<p>Kao umetnik i kriti\u010dar ima bogatu radnu i \u017eivotnu biografiju. Od 1977. do 1978. bio je honorarni likovni kriti\u010dar i urednik Likovnog salona Tribine mladih u Novom Sadu. Od 1981. do 2008. radio je kao likovni kriti\u010dar novosadskog lista <em>Dnevnik<\/em>.<\/p>\n<p>Od 1997. do 2003. bio je \u010dlan redakcije magazina za kompjutersku umetnost i kulturu <em>Digital Arts<\/em>. Od 1997. do danas \u010dlan je redakcije onlajn \u010dasopis za savremenu umetnost <em>Artmagazin<\/em>. Od 2011. je urednik u Kulturnom centru Novog Sada za oblast digitalne umetnosti.<\/p>\n<p>\u010clan je Sekcije za teoriju i kritiku likovnih umetnosti Udru\u017eenja likovnih umetnika primenjenih umetnosti i dizajnera Vojvodine (UPIDIV) od 1983. i Me\u0111unarodnog udru\u017eenja likovnih kriti\u010dara (AICA) od 2002.<\/p>\n<p>Samostalno je izlagao od 1972. u Novom Sadu, Beogradu, Njujorku,<\/p>\n<p>Milanu, Seulu, Minhenu, Napulju, San Francisku, Londonu, Budimpe\u0161ti, Tokiju i Bremenu, a od 1969. je u\u010destvovao na preko 500 zajedni\u010dkih izlo\u017ebi i umetni\u010dkih festivala u zemlji i oko 40 zemalja sveta.<\/p>\n<p>Likovne kritike i eseje objavljuje kontinuirano od 1976. godine u brojnim listovima, \u010dasopisima, na radiju i televiziji. Ima preko 3.000 bibliografskih jedinica. Tekstovi su mu prevo\u0111eni i objavljeni u inostranim publikacijama u<\/p>\n<p>Francuskoj, SAD, Italiji, Belgiji, Engleskoj, Nema\u010dkoj i Brazilu. Objavljena mu je knjiga likovnih eseja i kritika <em>Druge te(rit)orije<\/em>, u Sremskim Karlovcima 1992; zbornik tekstova na engleskom jeziku, u okviru monografije <em>Andrej Ti<\/em><em>\u0161<\/em><em>ma<\/em>, u San Francisku, SAD 1996; monografija <em>Sublimni objekti \u2013 primeri likovne umetnosti u Jugoslaviji na kraju XX veka<\/em>, u Novom Sadu 2002; knjiga kritika i eseja <em>Interfejsi bezgrani<\/em><em>\u010d<\/em><em>nog \u2013 digitalna i internet umetnost na prelazu milenijuma<\/em>, u Novom Sadu 2008; dve mejl-art monografije <em>Privatni <\/em><em>\u017e<\/em><em>ivot<\/em>, u Zrenjaninu 1986. i <em>Priroda daje<\/em>&#8230;, u Novom Sadu 1992; monografija telefaks umetnosti <em>FAX HeART<\/em>, u Novom Sadu 1995.<\/p>\n<p>Realizovao je tridesetak autorskih izlo\u017ebi i kustoskih projekata u Somboru i Novom Sadu, a od 1984. do 1994. dvadesetak me\u0111unarodnih tematskih mejl-art i telefaks izlo\u017ebi \u0161irom biv\u0161e Jugoslavije i u Kanadi.<\/p>\n<p>Bio je jedan od selektora OKTOBARSKOG SALONA 1996. i izlo\u017ebe KRITI\u010cARI SU IZABRALI 1998, u Beogradu.<\/p>\n<p>Od 1987. odr\u017eao je brojna predavanja i prezentacije savremene umetnosti u zemlji i inostranstvu. Potpun spisak nalazi se u monografiji Andrej Ti\u0161ma, <em>Communication: Art<\/em>, Muzej savremene umetnosti Vojvodine, Novi Sad, 2013.<\/p>\n<p>Dobitnik je godi\u0161nje nagrade za likovnu kritiku Centra za vizuelnu kulturu \u201eZlatno oko\u201c u Novom Sadu za 1995. godinu.<\/p>\n<p>\u017divi i radi u Novom Sadu.<\/p>\n<p><strong>RECENZIJA KNJIGE<\/strong><\/p>\n<h3><strong>ANDREJ TI\u0160MA<\/strong><\/h3>\n<h3><strong>LIKOVNI PULS EPOHE<\/strong><\/h3>\n<p><strong>Tuma\u010denja novomedijske i netradicionalne likovne umetnosti<\/strong><\/p>\n<p><strong>Izdanje: MUZEJ ZEPTER, 2021.<\/strong><\/p>\n<p>U knjizi koju u svojoj relevantnoj biblioteci \u201cKritika\u201d objavljuje MUZEJ ZEPTER, plodni stvaralac Andrej Ti\u0161ma predstavlja se izborom kriti\u010dkih osvrta na izlo\u017ebe novomedijske umetnosti i nizom kra\u0107ih esteti\u010dkih eseja o njenoj istoriji, zna\u010daju i smislu. Re\u010d je o jedinstvenom odgovoru na pitanja \u0161to su ih u ljudima dramati\u010dno izazvala, pre svega, konceptualisti\u010dka istra\u017eivanja, pokrenuta \u0161ezdesetih godina pro\u0161log veka, koja su, preme\u0161tanjem te\u017ei\u0161ta kreacije u sferu mentalne aktivnosti i projektnih zamisli, iz osnova naru\u0161ila ekvilibrijum sadr\u017ean u \u0161iroko prihva\u0107enoj Hegelovoj definiciji umetnosti kao \u201e\u010dulnog prosijavanja ideje\u201c, to jest, osobenog spoja materijalnog i duhovnog, forme i sadr\u017eine. Ovaj prodor ka mentalnom i tendenciju dematerijalizacije umetni\u010dkog objekta Andrej Ti\u0161ma sagledava kao odlu\u010duju\u0107e podsticaje za nastanak ne samo inovativne nego i sasvim nove estetske produkcije, koju naziva \u201eduhovna umetnost\u201c. Tim pojmom on obuhvata ostvarenja konceptualizma, ali i paralelne razvoje praksi performansa, hepeninga, bodi-arta, videa, mejl-arta, digitalnih printova i internet umetnosti. Prate\u0107i izlaga\u010dku delatnost izniklu iz tih novih polja stvarala\u0161tva \u2013 onih \u0161to u posmatra\u010du \u010desto izazivaju frustraciju i gnevne re\u010di: \u201eovo nije umetnost\u201c \u2013 Ti\u0161ma nam dovodi istoriju umetni\u010dkih tokova do samih na\u0161ih vrata i najaktuelnijeg, dana\u0161njeg dana. Ako imamo u vidu poslovi\u010dni zaostatak u ud\u017ebenicima i kunstistorijskoj literaturi, a ne samo u svesti neposve\u0107enih, Ti\u0161mina tuma\u010denja i obja\u0161njenja fenomena koji radikalno izmi\u010du tradicionalnoj pojmovnoj aparaturi ukaza\u0107e nam se kao veoma zna\u010dajna i preko potrebna.<\/p>\n<p>U nekim karakteristi\u010dnim slu\u010dajevima, me\u0111utim, nije re\u010d o uobi\u010dajenom zaostajanju teorije za hrabrim eksperimentalnim prekora\u010denjima, nego o u\u010dvr\u0161\u0107enim podelama, zasnovanim na nespojivosti senzibiliteta, ukusa i shvatanja. Ako, recimo, uporedimo Ti\u0161mine osvrte sa osvrtima nekih drugih kriti\u010dara na vizuelno stvarala\u0161tvo istog perioda, a za to je najpodesnija upravo biblioteka \u201cKritika\u201d, primeti\u0107emo da me\u0111u njima gotovo da nema podudarnosti u izboru zastupljenih umetnika i njihovih izlo\u017ebi. Tendencije koje Ti\u0161ma smatra najrelevantnijim potiskuju se u znatnom delu na\u0161e likovne kritike na marginu ili \u010dak preska\u010du i zanemaruju. Propu\u0161tanja da se uo\u010de zna\u010dajni opusi, ma gde oni bili na likovnoj mapi zemlje i sveta, pri tome su velika i obostrana, jer i Ti\u0161ma insistira na strmom, odse\u010dnom raskolu. Kreativno nastavljaju\u0107i prodore avangarde s po\u010detka dvadesetog veka, posebno one Marsela Di\u0161ana \u2013 prvog konceptualiste, prvog mejl-artiste, prvog autora na\u0111ene (redimejdi) i slu\u010dajne umetnosti (<em>Erratum Musical<\/em>), itd. \u2013 on nasle\u0111uje i duh izvesnih njenih isklju\u010divosti, pa \u0107e uljanu sliku na zidu, na primer, nazvati istro\u0161enim medijem i \u201emalogra\u0111anskom mistifikacijom\u201c. Ali, i sam svet umetnosti pre konceptuale za njega je, kao nekad za Platona, samo \u201ebleda i mizerna kopija\u201c sveta prirode, nedosti\u017enog u svojoj lepoti tradicionalnom umetniku i idealima koji su vodili njegovu ruku. Me\u0111utim, ako je ranija umetnost, pre novomedijske prekretnice i nastanka duhovnog,\u00a0 \u201cnematerijalnog stvarala\u0161tva\u201d, bila tek \u201esurogat prirode\u201c, onda se u celini osporava da je ona uop\u0161te bila stvarala\u010dka, \u0161to je konsekvenca koju Ti\u0161ma na nekim mestima dosledno izvla\u010di, isti\u010du\u0107i pri tome prednosti savremene kompjuterske i holografske tehnike nad tradicionalnim sredstvima kada je re\u010d o poku\u0161ajima, u biti proma\u0161enim i suvi\u0161nim, da se kopiranjem dosegne uzornost prirodnog modela.<\/p>\n<p>Naravno, umetnost prethodnih epoha bila je ne\u0161to sasvim drugo i vi\u0161e od puke imitacije postoje\u0107eg, i to nam , \u0161to je zna\u010dajan obrt, pokazuje i Ti\u0161mina konkretna kriti\u010darska aktivnost, daleka svakoj doktinarnoj uskosti. Naime, Ti\u0161ma je u du\u017eem vremenskom razmaku, od 1981. do 2008. godine, bio u retkoj prilici da mu pisanje likovnih kritika bude ne samo afinitet nego i radna obaveza. Kao profesionalni kriti\u010dar novosadskog lista <em>Dnevnik<\/em>, on je, razumljivo, pisao o \u0161irokom opsegu svakovrsnih likovnih manifestacija, pa i o izlo\u017ebama ostvarenja koja su nastala u znaku visokog modernizma, postmoderne i mno\u0161tva klasi\u010dnih poetika. Uprkos svojoj teorijskoj odbojnosti prema tim strujanjima, \u010dinio je to sa velikom kompetencijom i dubokim poniranjem u bit svakog individualnog napora, tako da umetnici raznih usmerenja verovatno rado dr\u017ee njegov kriti\u010dki\u00a0 tekst u svom portfoliu. No, kada je birao kitike za izdanje MUZEJ-a ZEPTER iz ogromnog broja od blizu tri hiljade jedinica, Ti\u0161ma se odlu\u010dio, na preporuku urednika izdanja, samo za komentare izlo\u017ebi na kojima su predstavljeni radovi u novim medijima ili onim klasi\u010dnim \u2013 ako su bili kori\u0161\u0107eni na nov na\u010din. Prilikom takvog odlu\u010divanja presudne su svakako bile njegove esteti\u010dke preferencije i li\u010dna sklonost delatnika koji se i sam, \u010desto pionirski u ovoj sredini, ogledao upravo na polju, da upotrebimo poznati termin D\u017eina Jangblada, <em>pro\u0161irenih medija<\/em>. Ali, ma koji bili motivi za probiranje tekstova samo o alternativnom, a zna\u010dajnom stvarala\u0161tvu, pokaza\u0107e se, verujem, \u00a0da je upravo takva selekcija \u00a0bila najkorisnija i najzanimljivija, jer nam je \u0161tivo ove vrste do sada bitno nedostajalo. 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