University of Zagreb
| Title | Reflektivni prostor memorije, sentimenta i smrti |
| Title (english) | Reflective Spaces of Memory, Sentiment, and Death |
| Author | Nika Mokos |
| Mentor | Iva Prosoli Stojkovska (mentor) |
| Mentor | Bojan Mrđenović (mentor) |
| Committee member | Darije Petković (predsjednik povjerenstva) |
| Committee member | Davor Konjikušić (član povjerenstva) |
| Granter | University of Zagreb Academy of dramatic art (Chair of Photography) Zagreb |
| Defense date and country | 2023-09-26, Croatia |
| Scientific / art field, discipline and subdiscipline | FIELD OF ART Applied Art Photography |
| Abstract | U svojem umjetničkom radu pod nazivom Tamo sam gdje me nema prikupljala sam i fotografirala osobne predmete pokojnika koji su na određeni način bili ekstenzija njih samih. Kao okosnicu umjetničkog rada uvela sam koncept heterotopnih prostora filozofa Michela Foucaulta. S obzirom na to da Foucault navodi zrcalo kao primjer heterotopnog prostora koji je istovremeno stvaran i virtualan, u svoj rad sam uvela zrcalo kao bitan element. U umjetničkom radu koristila sam tehniku mokrog kolodija kojom sam fotografirala prikupljene predmete. Izvedeni radovi postali su primjerci negativa na staklu čime sam ih formalno i značenjski povezala s idejom zrcala. U pisanom dijelu rada Reflektivni prostor memorije, sentimenta i smrti posvetila sam se odnosu između materijalnih predmeta pokojnika te memorije i sentimenta upisanih u predmete. Kroz teoriju fotografije, povijesti umjetnosti i teorije arhiva analizirala sam na koji način predmeti pokojnika funkcioniraju kao metaforički i metonimijski tragovi tjelesne odsutnosti te njihov utjecaj na pamćenje i memoriju. |
| Abstract (english) | In my photography series Tamo sam gdje me nema [I'm There Where I Am Not], I collected and photographed personal objects of the deceased, objects which were a kind of extension of the deceased person’s being. As a framework for the series, I used philosopher Michel Foucault’s concept of heterotopic spaces. Foucault uses the mirror as an example of a heterotopic space that is both real and virtual. His ideas led me to introduce the mirror as an important element for the development of the photographs. In my series, I used the collodion wet plate technique to photograph the collected items and objects. The resulting works are negatives on glass that formally and semantically link to Foucault’s ideas about mirrors. In the written part of my work, Reflektivni prostor memorije, sentimenta i smrti [Reflective Spaces of Memory, Sentiment, and Death], I examine the relationship between material objects of the deceased and the memory and sentiment inscribed in them. Using photography theory, art history, and archival theory, I analyse how objects belonging to the deceased function as metaphorical and metonymic traces of the physical absence of the person, as well as the effect of these objects on remembrance and memory. |
| Keywords | |
| Keywords (english) | |
| Language | croatian |
| URN:NBN | urn:nbn:hr:205:010667 |
| Study programme | Title: Filming Study programme type: university Study level: graduate Academic / professional title: magistar/magistra snimanja (magistar/magistra snimanja) |
| Type of resource | Software, multimedia |
| Access conditions | Open access |
| Terms of use |  |
| Created on | 2023-09-18 10:11:02 |
