Radionica Vii

VII/1 UMJETNOST I POVIJEST -
ART AND HISTORY THE DEVELOPMENT OF MODERN SENSIBILITY
RAZVOJ MODERNE OSJETLJIVOSTI

246
UMJETNOST I POVIJEST RAZVOJ MODERNE OSJETLJIVOSTI
CONTRAST
KONTRAST
CONFINEMENT, UNAMBIGUOUSNESS
ZATVORENOST, JEDNOZNA^NOST
247
OPEN, AMBIGUITY
OTVORENOST, VIEZNA^NOST
otvaranje zna~enja
opening meanings
R. RAUSHENBERG:
M. OPPENHEIM:
M. ERNST:
S. BOTTICELLI:
NAPU[TENA/
THE ABANDONED,
1495., TEMPERA,
47X41 CM, RIM/ROME
jasna kontura, iluzija odvajanja mase od

prostora
a clear outline, the illusion
of the separation mass from space
ANTINOJ/A
NTINOE,
FAUN BARBERINI,
2 ST./2ND C.,
MRAMOR/
MARBLE, 180
CM, DELPHI
OKO/APPROX.
200 PR. KR./B.C.,
MRAMOR/MARBLE,
MNCHEN/MUNICH
obogotvorenje ~ovjeka: Hadrianov ljubimac

(naracija), melankolija (psihologija), glatka
povr{ina (stil-idealizam)
divination of man: Hadrians favourite
(narration), melancholy (psychology), closed
smooth surface (style-idealism)
oprirodnjenje boànskoga: razulareni satir (naracija),

opu{tenost (psihologija), razra|ena, usitnjena povr{ina
(stil-naturalizam)
MONOGRAM,
RUÂK U KRZNU/
LUNCHEON IN FUR,
1955.-59.,
160 X 160,5 X 95 CM,
STOCKHOLM
1936., 10 CM,
NEW YORK
SUSRET DVAJU OSMIJEHA/

MEETING OF TWO SMILES,
1922., KOLA@/COLLAGE
PERMEABILITY, PURE FORM
PROPUSNOST, ÎSTI OBLIK

iluzija prostorno-vremenskog trajanja
illusion of space-time continuity
naturalisation of the divine: exuberant satyre

(narration), relaxation (psychology),
articulated, minorshapes surface (style-naturalism)
trajanje, propu{tanje, osloba|anje

continuity, permeability, liberation
P. PICASSO:
PRIPITOMLJAVANJE zemlje, zraka, vode, vatre, drveta

TAMING of earth, air, water, fire, wood
@ENA KOJA
SJEDI/
THE SITTING
WOMAN,
C. BRANCUSI:
1909, ULJE/OIL,
92 X 73 CM,
TATE GALLERY,
LONDON
1915,
BRONCA/ BRONZE,
15,2 X 21,6 CM,
PARIZ/PARIS
POÊTAK SVIJETA/
COMMENCEMENT
OF THE WORLD,
G. RIETVELD:
PAVILJON ZA
SKULPTURU/
PAVILION FOR
SCULPTURE,
1958./59.,
OTTERLOO
elementi su oskudno, suèno,

kanalizirano prisutni
the elements are present limited,
meagre, chanalled
stijena
DRAMATI^NO OTVARANJE, OSLOBA\ANJE elemenata
rock
DRAMATIC OPENING, LIBERATING the elements
zrak
air
odjeljivanje, ~uvanje, kontroliranje

separation, keeping, controlling
stablo
tree
F. L. WRIGHT:
B. DA MAIANO, CRONACA:
PALAZZO STROZZI
1503.,
FIRENCA/FLORENCE
voda
water
KU]A SLAPOVA/
FALLING WATER
HOUSE,
1937, BEAR RUN
vatra
fire
VII/1 UMJETNOST I POVIJEST RAZVOJ MODERNE OSJETLJIVOSTI

266
Prva izvedba radionica: 1996.-97.
First performance of workshops: 1996-97
Radionice U m j e t n o s t i p o v i j e s t - r a z v o j m o d e r n e o s j e t lj i v o s t i razlikuju se
od specijaliziranih radionica po tome {to se ne radi o upoznavanju samo po jednog medija nego se svi
mediji objedinjuju u htijenju da se, polaze}i od najve}ih kontrasta povijesnih i modernih djela, poku{aju
{to bolje razumjeti u me|usobnom odnosu. Osvije{tenost medija, postignuta u modernim djelima, vodi
nas u pro{lost i u druge kulture, dapa~e u cijeli okoli{ i tako se moderna djela mogu druga~ije/bolje
razumjeti.
Struktura radionica tako|er se razlikuje od prethodnih. Umjesto tro~lanosti u artikulaciji tema, sada
svaka radionica (opet ih je sveukupno deset) ima svoju temu (kontrasti koje moderna osjetljivost
podriva, analogije u kojima se nalazi, upitnost/neupitnost povijesnog vremena, novi krajolik kojega
otkriva fotografija, moderni teatar da bi se razumio srednjovjekovni, slojevitost svijeta koja se uvijek
razli~ito iskazuje, beskona~no koje je uvijek prisutno u svim djelima itd.). Kroz sve se radionice
provla~i odnos prema vremenu i zato se me|usobno povezuju gledanjem filma (u svakoj radionici
jedna sekvenca u slijedu) A. Resnaisa Pro{le godine u Marienbadu koji je temeljno, formalno i
sadràjno, zaokupljen odnosom prema vremenu.
The workshops Art and History - the Development

of Modern Sensibility differ from the other, specialized workshops because they are not an introduction to one medium but all the mediums are united,
wishing to start from the greatest contrast of historical and modern artworks and to understand as
much as possible all of them in interaction. An
awareness of the mediums achieved in modern artworks leads us into the past, to different cultures,
even, into the whole environment and so they can
be understood in a different or better way.
The structure of the workshops is also different
from the former ones. Instead of being tripartite in
its articulation of the themes, now, each workshop
(again there are ten of them altogether) has a topic
of its own (contrasts which modern sensibility
undermines, analogies in which it recognizes itself,
the questioned/ unquestioned historical time, a new
landscape discovered by photography, the modern
theatre in order to understand the medieval one,
many layers of the world, each time differently
expressed, the infinite, always present in all artworks etc.). Through all these workshops there is a
main theme and that is the relation to time and
therefore all of them are connected by watching a
film (in each workshop one sequence) by A.
Resnais: Last Year in Marienbad where the main
preoccupation is, both formal and substantial, a
relation to time.
Namjera u p r v o j radionici je usmjeriti pozornost na najve}i kontrast izme|u stilski-formalno

zatvorenih kompozicija nagla{ene jednozna~nosti antike i renesanse i stilski-formalno otvorenih
vi{ezna~nih kompozicija modernog vremena. Pritom se pazi na razlikovanje zna~enjskog otvaranja,
od nadrealizma, preko Wrightove arhitekture do pop-arta i ~istog formalnog otvaranja, formalne
propusnosti, univerzalnosti Picassa - Brancusija - Rietvelda; ste}i iskustvo o tome kako osjetljivost za
moderna djela podriva zatvorenost pro{lih, kako iskustvo modernih djela omogu}uje otkrivanje univerzalne formalne razine svakoga djela, ali i skrivena-potisnuta zna~enja onih najve}e zatvorenostijednozna~nosti.
Ambijent: Stolovi i stolice koje su razmje{tene u odnosu na stolove. Potrebna su tri projektora, televizor, video, fotokopije, {kare, pripremljeni izrezani oblici, papir, tekst scenarija, upitnik.
Struktura doga|anja
1. a) Voditelj najavljuje program. U ovim radionicama pojedine tematski razli~ite radionice povezat
}e se gledanjem (u devet nastavaka) filma A. Resnaisa Pro{le godine u Marienbadu (1960./1961.)
snimljenog u Parizu i Mnchenu (dvorci Nymphenburg, Schlessheim), scenario: A. Robbe-Grillet,
uloge: A - D. Seyrig, X - G. Albertazzi i M - S. Pitojeff. Tako }e se radionice, kojima je glavna tema
razvoj moderne osjetljivosti, u ~emu odnos prema vremenu igra bitnu ulogu, ne slu~ajno proèti
gledanjem filma, kojeg je tema, sadràj i forma igra s vremenom. b) Daju se upute u vezi s gledanjem filma, odnosno prve sekvence: nastojte se predati ~aroliji filma ~ak i onda ako slu~ajno ne razumijete francuski tekst/engleske titlove. c) Prikazuje se prva sekvenca (oko 470 m). d) Nakon gledanja
(oko 10) dijele se listovi i sudionici se pozivaju da na ozna~ene redove zapi{u rije~/nekoliko rije~i koje
im spontano/najprije padaju na pamet u vezi vi|enog. Na listovima je tiskan scenarij vi|ene sekvence
filma. Sudionici se pozivaju da u sebi kultiviraju doìvljaj filma, da tijekom tjedna, svaki dan, zabiljeè nekoliko rije~i/re~enica u vezi vi|ene sekvence evociraju}i ~aroliju.
2. a) S lijevog projektora pokazuje se slika S. Botticellija Napu{tena (atribucija: B. Berenson; 1495.,
tempera na dasci, 47 x 41 cm, Rim, privatna zbirka). Od sudionika se traì da dozovu u sebi neku, bilo
koju modernu sliku, da bi shvatili za{to temu kontrasta zapo~injemo ovom ranorenesansnom slikom.
Podsje}aju se na ~estu igru zamu}ivanja le}om (i sada se zamuti), da bi se simulirala temeljna, zbiljska,
nejasna mrlja od koje po~inje svako gledanje/stvaranje. Podsje}a se na Blakea: boja je od Boga, kontura
od |avla (na{a apstrakcija). Ova je slika rezultat htijenja da se iluzija mase jasnom konturom odvoji od
iluzije prostora. Tako, jasnim konturiranjem Botticelli stvara zatvoreni svijet sigurne i nedvosmislene
percepcije. b) Sa srednjeg se projektora projicira Picassova @ena koja sjedi (1909., ulje na platnu, 92 x
73 cm, Tate Gallery, London). Upozorava se na veliki kontrast izme|u Botticellijeve i Picassove slike s
obzirom na iluziju odnosa mase i prostora, lika i pozadine. Na Picassovoj slici bojom se i karakterom
poteza postiè iluzija prostorno-vremenskog trajanja, a ~ak ni geometrija ne sluì odvajanju mase od
prostora, nego rastvaranju/otvaranju ljudskog lika u okoli{, dakle, stvaranju kontinuiteta. c) Dijele se
fotokopije na kojima se vidi slijed fotografija bicikliste. Pitanje: {to se de{ava s biciklistom na fotografijama napravljenim razli~itim eksponaàma. Primje}uje se da se kod eksponaè od 1/2 sec biciklist vi{e ne
vidi (najbolje se vidi kod eksponaè 1/1000 sec). d) S desnog projektora projicira se slika M. Ernsta
Susret dvaju osmijeha (iz Les malheurs des immorteles, 1922, kola`.). Sudionici dobivaju fotokopiju
ilustracije koju je obradio M. Ernst. Razgovara se o intervencijama. Primje}uje se zna~enjsko otvaranje
djela koje u najve}oj mjeri teì jednozna~nosti. Svojom intervencijom M. Ernst proizvodi eksploziju
zna~enja kao osvetu jednozna~nosti koje nema, jer zbiljski postoji samo kontinuitet zna~enja. e)
Vra}amo se Botticellijevoj slici. Pri~a se starozavjetna tema slike: Tamara, silovana i otjerana od svoga
brata Amnona i osve}ena od drugog brata Ab{aloma (Samuel II/13). Govori se o arhetipskom uzorku,
podsje}a se na Orfeja, Euridiku i pastira, na Sv. Jurja, princezu i zmaja. f) Sudionici primjenjuju iskustvo ste~eno s djelom M. Ernsta. U omotnici dobivaju po tri izrezana oblika s Botticellijeve slike (to im se
ne kaè). Rije~ je o tri razvedena oblika koji se nude da se postave u me|usobni odnos. Traì se da
komponiraju pri~u. g) Projicira se detalj haljine s Botticellijeve slike i prepoznaju se tri izrezana oblika.
Podsje}a se na soft giant animals C. Oldenburga. Moderna osjetljivost podriva jednozna~nost i M. Ernst
The intention in the first workshop is to direct

attention to the greatest contrast between the stylistically-formally confined very accentuated unambiguous compositions (Antiquity and the
Renaissance) and stylistically-formally open polysemic compositions of modern times. Mean-while
the intention is to distinguish between opening
semiotically from surrealism, through Wrights
architecture to pop-art and between a pure formal
opening, formal permeability/transparency, universality of Picassos - Brancusis - and Rietvelds artwork. The participants gain experience of how sensibility of modern artworks undermines the confinement of past ones, how experience enables us to
discover the universal formal level of each artwork,
but also the hidden-surpassed meanings of the
most confined and unambigous ones.
Ambience: Three projectors are necessary and
tables and chairs placed in relation to them, a TV
set, a video player, photocopies, scissors, some
prepared cut-out shapes, paper, the text of the
screenplay, a questionnaire are available.
Structure of the activity
1. a) Announcement of the programmme. In structure this workshop differs from the specialized ones.
Now each workshop is thematically independent.
However watching A. Resnais film Last Year in
Marienbad (1960/61) in nine sequences connects
them all. The film was made in Paris and Munich
(Nymphenburg, Schlessheim castles), screenplay:
A. Robbe - Grillet, actors: A - D. Seyrig, X - G.
Albertazzi and M - S. Pitoieff. The workshop whose
main subject is the evolution of modern sensibility
where the relation to time plays an essential role, is
intentionally interwoven with watching the film
whose subject, content and form are a game with
time. b) Instructions are given about the film, better

still, about watching the first sequence. The participants are instructed to try to surrender themselves
to the magic of the film even if they do not understand French or cannot read the English titles.
c) The first sequence (about 470 m) is projected.
d) After watching the film (for about 10 minutes)
sheets of paper are distributed and the participants
are invited to write a word / several words on the
prepared empty lines, spontaneously / as they come
in to their minds in connection with what they have
seen. A fragment of the screenplay of the sequence
they have seen is printed on sheets. The participants
are invited to cultivate in themselves the sensation of
the film, during the next week, to note every day
some words/-sentences connected with the
sequence seen, evoking the magic of it.
2. a) From the left projector S. Botticellis Abandoned
(atribution of B. Berenson, 1495, tempera on wood,
47 x 41 cm, priv. collection, Rome) is presented. The
participants are asked to evoke any modern painting,
in order to understand why we begin the theme of
contrast with that early renaissance painting. The
participants are reminded we often play with blurring
a projection turning the lens, (we do it again) to simulate the profound, real blur from where each looking/creating begins. A remark about Blake: the colour
is from God, the contour from the Devil (our abstraction). This painting is a result of the will to separate
the illusion of mass from the illusion of space with a
clear contour. So with clear outlining Botticelli creates a confined world of a secure and unambiguous
perception. b) From the projector in the middle
P. Picassos Sitting Woman, 1909, oil on canvas,
92 x 73 cm, the Tate Gallery London is projected.
The participants are told about the great contrast
between Botticellis paintings and Picassos concerning the illusion of mass and space, figure and background. On Picassos canvas an illusion of spacetime continuity is achieved and geometry is not used
here to separate mass from space but to dissolve, to
open the human figure onto the environment, to create continuity. c) Photocopies of a sequence of photos of a cyclist are distributed. The question is asked:
what happens with the cyclist in the photos taken in
different time exposure. We can notice that in an
exposure of 1/2 sec the cyclist cannot be seen at all
(he is the clearest in an exposure of 1/1000 sec).
d) From the right projector M. Ernst Meeting of Two
Smiles (from, Le malheurs des immorteles, 1922,
collage) is projected. The participants get a photocopy of the illustration which was treated by
M. Ernst. We talk about the interventions. We can
notice the semantic opening of the work with a maximum set meaning. M. Ernst produces an explosion
of meaning as a revenge to the single meaningness
because a single meaningness does not exist, only
the continuity of meaning. e) We return to Botticellis
painting. A story from the Old Testament is told:
Tamara, raped and chased away by her brother
Amnon and revenged by the other brother Abshalom
(Samuel II/13). We speak about an archetypal pattern, a reminder of Orpheus, Euridice and the shepherd, of St. George, the Princess and the Dragon.
f) The participants use the experience gained in contact with M. Ernsts artwork. They receive in
envelopes, three cut-out shapes of Botticellis painting (they are not told what it is). There are three convoluted shapes which offer interaction. The task is to
compose a story.
g) A detail of the dress is projected from Botticellis
painting and the three cut-out shapes are recognized.
Modern sensibility undermines the single-meaning.
The participants are reminded of the Soft Giant
267
Nova zna~enjska organizacija Botticellijevih

oblika/A new semantic organisation of Botticellis
Tuma~enje preklapanja plo{nih oblika na

Picassovoj slici/Demonstrating and explaining the
shapes.
folded planar shapes in Picassos painting.
Rezanje i savijanje Picassovih oblika iz

papira/Cutting and folding Picassos shapes out of
explains Picassos shapes
Student tuma~i Picassove oblike/A student
paper
Studentica pomaè u smje{tavanju pala~e

Strozzi u rimski raster Firence/
A student helps to place the Palazzo Strozzi in the
Roman network of Florence
Zadatak je smjesititi ku}u slapova u

podru~je Bear Runa/The task is to place the
Falling Water House in the setting of Bear Run
Voditelj i studenti pomaù sudionicima/ The

workshop leader and the students help the participants
Studentica tuma~i/A student instructs

268
nam pomaè otvoriti nedvosmislenost Botticellijeve slike. h) Projicira se detalj Picassove @ene koja sjedi.
Sudionici dobivaju komad papira, {kare i savijanjem, preklapanjem, rezanjem poku{avaju dobiti prostorne oblike sa slike. Oblici se smotavaju/odmotavaju. i) Uspore|uju se iskustvo podrivanja
Botticellijeve jednozna~nosti i iskustvo propusnosti/transparentnosti Picassove slike.
3. a) S lijevog projektora projicira se rimski kip iz 2. st. koji prikazuje Antinoja (mramor, 180 cm, muzej
u Delfima) i, nakon toga, Usnuli satir (Faun Barberini) (oko 200 god.
pr. Kr., mramor, 215 cm, Glyptotheka, Mnchen) kao najve}i kontrast idealizma i naturalizma; obogotvorenja ~ovjeka - Hadrianov ljubimac i opriro|ivanja boànskog/-~udovi{nog - razulareni satir
(naracija); melankolije i opu{tenosti (psihologija); zatvorene, glatke i razra|ene, usitnjene povr{ine (stil).
b) S desnog projektora projicira se Ru~ak u krznu M. Oppenheim (1936., oko 10 cm, Museum of
Modern Art, New York). Nakon toga slijedi snimak Rauschenbergova Monograma, (1955.-1959.,
balzamirani jarac,160 x 160,5 x 95 cm, Moderne Museet, Stockholm). Govori se o posudi kao
polazi{tu: s jedne je strane konvencionalna stvar, a s druge metafora svega blagog, pasivnog,
primaju}eg, te da se obesmi{ljavanjem konvencionalne stvari otvaraju zna~enja. Defunkcionalizacija je
efikasan pokret za otvaranje svih zna~enja (suprotno Antinoju gdje se ide od partikularnog koje se obogotvoruje, ovdje se ide od op}enitog pojedina~nom). Tuma~i se C. Lvi-Straussov pojam bricoleur onaj koji, od stvari s otpada koje su defunkcionalizirane, raskomadane, pravi novu funkciju, novo
zna~enje. c) Zatim se uspore|uju Faun Barberini i Monogram. Rauschenberg ne prikazuje jarca nego ga
koristi. Prirodni oblik ima svoju strukturu i, prikazuju}i, umjetnost naj~e{}e hini tu strukturu.
Rauschenberg, me|utim, kre}e od gotove strukture ìvotinje, ali intervenira u vezu izme|u njene
anatomije i oplo{ja/vune otvaraju}i zna~enja. Jarac je, u razli~itim kulturama, razli~ito shva}an - od
bestidnog (antika, kr{}anstvo) do `rtve (Agni, bog vatre ja{i na jarcu, tako|er i Thor, gromovnik).
Dozvana su sva zna~enja. d) Slijedi usporedba: ono {to je zajedni~ko svim ~etirima skulpturama jest da
ih je te{ko vidjeti kao skulpture. Kod prve dvije se ipak poku{avaju vidjeti osi, dok kod druge dvije
eksplozija zna~enjskog univerzuma apsolutno nadvladava. e) Sa srednjeg projektora projicira se
Brancusijev Po~etak svijeta (1915., bronca, 15,2 x 21,6 cm, Brancusijev atelje, Muzej moderne umjetnosti, Pariz). Upozorava se na otvorenost - propusnost - ~isti oblik - ~istu skulpturu; na kretanje od
partikularnog k univerzalnom, na razdvajanje taktilnog od vizualnog doìvljaja (taktilna zatvorenost zbijena masa i vizualna otvorenost - kontinuitet mase i prostora u refleksu).
4. a) Sudionici dobivaju plan Firenze i tlocrt Palazza Strozzi (B. da Maiano, model: G. da San Gallo,
vijenac: Cronaca, zavr{ena 1503. god.). Zadatak je da se u anti~ki raster (naru{en srednjovjekovnim intervencijama) smjesti pala~a, na temelju slaganja omjera ve} preure|ene insule i pala~e. Potom dobivaju kartu Bear Runa iz 1935., prije gradnje F.L. Wrightove Ku}e slapova (1937.) i tlocrt ku}e. Zadatak je
da se na situacijsku kartu smjesti tlocrt. b) Paralelno na lijevom i desnom projektoru izmjenjuju se
snimci Palazza Strozzi i Ku}e slapova. Upozorava se na kontrast izme|u zatvorenosti i otvorenosti u
odnosu na elemente - simbole: zemlju, zrak, vodu, vatru, drvo; izme|u oskudnog, suènog, kanaliziranog, discipliniranog odnosa odjeljivanja, ~uvanja, kontroliranja, ograni~enja (pripitomljeni elementi) i dramati~nog otvaranja, osloba|anja svih elemenata (kompozicija konstrukcije; elementi su sastavni dijelovi ku}e: ugra|ivanje stabala, otvoreni kamin, voda usred ku}e, stijena usred ku}e, otvor na
krovu). c) Sa srednjeg projektora projiciraju se snimci Paviljona za skulpture G. Rietvelda, u parku u
Otterlou (1958. - 1959.) Istodobno, na prethodno dobivenom tlocrtu, sudionici obiljeàvaju mjesto
odakle je snimljen pojedini snimak. d) Slijedom snimaka obilazi se Paviljon i upozorava se na stupnjevanje u odjeljivanju vanjskog i unutarnjeg (poplo~enje, konstruktivni element, stakleni zid, zid od rijetko
slaganih opeka, zid od gu{}e slaganih opeka, o`bu-kani zid). Tako|er se upozorava na transparentnost
Rietveldovog paviljona koja je postignuta i u Picassovoj slici, i u Brancusijevu kipu, suprotno od tolikog
petljanja Oppenheimove i Rauschenberga, i tolike Wrightove dramatike. Upozorava se jo{ na ulogu
vremena, na istodobnost unutra-van {to je tako|er analogno Brancusijevom i Picassovom rastezanju
mase u okolni prostor samo {to se ovdje vanjsko/unutarnje stvarno proìmaju, a ne samo iluzionisti~ki.

Animals of C. Oldenburg and M. Ernst helps us to
open the unambiguity of Botticellis painting.
h) A detail of Picassos painting is projected. The
participants receive a piece of paper, scissors and
try, by folding, twisting, cutting, to get the spacial
shapes from Picassos painting. The shapes are
rolled up / unrolled. i) The experience of undermining
Botticellis unambiguity and the opening of an imaginary volume by an illusion of flatness, then by the
continuity of mass and the experience of permeability/transparency of Picassos painting are compared.
3. a) From the left projector we project a Roman
sculpture from 2nd Century which represents
Antinoe (marble, 180 cm, the Museum in Delphi)
and after that The Sleeping Satyr (Faun Barberini)
approx. 200 B. C. marble, 215 cm, Glyptothek,
Munich - as the greatest contrast of idealism-naturalism; divination of man - Hadrians favourite and
naturalisation of divinity/monster - the unrestrained
satyr (narration); melancholy and relaxation
(psychology); closed, smooth and articulated, fragmented surface (style) b) From the right projector
The Luncheon in Fur by M. Oppeheim is projected,
1936, approx. 10 cm, Museum of Modern Art, New
York after that: R. Rauschenberg: Monogram, an
embalmed he-goat, 1955-59, 160 x 160,5 x 95 cm.
Moderne Museet, Stockholm. We talk about the vessel as a starting point: a conventional object, a
metaphor of everything tender, passive, receptive,
and that making the conventional object senseless
the meanings are opened. The defunctionalization is
an effective gesture to open all the meanings (opposite to Antinoe where the movement is from the particular to the making divine, here the general
becomes particular.) C. Lvi-Strauss concept of
bricoleur is explained, the one that from a waste
object defunctionalised and decomposed makes
new functions, new meanings. c) A comparison
between the Faun Barberini and the Monogram is
made. Rauschenberg does not represent a he-goat
but uses it. The natural form has its structure and art
usually pretends this structure. Rauschenberg starts
from a ready structure of an animal, but intervenes
in the relation between its anatomy and surface/wool
opening up the meanings. The he-goat is interpreted
differently in different cultures - from shamelessness
(Antiquity, Christianity) to sacrifice (Agni, the fire
god rides on a he-goat, also Thor, the thunderer).
All the meanings have been called up. A comparison
follows: What is common in all the four sculptures is
that: it is very difficult to see them as sculptures.
In the first and second cases we try to see the axes,
but in the case of the other two an explosion of
the universe of meaning is what overhelms. e) From

the middle projector we project The Commencement
of the World by C. Brancusi (1915, bronze, 15.2 x
21.6 cm, Brancusis atelier, Museum of Modern Art,
Paris). Instruction is given about openness-permeability - pure form - pure sculpture, about moving
from particularity to universality, about the separation of the tangible and visual experience (tangible
confinement - monolithic mass and visual openness
- continuity of mass and space in reflex).
4. a) The participants receive a plan of Florence and
a plan of Palazzo Strozzi (B. da Maiano, model:
G. da San Gallo, the carnice: Cronaca, finished
1503.) The task is to put the palace into an antique
network (mutilated by medieval interventions) based
on a consistency between the transformed insula
and the palace. After they receive a plan of the Bear
Run from 1935 before Wright built there and the
plan of the Falling Water House (F. L. Wright,
1937). The task is to place in the situational plan
the plan of the house. b) Some slides of Palazzo
Strozzi and the Falling Water House are alternated
parallelly on the left and right projectors.
Instructions are given about the contrast between
the confinement and openness concerning the elements - symbols: earth, air, water, fire, tree,
between the meagre, limited, chanelled, disciplined
relation of separation, keeping, controlling, bounding (the tamed elements) and the dramatic opening,
the liberation of all the elements (composition of the
construction); the elements are parts of the house:
a building in trees, an open fire, water in the house,
a rock in the room, a hole in the roof. c) From the
middle projector we project some slides of G.
Rietvelds Pavilion for sculptures in Otterlo park
1958/59 The participants receive a plan and are
invited to mark the place, during the projection,
from where the photograph was taken. d) With
slides we circumambulate the Pavilion and the
instruction is given about a gradation in separating
the exterior and the interior (pavement, constructive
elements, glass wall, wall from scatteredly disposed
bricks, a wall from densely disposed bricks, a
mortared wall). Instructions are given about the
transparency/permeability achieved in Picassos
painting in Brancusis sculpture and in Rietvelds
pavilion in contrast to so much quibbling of
Oppenheim or Rauschenberg and so much dramatics of Wright. We also give instructions about the
role of time and about the simultaneity of the in and
out, which is an analogy with Brancusis and
Picassos extending of mass into environment,
except that here the outer/inner are really in interaction and not only an illusion.

269

270
IDEALNA REKONSTRUKCIJA
KRATKA POVIJEST SLIKARSTVA

GRANICA kao okvir, GRANICA kao obris = STVARANJE SVIJETA
IDEAL RECONSTRUCTION

ANALIZA - KOMPARACIJA
ANALYSIS - COMPARISON
SHORT HISTORY OF PAINTING

BOUNDARY as a frame, BOUNDARY as an outline= CREATING THE WORLD
N. POUSSIN:
E. NOLDE:
POSLJEDNJA
VEÊRA/
THE LAST
SUPPER,
POSLJEDNJA
VEÊRA/
THE LAST
SUPPER,
1647., ULJE/OIL,
117 X 178 CM,
EDINBURGH
1909.,
ULJE/OIL,
SEEBHL
univerzalna razina
univerzalna razina
universal level
universal level
SHORT HISTORY OF SCULPTURE
AXIS = the connection between heaven and earth
KRATKA POVIJEST KIPARSTVA

OS = veza neba i zemlje
E. DEGAS:
PARVATI (GOSPA OD
PLANINE)/(THE LADY
OF THE MOUNTAIN),
POBJEDA/
VICTORY,
1. ST./1TH C.,
BRONCA/BRONZE,
195 CM, BRESCIA
13. ST./13 TH C., CHOLA

DINASTIJA/ DYNASTY
STOLAC IZ BALUBE/
A CHAIR FROM BALUBA,
DRVO/WOOD, 55 CM,
PARIZ/PARIS
SHORT HISTORY OF ARCHITECTURE

STEPS = transition from one to another level
KRATKA POVIJEST GRADITELJSTVA

STUBE = prijelaz s jedne na drugu razinu
PLESAÎCA/
THE DANCER,
1911., BRONCA/
BRONZE, 46,8 CM,
LONDON
STUBE = uspon, inicijacija, uspe}e
H. ARP:
K. KANTOCI:
TORZO @ENE/
FEMALE TORSO,
@ENA S TERETOM/
A WOMAN WITH A LOAD,
1953, 80 CM,
KLN/COLOGNE
1960, DRVO/WOOD, 46 CM,

ZAGREB
STAIRS = ascent, initiation, ascension
rampa
dvostruka
spirala
LE CORBUSIER:
MICHELANGELO:
CISTERNA/
CISTERN, DHI BIN,
13 ST./13 TH C.
BIBLIOTHECA
LAURENTIANA,
1523,
FIRENCA/FIRENZE
D. DE CORTONA,
LEONARDO:
ESCALIER DU LIS,
1526.,
CHAMBORD
M. C. ESCHER:
RELATIVNOST/
RELATIVITY,
LITOGRAFIJA/LITHOGRAPH,
1951.
VILLA SAVOY,
1929., POISSY
271

272
U d r u g o j radionici namjera je posti}i iskustvo o tome da se bitne odrednice slikarstva (omjeri

kadra i temeljni na~in razrade bojom), kiparstva (razmje{taj mase i prostora u odnosu na kadar ili os),
graditeljstva (istoobli~na razrada temeljnih funkcija) pojavljuju u svim razdobljima i kulturama; ste}i
iskustvo o rekonstrukciji slike iz nejasne mrlje (kada su sve slike sli~ne), do krajnje razrade, kada se
pojavljuju razlike.
Ambijent: Isti je kao i u prethodnoj radionici. Pripremljeni su kadrovi slika, obrisi kipova, fotokopije, scenarij, upitnik, krejoni.
Struktura doga|anja:
1. a) Voditelj pita o doma}oj zada}i, koliko su se sudionici, tijekom tjedna, uspjeli baviti filmom
Pro{le godine u Marienbadu. b) Upozorenje: osim prepu{tanja ~aroliji treba obratiti pozornost na
kretanje kamere (planovi), na poloàj kamere (o~i{te), na kretanje svjetlosti i na izmjenjivanje kadrova (ritam). c) Prikazuje se druga sekvenca filma. d) Dijele se upitnici, zapisuju rije~i, re~enice. e)
Dijeli se dio scenarija i jedan still i podsje}a se na zada}u: bavljenje filmom tijekom tjedna.
2. Najavljuje se kratka povijest umjetnosti, najprije kao kratka povijest slikarstva.
a) Dijele se 4 x 3 nacrtana kadra slika i 3 kadra-reljefa (reljef je djelomi~no plo{ni medij!) i obra}a se
pa`nja na omjere kadrova: 1:1, 1:2, 2:3 itd. Najavljuje se da }e se istraìvati odnos prema kadru razrada kadra rasporedom boja (u slikama), rasporedom mase i prostora (na reljefima). Obja{njava se
zadatak: rekonstruirati sliku od sklopa nejasnih mrlja do razrade i u zadane okvire ozna~iti odnose. U
1., 2., 4. i 5. setu prvo }e se projicirati po tri slike posve zamu}ene, zatim drugi stupanj o{trine slika uno{enje primije}enih promjena u pripremljene kadrove. Dalje slijedi postupno izo{travanje do kraja postupno razra|ivanje pogledom te znakovima u crteù. U slu~aju reljefa (3. set) rekonstrukcija se
radi bez zamu}ivanja. Euharistijsko slavlje/Posljednja ve~era tema je svih petnaest djela.
1. set: zidna slika iz Kalikstovih katakomba, 3. st., Rim; mozaik iz S. Apollinare Nuovo, 6. st.,
Ravenna; zidna slika iz S. Angelo in Formis, 11. st.;
2. set: minijatura iz Evangelijara biskupa Berwarda, oko 1000. godine, Hildesheim; zidna slika iz
Starog Nagori~ina, 14. st.,; P. Lorenzetti, zidna slika u doljnjoj crkvi S. Francesco u Assisiju, oko 1340.
god. Pri gledanju se sa sudionicima vodi razgovor o tome {to vide, koje promjene uo~avaju, kako ih
biljeè.
3. set: korice knjige iz Narbonnea, detalj, bjelokost, oko 820. god.; Buvina, vratnice splitske katedrale,
detalj, drvo,1214. god.; oltarna pregrada iz Naumburga, detalj, kamen, oko 1250. god. Razgovorom
se osvje{tava odnos razrade mase i prostora prema kadru (kod prvog, krivulju stola ne prati razmje{taj
likova; kod drugog se primje}uje stilizacija, a kod tre}eg se primje}uju karakteristike naturalisti~kog
teatra u razmje{taju likova).
4. set: Primjeri iz ovoga seta su prostorno i vremenski veoma bliski i nastali su u Veneciji i Firenzi
tijekom 15. i 16. st. A. del Castagno, freska iz blagovaonice samostana Santa Apolonia, Firenza, 1445.1450. god.; Leonardo da Vinci, freska iz blagovaonice samostana Santa Maria delle Grazie, Milano,
1495.-1497. god.; J. Tintoretto, ulje,
S. Giorgio Maggiore, Venecija, 1592.-1594. god. I ovoga puta prvo se primjeri istodobno pokazuju
posve zamu}eno, nakon toga se neznatno izo{travaju i onda se postupno izo{travaju do kraja. Sudionici,
na pripremljene kadrove, biljeè glavna usmjerenja koja primje}uju u razlikama/promjenama svjetlosti.
5. set: Ovaj set sadrì jedan barokni i dva moderna primjera: N. Poussin, 1647. god., ulje,
Edinburgh; E. Nolde, 1909. god., ulje, Seebhl; S. Spencer, 1920. god., ulje, Cookham. Postupak je
isti: doìvljaj od mutnog do o{trog i razgovor o me|usobnim sli~nostima i razlikama. Zaklju~uje se
da su odnos prema kadru (uzorku - onom {to skupi i pokrene pogled) u razradi kao i omjeri samoga
kadra u temelju vrlo sli~ni i da se velike razlike pokazuju tek pri kraju razrade.
3. Slijedi kratka povijest kiparstva. Dijeli se 5 x 3 crteà obrisa kipova. Sudionici se upozoravaju
da je konstanta ljudski lik i os (axis mundi, brahma sutra). Os je, uzorak, poput kadra, okuplja i
pokre}e pogled/ruke/tijelo onoga koji gleda/dodiruje/obilazi kip, povezuje nebesko i zemaljsko. To,
kako se slaù mase u odnosu na os/osi razra|uje se i pokazuje i na oplo{ju. Sudionici dobivaju obris

In the s e c o n d workshop the intention is to
gain experience about the fact that the essential
points of painting (the ratio of the frame and the
fundamental way of articulating it with colour) of
sculpture (the composition of mass and space considering the frame or axis) architecture (uniform
articulation of fundamental functions) appear in all
periods and in all cultures; to gain experience of the
reconstruction of a picture from a faint blur (when
all the pictures are similar) till the final articulation
when the differences appear.
Ambience: As in the former workshop. The materials are prepared, the frames of the pictures, the
outlines of sculptures, photocopies, the screenplay,
questionnaires, crayons are available.
1. a) The workshop leader asks about the homework, how much the participants have succeeded
reflecting on the film Last Year in Marienbad
during the week. b) Instruction: besides surrendering themselves to the magic, they should pay
attention to how the camera moves (the plans),
what the position of the camera is (view point),
how the light moves and how the frames alternate
(rhythm). c) The second sequence of the film is
presented. d) Questionnaires are distributed, the
words/sentences are written onto them.
e) Fragments of the screenplay and stills are
distributed and a remark about the homework,
(to reflect on the film during the week).
2. A short history of art is announced, first as a
short history of painting; a) drawings of 4 x 3
frames of paintings and three of the reliefs (relief is
partly a planar medium) are distributed, and the
attention is directed to the ratios of the frames
(1:1, 1:2, 2:3 etc.) The relation to the frame is
explored - the articulation of the frame by composing the colours (in the paintings) and by composing mass and space (in the reliefs). The task is
explained: to reconstruct the painting from a set of
faint blurs till the final articulation and in the given
frame to mark the relations. In the 1st, 2nd, 4th
and 5th set first three painting are projected wholly
blurred, then the second degree of sharpness:
changes are noticed and drawn into the frames.
Gradual sharpening till the end and gradual articulating with gaze and signs in the drawing. In the
case of relief (3rd set) the reconstruction is done
without blurring. The Eucharist / The Last Supper is
the constant subject in all of the fifteen works: 1st
set: a mural from Calixtus Catacombs, 3rd Century
Rome; a mosaic from S. Apolinare Nuovo, 6th

Century Ravenna; a mural from S. Angelo in Formis
11th Century. 2nd set: An illumination from bishop
Berwards Gospel, approx. 1000, Hildesheim; a
mural from Staro Nagori~ino, 14th Century;
P. Lorenzetti, a mural in the lower church of S.
Francesco in Assisi approx. 1340. While watching
we talk about what the participants see, what
changes they notice and how they mark them. 3rd
set: the covers of the book from Narbonne, approx.
820, ivory, detail; Buvina, the door of the Split
cathedral, 1214, wood, detail; an altar parapet from
Naumburg, approx. 1250, stone, detail. By talking
we become aware of the relation of the mass
space articulation to the frame (in the first one the
curve of the table is not followed by the composition of figures; in the second one we notice a stylisation; in the third one we notice the characteristics of the naturalistic theatre in the composition of
figures). 4th set: The examples from this set are in
space and time very close to each other, they were
made in Venice and Florence during the 15th and
16th Centuries. A. del Castagno, the fresco in the
Cenacolo di Santa Apolonia, 1445-50, Florence;
Leonardo da Vinci, the fresco in the Cenacolo di
Santa Maria delle Grazie, 1495-97, Milan; J. Tintoretto, 1592-94, oil, in S. Giorgio Maggiore Venice.
The activity is the same as in the first and second
set. First the examples are simultaneously shown
wholly blurred, after they are slightly sharpened
and then gradually sharpened fully. The participants
mark the main direction they notice in the differences/changes of the light on the prepared frames.
5th set: contains one Baroque and two Modern
examples: N. Poussin, 1647, oil, Edinburgh;
E. Nolde, 1909, oil, Seebhl; S. Spencer, 1920, oil,
Cookham. The procedure is the same. The sensation from the blurred to the sharp and a discussion
of the similarities and differences. The conclusion
is that the relation to the frame (pattern - which
concentrates and moves the gaze) in articulation as
well as the ratio of the frame are very similar in
their fundamentals and great differences manifest
themselves only at the end of the articulation.
3. A short history of sculpture comes next. The
drawings of outlines of 5 x 3 sculptures are distributed. Instruction is about that the human figure and
the axis (axis mundi, brahma sutra) are constant, a
pattern that concentrates and moves the
gaze/hands/body of the one who looks, touches,
moves around the sculpture and a pattern which
connects the heaven and the earth. How the masses are composed in relation to the axis/axes is
articulated and manifested on the surface, too. The
participants receive the outlines of the sculptures
273
Ispunjava se upitnik/The questionnaire is filled

Pripremljeni su okviri/formati slika/
The frames/formats of paintings are prepared
Studentica mjeri visinu glave i tijela

prikazanog lika/A student-instructor is measur-
Studentica tuma~i omjere figure u Stolcu iz

Balube/A student is explaining the ratios of the
ing the height of the head and the body of the

represented figure
figure in the chair from Baluba
Kratka rasprava/A short discourse

274
kipova i ucrtavaju os/osi/kompozicijske linije i oznake za razradu povr{ine istodobno dok se s tri projektora projicira pet setova snimaka kipova.
1. set: boìca iz Mezopotamije, oko 4. st. pr. Kr., kamen, Louvre, Pariz; Henut-Nakhtu, oko 1300.
pr. Kr., drvo, 22 x 12 cm, Egipat; Stolac iz Balube, drvo, 55 cm, Pariz.
2. set: Velika boìca Svete planine iz Mari (Sumer), oko 2400. pr. Kr., Damask; Gospa od planine
(Parvati), dinastija Chola, 13. st., bronca, 93 cm; Kuan Yin, boìca koja ~uje krikove svijeta, 18. st.,
kineski bijeli porculan.
3. set: Pobjeda, 1. st., rimska bron~ana statua, 1,95 cm, Brescia; A. Vittoria Sveti Ivan, 1584., bronca, San Giovanni e Paolo, Venecija; Gianbologna Astronomija, 1575., bronca, 39 cm, Be~.
4. set: Madona biskupa Imeda iz Paderborna, 1051.-1076., drvo; Pavel iz Levo~e Sveta Barbara,
1510.-1520., drvo; L. Bernini An|eo, 1666.-1671., mramor, S. Andrea delle Fratte, Rim.
5. set: E. Degas Plesa~ica, oko 1911., bronza, 46,8 cm, Tate Gallery, London; H. Arp Torzo ène,
1953., kamen, 80 cm, Kln; K. Kantoci @ena s teretom, 1960., drvo, 46 cm, u vlasni{tvu autorice.
Tijekom projiciranja snimaka govori se o razlici izme|u svih vremena koja su traìla svoje srodnike u
pro{losti, njih priznavala, s njima se poistovje}ivala a ostale negirala, i na{eg vremena (moderna
osjetljivost) koja afirmira sve na~ine i koja ljepotu ne mjeri standardima samo jednog vremena.
Moderna pro{iruje sebe, svoju osjetljivost: ne samo civilizirano tolerirati svoje suvremenike
(sugra|ane - civis), nego razviti osjetljivost za sve ljudsko (kultura - njegovanje).
4. Slijedi kratka povijest arhitekture. Istraùje se u odnosu na jedan veliki arhitektonski izum stube. Stupnjevano prije}i s jedne razine na drugu, univerzalni je izum s po~etka povijesnog vremena.
Bogate je konotacije: uspon, inicijacija, uspe}e du{e - Jakovljeve ljestve. Tijekom projekcija tuma~e se
karakteristike - oblici - sklopovi stubi{ta. a) Uvodno se pokazuje litografija M.C. Eschera Relativnost,
1953., koja se ruga stubama i proizvodi vrtoglavicu ukoliko se poku{amo uìviti u nju.
b) Nakon toga se s tri projektora pokazuju tri seta snimaka stubi{ta iz razli~itih vremena i kultura:
1. set: Festos, tzv. Kazali{te, oko 1500. pr. Kr., Kreta; Cisterna Dhi Bin, 13. st., Jemen; Michelangello
Bibliotheca Laurenziana, 1523. (stube zavr{ava Ammannati 1560.);
2. set: Palazzo Contarini dal Bovolo, oko 1499., Venecija; J. Prandtauer, stubi{te samostana u Melku,
po~etak 18. st.; I. Nogushi Tobogan, Venecijanski bijenale, 1986.; 3. set: D. Bramante, spiralna rampa
u Vatikanu, 1503.; D. da Cortona i Leonardo (?) Escalier du Lis, dvostruko spiralno stubi{te, 1526.,
Chambord; Le Corbusier Villa Savoy, rampa/spiralno stubi{te, 1929., Poissy. c) Projicira se litografija
M.C. Eschera Stubi{te, 1951. i traì se odgonetavanje onoga {to se zbiva s tri zrcaljenja.
d) Zadatak: Kako bi izgledalo dvostruko stubi{te u ravnini? (Dvostruko stubi{te se koristi na velikim
brodovima da se posluga i gosti ne bi sreli, S. Plani} ga je koristio u jednoj obiteljskoj ku}i u Zagrebu.)

and draw the axis/axes/compositional lines and
markings for an articulation of the surface. Four
sets of three sculptures each from different periods/cultures are presented.
1th set: A Goddess from Mesopotamia, approx 4th
Century B. C., stone, Louvre, Paris,; Henut-Nakhtu,
approx. 1300 B. C., wood, 22 x 12 cm, Egypt,; a
chair from Baluba, African, wood, 55 cm, Paris.
2nd set: The Great Goddess of the Holy Mountain
from Mari (Sumer) approx. 2400 B. C. Damascus;
The Goddess of the Mountain (Parvati), 13th
Century, bronze, 93 cm, Chola dynasty; Kuan Yin,
Goddess who hears the screems of the world, 18th
Century, Chinese white porcelain.
3rd set: Victory, 1st Century, Roman bronze statue,
1.95 cm, Brescia; A. Vittoria: Saint John, 1584,
bronze, San Giovanni e Paolo, Venice; Gianbologna:
Astronomy, 1575, bronze, 39 cm, Vienna.
4th set: Bishop Imeds Madonna from Pader-born,
1051-76, wood; Pavel from Levoa: Saint Barbara,
1510-20, wood; L. Bernini: Angel, 1666-71, marble;
S. Andrea delle Fratte, Rome.
5th set: E. Degas: Dancer, 1911, bronze, 46,8 cm,
Tate Gallery, London; H. Arp: Female Torso, 1953,
stone, 80 cm, Cologne; K. Kantoci:
A woman with a Load, 1960, wood, 46 cm, the
artists collection.
We talk about the differences of all the periods which
tried to find their relatives in the past, accepted them,
identified themselves with them and negated all the
rest, and our time (modern sensibility) which confirms all the modes, which does not measure beauty
with the standards of only one time. Modern art
expands itself, its own sensibility: not only to tolerate
ones own contemporaries in a civilised way [(the

members of the same city, citizens-civis), but to
evolve sensibility for all human (culture - nurturing)].
4. A short history of architecture - is an exploration in relation to a great invention - stairs, with
rich connotations: ascension, initiation, assumption
of the soul, - Jacobs ladder. A gradual passing
from one level to another is a universal invention
from the beginning of history. The characteristics shapes - structures of the staircases are explained.
a) First M. C. Eschers lithograph, Relativity, 1953,
is shown, which mocks stairs and produces dizziness if we try to feel it. b) Next we present three
sets of three staircases each:
1st set: Phaistos, the so called theatre, approx.
1500 B. C. Crete; Cistern Dhi Bin 13th Century
Yemen; Michelangelo: Bibliotheca Laurenziana, 1523
(the stairs were finished by Ammannati 1560).
2nd set: Palazzo Contarini dal Bovolo, approx.
1499, Venice; J. Prandtauer: The staircaise in the
monastery of Melk, beginning of 18th Century;
I. Nogushi: Toboggan, Venice, Biennale.
3rd set: D. Bramante: The spiral ramp in the
Vatican, 1503; D. da Cortona and Leonardo (?)
Escalier du Lis, The double spiral staircase, 1526,
Chambord; Le Corbusier Villa Savoy, The ramp/spiral staircase, 1929, Poissy. c) M. C. Eschers lithograph Staircaise 1951, is projected and the task is
to solve what occurs by three reflexions. d) The
task: What would a double staircase in a plane look
like? (Double staircases are used in big ships to
avoid the meeting of servants and guests, S. Plani
used it in a family house in Zagreb).

275

276
PROSTOR
SPACE
ILLUSION OF VOID
ILUZIJA PRAZNINE
IZMIÊ se kubnom prostoru

VRIJEME
TIME
SIMULTANEITY
ISTODOBNOST
TEMATIZIRA se perspektiva
ELUDING to cubic space
THEMATISATION of perspective
vi{e o~i{ta
several viewpoints
SASSETTA:
polagana rotacija
slow rotation
J. PONTORMO:
VIZITACIJA/
VISITATION,
1528.-29.,
ULJE/OIL,
CARMIGNANO
ZARUKE SV. FRANJE/

THE ENGAGEMENT
OF ST. FRANCIS,
W. MC KAY:
1437.-44., CHANTILLY
1912, COMIC STRIP
MALI NEMO/
THE LITTLE NEMO,
P. KLEE:
SOBA SA
STANARIMA/
PERSPECTIVE
OF A ROOM
WITH
OCCUPANTS,
SPACE = TIME
PROSTOR = VRIJEME
svevremenost
all-time-ness-ness
1921., ULJE I
AKVAREL/WATER COLOR AND OIL,
BERN
avremenost
time-less-ness
veliki broj o~ita je

SINTETIZIRAN spiralnim oblikom
totalna vrtnja
a large number of viewpoints are

SYNTHETISED by a spiral shape
total rotation
V. KANDINSKI/KANDINSKY:
PECHMERLE,
PALEOLIT/PALEOLITHIC
IMPROVIZACIJA 26/
IMPROVISATION 26,
1912, ULJE/OIL,
98 X 107,5 CM,
MNCHEN/MUNICH
iluzija prozirnosti
P. KLEE:
USTURGUM,
SULEJMANAM 1608.,
AKVAREL/WATER-COLOUR,
10 X 16 CM, ISTAMBUL
ODMOTAVANJE
KLUPKA VUNE/
UNRAVELLING BALL
OF WOOL,
1932., CRNO-BIJELI
AKVAREL/BLACK-WHITE
WATER-COLOUR
illusion of transparency
277

278
Namjera u t r e } o j radionici je upoznati djela pro{losti koja su i u svojim krajnjim razra|enim

razinama sli~na modernim; razvijati moderni pogled na pro{lost, da bi se osvijestile sli~nosti u odnosu na konstrukciju prostora (omjeri, sklonost plo{no i linijski istanjenim masama, iluzija praznine uloga zrcala, prostorne konstrukcije - vi{e o~i{ta, vi{e mreà, slika ulazi u prostor) i u odnosu na konstrukciju vremena (istodobnost, transparentnost, avremenost - svevremenost); upoznati otkri}a
Moderne (rubni svjetovi, manirizam, romanika, apovijesne kulture, dje~ji crte`) koja omogu}uju
naivu, postmodernu, slikarstvo domi{ljanja spontanog impulsa.
Ambijent: Isti je kao i obi~no. Pripremljeni su crteì obrisa likova, blijede kopije, listi}i s crteìma
o~i{ta i perspektive, fotokopije djela, papiri, krejoni, scenarij, upitnik.
Struktura doga|anja
1. a) Radionica zapo~inje pitanjem/upozorenjem: rade li/da rade doma}e zada}e. b) Upozorova se
na odnos slike i teksta u tre}oj sekvenci filma Pro{le godine u Marienbadu (tri su lika: X, A i M). [to
~ujemo da govori X i {to istodobno vidimo? c) Prikazuje se sljede}a sekvenca (oko 10) filma.
d) Dijeli se upitnik u kojega sudionici upisuju rije~i. e) Dijeli se sljede}i dio scenarija.
2. Sudionici se prisje}aju odnosa povijesnih i modernih djela vi|enih u prve dvije radionice. Razgovor se
vodi u smjeru osvje{tavanja kako su, podrivanjem povijesnih djela, moderna djela smanjila kontrast
izme|u djela pro{losti i sada{njosti te kako, bilo naturalizam bilo idealizam dotjerani do kraja, rezultiraju
Rauschenbergovim pop-artom odnosno Brancusijevom apstrakcijom. Iskustvo pro{le radionice bilo je da
su mjere mrlja i mjere okvira djela iz razli~itih razdoblja sli~ne i da tek razradom dolazi do znatnih
promjena. Upozorava se da su oba iskustva vrlo dragocjena u razvijanju moderne osjetljivosti.
3. Najavljuje se tema ove radionice - upoznavanje djela pro{losti koja su u svojim
izo{trenim/krajnjim/razra|enim razinama sli~na modernim. Moderna, kao i druga razdoblja, pronalazi
svoje srodnike (njima se bavimo u ovoj radionici), ali se upozorava da se od svih drugih razdoblja
razlikuje po tome {to na univerzalnoj razini nalazi sli~nosti sa svima (tema dva prethodna sastanka).
Komparacije se prvo koncentriraju na odnos prema prostoru. a) Zapo~inje se s istraìvanjem omjera
likova kod figurativnih djela, dakle jednim aspektom prostora. Istodobno se projiciraju: romani~ki
reljef iz Autuna, 12. st.; kip Muisca, 13. st., Kolumbija; drvorez K. Smidt-Rottluffa Put u Emaus,
1918. god. Sudionici dobivaju nacrtane konture likova. Na projiciranim reprodukcijama studentiinstruktori mjere visine likova/glava (u cm). Sudionici ucrtavaju u obrise i izra~unavaju omjere.
Pozornost se usmjerava na projicirane reprodukcije i upozorava na sli~nost u nagla{avanju veli~ine
glava i zanemarivanju duljine tijela - na slobodu u omjerima, bez obzira na vrijeme/kulture.
b) Projiciraju se istodobno: reljef iz katedrale u Santiago de Compostela Stvaranje Adama, 12. st.;
El Greco Vizija Sv. Ivana, 1610.-1614., ulje, Metropolitan Museum, New York; E. Kirchner Crvena
ka}iperka, 1914.-1925., ulje, Staatsgalerie, Stuttgart. Postupak je isti: studenti mjere, sudionici
ucrtavaju, izra~unavaju omjere. Ustanovljuje se da u sva tri primjera postoji sli~nost u slobodi omjera,
ali na suprotan na~in nego u prethodnom slu~aju, sada u zanemarivanju veli~ine glave i nagla{avanju
duljine tijela, a jednako u svrhu ve}e izraàjnosti (ekspresivnosti). Zapo~inje razgovor o tome {to je sve
otkrila Moderna, gdje je sve traìla svoje srodnike (romanika, manirizam, te izvaneuropske kulture) o
~emu }e sada biti rije~i. c) Projiciraju se: kip iz Gabona, drvo, 59 cm; polinezijski kip iz muzeja u
Otterlou, drvo; N. Gabo Glava, 1916. (pove}ana verzija 1964.), bronca, Tate Gallery, London.
Razgovor se opet vodi o sli~nostima: plo{no i linijski istanjene mase koje, savijaju}i se, organiziraju
prostor. Podsje}a se na Picassovu sliku i na vje`bu u vezi s njom. To, {to je na slici bilo pritisnuto
na plohu, i {to se vje`bom otvaralo u prostor, to je ovdje, naravno zbog medija, ve} otvoreno u
prostoru. d) Istodobno se projiciraju: A. Drer Crte` glave, Saksonska zemaljska biblioteka, Drezden;
P. Picasso @ena u naslonja~u, 1909., ulje, 92 x 73 cm, Muzej Pu{kin, Moskva; J. Gris ôvjek iz
Toursa, 1918., ulje., Muzej moderne umjetnosti, Pariz. Sudionici dobivaju blijede kopije Drerova
crteà i traì se da poku{aju otvoriti geometrijskim likovima zatvorenu masu. Bilo da se radi, poput
J. Grisa, o otvaranju u slojevima, bilo o prekidanju odijeljenosti sa svih strana, poput Picassa, potrebno
je pomaknuti/izostaviti ~vrste zidove geometrijskih likova koji zatvaraju, i tako otvoriti masu u okolni
prostor.
4. Zapo~inje drugi aspekt istraìvanja prostora kao iluzije praznine. a) Istodobno se projiciraju tri slike s
temom zrcala/zrcaljenja: J. Van Eyck Arnolfini i njegova èna, detalj, 1434., ulje, National Gallery,
London; Parmigianino Autoportret, 1523.-1524., ulje, Kunsthistorisches Museum, Be~; P. Picasso @ena
u naslonja~u, 1932., ulje, Tate Gallery, London. Govori se o ulozi zrcala u pro{irivanju prostora (naprijed-natrag), o pro{irivanju prostora u smislu njegovih razli~itih mogu}nosti (deformacija) i o mogu}nosti
istodobnosti (sprijeda/profil). U sva se tri primjera traga za istodobno{}u, ali na druga~iji na~in.
b) Slijedi istraìvanje konstrukcije prostora u slici. Projiciraju se: Usturgum (Esztergom), minijatura iz
Sulejmanama, 1608., 10 x 16 cm, Topkapu muzej, Istanbul; J. Pontormo Vizitacija, 1528.-1529.
Carmignano; P. Klee Nekomponirani objekti u prostoru, 1929., akvarel i pero, privatna zbirka.
Sudionici individualo istraùju kako se u prvoj slici kombinacija velikog broja o~i{ta sintetizira spiralnim
oblikom {irenja i kako se na dva razli~ita na~ina izmi~e sintezi kubnog prostora (Pontormo, Klee). Crta
se po fotokopijama. Dobiva se pomo}ni listi} s crteìma o~i{ta i perspektive i ispravak Kleeova crteà.
c) Projiciraju se tri primjera: P. Veronese Navje{tenje iz S. Giovanni e Paolo, 1568., ulje, Venecija;
M.C. Escher Drugi svijet II., 1947., drvorez; P. Klee Soba sa stanarima, 1921., akvarel i ulje, Zaklada
P. Klee, Bern. Istraùje se uloga o~i{ta u slici. Razgovor se vodi o vrlo naro~itim o~i{tima: odozdo
(Veronese); simultano iz razli~itih poloàja (Escher); polagana rotacija kao u nekom besteìnskom
stanju (Klee). Na Kleeovoj se slici tematizira perspektiva koja nije u slu`bi kubnog prostora (vi{e o~i{ta,
ali ipak postoji sredi{te iz kojega se sugerira vrtnja). Vje`ba: izvla~enje svih linija na pausu.

The intention of the t h i r d workshop is to get
to know the artworks of the past which in their finished articulated levels are similar to modern ones;
to evolve a modern view of the past, to become
aware of the similarities considering the construction of space (ratios, inclination towards linear and
planar masses, illusion of the void: the role of the
mirror, space constructions: several levels, several
networks, the painting enters the space) and the
construction of time (simultaneity, transparency,
time-less-ness - all-time-ness-ness); to introduce
the discoveries of the Modern art (edge - worlds,
Mannerism, Romanesque, ahistoric cultures, childrens drawings) which make the naive, the postmodernism, the painting of reflection of spontaneous impulses possible.
Ambience: As usual. The prepared materials are:
outlines of figures, blurred copies, a leaflet with eye
levels and different perspectives, photocopies of
artworks, paper, crayons, the screen play, questionnaire.
1. a) Question/instruction: do they do homework?
b) An introduction to the relation of the image and
the text in the third sequence of Marienbad. What
do we hear when X speaks and what do we simultaneously see? (three figures: X, A, M). c) The next
sequence of the film is presented (about 10 minutes). d) The questionnaires are distributed and
words are written onto them. e) The next part of the
screenplay is distributed.
2. We remind the participants of the artworks, historical or modern, in the first and second workshops. Our talk is directed to becoming aware of
how, by undermining historical artworks modern
artworks have lessened the contrast between the
past and contemporary ones and that either naturalism or idealism when brought to the end, result
either in Rauschenbergs pop-art or in Brancusis
abstraction. The experience of the former workshop is that the measures of spots and frames
from different periods are similar and only through
articulation we get some great changes. We
emphasize that both experiences are very precious
in evolving modern sensibility.
3. The theme of this workshop is announced - to get
to know the artworks of the past which in their
sharpened/definite/articulated levels are similar to
modern ones. Modern art, as well as the other periods, finds its relatives (we are occupied with them
in this workshop), but a warning is given, the difference from all the other periods is that on the universal level the Modern artworks find similarities with all
artworks (the topic of the former two workshops).
The comparisons are concentrated first on the relation to space. a) We begin with exploring the ratios
of figures in figurative artworks, which means with
one aspect of space. Simultaneously projected are:
A Romanesque relief from Autun, 12th Century; the
Muisca sculpture 13th Century, from Columbia;
a woodcut by K. Smidt-Rottluff The Way to
Emmaus, 1918. The participants receive a drawing
of the outlines of the figures. The students-instructors measure the height of the figures/heads (in cm)
in the projected reproductions. The participants draw
onto the outlines and compute the ratios. Attention
is directed to the projected reproductions and
instructions are given about the similarity in accentuating the heads - about the freedom in ratios independent of time/culture. b) Simultaneously projected
are: A Romanesque relief from the cathedral of

Santiago de Compostela, The Creation of Adam,
12th Century; El Greco: Vision of St. John, 1610-14,
oil, Metropolitan Museum, New York; E. Kirchner:
The Red Cocotte, oil, 1914-25, Staatsgalerie
Stuttgart. The procedure is the same: the students
measure, the participants draw and compute the
ratios. There is a conclusion about the similarity in
neglecting the dimension of the head / elongated
bodies, which again means freedom concerning
ratios but in an opposite way to the former case,
however all they with a view to greater expressiveness. A talk begins about the discoveries of the
Modern art, where it has searched for its
relatives/kinship (Romanesque, Mannerism, NonEuropean cultures), about which we discuss. c)
Projected are: A sculpture, from Gabon, wood, 59
cm; a Polynesian one, from the museum in Otterlo;
N. Gabo: The Head, 1916, bronze (an enlarged version 1964). Tate Gallery, London. We talk again
about the similarities: the planar and linear masses
when convoluted/ twisted organize the space. We
remind ourselves of Picassos painting and the exercise in connection with it. What was pressed onto
the plane in the painting and what we wanted to
open working with it in space, that is here, naturally, because of the medium, already opened in
space. d) Projected simultaneously are: A. Drer:
Drawing of a head, Saxonic Bibliothek, Dresden;
P. Picasso: A Woman in an Armchair, 1909, oil,
92 x 73 cm, Museum Pushkin, Moskow; J. Gris:
A Tourangeau, 1918, oil, Museum of Modern Art,
Paris. An exercise follows: the participants receive
blurred copies of Drers drawing and the task is to
open the closed mass by geometrical figures, either
open it in layers as with J. Gris or interrupting the
separatedness from all sides, as in Picasso. It is
necessary to shift/leave out the strong walls of the
geometric figures which close and thus, to open the
mass into the environment.
4. We begin with another aspect of exploring the
space, as an illusion of the void. a) Si-multaneously three paintings are projected with the subject of
mirror/mirroring: J. van Eyck: Arnolfini and his
Spouse, 1434, oil, detail, National Gallery, London;
Parmigianino: Selfpor-trait, 1523-24, oil,
Kunsthistorisches Museum, Vienna; P. Picasso:
A Woman in Armchair, 1932, oil, Tate Gallery
London. We speak about the role of a mirror in
widening the space (forward and backward), about
widening the space in the sense of different possibilities (deformation) and about the possibility of
simultaneity en face/profile. Searching for simultaneity but in different ways is present in all three
examples. b) An exploration of space constructions
follows. We present: Usturgum (Esztergom) an illumination from Sulejmanam, 1608, water-colour, 10
x 16 cm, Topkapu museum, Istanbul; J. Pontormo:
Visitation 1528-29, oil, Carmignano; P. Klee:
Uncomposed Objects in Space, 1929, water-colour
and pen, private collection. The participants individually explore how, in the first painting, a large number of viewpoints are synthetized by a spiral and
how, in two different ways, they elude the synthesis of cubic space (Pontormo, Klee). The participants draw onto the photocopies. They receive a
leaflet with the eye levels and perspectives and a
correction of Klees drawing. c) Three examples:
P. Veroneses Annunciation from S. Giovanni e
Paolo, 1568, oil, Venice; M. C. Escher: Another
World II, 1947, woodcut; P. Klee: Perspective of a
room with occupants, 1921, water colour and oil,
Foundation P. Klee, Bern are projected. The role of
the viewpoint in painting is explored: from the lower
279
Istraùje se Kleeova prostorna

konstrukcija/Klees spatial construction is
Istraùje se Kleeova prostorna konstrukcija,

studenti pomaù/Klees spatial construction is
explored
explored, students-instructors are helping
Crte` izveden u mraku/A drawing done in
Voditelj tuma~i Picassovu sliku/The workshop

leader is explaining Picassos painting
darkness
Voditelj tuma~i Picassovu sliku/

The workshop leader is explaining Picassos
painting
Sudionici rade na zadatku/The participants

work on the task
Voditelj zadaje zadatak u vezi Drerovog

crteà/The workshop leader is putting the task
in connection with Drers drawing

280
5. Na temelju ste~enih iskustava gledaju se snimci dvaju kasnih djela za nastajanje kojih je bila
potrebna svijest o cjelokupnoj povijesti umjetnosti. a) Pokazuju se dvije slike E. Vedove - dvije
plo{no istanjene mase kru`nog oblika, oslikane s obje strane, koje se me|usobno odnose u prostoru.
Upozorava se na inverziju. U svim ranijim primjerima prostor je ulazio u sliku, sada slika ulazi u
prostor. b) Projicira se jo{ i V. Vasarely Zakrivljeni prostor 1959.-1962., ulje, Basel. Podsje}a se na istraìvanje mreè u ranijim radionicama. Ovdje se ne mijenja oblik u mreì nego mreà = oblik, oblik
nije drugo nego deformacija mreè. Svjesno naslikati ovakvo jedinstvo zna~i pokazati da postoji samo
mreà.
6. Iako su sva ova istraìvanja, na neki na~in, ve} u sebi sadràvala i odnos prema vremenu, u
narednim se primjerima pozornost usmjerava isklju~ivo na vrijeme.
a) Istodobno se projiciraju: Maternica s ljudskim fetusom, 400. god., kamen, Cuzco;
M. Chagall: Materinstvo, 1913, ulje, 194 x 115 cm, Staedelijk Museum, Amsterdam; trimo iz
Souillaca, 12. st. Osvje{tava se istodobnost pogleda unutra-van, gore-dolje.
b) Istraùje se Kleeova slika Ad marginam, 1930., lakirani akvarel, 46 x 36 cm, Muzej moderne
umjetnosti, Basel. Prvo se gledaju detalji, pronalaze se na cjelini i onda se postavlja zagonetka: kako
slika treba stajati od ~etiri mogu}e pozicije. Razgovor se vodi o razlici o~i{ta predmeta i o~i{ta slike.
c) Istraìvanje vremena se nastavlja usporedbom Sassettine slike Zaruke Sv. Franje, 1437.-1444. i
stripa W. Mc Kaya Mali Nemo, 1912. god. Sassetta istodobno prikazuje likove koji su vremenski prije
i poslije, dok Mc Kay istodobno san i javu, dakle dva vremena i dva stanja. Sassetta postavlja likove
iz dva vremena jedne pored/iznad drugih u isti pejsa`, Mc Kay prikazuje dva stanja jedno u drugom
(u okviru prikaza sna je i okvir prikaza spava~a).
7. Nastavlja se s istraìvanjem jo{ jednog na~ina postizanja istodobnosti a to je prozirnost. a) Vje`ba:
u potpunom mraku sudionici su pozvani da po prire|enom papiru krejonom vuku liniju, odnosno da
je vrte, odnosno da dozvole da se linija slobodno odnosi prema svojim ranijim fazama. b) Pale se
svjetla te se slijepi crteì uspore|uju s projekcijama crteà sa stijene u {pilji u Pechmerleu, paleolit;
Kleeovih crteà Bogata zemlja, 1931., Krilati, 1931., te Kleeovih crno-bijelih akvarela Odmotavanje
klupka vune, 1932. i Ispod-iznad, 1932., te Kandinskijeve slike Improvizacija 26, 1912., ulje.
Upu}uje se na iluziju o prozirnosti, na avremenost paleolitskog crteà i svevremenost Kleeovog.
U vezi Kandinskijeve slike upu}uje se, na trenutak, na posve slobodan prostor koji se stapa s vremenom - nema nijednog upori{ta, ako se ho}e u}i potrebna je totalna vrtnja gore-dolje, lijevo-desno,
naprijed-nazad. c) Da bi se osvijestila mogu}nost prozirnosti od konkretnog materijala (staklo) do
iluzije staklenog predmeta ili vodene povr{ine pokazuje se fotografija Le Corbusierove Ville Savoy,
detalj s Isenheimskog oltara M. Grnewalda i Caravaggiov Narcis.
8. Na kraju se jo{ upu}uje na to {to je jo{ moderna otkrila u pro{losti: a) rubne svjetove u tematskom
smislu: ~udovi{ta (Sirena, baza romani~kog stupa iz Arlesa; H. Bosch Vrt uìtaka, Alkemijska ènidba, detalj, oko 1500., ulje, Prado, Madrid; M. Ernst Celebes, 1921., ulje, Tate Gallery, London),
b) seosku apovijesnu umjetnost (Vrata iz Poljani}a, 19. st.) koja je omogu}ila c) naivu (H. Rousseau:
Jadvigin san, detalj, 1910., ulje),
d) postmoderno obesmi{ljavanje toga ~emu se ne moè odoljeti (El Greco: Espolio, 1579., ulje,
National Gallery, London; F. Knigh: Espolio, verzija 14, 1988.), e) dje~ji crte` i slikarsko domi{ljavanje spontanog impulsa (E. Nolde: Plesa~i ispod velikog cvijeta, detalj, 1938.-1945., akvarel,
Seebll).
9. Svaki puta kada na{ pogled nai|e u pro{losti na nefigurativne ali funkcionalne sklopove
(Navigaciona karta s Mar{alskih otoka, trska, kamen~i}i, {koljke; Kipu, ~vorno pismo peruanskih
Indijanaca; Njihaljka iz Hagia Triade, Kreta, 15. st. pr. Kr.) pod utjecajem moderne (P. Mondrian,
A. Calder, J. Tinguely), defunkcionalizira ih. Govori se uz projekcije.

level (Veronese); simultaneously from different
positions (Escher); a slow rotation as in a weightless state (Klee). In Klees painting the perspective
is thematised, which does not serve to establish a
cubic space (several viewpoints, but there is still a
centre from which rotation is suggested). The exercise: drawing all the lines onto tracing paper.
5. On the basis of experiences we look at two late
work creating for which the awareness of the whole
history of art was necessary. a) Two paintings by
E. Vedova are presented - two planar masses circular shaped, painted on both sides in an interaction
with space. We point out the inversion. In all the former examples the space entered the pictures, now
the picture enters the space. b) V. Vasarelys Curved
Space 1959-62, oil, Basle is projected. We remind
the participants of the exploration of the network in
the former workshops. Here the shape is not
changed in the network but the network = shape,
the shape is the networks deformation. Consciously
painting such a unity means demonstrating that only
the network exists.
6. In spite of the fact that all these explorations
included exploration of time too, in the next examples attention is directed exclusively at time. a)
Projected simultaneously are: Womb with Human
Fetus, 400, stone, Cuzco; M. Chagall: Maternity,
1913, oil, 194 x 115 cm, Staedelijk Museum
Amsterdam; Door mullion from Souillac, 12th
Century. The participants become aware of the
simultaneity of the gaze inside-outside, up-down.
b) Exploration of P. Klees painting Ad marginam,
1930, water-colour lacquered 46 x 36 cm,
Museum of Modern Art, Basle. First we look at the
details, then we find them in the whole of the
painting and then a puzzle is put: how to place the
painting choosing between four possible positions.
We talk about the difference between the viewpoint
of the object and the viewpoint of the painting.
c) The exploration of time is continued with a
comparison of Sassettas Saint Francis
Engagement, 1437-44 Chantilly and W. Mc Kays
comic strip The Little Nemo, 1912. Sassetta represents the figures which are earlier in time and
those which are later simultaneous, Mc Kays
dream and the waking state simultaneous, which
means two times and two states. Sassetta places
the figures from the two times beside each other /
above each other in the same landscape, Mc Kay
represents two states one in the other (in the
frame of the dream representation is the frame
which represents the sleeper/dreamer).

7. One more way of achieving simultaneity - transparency is explored. a) Exercise: in total darkness
the participants are invited to draw a line on a prepared piece of paper with crayon, to rotate it, or
even better to allow to line to be in a free relation to
its earlier phases.
b) The light is switched on and the blind drawings
are compared with the projected ones from the
cave in Pechmerle, paleolithic; with Klees drawings: Luxuriant countryside, 1931, The Winged,
1931, and Klees black-white water-colours:
Unravelling Ball of Wool 1932, Below and Above
1932, and V. Kandinskys Improvisation 26, 1912
oil. Instructions are given about the illusion of transparency, time-less-ness, of the prehistoric drawing
and the all-time-ness of Klees. In connection with
Kandinskys picture brief instructions are given
about the totally free space merging with time there is no fixed point, if we want to enter a total
rotation is necessary up-down, left-right, forwardbackward. c) To make the participants aware of the
possibility of transparency starting with some tangible material (glass) to the illusion of a glass object
or a water surface, we show a photograph of Villa
Savoy, detail of M. Grnewalds Isenheim altarpiece
and M. Caravaggios Narcissus.
8. Finally instructions are given about what Modern
art discovered in the past: a) edge-worlds in thematic sense: monsters (Mermaid, the base of a
Romanesque column from Arles; H. Bosch: The
garden of Delights, the Alkemian Wedding, detail
approx. 1500, oil, Prado, Madrid; M. Ernst: Celebes,
1921, oil, Tate Gallery, London), b) the ahistoric
rural art (A Door from Poljani}, 19th Century) which
made possible c) Nave art (H. Rousseau:
Yadwigas Dream, detail, 1910, oil), d) the postmodern mutilation of what cannot be resisted (El
Greco: Espolio, 1579, oil, National Gallery London F. Knigh: Espolio, version 14, 1988), e) childrens
drawings and the painting of reflection of the spontaneous impulses (E. Nolde: The Dancers under a
Great Flower, detail, 1938-1945, water-colour,
Seebll).
9. Each time when our gaze finds some nonfigurative
but functional structure in the past (Navigation chart
from Marshall Islands, out of cane, stones, shells;
Quipu, the knot script of the Indians from Peru;
Swing from Hagia Triada, Crete, 15th Century B. C.)
influenced by Modern art (P. Mondrian, A. Calder, J.
Tinguely) defunctionalises it. Talk during projections.

281

282
DVOJNOST I JEDINSTVO
DUALITY AND UNITY
TEMATIZACIJA DVOJNOSTI
TEMATIZACIJA JEDINSTVA
THEMATISATION OF DUALITY
THEMATISATION OF UNITY

UPITNOST/NEUPITNOST
POVIJESNOG VREMENA
O~ekuje se da pla~em, umro je moj voljeni sin, a sve je bilo napisano
QUESTIONED/UNQUESTIONED
HISTORICAL TIME
"jedan potez, podrijetlo postojanja"

(Tao î)
Expected to cry, my beloved son is dead, but everything was written
"one stroke, the origin of existence"

(Tao Chi)
AKO SI VATRA ONA TE NE OPEÊ

IF YOU ARE FIRE IT WON'T BURN YOU
(Meister Eckhardt)
Û TA/CHU TA:
DVIJE PTICE/
TWO BIRDS,
OKO/APPROX. 1690.,
KIST/BRUSH,
26 X 32 CM,
OISO
PIETA,
pojednostavljenje
reduction
REMBRANDT:
VRBA/VILLOW,
1648., PERO/PEN,
TORINO
ZMAJ I ÔVJEK/
DRAGON AND MAN,
PORTAL, 12 ST./12TH C.,
[ASTIN,
18./19. ST./ 18TH /19 TH

C., DRVO/ WOOD, 45
CM, TRNAVA
CHADENAC
AKO SE POZNAJU DJECA, VRA]A SE MAJCI
de vlek
de lijn
AKO SE DOSEGNE MAJKA, UPOZNAJU SE DJECA (Lao Ce)
HAVING KNOWN THE CHILDREN, WE SHOULD GO

BACK AND HOLD ON TO THE MOTHER
HAVING KNOWN THE MOTHER WE MAY PROCEED TO KNOW HER CHILDREN

(Lao Tzu)
mrlja TIEN dot

linija I-HUA line
o~ekuje se radost, a sve je ìvotinjsko meso
USPOSTAVLJANJE JEDINSTVA
ESTABLISHING UNITY
la tache
la ligne
joy is expected but everything is only animal meat
iz apstraktnog, univerzalnog izranja nagovje{taj partikularnog

from the abstract, universal arises the suggesion of particularity
apstrakcija
tok energije u stijenama

energy flow in rocks
= Î/CHI =
abstraction
tok energije u ruci

energy flow in the hand
C. BRANCUSI:
S. SPENCER:
NOGA OV^JEG AKTA/

THE LEG OF MUTTON
NUDE, 1937., ULJE/OIL,
91,5 X 93,5 CM, LONDON
ZASPALA MUZA/
THE SLEEPING
MUSE,
1909.-26.,
GIPS/PLASTER,
16,5 X 30,5 CM,
PARIZ/PARIS
TAO Î/TAO CHI:
ÔVJEK U KU]I
ISPOD STIJENE/,
THE MAN IN THE HOUSE
BENEATH A CLIFF,
C. LORRAIN:
OKO/APPROX. 1690.,
KIST/BRUSH, 27,8 X 24 CM ,
N WAI CHAI
1645., AKVAREL/WATER-COLOUR, 26 X 18 CM
TIBER U OKOLICI RIMA/

THE RIVER TIBERIS NEARBY ROME,
283

284
U ~ e t v r t o j radionici namjera je ste}i iskustvo o dva postupka, o pojednostavlje-nju i o

apstrakciji odnosno o dvojnosti i jedinstvu, {to je u biti svakog umjetni~kog djela, i o njihovoj tematizaciji u pro{losti i u Modernoj; ste}i iskustvo o suptilnoj granici/prijelazu iz univerzalnije na povr{niju
razinu (relativnost i nerelativnost povijesnog/stilskog).
Ambijent: Isti je kao obi~no. Prire|ene su fotokopije, papir, tu{, kistovi.
Struktura doga|anja
Struktura doga|anja pone{to se razlikuje od prethodnih radionica. Gledanje filma je ovoga puta u
sredini, a njemu prethode projekcije i vje`be.
1. a) Projcira se snimak detalja egipatskog plitkog reljefa s hijeroglifima. Zadatak je da se poku{a
pojednostavniti prikaz Sove (Mu) tako da nam je kraj/rezultat pojednostavljenja povijesno znano
hijeratsko egipatsko/feni~ko/gr~ko slovo M. Upu}uje se da je to postupak prisvajanja/fragmentarizacije. b) Zadaje se druga vje`ba: u crta~kom mediju (medij {iljastog sredstva na plohi)
apstrahirati/izlu~iti ono bitno nebeskog svoda, nakon toga podijeliti na dva dijela i okrenuti. Dobiva
se gr~ko slovo (epsilon). Prema koptskim tekstovima iz 5. st. gr~ka su slova simboli stvaranja.
Projicira se prva/zadnja stranica sarajevske Hagade (hebr. Pri~a), obredne knjige za pashalnu ve~eru,
14. st, [panjolska. Sada je iskustvo apstrakcije potrebno primijeniti na gledanje prikaza stvaranja
(doslovce okrenuti epsilon). c) Projiciraju se po jedan Kleeov (Razdioba ve~eri) i Piceljev (Varijacija 4)
crte`. Na Kleeovom crteù primje}uje se stupnjevanje sivoga sa znakovima usmjeravanja. Kod
Piceljeva crteà je svaka linija o~itovano stvaranje jer razdjeljuje, a akumulacija linija daje iluziju
odsutnosti svjetlosti, dvije plohe pak generiraju liniju - raspuklinu koja iluzionira trag niti. d) Vje`ba:
povu}i linijske znakove dvaju paralelnih tokova i onda podijeliti na gore i dolje. Dobiva se gr~ko slovo
H (eta), znak razdiobe gornjih i doljnjih voda. Projicira se detalj s Michel-angelova svoda Sikstinske
kapele. Najve}i kontrast - razdioba voda - prikazuje se u tematskom ruhu kao ~in ~ovjekolikog Boga.
Dva lista, izvedena u gva{u, 10 x 5 cm, iz rukopisa koji prikazuje proces projektivne evolucije univerzuma, zapadna Indija, oko 1700. god. (Brihadaranyaka upani{ad: On je razdijelio svoje sebstvo
u dvoje, mu{ko/ bijelo/subjekt/aham/[iva naspram ènsko/crveno/objekt/idam/[akti). Projicira se
M. Rothko Naran~asto, crveno, ùto, 1956., ulje. Slika nije nego podjela kadra pojasevima boja.
e) Slijedi vje`ba: izvesti crta~ki znak za vo}ku (stablo rasta i opadanja). Gr~ko slovo K (kappa) je
apstrakcija tog procesa. Uspore|uju se prikazi stabla iz Komentara Apokalipse Beatusa iz Liebane,
10. st., Gerona, T. Csontvry Veliki cedar, 1907., ulje i P. Klee Stablo s ku}ama, 1918., akvarel.
Susre}emo postupak pojednostavljenja/apstrakcije/transformacije.
2. Iskustvo pojednostavljenja i apstrakcije vodi dalje i uo~ava se kako se ti postupci tematiziraju u
umjetnosti pro{losti i u modernoj umjetnosti. a) Na lijevom projektoru projiciraju se za redom Seoska
Pieta, drveni kip iz [astina, 18.-19. st., drvo, 45 cm, Trnava i S. Spencer Noga ov~jeg akta, 1937.,
ulje, 91,5 x 93,5 cm, London. Prva tema pripada povijesnoj umjetnosti od gotike do baroka (Bogpatnik). Primijenjen je postupak pojednostavljenja. Citira se 52 pjesma Lao Ceovog Tao te Kinga:
Ako se dosegne majka upoznaju se djeca, ako se poznaju djeca onda se vra}a majci. Pred nama je
ne{to {to upu}uje prema ovom drugom. Krenuti od vidljivog, napraviti ne{to vidljivo, ali osjetiti razliku prema nevidljivom impulsu koji zapravo kreira. Tematizira se dvojnost lukava Bogorodica ili
sadràjno: o~ekuje se da pla~em, umro je moj voljeni sin, a sve je bilo napisano - zatvoreni krug.
U slu~aju Spencerove slike Moderna }e pokazati osjetljivost za marginalna djela s pojednostavljenjem,
jer se u apstrakciji ne moè izdràti. Isto odmaknu}e od vidljivog uz slikanje vidljivog, sadràjno:
o~ekuje se radost, a sve je ìvotinjsko meso - tako|er zatvoreni krug. c) Sa srednjeg projektora prvo
se projicira romani~ki reljef iz Chadenaca, 12. st. Izme|u otvorenih usta i repa nemani prikazan je
~ovjek, miran, bez patnje i straha. Citiraju se Anastenarija plesa~i (gr~ki plesa~i koji prolaze kroz
vatru), Meister Eckhardt: Ako si vatra onda te ona ne ope~e i ûang-Ceova pri~a: Ve} se od rane
mladosti u~im kako da budem voda. Ako smo zvijer onda nas ne razdiru zvjerinji zubi, ako se
dosegne prostor uma (aka{a), Tao, Majka, onda se moè biti bilo koja partikularnost. d) Potom se sa
srednjeg projektora pokazuje snimak Brancusijeve Zaspale muze, 1909.-1926., gips, 16,5 x 30,5 cm,
Pariz. Ukazuje se na to kako iz apstraktnog univerzalnog oblika izranja nagovje{taj partikularnog.

The intention in the f o u r t h workshop is to
gain experience about two procedures, about reduction and about abstraction and it means about the
duality and unity which are the essence of every
artwork about their thematisation in the past and
establishment in Modern art; gaining experience
about the subtle boundary/transition from a universal to a more superficial level (the relativity and
non-relativity of the historical/stylistic.)
Ambience: As usual. Prepared photocopied details,
paper, Indian ink, brushes are available.
The structure of the activity is somewhat different from the ones in the former workshops. The
presentation of the film sequence comes in the middle of the session and projections and exercises are
at the beginning.
1. a) A projection of a detail of an Egyptian low relief
with hyerogliphs is shown. The task is to try to simplify the representation of an Owl (Mu) so that the
end/result of that procedure is historically known to
us, it is the hyeratic Egyptian/Phoenician/Greek letter
M. Instructions are given that this procedure is a procedure of appropriation/fragmentarisation. b) The
second task is given: in the drawing medium (the
medium of a pointed device on a plane) to
abstract/extract the essential of the firmament (vault
of Heaven), then, to divide it into two and turn it. We
get the Greek letter epsilon (). According to some
Coptic texts of 5th Century Greek letters are symbols
of creation. We project the first/last page from the
Sarajevo Hagada (Hebr. story) a book of ceremonies
for the Pass-over supper, 14th Century Spain. It is
now necessary to apply the experience of abstraction
to observing the representation of creation (literally to
turn the epsilon). c) Two drawings are projected, one
by P. Klee (Separation of the Evening) and the
second one by I. Picelj (Variation 4). In Klees drawing there is a gradation of grey with signs of directions added, and in Piceljs case each line is manifestly creation because it separates (divides) and the
accumulation of lines gives an illusion of absence of
light, then two planes generate a line - a gap which
gives an illusion of being a trace of a thread. d)
Exercise: to stroke the linear signs of two parallel
flows and then to divide them into the upper and
lower parts. We get the Greek letter eta (H) the sign
of the separation of upper and lower waters.
A detail from Michelangelos Vault in the Sistine
Chapel is projected. The greatest contrast the separation of waters is represented in thematic
attire as an act of the anthropomorphic God. Two
sheets, done in gouache, 10 x 5 cm from a manu-

script which represents the process of projective
evolution of the Universe, West India, approx. 1700.
(Brihadaranyaka Upanishad: He made this self of
his into two male, white, subject, aham, Shiva
opposed to female, red, object, idam, Shakti). M.
Rothko: Orange, Red, Yellow, 1956, oil, is presented
The painting is the division of the frame by bands of
colour. e) Exercise: to perform a drawing sign of the
fruit tree (the tree of growth and decay). The Greek
letter K (kappa) is an abstraction of that process.
A comparison is made between the depictions of a
tree from the Commentaries of Apocalypse by
Beatus de Liebana, 10th Century, Gerona; T.
Csontvry: The Great Cedar, 1907, oil, and P. Klee:
The Tree with Houses, 1918, water-colour,. We recognize the procedure of reduction/abstraction/transformation.
2. The experience of reduction and abstraction
takes us further and we notice how these procedures are thematized in the past and in Modern art.
a) A rural Pieta, wooden sculpture from astin
(18/19th Century, 45 cm, Trnava) and S. Spencer:
The Leg of Mutton Nude, 1937, oil, 91,5 x 93,5 cm,
London. The first subject belongs to the historical
art from Gothic to Baroque (God who suffers).
The procedure of reduction takes place. The 52nd
stanza of Lao Tzu's Tao te King is quoted: Having
known the Mother, / we may proceed to know her
children. / Having known the children, / we should
go back and hold on to the Mother. Before us is
something that directs us towards this last one. To
start from the visible, to make something visible,
but to feel the difference towards the invisible
impulse which creates it. The duality is thematised
the cunning Virgin or, in the contents: I am
expected to cry, my beloved son is dead but everything was written - a closed circle. In the case of
Spencer's painting Modern art will show a sensibility for marginal artworks with reduction, because
abstraction seems unbearable. A detachment from
the visible, and then painting the visible. The contents: Joy is expected but everything is only animal
meat - also closed circle. c) The Romanesque
relief from Chadenac, 12th Century, is first projected. Between the open mouth and the tail of the
monster there is represented a man: peaceful, without suffering or fear. The Anastenaria dancers and
Meister Eckhardt are quoted: if you are fire then it
wont burn you and Chuang Tzes story: from the
early years I learn how to be water. If we are a
beast then the beasts teeth do not tear us, if the
mind space (akasha), the Tao, the Mother is
reached then it is possible to be any particularity;
d) C. Brancusi's The Sleepy Muse, 1909-26 plaster,
16,5 x 30,5 cm, Paris is shown form the central
285
Sudionik crta tu{em i kistom, {iri detalj s

Tao îovog crteà/A participant draws with
Sudionik crta tu{em i kistom i {iri detalj

Rembrandtovog crteà/A participant draws
brush and Indian ink, expands a detail out of

Tao Chis drawing
with brush and Indian ink and expands a detail

out of Rembrandts drawing
Sudionik crta tu{em i kistom i {iri detalj

Lorrainovog crteà/A participant draws with
Sudionik gleda svoj i û Ta-ov crte`
brush and Indian ink and expands a detail out

of Lorrains drawing.
A participant compares her and Chu Tas

drawing.
Uspore|uju se crteì: û Ta-a i

Rembrandta/Chu Tas and Rembrandts draw-
Uspore|uju se crteì: û Ta-a i

Rembrandta/Chu Tas and Rembrandts draw-
ings are compared
ings are compared
Zadatak je dopuniti Rembrandtov

crte`/The task is to complete Rembrandts
Zadatak je dopuniti Tao îjev crte`/ The
drawing
task is to complete Tao Chis drawing.

286
Prvi primjer tematizira jedinstvo, a drugi ga uspostavlja (prvi stih 52. pjesme). e) S desnog projektora pokazuje se Van Goghov Sija~, detalj koji prikazuje sunce, 1888., ulje. Osim jedinstva univerzalnog
oblika nazo~na je jo{ i strastvena projekcija da se jedinstvo i ìvi, a ne samo slika, od ~ega se izgori u
vlastitom suncu.
4. a) Prikazuje se ~etvrta sekvenca filma Pro{le godine u Marienbadu. b) Dijeli se upitnik u kojega
sudionici upisuju rije~i. c) Dijeli se sljede}i dio scenarija.
5. a) Sudionici biraju po jedan par prire|enih detalja crteà (fotokopiranih, pove}anih) i pozivaju se da
kistom i tu{em nastave crte`, da ga {ire na temelju uvida u njegove bitne karakteristike. Potrebno je
pa`ljivo gledati i predati se tom gledanjem/vi|enjem vo|enom impulsu u nastavljanju/{irenju izdvojenog
detalja. Upozoravaju se da ne name}u sebe crteù nego da mu se podrede. Potom sudionici dobivaju
fotokopije cijeloga crteà, prepoznaju detalj i vide stvarni okoli{ detalja na crteù, ali na fotokopiji je
sada jedan dio prazan i sudionici se pozivaju da ga poku{aju ispuniti na temelju dosada{njih iskustava
rada i gledanja. b) Projiciraju se u paru: û Ta Dvije ptice, oko 1690., tinta na papiru, kist, 26 x 32
cm, privatna zbirka, Oiso i Rembrandt Vrba (studija za Sv. Jeronima), 1648., pero, Torino; Tao î
ôvjek u ku}i ispod stijene, oko 1690., tinta, boja na papiru, kist, 27,8 x 24 cm i C. Lorrain Tiber u
okolici Rima, oko 1645., akvarel, 26 x 18 cm. Na temelju iskustva vlastitog rada, sudionici pogledom
poku{avaju rekonstruirati spori potez, zavrtanje, preusmjeravanje: i}i lijevo po~inje odlaskom u desno.
Osvje{tava se mrlja (tien) i linija (i-hua), univerzalna razina na kojoj se bri{u razlike me|u kulturama,
osobnostima. Prema Tao îju, jedan je potez porijeklo postojanja i korijen tisu}ama bi}a. Linija-potez je
tok energije. Tok energije u ruci i prikaz toka na stijenama u kineskom se crteù podudaraju i teoretski
svjesno, u europskom samo prakti~ki. Osvje{tava se postupni prijelaz iz univerzalne u individualnu/stilsku kulturalnu razinu kineskog/europskog crteà 17. st. (na~in ~itanja s lijeva na desno, odnosno odozgo
na dolje).
6. Pokazuju se tibetska bron~ana skulptura iz 18. st. (privatna zbirka, London) koja prikazuje
Raktayamari oblik Yamantake, uni{tavatelja smrti sa svojom ènskom mudro{}u i kasnogoti~ko
drveno raspelo iz Perpignana. Govori se o zna~enjskim/kulturalnim razlikama. Navodi se pri~a
Lobsang Rampe: Zapadnjaci se zgraàju nad na{im boànstvima, a sje}am se kako sam bio
sabla`njen kada sam na Zapadu prvi put vidio da se ljudi mole raspetom ~ovjeku. Te velike
zna~enjske razlike, naravno, me|usobno odvajaju kulture. Me|utim, podsje}anje na Tao: ako se
dosegne majka poznaju se i djeca.

projector. Instruction are given how from an
abstract universal shape a suggestion of the particular emerges. The first example thematises unity
and the second one establishes it (the first line of
the 52th stanza). e) From the right projector
V. van Gogh: The Sower is shown, 1888, oil, (the
detail which represents the Sun): besides the unity
of the universal shape, even more, a passionate
projection is made, to live and not only to paint
unity, from which however one is burnt up in ones
own sun.
4. a) The fourth sequence of the film Last Year in
Marienbad is presented. b) The questionnaires
are distributed and the participants fill them in.
c) The next part of the screen play is distributed, too.
5. a) The participants choose one pair of the prepared details of the drawing (photocopied and
enlarged) and they are invited to proceed with a
drawing, with brush and Indian ink, to expand it on
the basis of an insight into its essential characteristics. It is necessary to look attentively and surrender
oneself to the impulse guided by looking/seeing in
the proceeding/ expanding of the isolated detail.
They are instructed not to force themselves in the
drawing, but on the countrary, to surrender themselves to the drawing. Next the participants receive
photocopies of the whole drawing, they recognize
the detail and see the real environment of the detail
in the drawing, but in the photocopy another part is
missing and the participants are invited to try to fill it
on the basis of their experience of looking and working. b) Projected are: Chu Ta: Two Birds, approx.
1690, ink on paper, brush, 26 x 32 cm, Oiso;
Rembrandt: Willow (a study for St. Jerome) 1648,
pen, Torino; and Tao Chi: The Man in the House

under the Rock, approx. 1690, brush, ink, paint on
paper, 27.8 x 24 cm; C. Lorrain: The River Tiberis
near Rome, approx. 1645, water-colour, 26 x 18
cm. We try, on the basis of the experience of our
own work to reconstruct with our gaze: the slow
stroke, rotating, changing direction - to go left
begins by going right. The participants become
aware of the dot (tien) and the line (i-hua) on the
universal level where the differences are brushed
away between cultures and personalities. According
to Tao Chi, one stroke is the origin of existence and
the root of thousands of beings. The line-stroke is a
flow of energy. The flow of energy in the hand and
the representation of the flow in the rocks overlap in
the Chinese drawing theoretically and consciously
where as, in European drawings only practically. The
participants become aware of a gradual transition
from the universal to the individual/ stylistic cultural
level of the Chinese/ European drawing of the 17th
Century (the way or reading from left to right or from
top to bottom).
6. A Tibetan bronze statue from the 18th Century,
private collection, London is shown. It represents
Raktayamari form of Yamantaka, the destroyer of
death with his female wisdom, and a late Gothic
wooden crucifix from Perpignan. The discussion is
about the semantic/cultural differences. A story of
Lobsang Rampa is quoted: The Westerners are
scandalized by our divinities, but I remember how I
was shocked when I saw, for the first time in the
West, people praying to a crucified man. These
great semantic differences, naturally separate the
cultures. But we remember the Tao: Having known
the Mother / we may proceed to know her children.

287

288
MEDIEVAL THEATRE LOOKED AT

WITH A MODERN GAZE
SREDNJOVJEKOVNI TEATAR VI\EN

MODERNIM POGLEDOM
289
THE FOUNDERS OF NAUMBURG CHURCH
UTEMELJITELJI CRKVE U NAUMBURGU
stup-pozadina
column-background
reljef-lik
relief-figure
Sizzo
Wilhelm
SCULPTURES
KIPOVI
Dietmar
Timo
UTEMELJITELJI/FOUNDERS,
KOR CRKVE U NAUMBURGU/
CHOIR IN THE CHURCH OF
NAUMBURG, 13. ST./13TH C.
razli~iti sustavi se me|usobno prilago|uju = RAZNOLIKOST

sustav = JEDINSTVO
different systems adapted to each other = DIVERSITY

system = UNITY
Eckhart
Uta
Herman
Reglindis
Konrad
Gepa
rotacija
rotation
rotacija
rotation
Gerburg
Dietrich
translacija
translation

290
Namjera u p e t o j radionici je gledanje djela pro{losti pogledom Moderne, poduprtim jo{ i

analogijom srednjovjekovnog teatra s modernim; iskusiti cijeli proces uìvljavanja u o~ito/banalno/literalno/tematsko kao ulogu; uspostaviti teatar, dakle kontinuitet likova i, kona~no, odmaknuti se od
teme/teatra i pogledati kipove.
Ambijent: Isti je kao i obi~no. Pripremljeni su scenarij, stillovi, upitnici, tlocrti, flomasteri,
fotokopije.
Struktura doga|anja
1. a) Prije projekcije sljede}e sekvence filma Pro{le godine u Marienbadu upozoravaju se sudionici da
pripaze na poloàj kamere, da prate kretanje kamere, da pripaze na izmjenjivanje kadrova, sinkronost/nesinkronost teksta i slike. b) Slijedi gledanje pete sekvence. c) U upitnik se upisuju rije~i. d)
Sudionici dobivaju scenarij, stillove i podsje}aju se na doma}u zada}u.
2. a) Najavljuje se tema radionice. Bavit }e se isklju~ivo kipovima tzv. utemeljitelja crkve u
Naumburgu, sredina 13. st. Oni zajedno ~ine pravi o~uvani veliki srednjovjekovni teatar.
Utemeljitelji (ima ih dvanaest) su ìvjeli u 11. st., kipovi su nastali u 13. st. i stoga se ne mogu
shvatiti kao njihovi portreti. Redom se pokazuju kipovi koji prikazuju Gerburg, Konrada, Hermana,
Reglindis, Dietmara, Sizza, Wilhelma, Tima, Echardta, Utu, Gepu i Dietricha. Govori se o njima tko
su bili, ili bar {to se o njima zna, kako su odjeveni, kakav tip predstavljaju (slatki mladi pametni
knez), koje su dobi. Iz istodobnih tekstova sve se zna o pravilima lijepog pona{anja, odijevanja,
hodanja, kako dràti pla{t, kako se smijati (gospo|e samo o~ima i zatvorenih ustiju), {to zna~i
razbaru{ena kosa (grubi, uznemireni ~ovjek, rastro{an, kukavica). Spominju se dijelovi odje}e:
halja, pla{t, zuckenie, kapa, rubac, kruna. Dietmar nosi pla{t koji nije po modi tog vremena. Nije
sigurno je li ime starije ène Gepa ili Berchta (tada je udovica) ili Adelaide. Pri~a, koja je nastala u
15. st. govori o ubojici (Timo - crkvi je poklonio sedam sela), o ubijenom knezu (napisano na
Dietmarovom {titu), o sucu (Sizzo), svjedoku (Wilhelm). Upozorava se da je Konradov kip o{te}en
(glava i desna ruka su novi). Pri uìvljavanju se govori o poèljnoj razlici prema onom prisvajanju
kipova koje se dogodilo u Njema~koj ve} u 19. st., a osobito za vrijeme nacizma (romani, pjesme,
kazali{ni komadi, ode, procesije - jedino se Reglindis nije slavila, jer se vidjelo da je prosta, jer je
Poljakinja). b) Prvo se poduzima to, {to se ve} ponekad fragmentarno ~inilo u nekim radionicama:
biranje uloge i poku{ati se, {to je mogu}e vi{e, uìvjeti u nju na temelju simpatije/antipatije, svejedno je li rije~ o mu{koj ili ènskoj ulozi itd. Snimci se pokazuju jo{ jednom i sudionici se odlu~uju.
Nakon odluke, dijapozitivi se gledaju po tre}i put. Gledaju se i detalji lica. Jo{ se jednom upozorava
da se uìve u stav, izraz lica, odjevenost, da poku{aju iznutra osjetiti osobu da, poput glumaca koji
hodaju}i na odre|eni na~in, imitiraju}i odre|ene geste, po~inju misliti i osje}ati kao lik kojega
glume. c) Snimci u slijedu pokazuju unutra{njost zapadnog kora: ulaz, s boka, sprijeda. Podsje}a se
na reljef Posljednja ve~era na oltarnoj pregradi kojeg sudionici poznaju ve} od ranije. Sljede}a tri
dijapozitiva pokazuju bo~ne zidove i apsidalni dio. Sada se vidi koji likovi stoje skupa, koji su
postavljeni nasuprot. d) Sudionici dobivaju tlocrt zapadnog kora crkve u Naumburgu i u njemu
pronalaze svoje mjesto. Nakon toga se rekonstruira kontinuitet doga|anja, kontinuitet izme|u
prikazanih likova, to, kakvim se poloàjem, stavom, kakvom kretnjom, gestom, pogledom
uspostavljaju me|usobne veze. Potrebno je u tlocrt ucrtati veze (tko s kim komunicira, kakav se
kontinuitet uspostavlja me|u prikazanim likovima).
3. Sada se otkriva za{to se poduzelo sve to uìvljavanje: radi {to efikasnijeg odmaka od uloge i od
cijeloga teatra, da bi se vidjeli kipovi {to je mo`da oteàno velikom stilskom zamkom - naturalizmom. Nije slu~ajno da su se oni toliko zloupotrebljavali i bili toliko popularni - lako ih je doìvjeti
kao ìve. Kako posti}i odmak? a) Prvo se istraùju osi (kompozicijske linije). Sudionici dobivaju
fotokopije i ìce. Upozoravaju se da se prete`no radi o visokim reljefima koji su isklesani iz jednog
komada, od istoga od kojeg i polustupovi. Polustupovi su materijalizacija osi, likovi, pak, antropomorfizacije, ali ne kao u Chartresu, nego odmaknuto, variraju}i, negiraju}i itd. Zajedni~ki se
gledaju svi po redu, svatko konstruira os/osi svog kipa individualno. b) Pokazuju se detalji da bi
se vidjelo kako se odnosi mase i prostora o~ituju na povr{ini. Poku{ava se otkriti ljepota kipova:
sklopovi ureza (vrtnja, translacija, dilatacija, zrcaljenje - kao sintakti~ka pravila usmjeravanja
prostora) i me|usobni odnos sklopova kao me|usobna prilagodba razli~itih sustava (prilagodbe
razli~itih sustava me|usobno dovode do raznolikosti, dok sustav osigurava jedinstvo).

The intention in the f i f t h workshop is to look
at the artworks of the past with a modern gaze
founded on the analogy between the medieval and
modern theatre, too; to experience the whole
process of empathy with the
evident/banal/literal/thematic as a role; to establish
a theatre it means a continuity of the figures and at
the end, to be detached from the subject/theatre
and observe the pure sculptures themselves.
Ambience: As usual. The prepared materials are
the screen play, the stills, the questionnaire, the
plan, felt-tip pens, photocopies, tracing paper.
Structure of activity
1. a) Before the projection of the next sequence of
the Marienbad instructions: the participants are told
to watch the position of the camera, to follow the
cameras movement, the alteration of the frames,
synchronicity/asynchronicity of the text and images.
b) The fifth sequence follows. c) In the questionnaire
- words are put. d) The participants get the screenplay and the stills, and are reminded of their
homework.
2. a) The theme is announced. We shall work exclusively with the sculptures of the so called founders
of the church in Naumburg. These sculptures
together make up a great really preserved medieval
theatre. The founders (there are twelve of them)
lived in the 11th Century, the sculptures were made
in the 13th Century so they cannot be considered
their portraits. The sculptures are presented in
sequence: Gerburg, Konrad, Herman, Reglindis,
Dietmar, Sizzo, Wilhelm, Timo, Eckhardt, Uta, Gepa
and Dietrich. We explain who they were, or at least
what is known about them, how they are dressed,
what type they belong to (the sweet young clever
prince) what age they are. From contemporary texts
we can learn all about the rules of nice behaviour,
dressing, walking, how to hold the mantle, how to
laugh (ladies: only with their eyes and a closed
mouth). We also learn what untidy hair means (a
rough, agitated man, extravagant, coward), and
about parts of the clothes: the gown, the mantle, the
zuckenie, the cap, the scarf, the crown. Dietmar
has a mantle which is not fashionable at the time. It
is not clear if the name of the older woman is Gepa
or Berchta (then she was a widow) or Adelaide. The
story created in the 15th Century talks about a murderer (Timo - he gave seven villages to the church),
about a murdered prince (written on Dietmars
shield), about a judge (Sizzo), about a witness
(Wilhelm). We direct the participants attention to the
mutilated sculpture which represents Konrad (the
head and the right hand are new). While trying to
enter the spirit of the sculptures we talk about the
desirable difference towards the usurpation of the
sculptures which occured in Germany in the 19th

Century but especially during the Nazi regime
(novels, poems, dramas, odes, processions - only
Reglindis was not glorified, because it was visible
that she was ordinary, because she was Polish). b)
First we choose the role (we have done something
similar in some other workshops but only fragmentarily) and try as much as possible to feel it either out
of sympathy/antipathy, whether it is a male or female
role. The slides are shown again and the participants
make decisions about what role they will accept.
After the decisions have been made, the slides are
observed for the third time. Some details of the faces
are presented. Once again the participants are invited to feel the posture, the expression of the face, the
way the figure are dressed, to feel the person from
the inside in the way actors do who, walking in a
certain way, imitating some gestures, begin to think
and feel as the character who they represent.
c) The slides show the interior of the western choir,
the entrance, from one side and from the front. We
remind ourselves of the Last Supper from the altar
parapet that we already know from an earlier
encounter. The next three slides present the side
walls and the absidal part. Now we can see which
figures are together and which confront each other.
d) The participants receive a plan of the western
choir of Naumburg church and find their place in it.
After that the continuity of the event is reconstructed,
the continuity between the represented figures: with
what kind of position, posture, what kind of movement, gesture, sight they establish the interconnections. The task is to draw into the plan the connections (who communicates with whom, what sort of
continuity is established between the represented
figures).
3. It has now been revealed why all this has been
done, all the efforts to feel the roles and establish
the theatre: because a more efficient detachment
from the role and from the whole theatre is wanted
in order to see the sculptures really, which could
be prevented by the stylistic trap of naturalism. It is
not accidental that these sculptures have been so
much misused and so popular it is very easy to
sense them as alive. How to achieve the detachment? a) First the axes are explored (the compositional lines). The participants receive photocopies
and pieces of wire. We draw the participants
attention to the fact that there are mostly high
reliefs cut from one piece of stone, the same one
as the embedded columns. The embedded
columns are materialised axes, the figures antropomorphic ones, but not like in Chartres but
detached, variating and negating etc. We look at all
of them in sequence and everybody constructs the
axis (axes) of his or her sculpture individually.
b) Details are presented to see how the relation of
mass and space is manifested on the surface.
We try to discover the beauty of the sculptures:

291
Pi{e se prva misao nakon gledanja sekvence

filma Pro{le godine u Marienbadu/The first
thought is written after watching a sequence of
the film Last year in Marienbad
Rasprava o biti umjetnosti /A discussion

about the essence of art

292
c) Upozorava se na to da je moderna osjetljivost na djelu u na{em pogledu kada ~itamo kip kao
odnos mase i prostora odre|enih mjera. Moderno kiparstvo je upravo to, a njegovo iskustvo navodi
nas da i kipove pro{losti vidimo na taj na~in. Kao u inicijaciji, krenuli smo od obi~nosti da bi
otkrili neobi~nost. Naravno, pritom moèmo upasti u krizu, ali iz nje dospijevamo na vi{u razinu
gledanja, izvinu}e u vi{e. Preko pausa se poku{ava uhvatiti ne{to od kompozicije povr{ine, svatko
za svoj primjer, a zajedni~ki se analiziraju svi primjeri.
4. Da bi se do kraja osvijestilo to {to se radi, pokazuju se dijapozitivi sa slavne predstave sedamdesetih godina u Parizu, predstave A. Mnouschkine Lage dor, u Theatre du Soleil. Prostor teatra
stvaraju tri komedija{a. U po~etnoj fazi postoji potpuna fuzija glumaca s gledateljstvom (kao na{a s
likom), nakon toga oni zauzimaju svoja mjesta i po~inju komunicirati s gledateljstvom i me|usobno
(kontinuitet teatra), u tre}oj, zavr{noj fazi glumci se penju na zid i napu{taju teatar (kada smo se
odmakli od uloge, od teatra i po~eli gledati kipove kao kipove).
prisvajanje - odmak (dvojnost) - ostaje kip
fuzija - komunikacija - odlazak - ostaje li kazali{te?

the sets of cuts (rotation, translation, dilatation,
reflexion - like synthactic rules of space directing)
and mutual interactions of these sets as mutual
adaptations of different systems. The adaptation of
different systems mutually results in variaties, but
the system guarantees the unity. c) We emphasize
that modern sensibility acts in our gaze when we
read it as a relation of mass and space of certain
measures. Modern sculpture is just that and the
experience of it instructs us to see the sculptures
of the past in the same way. Like in the initiation,
we started from the ordinary to discover what is
extraordinary. Naturally we can fall into a crisis but
from it we reach a higher level of looking, a twist
upwards and higher. Through tracing paper we try
to catch something from the composition of the
surface, each participant using his example till all
of the sculptures are analysed together.

4. To become aware of what we really do we present the slides of a famous performance of the
Seventies in Paris, A. Mnouschkine Lage dor at
the Theatre du Soleil. The space of the theatre is
created by three comedians. In the beginning there
is a complete fusion of the actors with the public
(as was ours with the figures), after they take their
places and begin to communicate with the public
and between themselves (the continuity of the theatre), in the third, final phase the actors climb up
on walls and leave the theatre (we are detached
from the roles, from the theatre and begin to
observe the sculptures as sculptures).
Usurpation - detachment (duality) - the residue is
the sculpture
Fusion - communication - departure - is the residue
the theatre?

293

294
FOTOGRAFIJA KAO "NOVI KRAJOLIK"
PHOTOGRAPHY AS A "NEW LANDSCAPE"

(Kepes)
295
THE RAY BEARS THE WHOLE INFORMATION
ZRAKA NOSI CIJELU INFORMACIJU
(Gibson)
THE RAY WAS QUITE CERTAINLY ON THE FACE
ZRAKA JE ZASIGURNO BILA NA LICU
(Barthes)
J. BREITENBACH:
AROMA KAVE/
COFFEE AROMA
ZVJEZDANE MAGLICE
(EKPOSPONA@A 12 SATI )/
CYGNUS NETWORK NEBULA
(EXPOSURE 12 HOURS)
(SCHLIEREN
FOTOGRAFIJA/
PHOTOGRAPH)
L. C. MASSOPUST:
ASPIRIN (MIKROSNIMAK)/
SALICYLLE ACID (MICRO PHOTOGRAPH)
C. BEATON:
GERTRUDE STEIN,
1946., FOTOGRAFIJA/
PHOTOGRAPH
slika: opti~ka struktura lica nije struktura pigmenta na dasci

painting: the optic structure of the face is not the structure of the pigment
on the ground
fotografija: opti~ka struktura lica zaustavlja/odbija svjetlost

photograph:the optic structure of the face stops/reflects light
podloga - neutralizirano oploje/mrlja boje - znak zaustavljanja kretnje
plo~a/film/papir - zrnata struktura
ground - neutralised surface/dot of paint - sign of halting a gesture
plate/film/paper - grained structure
ANALOGONI su svjetlosnoj mrlji
ANALOGONI su mre`nici
are ANALOGONS to lightspot
A PHOTOGRAPH/ABSTRACT PAINTING
SHOWS THAT THE OUTER WORLD AND THE INNER ON A UNIVERSAL LEVEL ARE VERY SIMILAR
are ANALOGONS to retina
METHUEN & CO:
A. DA MESSINA:
BOGORODICA
PRI NAVJE[TENJU/
THE VIRGIN OF
THE ANNUNCIATION,
1475., ULJE I TEMPERA NA
DASCI/OIL AND TEMPERA
ON WOOD, PALERMO
FOTOGRAFIJA/APSTRAKTNA SLIKA
POKAZUJE DA SU VANJSKI I UNUTARNJI SVIJET NA UNIVERZALNOJ RAZINI MEUSOBNO SLI^NI
A. STIEGLITZ:
DOROTHY NORMAN, 1931.,

FOTOGRAFIJA/PHOTOGRAPH
MIKROSNIMAK NEURONA
CEREBRALNOG KORTEKSA
KOJI KONTROLIRAJU POKRET/
A MICRO PHOTOGRAPH
OF THE NEURONS
OF THE CEREBRAL CORTEX
WHICH CONTROL MOVEMENTS
J. POLLOCK:
BROJ 32/NUMBER 32,

1950., DETALJ/DETAIL,
CRNI DUCO NA PLATNU/,
BLACK DUCCO ON CANVAS

296
Namjera u { e s t o j radionici je osvijestiti ulogu koju fotografija igra u razvoju moderne

osjetljivosti - pro{irenju svijeta (tele/mikro/stroboskopski snimci, rajogrami, foto grami, solarizacije);
osvjestiti pogubnu ulogu fotografije u tro{enju svijeta; usmjeravati pozornost na razliku slike (ulje,
tempera itd.) i fotografije; isku{avati dokumentarni karakter fotografije; poku{avati odrediti {to je
fotografija; ukazati na korespondenciju unutarnjeg i vanjskog svijeta.
Ambijent: Isti je kao i obi~no. Pripremljeni su scenarij, upitnici, stillovi, fotokopije, {kare,
razrezani oblici.
Struktura doga|anja
1. a) Upozoravaju se sudionici da uz pra}enje poloàja kamere, kretanja kamere, ritma kadrova itd.
posebno svrate pozornost na odnos kvalitete-karaktera zvuka i slike izvora zvuka. Upozorenje o
sli~nosti izme|u Kleeove slike Ad marginam, koja tematizira to da o~i{te slike i o~i{ta prikazanih
stvari (naj{ire prostor) nisu isto, i filma A. Resnaisa u kojem sugerirano vrijeme, kako god sloèno
(vi{e tokova kao tema, vi{e o~i{ta) i vrijeme kompozicije filma nije isto. b) Gleda se {esta sekvenca
filma. c) U upitnik se upisuju rije~i. d) Dijele se scenarij i stillovi.
2. a) Najavljuje se tema radionice: fotografija. Govori se o tezi Gy. Kepesa na njegovoj slavnoj izlo`bi
pedesetih godina u Americi, sadràne i u naslovu izlo`be i, kasnije, knjige New Landscape: fotografija
pro{iruje krajolik ~ovjeka. b) Istodobno s tri projektora projiciraju se fotografije zvjezdane maglice
(eksponaà 12 sati), ispucale zemlje (E. Weston: Pustinja Boreo ) i morskog dna. Uz ideju o tome da
je fotografija medij pro{irenja ~ovjekova svijeta pri~a se budisti~ka vje`ba: uìviti se u crva, pa u
planinu, i iz tih o~i{ta gledati ostalo. Potrebno je osvijestiti promjene o~i{ta i blizine i udaljenosti koje
pruàju takve fotografije. Udaljavanje/pribliàvanje je veliko dostignu}e. Poku{ava se zastati i osvijestiti ih umjesto listanja ùrnala iz navike, pri kojem se, kao ne{to posve obi~no, vidi npr. beskrajno
daleka zvijezda. Nastoji se doìvjeti - osvijestiti senzaciju. c) Druga teorija o fotografiji, koja se ~ini
relevantnom, jest ne{to modificirana teorija W. Benjamina. Fotografija nam pribliùje svjetove,
beskrajni svjetovi postaju predmeti u na{em okoli{u i u tom svo|enju dovla~e se na istu, na{u mjeru po~inje tro{enje svijeta. Fotografija, kao sredstvo pro{irenja svijeta, stalnog mijenjanja o~i{ta, naspram
tro{enja svijeta: prvi aspekt razvija novu osjetljivost, drugi gasi, uni{tava umjetnost. d) Istodobno se
projiciraju fotografije New Yorka iz zraka, arome kave (J. Breitenbach) i mikroskopski snimak aspirina (C. Massopust). Slijedi mentalna vje`ba: zami{ljanje stropo{tavanja iz visine aviona preko isparavanja kave iz na{e {alice, do prodora mikroskopom u tvar tako ne~eg obi~nog kao {to je aspirin.
Poku{ava se doìvjeti ne kuriozitet, ali ne ni obi~nost, nego odista uìvljavanje u udaljenosti/blizine.
e) Istodobno se projiciraju fotografije: Svjetla New Yorka, (eksponaà 12 sati) F. Henlea, ljiljana
(rentgenski snimak) i fotografija Kapljica mlijeka (stroboskopski snimak, kratka ali usporena
eksponaà) H. Edgertona. Radi se o naro~itim postupcima otkrivanja svjetova koji se odmi~u od
onoga {to nam je renesansna slika davno prije ponudila. Renesansna slika je, naravno, isto tako
~arolija, ali se njena konstrukcija cjelovitosti do danas ve} pretvorila u ne{to {to mi smatramo
obi~nim/stvarnim/banalnim.
3. Sa srednjeg projektora pokazuje se slika Osobne vrijednosti R. Magrittea, 1952., 81 x 100 cm
(ostale dvije fotografije ostaju).Vodi se razgovor o tome {to je neobi~no, (poreme}enost u mjerama), odnosno o tome ~emu se Magritte ruga; o pristupu obi~nom, o trenutku za~u|enja, krize, o
otkri}u da je iza svakodnevnog ne{to neobi~no; o dilemi pro{irenja/prisvajanja (opasnost od
mrtvog/gotovog/rje{enja/ na{eg/istro{enog).
4. a) Istodobno se projiciraju: fotografija A. Stieglitz Portret Dorothy Norman, 1931. i A. da Messina
Bogorodica pri navje{tenju, 1475., ulje i tempera na dasci, 45 x 34,5 cm Nacionalni muzej u Palermu
(cjelina i detalj). Po~inje novo istraìvanje o sli~nostima i razlikama izme|u fotografije (crno-bijele) i
slike (ulje, tempera). Sudionici dobivaju fotokopije slike A. da Messine s prave i obrnute strane i
Stieglitzove fotografije. Zadatak: treba izrezati sjene sa Stieglitzove fotografije i poku{ati razmjestiti
sjene/svijetle mrlje na lice prikazanog lika na Messininoj slici. Eksperimentira se s fotografijom bez
fotografiranja. b) Pred projiciranim djelima vodi se razgovor o razlici fotografije i slike: slika - podloga
kao neutralizirano oplo{je, mrlja boje kao znak zaustavljanja ruke, likovni su analogoni svjetlosnoj
mrlji, fotografija -plo~a/film/papir po svojoj zrnatoj strukturi analogoni su mre`nici oka; slika - zraka
se odbija od tvari pigmenta (u temperi/ulju), fotografija - svjetlost ili nedostatak svjetlosti uhva}eni su
imitacijom mre`nice. A. da Messina je, razmje{tajem svojih mrlja koje sa strukturom lica nemaju
nikakve veze, maksimalno organizirao optiku/svjetlosnu zraku (upozorenje: opti~ka struktura naboranog lica npr. nije struktura pigmenta na dasci/platnu!), Stieglitz zaustavlja svjetlost/sjenu. c) Projiciraju

The intention in the s i x t h workshop is to
become aware of the role the photograph plays in
the evolution of modern sensibility - in an expansion
of the world (tele/micro/stroboscopic photographs,
rayograms, photograms, solarisations); to become
aware of the fatal role of the photograph in the consumption of the world; the attention is directed to
the difference between a painting (oil, tempera etc.)
and a photograph; we try out the documentary
character of the photograph; we try to define what
the photograph is; indicating the correspondence
between the inner and outer world.
Ambience: As usual. The prepared materials: the
screen-play, questionnaires, stills, photocopies,
scissors, cut shapes are available.
1. a) The participants are instructed that besides following the position of the camera, the movement of
the camera, the rhythm of the frames etc. they
should direct attention to the relation between the
quality-character of the sound and the presented
source of the sound. Instructions about the similarities between Klees Ad marginam which thematise
the fact that the viewpoint of the painting and the
viewpoints of the represented objects (the space)
are not the same, and A. Resnais film where the
suggested time, no matter how complex it is (several
streams as a theme, several viewpoints) and the time
of the composition of the film are not the same.
b) Watching the sixth sequence. c) In the questionnaire the words are put in. d) Screen-play, stills are
distributed.
2. a) The topic of the workshop is announced: the
photograph. We talk about Gy. Kepess thesis at
his very famous exhibition in the fifties in the
U.S.A., contained also in the title of the exhibition
and later in the book New Landscape: the photograph widens mans landscape. b) The following
photographs are projected: the Cygnus, Network
Nebula, (exposure 12 hours), E. Weston: Boreo
Desert, an aerial photograph of Ocean Floors.
Besides the idea that the photograph is a medium
of widening mans world, we talk about a Buddhist
exercise: to feel like a worm, then like a mountain
and to look at the rest from these viewpoints. We
try to become aware of the level changes, and
the changes of the proximity or distance which
these photographs offer. The removing and
approaching are great achievements. We try to halt
and become aware of them instead of just turning
pages of a journal, out of habit, during which we see
for instance an infinitely distant star as something
ordinary. We try to feel - to become aware of the
sensation. c) Another theory of the photograph
which seems relevant is a slight modification of W.
Benjamins theory. The photograph brings worlds
close to us, the infinite worlds become objects in
our environment and in that reduction everything

becomes our scale, and the consumption of the
world begins. The photograph is a means of widening the world, of changing the viewpoints, but also a
means of a consumption of the world. The first
aspect evolves a new sensibility, the second one
extinguishes and destroys the art. d) Simultaneously
the photographs are projected. An aerial photograph
of New York, J. Breitenbach: The Aroma of Coffee,
L. C. Massopust: Salicylic acid (a microphoto). A
Mental exercise follows: imagining falling down from
the heights of an airplane through the coffee evaporation from our cup to a penetration with a microscope into the substance of something as ordinary
as an aspirin. We try to feel the sensation: not as a
curiosity, nor as an ordinary thing either, but a real
feeling of distance/closeness. e) Simultaneously
photographs are projected: F. Henle: The Lights of
New York (exposure 12 hours); A Lily (radiograph);
H. Edgerton: Falling Milk Drop (stroboscopic photograph, short but retarded exposure). These special
procedures discover worlds distant from what the
Renaissance painting offered long ago.
The Renaissance painting is naturally also magic,
but its construction of the whole has so far been
transformed into something we regard as
ordinary/real/banal.
3. From the central projector R. Magrittes painting
Personal Values, 1952, 81 x 100 cm, is projected
(the other two slides remain). We talk about what is
extraordinary, about the mutilated measures or
about what Magritte mocks, about the approach to
the ordinary, about the moment of astonishment,
crisis, about the discovery that behind an every day
occurence there is something extraordinary, about
the dilemma widening/usurping (the danger of a
dead/finished/decision/ours/exhausted).
4. a) A. Stieglitz: Portrait of Dorothy Norman, photograph, 1931; A. da Messina The Virgin of the
Annunciation, 1475, oil and tempera on wood 45 x
34,5, National Museum, Palermo (the whole and a
detail) are projected. We begin a new exploration
about the similarities and differences between the
photograph (black-white) and painting (oil, tempera). The participants receive photocopies of A. da
Messinas painting (original and inverted position)
and Stieglitzs photograph. An exploration is proposed: to cut out the shadows from Stieglitzs photograph and try to place the shadows/light dots on
the face of the figure on Messinas painting. We
experiment with the photograph without photographing. b) In front of the projected artworks we
talk about the difference between the photograph
and the painting. The painting: the ground as a neutralized surface and the dots of paint as signs of a
hand halt, as the performed analogons to the light
spot, the photograph: the plate/film/paper due to its
grained structure is analogon to the retina. The
painting - the ray is reflected from the pigment (in
tempera/oil), the photograph it is the light or the
absence of light captured by imitating the retina.
297
Uspore|uje se slika A. da Messine i

Stieglitzova fotografija/A painting of A. da
Reù se sjene sa Stieglitzove

fotografije/The shadows are cut out of the
Messina and a photograph by Stieglitz are

compared
Stieglitz's photograph
Izrezane sjene se komponiraju u Messininu

sliku/The cut out shadows are composed in
Komponira se izrezanim oblicima s mikrofotografije i reprodukcije apstraktne slike/Out
Messinas painting
of a microphotograph and a reproduction of an

abstract painting shapes are cut and the participants compose with them.

298
se fotografija A. Rod~enka Majka koja ~ita, 1924. i Rembrandtova Majka koja ~ita (Proro~ica), 1631.
ulje na dasci, (cjelina i detalji). Uspore|uju se scenske razlike, raspored hinjene sjene i svjetlosti
naspram neposrednog traga svjetlosti. Pozornost promatra~a se razdvaja (estetski doìvljaj: istodobno
se vidi lice i registriraju se sitne promjene svjetlosti ili mrlje kao zastoji kretnje koje pokazuju tvar
uljene boje ili usitnjene sjene/svjetlosti). d) Projicira se detalj I. Piceljeva crteà Varijacija br. 4, cjelina
koje je ve} pokazana u jednoj od prethodnih radionica. Sudionike se pita/poga|a se/vodi se razgovor o
pove}anju - ulasku u djelo, o fotografskoj interpretaciji slike/crteà, kipa itd.
5. Projicira se fotografija C. Beatona koja prikazuje Gertrudu Stein, 1946. Govori se o Barthesovoj
tezi da je fotografija ponajprije dokument, zraka koja je zasigurno bila na licu/predmetu i sada se odbija od fotografije. Zraka nosi cijelu informaciju (J. Gibson), jesmo li je u stanju ~itati? Ako je
fotografija dobra, uhvatila je trenutak/pogled kada padaju maske i kada se lice pokaè, otvori.
Odgonetava se tko i kakva moè biti ta osoba. Lice sadrì sve {to je ta osoba bila i jest u tom trenutku, a fotografija to otkriva.
6. a) Projiciraju se fotografije L. Moholy-Nagya Skakaonica, 1931. i A. Rod~enka Ulica, 1927.
Govori se o fotografiji kao zapisu pogleda kojeg Moholy-Nagy naro~ito nagla{ava fragmentarizacijom.
Fotografija A. Rod~enka je apsolutna: poklapanje teme (plo{nog plo~nika, kaldrme, sjene koje volumeni bacaju odozgo) i medija (svjetlo, sjena, zrnasta podloga). Medij nalazi sebi analogiju u vanjskom svijetu i tako se fotografija zatvori u sebe kao ~ista - apsolutna. b) Istodobno se pokazuju tri
~ista zapisa svjetlosti: L. Moholy-Nagy Dvostruki portret, fotogram, 1923.; P. Picasso Crte`
svjetle}om olovkom (fotografija G. Mili); M. Ray Solarizacija, 1929. (intervencija u negativ ~ime se
potencira medijsko: svjetlo - tama na ra~un prikazanog).
7. a) Sudionici u omotnicama dobivaju izrezane oblike mikro-snimke dima cinkovog oksida
(Trahacchi) i apstraktne slike L. Moholy-Nagya QXXV, 1923., ulje na platnu, a da ne znaju odakle
su oblici izrezani. Traì se da komponiraju, sloè oblike. Proji-ciraju se snimci i ukazuje se na
sli~nost, {to je dovelo do mogu}nosti izmije{anosti oblika u njihovim kompozicijama. Ono {to se
uobi~ajeno zove vanjskim svijetom i ono {to se uobi~ajeno zove unutarnjim svijetom korespondiraju
na univerzalnoj razini, i u apstraktnoj slici ta korespondencija dolazi najve}ma do izraàja.
b) Nastavljaju}i temu s tri projektora redom se pokazuju po tri snimka: mikrosnimak {takorovog
dvanaesterca, (D. W. Fawcett); mikrosnimak neurona cerebralnog korteksa koji kontroliraju pokret
(Methuen & Co.), J. Pollock Broj 32, 1950., detalj, crni duco na platnu, New York; mikrosnimak
teku}eg kristala (O. Lehman), reljef s dolmena na otoku Gavrinisu (neolit) i K. Maljevi~ Osam
crvenih pravokutnika, 1915., ulje, Staedelejk Museum, Amsterdam; K. Maljevi~ Supre-mus br. 50,
1915., ulje, 97 x 66 cm, Staedelejk Museum, Amsterdam, A. Watanabe: mikrosnimak dima magnezijevog oksida i P. Klee Park kraj L, 1938. 101 x 71 cm; mikrosnimak lista (I. W. Bailey), snimak
korijena i snimak spiralnog stubi{ta (Yan). Naravno, pogled fotografa je svaki puta namjeran.

A. da Messina maximally organized the optic / the
light ray by an arrangement of his spots which has
no connection with the structure of the face (warning: the optical structure of a wrinkled face, for
instance, is not the structure of the pigment on the
panel/ canvas), Stieglitz halts the light/shadow.
c) A. Rodchenko: Mother Reading, photograph,
1924, and Rembrandt: Mother Reading
(Prophetess), 1631, oil on wood, (the whole and
details) are projected. Comparisons: the differences
in the scene; the arrangement of the simulated
shadow and light in opposition to a direct trace of
light. The spectators attention is divided (the aesthetic experience: the face is seen and the tiny
changes of the light or spots, like halts, stagnations
of the movement which demonstrate the substance
of the oil paint or the small cuts of shadows/light
are registered at the same time. d) A detail of
I. Piceljs drawing Variation no. 4 is projected (the
whole has been projected in a former workshop).
The participants are asked to guess or to talk about
the enlargement, about penetrating into the artwork,
about the photographic interpretation of a
painting/drawing/sculpture etc.
5. A photograph by C. Beaton which represents
Gertrude Stein, 1946, is projected. A talk is about
R. Barthes thesis that the photograph is in the
first place a document, the ray which certainly
was on the face/ object and is now reflected from
the photograph. The rays are bearing the whole
information (Gibson), are we able to read it? If the
photograph is a good one, it captures the
moment/the gaze when the masks have fallen and
when the face is shown, when is opened. The participants try to guess, who it is and what sort of
person it is. The face contains all that the person
was and what she is at that moment and the photograph uncovers it all.
6. a) The photographs by L. Moholy-Nagy Jumping
ground, 1931, and A. Rodchenko: Street, 1927, are
projected. We talk about the photograph as a device
of the gaze, which Moholy-Nagy emphasizes with

fragmentarisation. The photograph of A. Rodchenko
is absolute: the overlapping of the subject (the planar pavement, the cobbled pavement, the shadows
that the volumes throw from above) and the medium
(light, shadow, grained ground). The medium finds
itself an analogy in the outer world and so the photograph closed in itself is a pure-absolute one. b) Three
pure devices of light are shown: L. Moholy-Nagys
Double portrait, photogram, 1923; P. Picasso: Space
drawing with Pencil of Light (photograph: G. Mili);
M. Ray: Solarization, 1929 (an intervention in the
negative by which the medium is emphasised: the
light-dark against what is represented).
7. a) The participants receive, in envelopes, cut out
shapes of a microphotograph of Zinc Oxide Smoke
(Trahacchi) and an abstract painting by L. MoholyNagy Q XXV, 1923, oil on canvas, without any
information where the shapes have been cut out
from. The task is to compose, to arrange the
shapes. The slides are projected and the participants are instructed on the similarities which enable
them to mix the shapes in their compositions. On a
universal level what we usually call an exterior
world and what we call an interior world correspond
and this corespondence is maximally manifested in
abstract paintings. b) Continuing with the topic, we
present: D. W. Fawcett: Duodenum of a Rat
(microphotograph); Methuen & Co.: A microphotograph of the Neurons of the Cerebral cortex controlling movement; J. Pollock: Number 32, 1950, black
ducco on canvas, New York, detail; O. Lehman:
Liquid Crystals (microphotograph); a relief from a
dolmen on the Island of Gavrinis (neolithic);
K. Malevitch: Eight Red Rectangles, 1915, oil,
Staedelejk Museum, Amsterdam; K. Malevitch:
Supremus no. 50, 1915, oil, 97 x 66 cm, Staedelejk
Museum, Amsterdam; A. Watanabe: Smoke of
Magnesium Oxide (a microphotograph), P. Klee:
Park by L. 1938, 101 x 71 cm; I. W. Bailey: Cleared
leaf (microphotograph) photos of Yan: Root, Spiral
Staircase. Naturally the gaze of the photographer is
always purposeful.

299

300
UMJETNOST POKAZUJE SLOJEVITOST

SVIJETA
THE ART PRESENTS THE WORLD IN

LAYERS
vi{ezna~enjska organizacija NA ISTOJ RAZINI

several meanings organisation ON THE SAME LEVEL
301
FRACTAL, REFLECTAPHOR
FRAKTAL, REFLEKTAFOR
reverzibilnost U VREMENU
oblik koji se zracali u sebi - SAMOODNOSNOST
ponavljanje oblika u beskraj
reversibility IN TIME
the shape reflected in itself - SELFREFERALNESS
repetition of shapes in infinity
NEPOZNATE mjere
UNKNOWN measures
urna
urn
mjesto
nos
place
nose
E. LARAME:
G. ARCIMBOLDO:
J. PONTORMO:
LJETO/SUMMER,
MARIA SALVIATI,
1563., ULJE/OIL,
76 X 64 CM,
BE^/VIENNA
1543.-45., 87 X 71 CM,
FIRENCA/FLORENCE
LAND ART, 1991.
P. PICASSO:
guvernal
sjedalo
handlebars
seat
BIKOVA GLAVA/
BULL'S HEAD,
1943.
svaki SLOJ ima svoju zakonitost
E. Larame + sol + bakar + voda

E. Larame + salt + copper + water
every LAYER has its own law
linija - inteligentna energija

line - "intelligent energy"
nejasna mrlja
unclear blur
obris
outline
eksplozija to~ke
explosion of a point
nit
svijet je mreà
beskona~nost u to~ki
thread
the world is a web
infinity in point
APPREHENDING: THE WORLD IS IN LAYERS
SAGLEDAVANJE: SVIJET JE SLOJEVIT
pribliàvanje
approaching
udaljavanje
removing
KRIST U SLAVI/ CHRIST

IN GLORY,
12. ST./12 TH C.
2,80 (3,17) X 2,30 (2,50) CM,
SAN CLEMENTE, TAHULL
pribliàvanje
approaching

302
Namjera u s e d m o j radionici je osvijestiti istodobnost vi{ezna~enjskih organizacija na istoj razini; osvijestiti reverzibilnost zna~enjskih organizacija u vremenu; osvijestiti slojevitost kao zajedni~ku
zakonitost i svijeta i djela; osvijestiti slojevitost umjetni~kog djela putem modernih tehnika koje slojevitost otkrivaju fizi~kim rastavljanjem i ~ine je {to vidno evidentnom (kompjutorska obrada), {to opipljivom (tehnika kolaà).
Ambijent: Isti je kao i obi~no. Pripremljeni su scenarij, upitnici fotokopije djela, paus, sivi kartoni,
ljepilo, krejon, crvena boja, tempere, kistovi, tkaninice.
Struktura doga|anja
1. a) Upozorava se da je svrha tako rastegnutog gledanja jednog filma (oko dva mjeseca) to, da se
film {to vi{e uplete u misli/osje}aje svakodnevnice. b) Gleda se sedma sekvenca filma. c) U upitnik se
upisuju rije~i. d) Dijeli se tekst scenarija.
2. Ova radionica treba biti kulminacija rada. Ve} se dosta dugo priprema ulazak u temu slojevitosti
djela/svijeta. a) Projiciraju se istodobno Ljeto G. Arcimbolda, 1563., ulje, 76 x 64 cm,
Kunsthistorisches Museum, Be~ i portret Maria Salviati J. Pontorma, 1543.- 1545., ulje, 87 x 71 cm,
Galeria Uffizzi, Firenca. U vezi Archimboldove slike govori se o gustom vremenu, o brzom izmjenjivanju zna~enjskih organizacija, o mentalnom o~i{tu. Razina profila se raspada na elemente {to je
napad na hijerarhi~nost. Radi se o igri sa zna~enjskim slojevima, makro razina se ukine svojim elementima, ali se i uspostavlja zbog mjesta gdje se element pojavljuje. U Pontormovu se portretu
(B. Berenson ga je sa sigurno{}u pripisao Pontormu) radi o prividu stati~nosti. Svaki dio lica/tijela
ravna se po drugoj osi, ali pomaci su sitni i jedva primjetni. Takvi su i zbog sitnih promjena u svjetlosti, ~ime se dobiva iluzija glatkoga oplo{ja bez detalja. Ni na slici Maria Salviati se ispod razine
makro oblika ne otkriva mikro oblik, nego jedino to da je drugi makro oblik skriveniji. b) Zadaje se
vje`ba: sudionici dobivaju fotokopije Pontormova portreta i paus. Traì se da izvuku obris vela.
Sudionici otkrivaju skriveni oblik urne koji je jedna mogu}a zna~enjska organizacija u slici. Radi
usporedbe, dijele se i fotokopije Pontormova crteà iz istog vremena koji prikazuje Mariju Salviati, kao
stariju ènu (portret vjerojatno nastaje posthumno). c) Pokazuje se snimak slike Maria Salviati na
kojem je, uslijed refleksa (slika je izloèna pod staklom), u portretu unutra cijeli okoli{. Ovakav snimak posredno upu}uje na jedan aspekt osjetljivosti Moderne - mi smo na{im gledanjem u djelu, ne
kao projekcija, nego gledatelj i ono {to se gleda ~ine isto polje. Jo{ jednom se govori o idealnosti lika
dobivenoj iluzijom glatke povr{ine. d) S tre}eg projektora pokazuje se Picassova Bikova glava, 1943. i
ukazuje se na reverzibilnost u zna~enjskoj organizaciji. Picasso je, {etaju}i se poljem, nai{ao na dva
otpatka starog bicikla i ugledao ih kao bikovu glavu, ali, kako je pri~ao, mogao ih je opet i baciti,
netko bi mo`da nai{ao i rekao: to je bikova glava, ali bi mogla posluìti i kao sjedalo i guvernal bicikla.
Ovdje se, u grubom vremenu, zna~enjska ambivalentnost rastegla u reverzibilnost, za razliku od zgusnutosti kod Arcimboldove slike i skrivenosti kod Pontormove.
3. Za daljnji razgovor o slojevitosti sluì se, umjesto kompliciranim pri~ama, posve jednostavno i sigurno, zajedni~kim iskustvom (dobo{ torte, dobo{ice). êtiri sloja biskvita, izme|u njih tri sloja kreme
i osmi sloj kora od rastopljenog {e}era. Sigurno iskustvo dobo{ torte stoji izme|u kozmi~kog reda, o
~emu bi nam mogao govoriti fizi~ar, i umjetni~kog djela, o ~emu je ovdje stalno rije~.
4. a) S lijevog projektora projicira se nejasna mrlja. Podsje}anje na toliko puta simulirano polazi{te iz nejasne mrlje se stvara svijet. b) Sudionici dobivaju sivi (neutralni odnos svjetlosti i tame) papir
(plo{no istanjenu masu oplo{ja neutralnog odnosa mase i prostora). Traì se da ga tretiraju kao
nejasnu mrlju. Prvi je zadatak da se krejonom energi~no, sna`nim potezom, konkretizira lijevi rub
povla~e}i liniju - obris (Blake: |avolov posao). c) Izo{trava se slika s lijevog projektora (sivi savijeni
oblik). Sa srednjeg se projektora prikazuje deset crnih linija nejednake duljine, koje izlaze iz jedne
to~ke. Zadatak je da se sna`no pokre}u}i to~ku povu~e deset linija (eksplozija) na ve} pripremljenu
podlogu. d) S desnog se projektora pokazuje vrlo nje`ni uski bijeli linijski oblik. Govori se o tome da
je iskonsko podrijetlo linije u niti umo~enoj u prah, napetoj i otpu{tenoj. Sudionici dobivaju jednu nit
i pozivaju se da je stave kao tre}i sloj (prire|eno je ljepilo, papir; upute, kako da zalijepe bez
prljanja). e) S lijevog projektora projicira se snimak mreè. Ponavlja se: prvo po~elo, obris, to~ka,
pokrenuta to~ka (eksplozija u linije, inteligentna energija), trag niti kao linije i sada mreà.
Izgovara se Orfejev tekst, citira ga Aristotel: ìva bi}a nastaju poput pletenja mreè. Sudionici dobivaju tkaninu tkanu specijalno s toliko niti koliko ih ima na projiciranoj mreì. Stavljaju je na svoj
dosada{nji rad kao sljede}i sloj (lijepe na isti na~in kao i ranije). f) Sa srednjeg projektora projicira se
deset to~aka. Nastavlja se vje`ba. Sudionici dobivaju crvenu temperu i kist i traì se da porazmjeste
deset to~aka po svojoj kompoziciji. Govori se o tome {to je, po predaji, to~ka: beskona~no se stropo{ta
u to~ku. To se imitira, ruka se stropo{ta da bi se osjetilo kako se energija zaustavlja (ruka mora pritom biti slobodna). g) S desnog projektora projicira se K. Schwiters Merzbild 25, konstelacija A,
1920., kola`, Dsseldorf. To {to se u vje`bi izvodilo najbliè je kolaù, slojevitost koja se grubo
ostvaruje na ravnini. Svaki je sloj vidljiv, opipljiv.
5. a) S lijevog projektora pokazuje se detalj sa zidnih slika u S. Clemente u Tahullu, koji se u ranijim
projekcijama pojavljivao kompjutorski rastavljen na slojeve. Sada su svi slojevi na svom mjestu i pred
sudionicima je detalj freske. Osvje{tava se to {to su malo prije radili. Imitirao se svaki sloj, a ne oblik
(nejasna mrlja, kontura, eksplozija to~ke, nit, mreà, to~ka kao zaustavljanje beskona~nog). b) Sa
srednjeg projektora pokazuje se ve}i detalj - govori se o tome kako svaki sloj ima svoju logiku, svoju
zakonitost. c) Potom se s istog projektora pokazuje sredi{nji dio apside u S. Clemente u Tahullu Krist u
slavi, 12. st. Museo Catalugna, Barcelona. Pronalazi se detalj. d) S tri projektora izmjenjuju se detalji

The intention in the s e v e n t h workshop is to
become aware of the simultaneity of polysemic
organisations on the same level; to become aware
of the reversibility of semantic organizations in time;
to become aware that the existence of many layers
is a common law of the world and of artwork, too;
to become aware of the many layers of artwork
through modern techniques which discover them
decomposing the artwork physically and making the
layers either visible (computer treatment) or tangible
(technique of collage).
Ambience: As usual. Prepared materials: the
screen play, questionnaires, photocopies of the artworks, tracing paper, grey cardboard, glue, crayon,
red tempera, brushes, small fabrics are available.
1. a) The participants are informed that the intention
of an extended watching of a film (about two
months), is to weave it as much as possible into the
thoughts/feelings of our everyday life. b) The participants watch the seventh sequence of the film.
c) Words are written in the questionnaire.
d) The screen play is distributed.
2. This workshop ought to be the culmination of our
work. We have been preparing to enter the topic of
the layers in the artwork/world.
a) Simultaneously are presented: G. Arcimboldo:
Summer, 1563, oil, 74 x 64 cm, Kunsthis-torisches
Museum, Vienna and J. Pontormo: Portrait of Maria
Salviati, oil, 1543-45, 87 x 71 cm, Galeria Uffizzi,
Florence. Concerning Arcimboldo's painting we talk
about the density of time, about the quick alteration
of semantic organizations, and about the mental
viewpoint. The level of the profile decomposes into
elements, which is an attack on hierarchy. It plays
with semantic levels, the macro-level is abolished by
its elements, but is re-constructed because of the
place where the elements appear. In the second
example: (Berenson attributed it to Pontormo) an illusion of staticity is achieved. All the parts of the
face/body follow different axes, but the shifts are tiny
and hardly recognizable. They are also such because
of the small changes in light, which give an illusion
of a smooth surface without details. Under the level
of the macro shapes no micro shape is discovered,
only the other macro shape is more hidden. b) The
task is posed. The participants receive photocopies
and tracing paper. The outline of the veil has to be
drawn. The participants discover the hidden shape of
the urn which is a possible semantic organization in
the painting. In order to make a comparison, photocopies of Pontormos drawing from the same period
are distributed. The drawing represents Maria Salviati
as an elderly lady. The portrait was probably done
posthumly. c) A slide is presented where as an effect
of reflection (the painting is displayed under glass)
the whole environment is in the portrait. Such a
slide indirectly indicates an aspect of modern sensibility - we are with our gaze consciously in the artwork, not as a projection, but as observers making
the same field with the observed. Once again: the
idealism of the figure is achieved by the illusion of a
smooth surface. d) The third example P. Picassos
Bull Head, 1943, indicates reversibility in the semantic organisation. Walking in the field Picasso found
bicycle handlebars and a seat and recognised them
as a bulls head, but as he was telling the story, he
would throw away the bulls head again, and then
somebody would probably find it and say: this is a
bulls head but it could be used as handlebars and a
seat too. Here in the elongated time the semantic

ambuiguity was extended into reversibility, in contrast to the density in the case of Arcimboldos and
the hiding in Pontormos painting.
3. For the further talk about the many layers we
use instead of complicated stories, a very simple
and common expierence of the layered gateau.
There are four layers of sweet biscuit between
them three layers of cream and an eighth layer - a
hard caramel crust. The experience of this pastry
is placed somewhere between the cosmic order, a
physicist could talk about, and the artwork about
which we talk all the time.
4. a) From the left projector a faint blur is projected.
We remind the participants of the starting point simulated so many times - from a faint blur the world is
made. b) The participants receive some grey (a neutral relationship of light and dark) paper (planar mass
of a surface - neutral relationship between mass and
space). The task is to treat it as a faint blur. First
they are asked to trace the left edge with crayon,
energetically with a powerful stroke drawing the line outline (Blake: the Devils job). c) The picture projected from the first projector is sharpened, (a grey
convoluted shape). From the second projector ten
black lines of unequal length are projected, they have
their source in the point. The task is to move the
point powerfully, in order to draw ten lines (explosion) on the already prepared ground.
d) From the right projector a very tender narrow
white linear shape is presented. We talk about the
primordial origin of the line: a thread dripped in powder straightened and released. The participants get a
thread and are asked to put it as a third layer in
their work (some glue is prepared, some paper,
instructions how to do it cleanly). e) From the left
projector a slide of a network is projected. We
repeat: the first origin, the outline, the point, the moving point (explosion of lines, intelligent energy),
the trace of the thread and now, the network. A text
by Orpheus quoted by Aristotle: living beings spring
up like knitting a network. The participants get a fabric woven specially with as many threads as there
are on the projected network. They put it on their
work as the next layer (they stick it in the same way
as before). f) Ten points are projected from the central projector. The exercise continues. The participants receive red tempera, a brush and are asked to
arrange the ten points in their composition. We talk
about what, according to tradition, the point is: the
infinity collapses into a point. This is imitated, the
hand falls in order to feel how energy is halted (the
hand has to be free while doing so). g) K. Schwiters
Merz-bild 25, Constellation A, 1920, Dsseldorf, collage, is projected. What is performed in the exercise
is nearest to the collage, the many layers that are
roughly realized on a plane. Each layer is visible,
tangible.
5. a) A detail from the wall painting in San Clemente
in Tahull is presented, in earlier projections it was
decomposed by a computer in layers. Now all the
layers are in their places and the participants
observe a detail of the fresco. They become aware
of what had they done. Each layer has been imitated
but not the shapes (the faint blur, the outline, the
explosion of the point, the thread, the network, the
point as a halting of the infinite). b) A larger detail
follows - we talk about the logic and law of each
layer. c) The central part of the absis of S. Clemente
in Tahull is presented, Christ in Glory, 12th Century
Museo Catalugna, Barcelona. We search/find the
detail. d) With the three projectors the details alternate so that what is really on the left, middle or right
is projected from the corresponding projector.
303
Obris urne je na|en u Pontormovu portretu

Marije Salviati/Outlines of an urn are found in
Voditelj dijeli elemente za slojevitu

kompoziciju/The workshop leader is distribut-
Pontormos portrait of Maria Salviati
ing elements for a composition in many layers
Nastaje slojevita kompozicija: lijepi se nit/A

composition in layers: a thread is sticken
Dobiva se tkanica za sljede}i sloj/A little

woven fabric to put as a next layer
Udaraju se mrlje kao najgornji sloj/ Dots are

blown as the top level
Tkanica je stavljena/The woven fabric is put

304
slika tako da se ono {to je odista lijevo ili desno ili u sredini projicira s odgovaraju}eg projektora.
e) Sudionici dobivaju fotokopiju apside, tlocrt i shemu mogu}eg sagledavanja. Opisuju se tri pojasa
(dado, apostolado, Krist u slavi, Krist sa simbolima evan|elista i dva kerubina). Izmjenjuju se snimci
originala - danas u Muzeju katalonske umjetnosti u Barceloni u rekonstruiranom prostoru, sa snimcima unutra{njosti crkve S. Clemente u Tahullu, ali s kopijom freske. Upozorava se na slojevitost svakog
detalja. Djelo je univerzum, sve je povezano sa svime, na svim razinama. Svaka razina ima svoje
zakonitosti. f) Govori se o sagledavanju. Sudionici se upu}uju da kontroliraju na planu i shemi. Pri
ulazu, pod lagodnim horizontalnim kutom od 40 vide se sve tri apside. U vertikali, kompozicija se
daje pod kutom od 12, dakle jo{ {to{ta drugoga ulazi u polje pogleda. Kristov lik je natprirodne
veli~ine i tako dovodi do ustuknu}a. Mogu}nost izo{travanja na pojedine detalje (glave u apostoladu,
Kristova {aka, hrbat knjige, koljeno, trbuh) navodi na ostajanje, odnosno cjelina poziva na pribliàvanje. Ali pribliàvanjem do mjesta do kojeg je vjernik smio do}i, do ispred oltara, cijela se kompozicija
vidi pod napetim kutom od 45 (tada srednja apsida ulazi u vidno polje pod lagodnim horizontalnim
kutom od 38). Pribliàvanje mijenja to, na {to moè izo{triti pogled. Nema pretpostavljene cjelovitosti
ljudskog lika (kao {to je anti~ka ili renesansna), konture svakog detalja i lika u cjelini su iste {irine, {to
zna~i da nema hijerarhi~nosti ljudskog lika, svaki detalj ima istu vrijednost. Kretanje je stalno
odmaknu}e uslijed predimenzioniranosti, pribliàvanje uslijed subdimenzioniranosti oblika. Izme|u
sli~nih jo{ su i izmetnutioblici razli~itih veli~ina. Cijelo kretanje sugerira slojevitost svijeta. Dakle, ne
samo svaki detalj nego cijeli oslikani prostor navodi na doìvljaj cjelovitosti svijeta.
6. Po~injemo s istraìvanjem pojma fraktala u umjetnosti i u svijetu. a) Pokazuje se Arkan|eo
P. Kleea, 1938. (cjelina i detalj). Osamostaljenjem linija, fragmenata obrisa lica, oblik se otvorio:
linijska kompozicija je jedan sloj, kompozicija boja drugi, tre}i sloj je grubo tkanje platna, a suho}a
boja i tkanje platna dovode do vidljivosti jo{ jednog sloja dodira boje i podloge. b) Uspore|uju se
Alkemija J. Pollocka, 1947., Galerija Guggenheim, Venecija i snimak Velike Magelanove maglice
(mala galaksija u blizini na{e). Na osjetilnoj razini, slika i fotografija daju sli~nu senzaciju eksplozije,
naravno, na razli~itim razinama i u razli~itim dimenzijama. c) Istraìvanje fraktala nastavljamo s tri
istodobno projicirane fotografije koje, iz razli~itih udaljenosti, prikazuju isti zid sa suhom vinovom
lozom (foto: J. Briggs), uvijek isto na razli~itim razinama. Uvodi se pojam reflektafora: isti oblik koji se
ogleda u sebi (samoodnosni oblici umjetni~kog djela u ranijim radionicama, pojam koji smo ~esto
koristili). d) Slijede novi primjeri opet istodobno projicirani: B. Slavenski Bez naslova, 1992., A.
Altdorfer Sv. Juraj ubija zmaja, 1510. Alte Pinakothek, Mnchen i fotografija [uma L. Hudetza, 1992.
Govori se o bogatoj slojevitosti i o tzv, fraktalnom snimanju {ume a ne euklidskom (izo{trava se na pozadinu). e) Istodobno se projiciraju tri snimka djela Eve Larame. Kako autorica kaè, ona i priroda
(sol, bakar, voda) stvaraju zajedno. Snimci su napravljeni u razli~itim fazama doga|anja, ali su oblici
uvijek sli~ni.
7. Kona~no je vrijeme da se upozori da film A. Resnaisa ima sli~ne karakteristike sa svime {to se
ovdje pokazuje. Naprimjer, djelo E. Larame traje u vremenu, ali se taj proces ne vidi, vide se samo
tri stati~na momenta. Odnos izme|u makro prostora u kojem se gleda zbivanje i toga {to se vidi kad
se pribliì je, me|utim, sli~no odnosu izme|u vremena gledanja filma i, u filmu, igranja s vremenom.

e) The participants receive photocopies of the absis,
the plan and the scheme of possible apprehension.
The three zones are described (Dado, Apostolado,
Christ in Glory - Christ with the symbols of the
Evangelists and with two cherubims. The slides of
the original-today in the Museo Catalugna in
Barcelona in a reconstructed space, alternate with
the slides of the interior of the church S. Clemente in
Tahull, where the copy of the painting is. We draw
the participants' attention to the many layers of each
detail. The artwork is a Universum, everything is connected with everything on all levels and all the levels
have their own laws. f) We talk about apprehension.
The participants are invited to check on their plans
and schemes. At the entrance under an easy horizontal angle of 40 all the three abses can been seen.
In the vertical, the composition offers itself under the
angle of 12, which means that many other things
are in the field of sight. Christs figure is larger and
that has led to the effect of yielding. The possibility of
sharpening the details (the heads in Apostolado,
Christs hand, the back of the book, Christs knee,
his stomach) makes one halt and rest and the whole
invites us to approach it. But approaching the place a
layman of the congregation is allowed to reach, just
before the altar, the whole composition can be seen
under a tense stretched angle of 45 (then the central
absis enters the field of sight under an easy horizontal angle of 38). Approaching changes what can be
sharpened. A presupposed wholeness of the human
figure does not exist (as in Antiquity or Renaissance)
the contours of every detail and figure in the whole
are the same width, which means that a hierarchy of
the human figure does not exist, each detail has its
own value. Moving is a constant moving away due to
the huge scale of the shapes, and approaching due
to their small scale. Among the similar shapes there
are some in between of different dimensions. The
whole moving suggests many layers of the world. It
means that not only every detail but the whole painted room makes us experience the wholeness of the
world.
6. a) We begin exploring the concept of the fractal
in art and in the world. P. Klees Archangel, 1938,

(the whole and a detail) is presented. The independence of the lines, the fragments of the outlines of
the face made the shape has opened; the linear
composition is one layer, the composition of
colours another, the third one is the rough texture
of the canvas. The dryness of the paint and the
canvas texture make visible one more layer, the
junction of the paint and the ground. b) We compare: J. Pollock: Alchemy, 1947, Guggenheim
Gallery, Venice and a photograph of the Large
Magellanic Cloud (a small galaxy nearby ours).
On the sensory level: the painting and the photograph give a similar sensation of explosion, naturally on different levels and in different dimensions. c) We continue the exploration of the fractals with three simultaneously projected photographs which from different distances represent
the same vine covered wall (photo: J. Briggs)
always the same, but on different levels. We introduce the concept reflectaphor: the same shape
which reflects in itself (selfreferal shapes of the
artwork in the former workshops, a concept we
frequently use). d) New examples follow:
B. Slavenski: Without title, 1992, A. Altdorfer:
St. George and the Dragon, 1510, Alte Pinakothek,
Munich, and L. Hudetz: The Forest (photograph),
1992. We talk about the large number of layers
and about the so called fractal photograph of the
wood and not an Euclidian one. (Hudetz takes the
background as a real subject). e) Simultaneously
three slides of E. Larames artwork are shown.
As the author says, Nature (salt, cop-per, water)
and She create together. The slides were made in
different phases of the occurence but the shapes
are always self-similar.
7. At the end it is time to say that A. Res-naiss film
has similar characteristics to all that we have now
demonstrated. The artwork of E. Larame continues
in time but this process is not visible, we can see
only three static moments, the relation between the
macro-space in which we look at the events and
what can be seen when we approach is similar to
the relation between the time of watching the film
and the playing with time in the film.

305

306
MODERNA UMJETNOST SE OTVARA

PREMA SVEMU
MODERN ART IS OPEN

TO EVERYTHING
307
THE SPREAD OF ARCHETYPAL SHAPES IN THE ENVIRONMENT
PRO[IRENJE ARHETIPSKIH OBLIKA U OKOLI[
R. SMITHSON:
D. RAKOCI:
D. RAKOCI:
D. RAKOCI:
CRVENA/THE RED, 1993.,
1991., AKRIL/PLATNO, ZID/

ACRYL/CANVAS, WALL,
435 CM, ZAGREB
AKRIL/PLATNO/ACRYL/CANVAS,
1000 CM, ZVONIK/BELLTOWER,
UMAG
AKRIL/PLATNO/ACRYL/CANVAS
SMOTANO PLATNO U VITRINI/
FOLDED UP CANVAS IN GLASSBOX,
533 CM, ZAGREB
J. KNIFER:
SPIRAL JETTY,
1970., GREAT SALT LAKE,
UTAH
MEANDAR/
MEANDER,
1964., ZAGREB
UGLINESS = MUDDLED MEASURES
RU@NO]A = POREME]ENE MJERE

BEAUTY = ARCHETYPAL SHAPE
LJEPOTA = ARHETIPSKI OBLIK
u nejasnoj mrlji ukidaju se poreme}ene mjere
suo~avanje
in an unclear blur the muddled measures are abolished
confronting
magijski kvadrati (matemati~ki uzorci kozmosa)

magic squares (mathematical patterns of Cosmos)
C. MONET:
ARMAN:
LA GARE SAINT
LAZARE, 1877.,
KANTA ZA SME]E I/
GARBAGE CAN,
ULJE/OIL, 75 X 100 CM,

PARIZ/PARIS
1960., 65 X 40 X 10 CM,
KNEFELD
dizanje na drugu razinu

udarac = gradnja figure
rising to another level
blow = building the figure
svijetloplava, ruì~asta = nje`nost
itd.
prihva}anje
lightblue, rose = tenderness
etc.
acceptence
K. MALJEVI^/MALEVITCH:
strukturalne mogu}nosti kvadrata
oblici skriveni u kvadratu
the structural possibilities of square
shapes hidden in the square
BIJELI KVADRAT NA
BIJELOJ POZADINI/
WHITE SQUARE ON
WHITE GROUND,
1917.-18., ULJE/OIL,
78,7 X 78,7 CM,
NEW YORK
stakato linije neritmizirani nizovi

staccatto lines in unrhythmical rows
P MANZONI:
PAR/COUPLE,
MERDE D' ARTISTA

NO 058, 1961.,
1905., AKVAREL,
GVA[/WATER COLOUR GUACHE,
PARIZ/PARIS
6,5 CM, METAL/PAPIR I

FEKALIJA/ METAL, PAPER
AND FECAL MATTER,
MILANO/MILAN
G. ROUAULT:
itd.
itd.
etc.
etc.
rje{enje
solution

308
MODERNA UMJETNOST SE OTVARA

PREMA SVEMU
MODERN ART IS OPEN

TO EVERYTHING
THE PAINTING EQUALS MATTER AND MEASURE
as ma (sanskr.) = mother, matter, measure, building
SLIKA IZJEDNAÛJE TVAR I MJERU

poput ma (sanskr.) = majka, tvar, mjeriti, graditi
B. NEWMAN:
ADAM,
1951.-52.,
ULJE/OIL,
243X202 CM,
LONDON
309
FACE
LICE
J. TURRELL:
RODEN CRATER,
P. FORNASETTI:
1982., ARIZONA
TEMA I VARIJACIJA
BR. 116/THEME AND
VARIATION NO. 116,
sinkronija s ciklusima Sunca i Mjeseca
Adam (hebr.) = crvena zemlja/crvena prljav{tina
1950.-55., NEW YORK
synchronicity with the cycles of the Sun and the Moon
= red earth/red dirt
A. JAVLENSKI/JAWLENSKY:
KRISTOVO LICE/
CHRIST'S FACE,
UZNESENJE ASSUMPTION
MEDITACIJA (VATRA)/
MEDITATION (FIRE)
SAN CLEMENTE,
TAHULL
HEAVENLY GARDEN
RAJSKI VRT
AUTUN,
12. ST./12 TH C.
J. DUBUFFET:
PARC EMAIL,
OTTERLOO
pribliàvanje
ulaènje
pogled na plavo nebo
izlazak na terasu
kretanje
istraìvanje nepoznatih novih oblika
izlazak
approaching
entering
a view of the blue sky
going out onto the terrace
moving
exploring the unknown new shapes
exit

310
Namjera u o s m o j radionici je osvijestiti da je otvorenost moderne osjetljivosti istodobno i

ogrubljenje; ste}i uvid u karakter kompetencije za doìvljaj radikalnih zahvata Moderne; osvijestiti
tendenciju suvremene umjetnosti da se oblici pro{ire u cijeli okoli{; osvijestiti da Moderna na kraju
apsorbira i ru`no}u.
Ambijent: Isti je kao i obi~no. Pripremljeni su scenarij, upitnik, velike bijele papirnate salvete,
fotokopije kvadrata sloènih od to~aka magi~nih kvadrata, fotokopije glagolji~nih slova.
1. a) Gleda se osma sekvenca filma. b) Dijeli se upitnik i upisuju se rije~i. c) Dijeli se tekst scenarija.
2. Predzadnji korak u ovom nizu radionica je da pogledamo jo{ jednom: a) K. Schwiters Merzbild 25,
detalj; S. Clemente u Tahullu, detalj; E. Larame, jedna snimka. Upozorava se da na~in na koji smo
rekonstruirali i materijalizirali slojevitost koju smo otkrili u romani~koj fresci, najvi{e nali~i Schwitersovu
postupku. Slojevitost je uvijek prisutna u umjetni~kom djelu, ali moderna umjetnost/osjetljivost
Moderne, koja sve otkriva, koja se prema svemu otvara, mo`da, paradoksalno, zna~i i ogrubljenje, kao
da sve treba biti ve}e/glasnije/opipljivije. Kao da je moderni ~ovjek gluh/slijep i tek ako izdvojeno
konkretizira/materijalizira primje}uje da su ti slojevi uvijek bili prisutni. Na detalju iz Tahulla obnavljaju
se iskustva o likovnim po~elima, ali obrnutim redoslijedom: od to~ke kao stropo{tane beskona~nosti i
geometrijskog likovnog po~ela, preko linije kao eksplozije to~ke, kao niti (lagano otpu{tanje niti umo~ene
u prah), do mreè (~ime tako|er duboko zadiremo u shva}anje svijeta - Orfej: svijet je mreà).
Prisje}amo se da smo, mijenjaju}i omjere mreè jo{ u prvim radionicama P o ~ e l a i n a ~ e l a
iskusili stvaranje-oblikovanje-peoblikovanje. Kona~no dolazimo do obrisa koji odvaja ne{to od ne~ega i
do toga {to zna~i stvaranje svijeta iz nejasne mrlje. Tre}i primjer je E. Larame koja se u stvaranje
upu{ta zajedno s prirodom (voda, sol, bakar), vremenom i atmosferilijama. Slojevitost, koju smo otkrivali obilaze}i pribliàvaju}i se, ovdje je velikih razmjera. b) Jo{ jednom se projiciraju: cijela apsida
S. Clemente u Tahullu; Tao î ôvjek u ku}i ispod stijene; L. Hudetz [uma. Fraktalna fotografija
{ume, koja nas u~i vidjeti iste oblike na svim razinama, vra}a Tao îju. Iskustvo o slojevitosti pomaè
nam jo{ dublje u}i u ovu veliku, sjajnu kinesku sliku. Na mikrorazini nam je bilo vrlo te{ko razlikovati
od europskog crteà istoga vremena (Rembrandt i Lorraine), sada pozornost usmjeravamo na kompoziciju mrlja. Polazimo od dijela gdje se kompozicija mrlja nije sakrila ispod drugih slojeva (desno sredina). Mrlje su i prigu{eno crvene i rasvijetljeno plave boje, tamo gdje su male izgledaju u prvi tren
iste, ako se bolje pogleda otkrivaju se razlike ne samo u boji i veli~ini. Sve su one u~inak blagog,
mekanog, polaganog kretanja ruke prema podlozi, udarac je njeàn, dodir blag. Uvla~imo se pogledom
pod druge slojeve i otkrivamo kontinuiranu mrljastu kompoziciju. Usmjeravamo pozornost na skupine
mrlja, na stapanje i na pokretanje. Crta~ pu{ta da energija te~e po svojoj inteligenciji i tako su se tokovi
iste kozmi~ke energije, one u planinama koje prikazuje, i njegove ruke koja prikazuje, poistovje}uju
me|usobno, me|usobno se podràvaju sli~no kao i u europskom apstraktnom slikarstvu. Kineska slika,
me|utim, nije nikad apstraktna poput europske, ali je u biti apstraktna - tokovi energija +
usmjerenje/inteligencija. Ti se tokovi, jednake krivulje, uglate krivulje, vezuju u sklopove i prelaze u
plohe, a mrlje-plohe i linije izjedna~uju se u velikim tamnim sklopovima-plohama. Tamo gdje se sastaju, na najvi{oj/najpovr{inskijoj razini, suprotnosti postaju istovjetnost.
3. a) Sudionici dobivaju bijele velike papirnate salvete. Plo{no istanjena masa je kvadrati~nog oblika i
kada se rasklopi pokazuje prvu strukturalnu mogu}nost - kri`. Od sudionika se traì da savijanjem
isku{aju sve strukturalne mogu}nosti kvadrati~nog oblika (~etiri trokuta, modularni sustav, gnomonski
rast). b) Sudionici na fotokopiji dobivaju ~etiri kvadrata sloèna od 11 x 11 to~aka. Traì se da povezuju}i sve to~ke dobiju meadar, spiralu, eksploziju i razgranavanje. Na taj se na~in istraùju temeljni oblici
koji su u kvadratu. c) Sudionici dobivaju fotokopije sedam magi~nih kvadrata. U islamskom svijetu u
10. st. Bratstvo ~istih je napisalo 52 pisma o umjetnosti i znanosti objelodanjuju}i matemati~ke
uzorke kozmosa (zbroj je u jednom kvadratu uvijek isti u svim redovima, vodoravno, okomito i dijagonalno; sedam ih je, jer je i sedam planeta). Upozorava se da su se ove vje`be radile radi sticanja
kompetencije za gledanje toga {to slijedi. d) Projicira se snimak Bijelog kvadrata na bijeloj podlozi
K. Maljevi~a, 1917.-1918., ulje na platnu, Muzej moderne umjetnosti, New York. Sve je u svijesti, sve
strukturalne mogu}nosti, svi oblici i svi matemati~ki uzorci svemira kada se K. Maljevi~ usu|uje
naslikati bijeli kvadrat i pomaknuti ga u odnosu na drugi kvadrat/kadar. Naravno, sada bismo mogli
istraìvati koliko stupnjeva, koja je udaljenost itd. Sve je skriveno/otkriveno (A. Reinhardt Apstraktna
slika, 1963.); uvijek latentno prisutan arhetipski oblik primordijalnih mjera (Platon: geometrijski oblici
su lijepi po sebi) Moderna se usudila osloboditi. e) K. Maljevi~ Suprematisti~ka slika (Kri`), 1920.
Mo`da je najtemeljnija mjera/oblik tetraktis 1+2+3+4=10. Kri` je strukturalno u kvadratu (cjelina je
jedan, krakovi su dva, krakovi i sredi{te tri, ~etiri usmjerenja). Platon kaè: razapeta du{a svijeta na
tijelo svijeta. Malje-vi~ se usudio naslikati samo kri` i to jo{ odmaknut od ruba (pokazuju}i tako razliku
izme|u prikaza krià i kadra). f). Drugi temeljni arhetipski oblik je krug. Pokazuju se Botticellijevi
crteì-ilustracije Danteove Boànske komedije (Raj, êtvrto pjevanje). Koncentri~ni krugovi predstavljaju univerzum, viziju nadnaravnog, svijeta kojim Beatrice vodi Dantea. g) S tri projektora istodobno se projiciraju: D. Rakoci Akvarel, 1991., akril/platno, 435 cm, Zagreb, GSU, zid: 380 x 435 cm;
Akvarel, akril/platno, 1000 cm, Umag, zvonik: 1000 x 490 x 490 x 20 cm; Crvena, 1993., akril/platno,
533 cm, smotano platno u vitrini, 15 x 30 x 43 cm, Zagreba~ki salon, Zagreb. Opet se radi o plo{no
istanjenoj masi - plohi obojenoj i uvijek nanovo sloènoj/rasprostrtoj u prostoru i o tome kako se savija boji. Svaki }e put biti razlika u intenzitetu boje. Prenosi se u vanjski prostor (zvonik u Umagu) ili, kada
se ne nalazi prikladni prostor, ostaje/izlaè se smotano. Radi se o prijenosu savr{enih oblika, primordijalnih mjera u {iri okoli{. h) Projiciraju se istodobno: S. Botticelli Pakao (ilustracija Danteove Boànske

The intention in the e i g h t h workshop is to
become aware that the openness of modern sensibility is also a kind of roughness; to gain an insight
into the character of competence for experiencing
the radical holds of Modern art, to become aware
of a tendency in contemporary art to expand the
shapes in the whole environment and to become
aware: that Modern art absorbs ugliness, too.
Ambience: As usual. The prepared materials: large
white paper napkins, photocopies of squares composed of points, magic squares, letters from the
Glagolitic alphabet, the screen play, and questionnaires are available.
1. a) The eighth seqeuence of the film is shown;
b) words are written onto the questionnaire;
c) the screen-play is distributed.
2. The last, but one step: we shall look once again
at a detail of San Clemente in Tahull; K. Schwiters,
Merzbild 25, detail and E. Larame one slide. We
remind ourselves that the way we reconstructed and
materialised the layers discovered in the
Romanesque fresco, was very similar to Schwiters
procedure. Many layers always exist in an artwork
but Modern art / sensibility which discovers everything, opens to everything, maybe, paradoxically,
also means roughness, it seems everything has to
be larger / louder / more tangible. It seems modern
man is deaf, blind and only if he isolates/concretises/materializes he can notice that the layers
were/are always present. On the detail from Tahull
we shall reconstruct our experience of the origins
but in reverse, starting from the point as collapsed
infinity and the geometric/ visual artistic origin,
passing to the line as an explosion of the point, after
that to the thread (slow release of a straightened
thread dipped in powder), and to the network (which
is a profound understanding of the world - Orpheus:
the world is a network). We are reminded that we
experienced the creation - shaping - reshaping
changing the ratios of the network in the workshop
Origins and Principle. At the end we come to the
outline, which separates something from something
else, which means creating the world from a faint
blur. The third example was by E. Larame who creates together with Nature (water, salt, copper) with
the weather and precipitation. The layers we discovered going around, and approaching, here are on a
large scale. b) The whole absis of S. Clemente in
Tahull, Tao Chi: The Man in the House under the
Rock; and L. Hudetz: Forest are projected once
again. A fractal photograph of a forest which teaches us to see the same shapes on all levels, takes us
back to Tao Chi. The experience about the layers
helps us to enter deeply into that great, splendid
Chinese drawing. On the micro level it was very difficult, as we have seen, to differentiate it from
a European drawing of the same time (Rembrandt,
Lorraine). Now our attention is directed to the composition of dots. We start from the part where the
dots are not hidden under the other layers (rightcentre). The dots are pale red and light blue, where
they are small initially look the same, but when we
look better we discover the differences not only in
colour and in size. They are all an effect of very tender, soft, slow hand movements towards the
ground, the blow is tender and the touch gentle.
With our gaze we draw in under the layers and discover a continual composition of dots. We direct our
attention to the accumulations of the dots, to their
dissolving and to their moving. The artist lets

the energy flow according to its own intelligence and
so the streams of the same cosmic energy, that one
in the mountains, which he represents and in his
hand which represents, overleap, mutually sustain
each other, in a very similar way as in Western
abstract painting. The Chinese paintings in fact are
never abstract in the way Western ones are, but in
essence they are abstract - the streams of energy +
direction/intelligence. These streams, the equal
curves, the angle curves are accumulated and transformed into planes while the dots-planes and lines
are equated in large dark structures-planes. There,
where they meet on the highest surface level, the
opposites become equal.
3. a) The participants receive large white paper napkins. The planar mass is square-shaped and when it
is unfolded the first structural possibility is shown the cross. The participants are asked to try out folding all the structural possibilities of the shape (four
triangles, a modular system, the gnomonic growth).
b) The participants receive a photocopy of four
squares composed from 11 x 11 points. The task is
to connect the points to get a meander, a spiral, an
explosion and a ramification. In that way the fundamental shapes which are in the square are tried out.
c) The participants get photocopies of seven magic
squares. In the Islamic world in the 10th Century
the Brotherhood of the Pure wrote 52 letters about
art and science, and issued the mathemathical patterns of the Universe (the sum in one square is
always the same in all the rows, horizontal, diagonal
and vertical; there are seven of them because there
are seven planets). The participants are told, the
exercises have to be done to gain competence for
observing what comes next. d) K. Malevitch:
A White Square on White Ground, 1917-18, oil on
canvas, 78,7 x 78,7 cm, Museum of Modern Art,
New York. Everything is in consciousness, all the
structural possibilities, all the shapes and all the
mathemathical patterns of the Universe, when
K. Malevitch dares to paint the white square and
shifts it towards another square/frame. Of course,
we could now explore how many degrees there are,
what the distance is etc. All is covered/uncovered
(A. Reinhardt: Abstract painting, 1963); Modern art
dared to liberate the archetypal shape, primordial
measures always latently present (Plato: the geometric shapes are beautiful in themselves). e) K.
Malevitch: Suprematic painting (Cross), 1920.
Maybe the most profound measure/shape is the
tetractys 1 + 2 + 3 + 4 = 10. The cross is structurally in the square (the whole is one, the wings are
two, the wings and the centre three, four are the
directions). Plato: the crucified soul of the world on
the body of the world. K. Malevitch dared to paint
only the cross and shifted it from the edge (thus
showing the difference between the representation
of the cross and the frame). f) The other profound
archetypal shape is the circle. Botticellis drawingilustration of Dantes Divina commedia (The
Paradise, the fourth song) are shown. The concentric circles represent the Universe, a vision of the
Supernatural, the world through which Beatrice
guides Dante. g) From the three projectors the following are projected: D. Rakocis Water-colour,
1991, acryl/canvas, 435, Zagreb, GSU, wall, 380 x
435 cm; Water-colour, acryl/canvas, 1000 cm,
Umag, Belltower, 1000 x 490 x 490 x 20 cm; The
Red, 1993, acryl/ canvas, 533 cm, folded up canvas in a glassbox, 15 x 30 x 43 cm, Zagrebaki
salon, Zagreb. Again we get planar masses-planes
painted and always a new folded/spread in the
room/space and coloured as it is folded. Each time
311
Isku{avaju se strukturalne mogu}nosti

kvadrata (bijele salvete - plo{no istanjene mase)/The structural possibilities of
Isku{avaju se strukturalne mogu}nosti

kvadrata (bijele salvete - plo{no istanjene mase)/The structural possibilities of
a square are explored (white napkins planar forms)
a square are explored (white napkins planar forms)
Istraìvanje oblika skrivenih u

kvadratu/Exploring the shapes hidden in a
Istraìvanje oblika skrivenih u

kvadratu/Exploring the shapes hidden in a
square
square
Magi~ni kvadrati/The magic squares
Pi{u se glagolji~na slova/The glagolic letters

are written
Pi{u se glagolji~na slova/The glagolic letters

are written

312
komedije), akvarel, Biblioteka Vatikan; R. Smithson Spiral Jetty, 1970., Great Salt Lake, Utah, s dva
snimka. Arhetipski oblici (vir, spirala) koji vi{e-manje zastrto postoje u djelima svih vremena, u Moderni
izlaze na vidjelo, pove}avaju se i {ire u okoli{. i) Slijedi vje`ba. Sudionici dobivaju {est glagolji~nih slova
(v, d, l, p, t, {) na fotokopijama. Krejonom ih precrtavaju. Opet se radi o pripremi za gledanje/doga|aj.
Glagoljica je umjetno pismo, po nekim teorijama kombinirano od krià, kruga i kvadrata. j) Gleda se
J. Kniferov Meandar i primjena - protegnutost u okoli{ (s tri snimka). Opet se Moderna usudila uzdi}i
latentni oblik na razinu cjeline i pro{iriti u okoli{.
4. Okre}emo smjer na{ih istraìvanja prema dubinama i nepoznatim mjerama. Projiciraju se istodobno:
J. Dubuffet Natura genetrix, 1952., Privatna zbirka, Pariz; M. Tobey Nepoznato putovanje, 1966.
Muzej moderne umjetnosti, Pariz; A. Altdorfer Aleksandrova bitka, 1529., Alte Pinakothek, Mnchen.
Poznati primordijalni oblik je sada samo u kadru, ono {to je unutra treba istraìti, nepoznatih je mjera
(biolo{ki kompost); fraktal - ponavljanje oblika u beskraj - otkrivanje svemira u sebi - ne {irenje nego
uvrnu}e u sebe. Da tendencija nije posve nova pokazuje primjer iz 16. st., ali, u modernim su primjerima usitnjenja apstraktna dok su kod Altdorferove slike tematski odre|ena.
5. Daljnji korak jest osvje{tavanje toga {to je jo{ Moderni preostalo da prihvati/apsorbira: u}i u tzv.
ru`no. Po~elo je s industrijskim okoli{em poreme}enih mjera. Projiciraju se: a) J.M.W. Turner Ki{a,
para, brzina, Velika zapadna èljeznica, 1844., National Gallery, London; C. Monet La Gare Saint
Lazare, 1877., Pariz (cjelina, detalj). Cilj je impresionista, a ve} i Turnera, dospjeti do nejasne mrlje
i nju izvu}i na povr{inu, jer se u kompoziciji mrlja ukidaju poreme}ene mjere stvarnosti i otkriva
ljepota. b) G. Rouault Par, 1905., akvarel, gva{, Pariz. Rouaultov postupak je razli~it od impresionisti~kog. U vezi njegovih djela ~esto se govori o ru`no}i svijeta i moralnoj ljepoti i sl. (L. Venturi).
Usporedbom s Tao îjem poku{ava se otkriti zbiljski Rouaultov postupak. Svijetloplava, ruì~asta
asociraju na nje`nost. To su velike mrlje. Upozorava se na to kako ih Rouault pokre}e i otkriva se
njegov crte` (linije su nerit-mizirane, isprekidane, nema sekvenca, odnosno sekvenca je sastavljena
od jednog elementa, re~enica od jedne rije~i). Taj stakato udara na nje`ne boje (mrlje), ali pokre}u}i
ih zapravo gradi ljudsku figuru. Me|utim, stvaranje je ujedno i uni{tenje. Negativne emocije koje
nedvojbeno budi (lice u omjerima tzv. ru`nog lica) razrje{ava i uzdiè na drugu razinu. c) Arman
(Kanta za sme}e, 1960., 65 x 40 x 10 cm Knefeld) se odnosi druga~ije prema ru`no}i. Primorava
nas da se pogleda sav sakupljen otpad. Impresionisti su doveli ru`no}u na univerzalnu razinu gdje
je prestala biti ru`na. Arman primorava na suo~avanje s ru`no}om. d) Mo`da zadnji korak u prihva}anju ru`no}e predstavlja Merde dartista P. Manzzonija, koji u konzervi prodaje vlastiti izmet.
To je prihva}anje tzv. sramotnog, ru`nog, potisnutog itd.
6. Poku{ava se zavr{iti druga~ijim pogledom. a) Projicira se Adam B. Newmana (Adam zna~i crvena
zemlja/crvena prljav{tina), 1951.-1952., ulje, Tate Gallery, London. Crvenkastosme|a tvar (boja) i
~iste mjere (uska ploha, skoro linija, pa {ira, pa jo{ {ira) ~ine istost onako kako to izraàva sanskrtska
rije~ ma - majka, tvar, mjeriti, graditi. b) Projicira se vulkanski krater promijenjen od umjetnika
(J. Turrel Roden Crater, Arizona, po~et 1982.) da bi ~ovjeka stavio u sinkroniju sa ciklusima Sunca i
Mjeseca i da bi mu omogu}io vi|enje neba u pravom smislu rije~i. c) Projiciraju se istodobno tri prikaza
lica: ponovo Kristovo lice iz S. Clemente u Tahullu; P. Fornasetti Tema i varijacija br. 116, 1950.-1955.,
tiskano na porculanu, 26 cm; A. Javlenski Meditacija (vatra), privatna zbirka. Drugi primjer vrlo
doslovno pokazuje slojevitost koja je u Tahullu djelomi~no skrivena, a slika Javlenskog, pak, oblik krià
= lica (zna~enje na koje ve} reagira i najmanje dijete) i isto tako kao {to je, kako narod kaè, u zrnu
p{enice vidljivo Kristovo lice tako je lice i u obliku Javlenskog. d) Snimak romani~kog reljefa iz Autuna
Uznesenje projicira se sa srednjeg projektora, druga dva su uga{ena. Luk je znak nebeskog svoda koji su
sudionici crtali, znak je svijeta iz kojega an|eli uznose Bogorodicu, a s njom mo`da i nas. e) I tako jo{
samo preostaje da se u|e u Rajski vrt J. Dubuffeta (Parc email u Otterlou): pribliàvanje, ulaènje,
pogled kroz otvor u plavo nebo, izlazak na terasu, kretanje, istraìvanje nepoznatih nepravilnih oblika
koji jo{ ~ekaju da ih se doku~i i da postanu poznati poput onih primordijalnih, izlazak.
7. Sudionici se upozoravaju da na sljede}u radionicu donesu svoje mape, sve tekstove koje su pisali u
vezi filma i sve stillove koje su dobili, {kare i ljepilo.

there is a difference in the intensity of the colour.
A transposition into the exterior (the Belltower in
Umag) or, when adequate space is not found, it
remains/is displayed folded. The perfect shapes are
transposed, the primordial measures expand in the
environment. h) At the same time the following are
projected S. Botticellis Hell (again an illustration of
Dantes Divina Commedia) water-colour, Vatican;
R. Smithson: Spiral Jetty, 1970, Great Salt Lake,
Utah, with two slides. The archetypal shapes (the
whirl, spiral) which, more or less covered, exist in
the artworks of all times, are in Modern art manifestedly enlarged and expanded into the environment. i) Exercise: the participants receive photocopies of six Glagolitic letters (v, d, l, p, t. ). They
imitate them with crayon. Again it is a preparation
for observing/occurence. The Glagolitic letters are
artificial, according to some theories they are combinations of the cross, circle and square. j) We
look at J. Knifers Meander and the application
expanding in the environment (with three slides of
it). Modern art again had the courage to raise the
latent shape onto the level of the whole and expand
it in the environment.
4. We turn the direction of our explorations towards
depth and towards unknown measures.
Simultaneously are projected: J. Dubuffet: Natura
Genetrix, 1952, Private collection, Paris; M. Tobey:
Unknown journey, 1966, Museum of Modern Art
Paris; A. Altdorfer: Battle of Alexander, 1529, Alte
Pinakothek, Munich. The known primordial shape is
now only in the frame, what is inside has to be
explored, it is unknown measures (the biocompost) the fractal - an endless repetition of a shape
- discovery of the Universe in oneself - not an
expansion but turning into oneself. An example from
the 16th Century demonstrates that the tendency is
not new, but in Modern art the small is abstract,
while in Altdorfers painting it is thematically
defined.
5. The next step is to become aware of what was
still left for Modern art to accept/absorb. It was to
enter the so-called ugliness. First it was the industrial surrounding of muddled up measures. a) J. M.
W. Turner: Rain, Steam and Speed, The Great
Western Railway, 1844, National Gallery, London;
C. Monet: La Gare Saint Lazare, 1877, Paris (the
whole and a detail) are projected. The impressionists aim and Turners too was to achieve, to grasp
the faint blur and bring it to the surface level,
because in the composition of dots the muddled
measures of the reality are abolished and beauty is
uncovered. b) G. Rouault: Couple, 1905, watercolour/guache, Paris. The procedure is different
from the impressionists one. Very often, in connection with Rouault talk is about the ugliness of
the world and about the moral beauty (Venturi) of
his paintings. Comparing him with Tao Chi we try
to discover his procedure. The light blue and the
rose associate with tenderness. They are big dots.

We indicate how Rouault moves the dots and his
drawing is discovered: the lines are without
rhythm, they are disconnected, there are no
sequences, or rather the sequence is made of one
element, the sentence of one word. This stacatto
bites the tender colours (dots), but moving them it
builds the human figure. In that way creation is
destruction at the same time. The negative emotions which it doubtlessly arouses (the face in the
ratios of the so called ugly face) is absolved and
raised onto another level. c) Arman: Garbage Can I,
1960, 65 x 40 x 10 cm, Knefeld) is related to ugliness in a different way, forces us to look at the
collected waste. Impressionists brought ugliness
onto a universal level where it stopped being
ugly. Arman forces us to look at it. d) Maybe the
last step in an acceptance of ugliness is Merde
dartista no 058 by P. Manzzoni, 1961, metal,
paper, fecal metter, 6,5 cm, Milan, who sells his
own tinned excrements. This is an acceptance of
the so called shameful, ugly, surpressed etc.
6. We try to end with another sight. The following
are projected: a) B. Newman: Adam, 1951-52, oil
(Adam means: red soil/red dirt) Tate Gallery,
London. The brownish red matter (paint) and pure
measures: (the narrow plane nearly a line, then a
wider one, and then an even wider one) make the
sameness as it is expressed in the Sanskrit word
ma, mother, matter, measure. b) A vulcanic crater
is shown transformed by the artist (J. Turrel:
Roden Crater, Arizona, started in 1982), to put
man in synchrony with the Sun and Moon cycles
and to enable him see the Sky in reality. c) Three
representations of the face are projected: Christs
face from S. Clemente in Tahull; P. Fornassetti:
Theme and variation no. 116 ( 1950-55, printed
on china, 26 cm); A. Jawlensky: Meditation (Fire).
The second example shows very clearly the layers
which are partly hidden in Tahull. In Jawlenskys
painting however the shape of the cross=face
(the smallest child reacts to that meaning) and as
people say as Christs face is present in a grain of
wheat it is in a similar way in Jawlenskys shape.
d) The Assumption (a Romanesque relief from
Autun) is projected from the central projector and
the two others are put off. The arch - a sign of the
sky which the participants have drawn, is the sign
of the world from where angels elatedly bring the
Virgin up and together with her maybe us, too.
e) And so it only remains to enter the heavenly
garden of J. Dubuffet (Parc email in Otterlo):
approaching, entering, a view through an aperture
of the blue sky, going out onto the terrace, moving, exploring the unknown, irregular shapes which
wait to be comprehended and known as the primordial ones, exit.
7. The participants are warned to bring with them
next time their files, all the texts written about the
film, all the stills they have got, scissors, glue.

313

314
U d e v e t o j radionici namjera je u zajedni~kom akusti~ko-vizualnom performancu stvoriti u

istodobnosti analogon bitnoj karakteristici likovnih modernih djela i filma Pro{le godine u Marienbadu.
Ambijent: Stolice i stolovi razmje{teni su u polukrug. Pripremljeni su video, scenarij, upitnici,
papir, fotokopije, {kare.
1. a) Gleda se zadnja sekvenca filma. b) Ispunjava se upitnik, kao i obi~no. c) Neuobi-~ajeno: ~ita se
scenarij (individualno) na licu mjesta i nakon toga slijedi upisivanje.
2. Govori se o filmu kao velikoj metafori svijeta/ìvota/smrti/sna/sje}anja/misaonog prostora i vremena/emotivnog svijeta/tijela/du{e, mo`da ìvota izme|u dva ìvota, ali svakako istodobnosti, jedinstva
trenutka i mjesta.
3. Najavljuje se akusti~ki performance. Istodobno se ~itaju tekstovi koje su sudionici zapisivali tijekom
dva mjeseca (rije~ - stanka). Tako se dobiva efekt istodobnosti ali ne i razabirljivost. Snimak se ne
gleda nego se samo slu{a.
4. Najavljuje se vizualni performance. Svatko poku{ava dobiti vizualni znak istodobnosti,
izjedna~enja vremena i prostora (papir, pove}anje, smanjenje stillova). Slijedi razgovor: svatko
obja{njava svoj vizualni performance (kola`).
5. Kako su se radionice zvale U m j e t n o s t i p o v i j e s t zavr{ava se {kolskom molitvom iz
18. st. iz Baranje pisane na ~etiri jezika (~ita se istodobno na sva ~etiri). Slu{a se snimak.

The intention in the n i n t h workshop is to create, in simultaneity of a collective accoustic-visual
performance, an analogon to the essential characteristics of Modern artworks and the film Last year
in Marienbad..
Ambience: The chairs and tables are placed in a
semicircle. A video camera and video player are
necessary. The prepared materials are: the screenplay, questionnaires, paper, photocopies, scissors,
glue are available.
1. a) The last sequence of the film is presented.
b) The questionnaires are filled in as usual.
c) Unusual: the screen-play is read (individually)
and filling in takes place immediately.
2. Talk about the film as a great metaphor of the
world /life / death /dream / memory / mental
space and time / emotive world / body / soul,
maybe life between two lives, but certainly as
simultaneity, the unity of moment and place.

3. We announce an accoustic performance.
The texts about the film written during the last two
months, are simultaneously read (word-pause). So
we get an effect of simultaneity but not of distinguishing. The record is listened to (not looked at).
4. We announce a visual performance. Everybody
tries to achieve a visual sign of simultaneity, an
equation of space and time (paper, enlargements,
diminutions of stills). Talk follows: everybody
explains his/her visual performance (collage)
5. As the workshops are called Art and History we
end it with a school prayer from the 18th Century,
from Baranja written in four languages (we simultaneously read the prayer in four languages). We listen
to the recorded prayer again.
315
Upitnici se dijele/The questionnaires are distrib-
îta se tekst scenarija/The screenplay is read
uted
Akusti~ki performance (istodobno se ~itaju

tekstovi)/The acoustic performance (the texts
Akusti~ki performance (istodobno se ~itaju

tekstovi)/The acoustic performance (the texts
are read simultaneously)
are read simultaneously)
Vizualni performance (sudionici rade

vizualnu istodobnost - kola`)/Visual performance (the participants are doing visual simultaneity - collage)

316
A. RESNAIS: PRO[LE GODINE U

MARIENBADU
A. RESNAIS:LAST YEAR IN MARIENBAD
317
U d e s e t o j radionici gleda se film Pro{le godine u

Marienbadu, kontinuirano, na velikom ekranu
A. RESNAIS: L'ANNE DERNIRE A MARIENBAD, 1960.-61.
A. RESNAIS: L' ANNE DERNIRE A MARIENBAD, 1960.-61.
Scenario: A. Robbe-Grillet
Screenplay: A. Robbe-Grillet
Uloge: A - Delphine Seyrig, X - Giorgio Albertazzi, M - Sacha Pitoieff
Cast: A - Delphine Seyrig, X - Giorgio Albertazzi, M - Sacha Pitoieff
TEMA: POVIJEST UVJERAVANJA I PONUDE IZLASKA IZ

ZABORAVA U PRISJE]ANJE, IZ LABIRINTA U SLOBODU
TOPIC: HISTORY OF PERSUASION AND OFFER OF HOW TO

GO OUT OF OBLIVION ONTO RECOLLECTION, OUT OF A
LABYRINTH INTO FREEDOM
SADR@AJ: VELIKA METAFORA SVIJETA/@IVOTA/SNA/

SJE]ANJA/MISAONOG PROSTORA I VREMENA/ EMOTIVNOG SVIJETA, TIJELA/DUE, MO@DA MEU@IVOTA, @IVOTA IZMEU DVA
@IVOTA, ALI SVAKAKO ISTODOBNOSTI, JEDINSTVA TRENUTKA I
MJESTA
CONTENT: GREAT METAPHOR

OF THE WORLD/LIFE/MEMORY/CONTEMPLATIVE SPACE AND
TIME/EMOTIONAL WORLD, BODY/SOUL, MAYBE LIFE BETWEEN
TWO LIVES, BUT CERTAINLY OF SIMULTANEITY, UNITY OF
MOMENT AND PLACE
FORMA: U POLO@AJU KAMERE ÊST JE FORMALNI KONTINUITET (AKO JE KAMERA GORE, TAMO I OSTAJE I NAKON PROMJENE RADNJE)
FORM: THERE IS A FORMAL CONTINUITY IN THE POSITION OF

THE CAMERA (IF THE CAMERA IS ABOVE IT WILL STAY THERE
AFTER A CHANGE OF ACTION TOO)
KAMERA STOJI: LIKOVI SE KRE]U, KAMERA POLAKO KRE]E ZA

NJIMA, NJIMA USUSRET, ILI USUSRET PROSTORIMA DVORCA
(HODNICI, SALONI, OPET HODNICI).
THE CAMERA IS AT A STANDSTILL: THE FIGURES MOVE, THE

CAMERA FOLLOWS THEM SLOWLY, IT GOES TO MEET THEM OR
IT GOES TO MEET THE ROOMS IN THE CASTLE (THE CORRIDORS, THE DRAWING-ROOMS AND THE CORRIDORS AGAIN)
ÊSTI SU SREDNJI PLANOVI. ZRCALNOSIMETRI^NI RASPORED

TO LIKOVA, TO PROSTORA DVORCA, TO VRTOVA. X i A SE
ÊSTO POMAKNU U ZLATNOREZNI ODNOS, ONDA SE OPET
VRA]AJU U ZRCALNOSIMETRI^NI.
MIDDLE PLANS ARE COMMON. THERE IS A SYMMETRIC RELATIONSHIP OF BOTH THE FIGURES AND THE ROOMS IN THE
CASTLE AS WELL AS THE GARDENS. X AND A OFTEN MOVE
INTO A GOLDEN PROPORTION RELATIONSHIP AND THEN
RETURN INTO THE REFLECTION SYMMETRIC.
RITAM SE MIJENJA. DUGI KADROVI I BRZO IZMJENJIVANJE

KRATKIH (PONEKAD BLJETAVOSVIJETLIH PA TAMNIH).
CHANGES OF RHYTHM. LONG FRAMES AND A QUICK

EXCHANGE OF LONG AND SHORT ONES (SOMETIMES BLAZIN
WITH LIGHT, SOMETIMES DARK).
PONEKAD JE ZVUK (RIJE^ ILI GLAZBA) SINKRON SLICI,

PONEKAD SU U RASKORAKU.
THE SOUND IS SOMETIMES SYNCHRONIZED WITH THE PICTURE, SOMETIMES THEY ARE DIFFERENT.
In the t e n t h workshop the film: A. Resnais Last Year in

Marienbad is presented on a wide screen without interruption.

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VII/1 UMJETNOST I POVIJEST -

ART AND HISTORY THE DEVELOPMENT OF MODERN SENSIBILITY

RAZVOJ MODERNE OSJETLJIVOSTI

ART AND HISTORY THE DEVELOPMENT OF MODERN SENSIBILITY

UMJETNOST I POVIJEST RAZVOJ MODERNE OSJETLJIVOSTI

jasna kontura, iluzija odvajanja mase od

obogotvorenje ~ovjeka: Hadrianov ljubimac

oprirodnjenje bo`anskoga: razulareni satir (naracija),

SUSRET DVAJU OSMIJEHA/

PERMEABILITY, PURE FORM

PROPUSNOST, ^ISTI OBLIK

naturalisation of the divine: exuberant satyre

trajanje, propu{tanje, osloba|anje

PRIPITOMLJAVANJE zemlje, zraka, vode, vatre, drveta

elementi su oskudno, su`eno,

DRAMATI^NO OTVARANJE, OSLOBA\ANJE elemenata

DRAMATIC OPENING, LIBERATING the elements

odjeljivanje, ~uvanje, kontroliranje

VII/1 UMJETNOST I POVIJEST RAZVOJ MODERNE OSJETLJIVOSTI

ART AND HISTORY THE DEVELOPMENT OF MODERN SENSIBILITY

Prva izvedba radionica: 1996.-97.

First performance of workshops: 1996-97

The workshops Art and History - the Development

Namjera u p r v o j radionici je usmjeriti pozornost na najve}i kontrast izme|u stilski-formalno

The intention in the first workshop is to direct

ART AND HISTORY THE DEVELOPMENT OF MODERN SENSIBILITY

UMJETNOST I POVIJEST RAZVOJ MODERNE OSJETLJIVOSTI

Nova zna~enjska organizacija Botticellijevih

Tuma~enje preklapanja plo{nih oblika na

folded planar shapes in Picassos painting.

Rezanje i savijanje Picassovih oblika iz

explains Picassos shapes

Student tuma~i Picassove oblike/A student

Studentica poma`e u smje{tavanju pala~e

Zadatak je smjesititi ku}u slapova u

Voditelj i studenti poma`u sudionicima/ The

Studentica tuma~i/A student instructs

VII/1 UMJETNOST I POVIJEST RAZVOJ MODERNE OSJETLJIVOSTI

ART AND HISTORY THE DEVELOPMENT OF MODERN SENSIBILITY

UMJETNOST I POVIJEST RAZVOJ MODERNE OSJETLJIVOSTI

ART AND HISTORY THE DEVELOPMENT OF MODERN SENSIBILITY

VII/2 UMJETNOST I POVIJEST -

ART AND HISTORY THE DEVELOPMENT OF MODERN SENSIBILITY

RAZVOJ MODERNE OSJETLJIVOSTI

KRATKA POVIJEST SLIKARSTVA

ART AND HISTORY THE DEVELOPMENT OF MODERN SENSIBILITY

UMJETNOST I POVIJEST RAZVOJ MODERNE OSJETLJIVOSTI

SHORT HISTORY OF PAINTING

KRATKA POVIJEST KIPARSTVA

13. ST./13 TH C., CHOLA

SHORT HISTORY OF ARCHITECTURE

KRATKA POVIJEST GRADITELJSTVA

STUBE = uspon, inicijacija, uspe}e

1960, DRVO/WOOD, 46 CM,

STAIRS = ascent, initiation, ascension

VII/2 UMJETNOST I POVIJEST RAZVOJ MODERNE OSJETLJIVOSTI

U d r u g o j radionici namjera je posti}i iskustvo o tome da se bitne odrednice slikarstva (omjeri

ART AND HISTORY THE DEVELOPMENT OF MODERN SENSIBILITY

ART AND HISTORY THE DEVELOPMENT OF MODERN SENSIBILITY

UMJETNOST I POVIJEST RAZVOJ MODERNE OSJETLJIVOSTI

Ispunjava se upitnik/The questionnaire is filled

The frames/formats of paintings are prepared

Studentica mjeri visinu glave i tijela