Kultura

Časopis Kultura, pokrenut 1968. godine je interdisciplinarni naučni časopis za teoriju i sociologiju kulture u opštem smislu reči. Od prvog broja bio je i ostao otvoren prema stvaralačkim idejama prisutnim kod nas i u svetu, o čemu svedoče tekstovi značajnih stranih autora, prilozi autora iz kulturnih centara tadašnje Jugoslavije i domaćih autora koji se pojavljuju sa novim idejama i pristupima kulturi. Tokom pet decenija delatnosti časopisa Kultura, postojalo je više redakcija.

"Sažetak: U eksperimentalnim formama stripskog medija koje odstupaju od klasičnih štampanih formi i baziraju se na integraciji različitih medija, struktura stripa razlaže se na sadržaje koji kao posebne vrste modula učestvuju u njegovoj definiciji. Kroz prikaze studija slučaja projekata koji strip postavljaju na granične pozicije likovnih i primenjenih umetnosti, opisano je moguće definisanje strukture stripa, nezavisno od produkcionih tehnologija koje su ga inicijalno oblikovale. Kombinovanjem savremenih tehnoloških procesa i klasičnih likovnih tehnika, eksperimentalni strip u najčistijem obliku nudi definiciju medija oslobođenu tehničkih uslovljavanja i pokazuje suštinu njegove strukture, koju tokom godina menjaju tehnološke promene. Sama struktura medija ostaje njegova glavna okosnica, koja se u savremenom dobu, primenom novih tehnologija, oblikuje na način da medij čini dostupnim publici različitih vizuelnih kapaciteta, te publika stripa postaje potpuna. Taktilna dimenzija u oblikovanju medija pokazuje nezavisnost strukturalne organizacije medija u odnosu na sistem produkcije i prejudicira estetiku njenih elemenata u budućim tehnološkim modifikacijama i inovacijama.

Na petom beogradskom Međunarodnom salonu strip. 2007. godine je naročito bio zapažen rad autora Aleksandera Ćurića - prostorni strip: "Priča o ponositom čoveku". Iako su mu prethodili autori s interesantnim promišljanjima (N. Pejić, M. Veselinović, S. Restecka (S. Restecka) i ž Sanecka (1. Sanecka) - poljske strip autorke i B. Milenković), njihovi radovi više su se ticali tehničkih modifikacija, ali takvih koje su nimalo ili u tek neznatnoj meri uopšte razmatrale ili dovodile u pitanje strukturu samog medija. Aleksanderov rad u samom katalogu opisan instalacijom, mnogo je više od prostorne postavke, najpre zbog narativnog potencijala.

Trodimenzionalnost u ovom radu odnosi se na više ravni - formalnu, strukturalnu i semantičko-idejnu i po tome ovaj rad nadilazi poimanje instalacije kao takve, jer se ne odnosi na intervenciju u prostoru koja je sadržaj samog prostora, odnosno, onu intervenciju koja menja percepciju prostora, niti mu daje neka značenja. Katalog petog Salona donosi recenziju 3. Stefanovića u kojoj posebno zapaža da se najveći prodor u alternativnom izrazu nije desio u dvodimenzionalnoj formi (koja je samo likovno potvrdila već viđene škole), već u proširivanju stripske umetnosti van papirnog medijuma - na instalaciju, prostornu intervenciju i skulpturnu dimenziju, čime se najzad podseća i iznova ukazuje na opravdanost teza o neuslovljenosti medija načinima njegove tehnološke realizacije. Ćurić povodom nagrađenog rada u septembru 2008. godine priređuje izložbu prostornog stripa u Studentskom kulturnom centru u Beogradu, pod nazivom „Servis za dinamiku prostora" gde, sem nagrađenog rada, izlaže i još nekoliko eksperimenata zasnovanih na sličnom principu strukturisanja. U prikazu ove izložbe S. Vuković vrednost i inovativnost u Ćurićevom radu, nalazi u napuštanju stereotipskih odnosa stripa i savremene umetnosti, (prethodno) utvrđenim direktnim transferima iz jedne oblasti u drugu. U ovoj promeni pristupa mediju, a u odnosu na prethodno nagrađivane eksperimente, postavljeno je važno pitanje o strukturi stripa, na način koji do tada nije bio razmatran. Zato i o materijalnosti u samom radu Ćurić ističe da je potpuno nebitno od kakvog materijala je strip, ali ono, oko čega treba obratiti pažnju, jeste pravilan psihološki i vizualni pristup prema njegovoj priči kadrovima i tabli kao završnom proizvodu...

Nadalje se nagrađeni eksperimentalni radovi na Salonu ne ističu posebnom inovativnošću do ergodičke priče M. Miličić Bogdanović (2010) ili radova A. Gajića (2011, 2012). U oba Gajićeva rala (Kameni strip i Premotavanje) interesantan je pristup čitanju rada, jer zahteva interaktivnost i neku vrstu taktilne aktivnosti čitaoca. Gajićeno Promotavanje" značajno je kao prvi eksperimentalni rad u istoriji ove manifestacije koji je poneo i glavnu nagradu Salona (Grand Prix), čineći Izuzetak svih prošlih i narednih Salona (do 2018). Autori su zatim eksperimentisali materijalima ne odstupajući od klasičnog narativnog toka, vraćajući se na standardizovane medijske transfere, do eventualnog uvođenja zvuka u strip (A. Petrović, 2015), koji je interesantan sa aspekta uvrežene audio-vizuelne suštine stripskog jezika. Ekspanzija inovacije iz 2007. godine, ili vanstandardni pristupi, nisu više ponavljani. Ipak, Međunarodni salon stripa ostaje otvoreni prostor delovanja za sve autore čiji eksperimentalni radovi imaju posebnu likovnu poetiku i na taj način razbijaju stereotipe o ovom umetničkom mediju."

Dragana Kuprešanin

The journal Kultura, launched in 1968, is an interdisciplinary scientific journal for the theory and sociology of culture in the general sense of the word.  From the first issue, Kultura remains open to creative ideas, presented in our country and in the world, as evidenced by the texts of important foreign authors from the cultural centers of and domestic authors who appear with new ideas and approaches to culture.  During the five decades of activity of the Kultura magazine, there were several important editorial offices...

"Summary: In experimental forms of the comic medium that deviate from the classic printed forms and are based on the integration of different media, the structure of the comic is broken down into contents that participate in its definition as special types of modules.  Through presentations of case studies of projects that place comics at the borderline positions of fine and applied arts, a possible definition of the structure of comics is described, independent of the production technologies that initially shaped it.  By combining modern technological processes and classical art techniques, experimental comics in their purest form offer a definition of the medium freed from technical conditions and show the essence of its structure, which is changed over the years by technological changes.  The very structure of the medium remains its main backbone, which in the modern age, through the application of new technologies, is shaped in such a way as to make the medium accessible to an audience of different visual capacities, and the comic's audience becomes complete.  The tactile dimension in shaping the media shows the independence of the structural organization of the media in relation to the production system and prejudges the aesthetics of its elements in future technological modifications and innovations.

At the fifth Belgrade International Comic Strip Salon.  In 2007, the work of the author Aleksander Ćurić was particularly noted - a spatial comic: "The Story of a Proud Man".  Although he was preceded by authors with interesting reflections (N. Pejić, M. Veselinović, S. Restecka (S. Restecka) and ž Sanecka (1. Sanecka) - Polish comics authors and B. Milenković), their works were more about technical  modifications, but those that did not at all or only to a slight extent consider or question the structure of the medium itself.  Aleksander's work in the catalog itself, described as an installation, is much more than a spatial setting, primarily because of its narrative potential.

 The three-dimensionality in this work refers to several levels - formal, structural and semantic-ideal, and therefore this work goes beyond the concept of an installation as such, because it does not refer to an intervention in space that is the content of the space itself, i.e., that intervention that changes the perception of space  , nor does it give it any meaning.  The catalog of the fifth Salon includes a review by 3. Stefanović, in which he particularly notes that the greatest breakthrough in alternative expression did not occur in the two-dimensional form (which only confirmed the previously seen schools in art), but in the expansion of comic art beyond the paper medium - to installation, spatial intervention and  sculptural dimension, which finally reminds and once again points to the justification of the thesis about the non-conditionality of the media by means of its technological realization.  On the occasion of the awarded work, in September 2008, Ćurić organized an exhibition of spatial comics at the Student Cultural Center in Belgrade, entitled "Service for the dynamics of space", where, in addition to the awarded work, he exhibited several other experiments based on a similar principle of structuring. In the presentation of this exhibition, S  Vuković finds the value and innovation in Ćurić's work in abandoning the stereotypical relationship between comics and contemporary art, in (previously) established direct transfers from one area to another. In this change of approach to the medium, and in relation to previously awarded experiments, an important question was raised about the structure  comics, in a way that had not been considered until then. That's why Ćurić points out about the materiality in the work itself that it is completely irrelevant what material the comic is made of, but what should be paid attention to is the correct psychological and visual approach to his story, frames and boards  as a final product...

Furthermore, the award-winning experimental works at the Salon do not stand out for their special innovation until the ergodic story of M. Miličić Bogdanović (2010) or the works of A. Gajić (2011, 2012).  In both of Gajić's works (Kameni comic and Premotavanje) there is an interesting approach to reading the work, because it requires interactivity and some kind of tactile activity of the reader.  Gajićeno Promotavanje" is significant as the first experimental work in the history of this event that won the main prize of the Salon (Grand Prix), making an exception for all past and subsequent Salons (until 2018). The authors then experimented with materials without deviating from the classic narrative flow, returning  to standardized media transfers, to the eventual introduction of sound into comics (A. Petrović, 2015), which is interesting from the aspect of the established audio-visual essence of the comic language. The expansion of innovation from 2007, or non-standard approaches, were not repeated again. However,  The International Comics Salon remains an open space for all authors whose experimental works have a special artistic poetics and thus break stereotypes about this artistic medium."

Dragana Kupresanin