MAJA STANKOVIĆ
Singidunum University, Faculty of Media and Communications, Department of Digital Arts, Belgrade, Serbia
maja.stankovic@fmk.edu.rs
OD KONCEPTUALNE DO DIGITALNE FOTOGRAFIJE
FROM CONCEPTUAL TO DIGITAL PHOTOGRAPHY
Journal 15/2019 (Museum of Applied Art), pages 28-35
Article category: original scientific paper
UDC:
77.03:004.9
7.038.53:77
Abstract (original language):
Od najranijih tumačenja fotografije, kada je poistovećivana sa otiskom prirode i objektivnošću, preko usklađivanja sa modernističkom paradigmom, slikom kao dominantnim medijem i idejom medijske specifičnosti, tzv. umetnička fotografija, preko različitih iskustva dokumentarne fotografije, a potom neoavangardnim iskliznućem u nemedij, pa sve do digitalne fotografije, ono što se prepoznaje kao kon stanta o kojoj je pisao još Valter Benjamin jeste njena otvorenost za manipulisanje. Komparativnom analizom različitih pristupa fotografiji, analizom pojma programiranje, preuzetog od Flusera, i uvođenjem studija slučaja, analizirane su različite umetničke strategije koje pripadaju konceptualnom iskustvu. Glavna teza istraživanja je da je konceptualni pristup fotografiji najradikalniji vid otpora manipulativnoj prirodi fotografije. Cilj istraživanja je da ukaže na konti nuitet između analogne i digitalne fotografije, koja uračunava sve prethodne modele delovanja, objektivnost, dokumentarnost i medijsku specifičnost. One su u funkciji programiranja slikama kojima smo okruženi, što potvrđuje algoritamski način funkcionisanja digitalnog zapisa kao dominantno obeležje fotogra fije u savremenoj umetnosti.
Key words: (original language)
konceptualna fotografija, digitalna fotografija, manipulacija, savremena umetnost, umetnička fotografija, dokumentarna fotografija, medij, ne-medij, sistem, algoritam
Summary:
From the earliest interpretations of photography, when it used to be identified with the print of nature and objectivity, through alignment with the modernist doctrine and painting as the dominant medium and the idea of media specificity, the so-called art photography, through various experiences of documentary photography, and then by the neo-avant-garde slip into non-media, all the way to digital photography, what has been recognized as the constant, that Walter Benjamin also used to write about, is its openness for manipulation. This paper analyses different art strategies belonging to conceptual experience through comparative analysis of different approaches to photography, analysis of the Flusser's (Vilem Flusser) concept of programming and introduction of case studies. Two case studies related to conceptual art have also been included: Edward Ruscha, Twentysix Gasoline Stations, 1963, and Bernd and Hilla Becher, Anonyme Skulpturen: Eine Typologie technischer Bauten and Typologien, Industrieller Bau, 1963–1975. The main thesis of the research is that the conceptual approach to photography is the most subversive towards the manipulative nature of photography. The main objective is to point out the continuity between analogue and digital photography that includes all previous approaches to photography – objectivity, documentarity, media specificity. Nowadays, we are in the constant process of programming by the images we are surrounded by, which confirms the algorithmic way of modus operandi of digital images as the dominant feature of photography in contemporary art.
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