Page 100 - Darko Štrajn, From Walter Benjamin to the End of Cinema: Identities, Illusion and Signification. Ljubljana: Educational Research Institute, 2017. Digital Library, Dissertationes, 29.
P. 100
from walter benjamin to the end of cinema
termined) gaze. Categories of the binary, the double, the dual in different
asymmetrical arrangements, which are usually supposed to produce some
deconstructive effect, form frames of contemporary art and its contents, at-
titudes, gestures and positions. Artists invent statements as much as they
produce artefacts. However, so-called shock effects from modernist period
are mostly absent; they mostly fail to be generated, although it is obvious
that a form of presentation is derived from artistic ‘shocks’ in the days of
yore. Henceforth, a semblance of a structural similarity with the 17th Cen-
tury Baroque situation seems quite attestable in spite of relative narrowness
of the analogy, especially when we take into account incomparable histori-
cal contexts and particularly only barely comparable notions of art.
Figure 2. Shanghai Twins at Venice Biennale 2007 (photo: D. Štrajn)
Globalisation, which may well be a content empty concept, has some
relevance in art and in the theory, which is trying to crack meanings of art,
to define a presence or absence of a message, or decipher any explicit or im-
plicit statements. However, artists and thinkers seem to be, predominantly
98
termined) gaze. Categories of the binary, the double, the dual in different
asymmetrical arrangements, which are usually supposed to produce some
deconstructive effect, form frames of contemporary art and its contents, at-
titudes, gestures and positions. Artists invent statements as much as they
produce artefacts. However, so-called shock effects from modernist period
are mostly absent; they mostly fail to be generated, although it is obvious
that a form of presentation is derived from artistic ‘shocks’ in the days of
yore. Henceforth, a semblance of a structural similarity with the 17th Cen-
tury Baroque situation seems quite attestable in spite of relative narrowness
of the analogy, especially when we take into account incomparable histori-
cal contexts and particularly only barely comparable notions of art.
Figure 2. Shanghai Twins at Venice Biennale 2007 (photo: D. Štrajn)
Globalisation, which may well be a content empty concept, has some
relevance in art and in the theory, which is trying to crack meanings of art,
to define a presence or absence of a message, or decipher any explicit or im-
plicit statements. However, artists and thinkers seem to be, predominantly
98
