Please use this identifier to cite or link to this item:https://hdl.handle.net/20.500.12259/31733
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dc.contributor.authorMažeikis, Gintautas-
dc.coverage.spatialLT-
dc.date.accessioned2016-09-13T08:03:09Z-
dc.date.available2016-09-13T08:03:09Z-
dc.date.issued2012-
dc.identifier.issn18224555-
dc.identifier.otherVDU02-000012845-
dc.identifier.urihttps://www.vdu.lt/cris/bitstream/20.500.12259/31733/1/ISSN1822-4547_2012_N_8.PG_23-38.pdf-
dc.identifier.urihttps://hdl.handle.net/20.500.12259/31733-
dc.description.abstractCounter-ideological collages are manifold, poly-symbolical, eccentrics and induce turn away from traditional loo-king at icons, from ideological understanding of figures and stimulate articulation of space and time or production of art for themselves under experience of expressive painting. Essential is skills to escape from narratives of reproduced icons, from their saint, eternal or ideological space and time. The principle of weakening of icons, the détournement or transformation of their messages was found by early representatives of Dadaism, Cubism, Surrealism. Weakened or destroyed dictate of grand pictures, transformed into everyday life, into causality of space and time, into nonsense of former seasons of God or war, heroic work or grand fight, open possibility to show other, undiscovered space and unexperienced time whose is pictured through altered means of painting and media, through new oppositions and conflicts. It is reach of nonideological, non-conformity art. Mixed technique of collage and painting, stirring abstractions and inserts of real pictures connect works of Rimantas Plunge with painting of art movement COBRA, painter and political critique Asger Jorn, with some details of Punk graphics, with decentred, disbalanced creations of US painter Richard Diebenkorn. Plunge continuously makes weakening of grand symbols, transforms and détournement of their senses and seeks alternative purposes. It helps him to create oppositions or even war between traditional painting (expressive, with intensive colours and paints) and new media (photography, video etc.). Such character of creation dehumanizes new spaces, forms others myths of things in itselfen
dc.description.sponsorshipVytauto Didžiojo universitetas-
dc.format.extentp. 23-38-
dc.language.isolt-
dc.relation.ispartofMeno istorija ir kritika = Art history & criticism. Kaunas : Vytauto Didžiojo universiteto leidykla, 2012, [T.] 8 : Erdvės ir laiko reprezentacijos mene. Pasaulėvaizdžiai, diskursai, artefaktai-
dc.relation.isreferencedbyMLA International Bibliography-
dc.rightsSutarties data 2006-10-02, nr. LLTI-00001, laisvai prieinamas internetelt_LT
dc.subjectKoliažaslt
dc.subjectNukrypimas (dérive)lt
dc.subjectDehumanizavimaslt
dc.subjectIšcentrinimaslt
dc.subjectŽaismaslt
dc.subjectSimbolislt
dc.subjectCollageen
dc.subjectDériveen
dc.subjectDehumanizationen
dc.subjectCentrifugalen
dc.subjectPlayen
dc.subjectSymbolen
dc.subject.classificationStraipsnis kitose duomenų bazėse / Article in other databases (S4)-
dc.subject.otherMenotyra / History and theory of arts (H003)-
dc.titleApgręžtas erdvėlaikis ir jo funkcijos šiuolaikiniame mene : Rimanto Plungės koliažailt
dc.title.alternativeDétourned space-time and its functions in contemporary art: collages of Rimantas Plungeen
dc.typeresearch article-
dcterms.bibliographicCitation23-
dc.date.updated2019-09-10T11:42Z-
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local.typeS-
item.fulltextWith Fulltext-
item.grantfulltextopen-
crisitem.author.deptVytauto Didžiojo universitetas-
Appears in Collections:Art History & Criticism / Meno istorija ir kritika 2012, nr. 8
Universiteto mokslo publikacijos / University Research Publications
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