The relationship between the digital image and contemporary painting

Izhodišče diplomske naloge je premislek odnosa med digitalno podobo in slikarstvom, ki pogojuje vsakršno prenašanje podob med obema medijema. Pluralnost interpretacij pojma digitalno zahteva členitev raziskovanja na tehnološko in kulturno komponento, ki vzajemno pogojujeta sodobne slikarske prakse. Umeščenost le-teh v sodobno kulturno in medijsko krajino, nasičeno z nostalgičnim obujanjem preteklih form digitalne vizualnosti, predstavlja izhodišče za kritično obravnavo skozi prizmo retrofetišizma in hauntologije. Medijsko hibridizacijo in diseminacijo slikarstva ter digitalne podobe si prizadevam pojasniti skozi prizmo postmedijske teorije. Na primerih obravnavanih umetnikov Avery Singer in Juliusa Hofmanna, lastne ustvarjalne prakse, koncepta ekstenzije slikarstva in teorije postinterneta orišem tudi teren, ki leži onkraj konceptualizacij postmedijskega slikarstva.The starting point of this diploma thesis is the reflection on the relationship between the digital image and painting, which determines any transfer of image between the two mediums. The plurality of interpretations of the term digital requires the division of research into the technological and cultural component, which are mutually conditioned by contemporary painting practices. Their placement in the contemporary cultural and media landscape, saturated with nostalgic revivalism of past forms of digital visuality, represents the starting point for critical treatment through the prism of retrofetishism and hauntology. I aim to explain the media hybridization and dissemination of painting and digital image through the prism of post-media theory. Using the examples of artists Avery Singer and Julius Hofmann, my own creative practice, the concept of the extension of painting and post-internet theory, I also outline the terrain that lies beyond the conceptualizations of post-media painting