AESTHETIC EXPERIENCE BETWEEN TRAUMA AND DESIRE: DISCOURSE OF CONTEMPORARY FASHION

Ovaj diplomski rad nastoji pokazati unutarnju vezu između teorijske psihoanalize kao discipline koja sa svojim konceptualnim alatima postaje primjenjiva za razumijevanje složenosti fenomena suvremene mode. Između traume i želje stvara se s povijesnom avangardom u prvoj polovici 20. stoljeća novi diskurs ne samo umjetnosti već i mode. Sve će se to iznova dogoditi još intenzivnije krajem 20. i početkom 21. stoljeća u diskursu suvremene mode kroz performativnost tijela. Reprezentacijom unutrašnje stvarnosti i prostora slobodnog izražavanja, avangarda se javlja kao diskontinuitet u odnosu na tradiciju, zasnovana na zamisli nekontroliranog razvoja. Ruska avangarda zamijenila je postojeće umjetničke prakse s novim umjetničkim institucijama, estetskim vrijednostima i umjetničkim formama koje su odražavale suvremeni život. Prvi svjetski rat bio je važan trenutak u povijesti ruskog avangardnog pokreta jer je pomogao razjasniti neizvjesno mjesto avangarde u javnoj kulturi. Rat i umjetnost bile su dvije odvojene aktivnosti prije rata, ali je ta linija nakon 1914. izblijedila jer su umjetnici sudjelovali u velikim društvenim događajima koja su bila nezamisliva u prethodnom desetljeću. Ovdje se otvara Rancièreovo pitanje uloge gledatelja kroz raspravu odnosa umjetnosti i politike koje je poticalo gledatelja na razmišljanje, emocionalnu reakciju, istraživanje i aktivizam. Uloga publike biti će analizirana i kroz prizmu suvremene umjetnosti, odnosno suvremene mode, te će se istražiti na koji se način politička subjektivacija u suvremenoj modi odvija putem tjelesne inskripcije kao vizualne semiotike tijela.This master thesis strives to demonstrate the internal relation between theoretical psychoanalysis as a discipline which with its conceptual tools becomes applicable for the understanding of the complexity of the phenomenon of contemporary fashion. Between trauma and desire, with historical avant-garde in the first half of the 20th century, a new discourse is created, not only in art but also in fashion. All of this will happen anew with even greater intensity at the end of the 20th and the beginning of the 21st century in the discourse of contemporary fashion through the performativity of the body. By representing internal reality and space of free expression, avant-garde appears as a discontinuity with regard to tradition, based on the idea of uncontrolled development. Russian avant-garde replaced the existing artistic practices with new artistic institutions, aesthetic values and artistic forms which reflected modern life. World War I. was an important moment in the history of the Russian avant-garde movement because it helped to resolve the place of avant-garde in public culture. War and art were two separate activities prior to the war, but that line faded after 1914 because artists participated in large social events which were unthinkable in the previous decade. Here the Rancière’s question is raised regarding the role of the viewers through a discussion regarding the relation between art and politics which encouraged the viewer to think, to an emotional reaction, research, and activism. The role of the audience will also be analysed through the prism of contemporary art, i.e., contemporary fashion, and it will be explored in which way the political subjectivation in contemporary fashion takes place by physical inscription as a visual semiotics of the body