The Moments of Loss and Disappearance Film as Medium in Tacita Dean’s work

Pričujoča naloga se ukvarja z vsestransko sodobno britansko umetnico Tacito Dean, ki deluje v polju fotografije, risbe in analognega filma, na katerega se naloga osredotoča. Sama forma naloge sledi njenim filmom, kar tudi kronološko sovpada z njenimi deli, ob tem, da je nekaj več pozornosti namenjene njenim ključnim projektom, kot so Homage to Marcel Brootdthaers, The Green Ray, Film in Portraits. Tacito Dean predvsem zanima odnos in povezava analognega zapisa s fenomenom naključja in njena drža je trdno definirana z vztrajanjem na analognem mediju. Opuščanje analognega filma kot tudi njegove proizvodnje ter dajanje prednosti digitalnemu zapisu razume kot nenadomestljivo izgubo. Njeni filmi delujejo poetično, vendar imajo vedno trdno pomensko in vsebinsko ozadje. Navezujejo se na pisatelje, kot je W. G. Sebald, ter hkrati odpirajo vprašanja v smislu razmisleka in teoretske analize. Teoretsko ogrodje v nalogi ni podano ločeno, temveč je obravnavano kot sestavni del avtoričinega opusa in izhaja iz že klasičnih mislecev, kot so Walter Benjamin, Roland Barthes, Jacques Derrida, ter sodobnih teoretikov, kot so Rosalind Krauss, Hal Foster in Claire Bishop. Hkrati je pozornost namenjena njenim zapisom, pisanju kritikov, kus- tosov kot tudi vrsti na spletnih straneh ob umetničinih razstavah objavljenih pogovorov in intervjujev.The present thesis focuses on Tacita Dean, a versatile contemporary British artist working in the fields of photography, drawing and analogue film, which is the focus of the thesis. The form of the thesis itself follows her films, which also chronologically coincides with her work, with some more attention paid to her key projects such as Homage to Marcel Brootdthaers, Green Ray, Film and Portraits. Tacita Dean is primarily interested in the relationship and connection of the analogue record with the phenomenon of chance (contingency), and her stance is firmly defined by her insistence on the analogue medium. She sees the abandonment of analogue film, as well as its production, in favour of digital recording as an irreparable loss. Her films are poetic but always have a solid background of meaning and content. They refer to writers such as W.G. Sebald, while raising questions in terms of reflection and theoretical analysis. The theoretical framework of the thesis is not given in isolation, but is considered as an integral part of the author\u27s oeuvre, drawing on already classical thinkers such as Walter Benjamin, Roland Barthes, Jacques Derrida, and contemporary theorists such as Rosalind Krauss, Hal Foster and Claire Bishop. At the same time, attention is paid to the writings of the artist herself, to the writings of critics and curators, as well as to a series of conversations and interviews published on the websites to accompany her exhibitions