MARKO POGAČNIK, THE WORK OF ART AS CRITICAL INFORMATION

POVZETEK Predmet diplomskega dela je raziskovanje širokega polja Pogačnikovega konceptualizma od kranjske skupine preko predmeta, artikla, reizma, telesa, druţine pa vse do kozmograma in litopunkturne prakse, ter predstavitev njegovega specifičnega in kritičnega pogleda na svet in umetnost. V diplomskem delu najprej opredelimo Pogačnikova posamezna razvojna obdobja in njegove značilnosti ter ga umestimo v referenčni okvir. Predstavimo Pogačnikove temeljne principe in elemente ustvarjanja. V teoretičnem delu se nato ukvarjamo s konceptualno umetnostjo, jo označimo in opredelimo. Predstavimo rušenje pregrad med umetniškim delom in vsakdanjim predmetom, ki pridobiva ugled umetnine. Nakaţemo transformacije, ki jih Pogačnikov kiparski izdelek kot predmet porabniške druţbe doţivlja v času konceptualizma. V nadaljevanju predstavimo poglede na dojemanje umetnine kot predmeta med predmeti. Opredelimo predmet kot izdelek mnoţične, industrijske proizvodnje, ki je povišan na raven umetnine. Predstavimo dematerializacijo umetnine in razseţnost, ki jo umetnina ima, in iz tega konteksta osvetlimo problematiko ready-made produkcije. V naslednjem poglavju se ukvarjamo z dojemanjem umetniške prakse v vsakdanjem ţivljenju, kjer naj bi se ideje in zamisli utelesile, materializirale in zaţivele v okolju. Nakaţemo Pogačnikovo zanimanje za naravo, njegovo razumevanje le-te preko druţine v Šempasu, ki mu predstavlja nekakšno pracelico druţbe. Predstavimo pokrajino kot širši socialni kontekst, prostor, kjer se izvaja umetniško-ekološka praksa in se odvija prevajanje Pogačnikovih duhovnih vsebin preko umetniških del v prakso. V zadnjem delu diplomskega dela predstavimo še avtorski projekt, katerega glavni temelj je interpretacija jaza z vidika konceptualne umetnosti.The subject of my diploma thesis is the exploration of a wide range of Pogačnik’s conceptualism, from the Kranj group – through the object, product, reism, body, Family – to the cosmogram and the practice of lithopuncture, as well as the presentation of Pogačnik’s specific and critical view of the world and the art. One by one, I define Pogačnik’s specific development periods and his characteristics, thereby forming a sort of reference frame. I present Pogačnik’s fundamental principles and elements of creation. I discuss the idea as the foundation of creation, and label and define it. I present the breaking down of barriers between a work of art and an everyday object, which is gaining importance. I outline the numerous transformations that Pogačnik’s sculptural product – as an object of a consumerist society – is experiencing in the time of conceptualism. I also talk about a work of art as an object among objects by defining it as a product of mass industrial production, elevated to a work of art. I present the dematerialisation of a work of art and its magnitude. Based on this, I also discuss the ready-made production. I discuss the perception of artistic practice with everyday life, where ideas and conceptions should manifest, materialise, and completely dedicate themselves to the environment. I also outline Pogačnik’s interest in nature, his understanding of nature through his commune Family in Šempas, which for him represents a kind of new age protocell. I present the landscape as a wider social context, the area where artistic ecological practice is implemented and where spiritual content is transformed through works of art into practice. In the last part of the diploma thesis an author project is presented, the basis of which lies in the interpretation of the self from the perspective of conceptual art