%0 Journal Article
%T Referential Symbolism and Semiotic Aspect of works of Art and Design
%A Kal£¿i£¿
%A Silva
%J -
%D 2019
%X Sa£¿etak Destination: Unnamed, the exhibition in the billboard medium by Nadija Mustapi£¿ and Toni Me£¿trovi£¿ (2017), is an example of art in public space (photographs in a standard advertising space in the format of a billboard poster), whereas the poster for the theatre play Fine Dead Girls, directed by Dalibor Matani£¿ (Gavella, Zagreb, 2013), is the work of design in public space (of both the city and the mass media, in the format of a theatre poster) in the context of national visual arts of today. With these examples I have connected the following subjects: 1. Agamben¡¯s dispositive, derived from the juxtaposition or the interpenetration of relations of power (for example, through governantism) and relations of knowledge (discursive and non-discursive ones), which perceives art practices as formations of the relations of power. 2. Compression of time impoverishes, depletes cultural signs, transforming them into ¡°zero signs¡± or ¡°weak signs,¡± according to Agamben. Boris Groys notes that such ¡°weak¡± signs triumph over the strong and ¡°powerful¡± signs of our time, those of authority, tradition, power, but also over the powerful ones of rebellion, passion, heroism. 3. ¡°Poor image,¡± in the sense this term is used by Hito Steyerl (in her text £¿In Defence of the Poor Image,¡° 2009) when referring to the mass-distributed and reproduced image in the digital media network
%K public art
%K dispositif/dispositive
%K empathic design
%K activist art
%K visual communication
%K epistemology of media
%U https://hrcak.srce.hr/index.php?show=clanak&id_clanak_jezik=328633