Abstract
In this paper we discuss the exhibition Post-Opera, a complex and provocative curatorial project by Kris Dittel and Jelena Novak, in which the changeable relations between the voice and the (human) body are investigated from the creative and the theoretical perspectives, relying on juxtaposing and reflection between visual arts, technology and opera. Firstly, in the paper we examine the curatorial procedure, in its shift from the mediatory function between the work and the audience towards the practice, which intervenes in both of these domains and results in an exhibition as an autonomous art object. In the second part we interpret the politics and the effectiveness of the singing and the speaking voice in contemporary art and culture, while in the third part we write about the resemantization of the relation between the singing body and the sung voice within 'installing the operatic'.
Funder
Ministry of Education, Science and Technological Development of the Republic of Serbia
Publisher
Centre for Evaluation in Education and Science (CEON/CEES)
Reference4 articles.
1. Derida, Žak: Drugi pravac [L'autre cap]. Beograd: LAPIS, 1995;
2. Dolar, Mladen: Glas i ništa više [A Voice and Nothing More]. Transl. by Iva Nenić. Beograd: Fedon, 2012;
3. Novak, Jelena: Operofilia. Beograd: Orion Art, 2018;
4. Tronchin, Lamberto et al.: "The marvellous sound world in the 'Phonurgia Nova' of Athanasius Kircher", The Journal of the Acoustical Society of America, 123(5), 2008, 4184-4190;
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