Izvorni znanstveni članak
Performative Interpretation, Deconstruction, and Transgression of the Image: Montažstroj – Bruegel, Tajči Čekada – The Ophelia Case
Suzana Marjanić
orcid.org/0000-0002-6158-3006
Sažetak
The article focuses on two examples from the local art scene that address the transgression of the image into performance. These include the the first national theatre production in which part of the text was created with the assistance of artificial intelligence: The Blind Leading the Blind, by Montažstroj (2025), which offers a re/interpretation of Bruegel’s painting The Blind Leading the Blind (1568) in the context of artificial intelligence and raises questions about the ethical blindness of technofeudalism. The article also examines video performances by multimedia artist Tajči Čekada, who frequently reinterprets well-known artworks. For example, the video performance The Ophelia Case is a reinterpretation of John Everett Millais’s painting Ophelia (1851–52), which has become one of the most striking motifs in art history. Furthermore, the video performance The Picnic (2014) is conceived as a reinterpretation of Manet’s painting Luncheon on the Grass (Le Déjeuner sur l’herbe, 1862–63), considered the first painting of modern art. The video performance Run, Hare, Run is created as a reinterpretation of Joseph Beuys’s action How to Explain Pictures to a Dead Hare (1965).
Ključne riječi
transgression of the image into performance; Montažstroj; Bruegel; Tajči Čekada
Hrčak ID:
347199
URI
Datum izdavanja:
6.5.2026.
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