Diskurzivne reprezentacije Holokausta: stvaralaštvo Anselma Kifera ; Discursive representations of the Holocaust: the work of Anselm Kiefer

Rad obrađuje pitanje uloge i odgovornosti umetnika pri (vizuelnom) predstavljanju Holokausta, uzimajući kao relevantan primer stvaralaštvo nemačkog slikara Anselma Kifera, koji se smatra jednim od najvažnijih umetnika koji se bave ovom temom i pripada širem miljeu posleratnih nemačkih intelektualaca koji su se borili da prevaziđu sramnu prošlost svoje zemlje. Oslanjajući se na teorijske okvire kolektivnog pamćenja (Albvaš 1985) i uzimajući u obzir društvenu ulogu umetnosti i bavljenje najrazličitijim fenomenima i socijalnim pitanjima kroz istu, dalje se u radu umetničko stvaralaštvo posmatra kao mesto sećanja (Nora 1996, 2007), jer su umetnička dela: 1) „opredmećenost” prošlosti, 2) bivaju posmatrana i kao reprezentacije određenog društva ili perioda, a 3) simboličko značenje utkano je od strane umetnika koji kroz svoj rad trajno komunicira sa recipijentima van vremenskih i geografskih granica. ; The paper deals with the question of the role and responsibility of the artist in the (visual) representation of the Holocaust, taking as a relevant example the work of the German painter Anselm Kieffer, who is considered one of the most important artists dealing with this subject and belongs to the wider milieu of post-war German intellectuals who struggled to overcome the shameful the past of your country. Relying on the theoretical framework of collective memory (Halbwachs 1985) and considering the social role of art and dealing with various phenomena and social issues through it, further in the work artistic creation is viewed as a place of memory (Nora 1996, 2007), because works of art are: 1) the "objectification" of the past, 2) they are also seen as representations of a certain society or period, and 3) the symbolic meaning is woven by the artist who through his work permanently communicates with recipients beyond time and geographical boundaries.