POWER OF IMAGE, POWER OF REPRESENTATION, POWER OF INTERPRETATION

Abstract

The article deals with mapping and theoretical conceptualization of current polemics that developed around Zoran Todorović’s video installation Gypsies and Dogs (2009), a segment of which – available or with the permission by authors – was published at the end of 2014 in the book Gypsies and Dogs II, Symptoms and traces of the public reception. This text is not an attempt to pacify with (meta) positions of academic ’objectivity’, nor it takes a ’side’ in the polemics; it does not develop out of an assumption of the absolute autonomy of work of art, the freedom of art/artist, but neither from the contextual determinism. It is a result of an approach based on the study of concepts (’concept-based methodology’), which are refferred to as ’tools’ helping to more thoroughly grasp the research object.