V. C. OCOKOLJIC T. CVETKOVSKI A. MILICEVIC Z. LANGOVIC J.

OCOKOLJIC Megatrend University Faculty of Culture and Media - Faculty of Business School Belgrade, Serbia vcvetkovska-ocokoljic@megatrend-edu.net

Visual art as instrument for awaking social liability on territory of Serbia today
Introduction In modern society, more than ever talking about the civilization in which images of visual communication becomes dominated. Experiencing himself as a primary, basic center, the man own environment experienced as a space inhabited secondary forms and events. Centrically attitude that individuals have in relation to the environment, reflected in our human existence, thus, the original image is attest of the existence, the presence, is a human visual confirmation of it. Man as being socially, left through the history of various tracks on its relations with other living beings, which is surrounding by him and often him noted its intrinsic belief, fears and doubts. Thanks to his deep need to attest about own existence and the environment, today`s society has inexhaustible documented cultural wealth, which is manifested through acts from the field of visual art. These material traces offer the possibility of communication irrespective of the time in which they occurred and to whom the question. First development communication of ancient man took place through the images. It can be say that these ancient acts of art represent a material event of imaginary, perfectly certain religious and spiritual emotion. However, following the historic process of transformation of communication via visual art, it is possible today perceive its role in the territory of Serbia, in the context of awaking of individual social responsibility. Historical terms of development of visual communication on the territory of Serbia today It can be said that the entire history or art is history observations way: different ways in which the man seeing whole world (Panofski, 1975, p. 5). Today, the territory of Serbia is a witness of numerous changes and the migration of the population, and through centuries is the count of conflict of many civilizations, mostly bereaved and forced to resist foreign influence. On the border between East and West, the culture of Serbia is experiencing different influence who contributed to isolate and maintain a homogeneous style, as a single structure and compact whole. If the concept of visual art means evolution understanding of visual meaning, and generalization of living individual and collective minds of reception (Bogdanovic, 1986, p. 5), it is necessary to look at the visual legacy that our ancestors left behind. Visual culture is not only recognition of factors that appearances through reception, but is composed and from other forms of human life, who follow from recognize of heredity, efficacy and speculative complex of reality and imagination. Understanding of art on the route between the subject matter, form and function, is exceptional importance precisely because art sublimate through the whole experience of humanity, his opinions and behavior. Art is appropriate social observation of communicative game action in the socio-cultural contexts, and thus also the social and historical phenomenon (Smit, 1975, p. 75). To rinse creating a good shepherd or establishing a big brother it is necessary to see the main cultural and historical milestone in the formation of the Serbian visual art. Visual records from the period of Bronze Age attest of liberation of man from his point linked for the country, entering the economic and spiritual revolution. Cult measles mother recognizes the idols with human heads usually barren of all anatomical details, with a very picturesque skirt. Man was acquitted individuality in the modern sense, he still lives as one with nature and as an integral part of their tribe. In the 4nd century the new era of Illyrian population found between incursion of Celtic and Hellenic culture, a time, finally, the Romans manage to settlement and romanized nations on the territory of today`s Serbia. Respected emperor like a god has enabled the Romans control over the people, which is especially manifestation in Roman provinces in what was at the time the territory of Serbia today. State mystique of Romans in recent years, the Empire reached the peak in veneration of emperor. One of the consequences of such evolution mentality in Rome was a cult of emperor. His portrait stood on the uplift podium, like the altar, surrounded by candles, to burn incense, a rite Adoratio, implied is prostration or fall on their faces (Velmans, 2007, p. 25). The monumental head of emperor discover in Nis (Serbia), is characterized by an unknown scheme in which there is no individual or mental or physical traits of personality, and nor another element that reflects commutability. Mould form in this manner obligatory observes that traces of some inner, hidden content, converting the irrational functions of mind. The famous head of the Roman emperor Gallerius, found at the site of Felix Romulliana in Gamzigrad (Serbia) attest also of the need to be maintaining by the presence of rulers. The remnants of his sculptures and finds the hand that holds the ball, symbolize him as the ruler of the world, Panthochrator. Strong Byzantine influence led to conversion to Christianity, a role rulers the eye that do not slep take Isus Christ. This extremely fruitful period in the territory of medieval Serbia expressed through the construction and through visual aspects to make literate people. Rulers are now represented as a founders. Circle symbolism in

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ground plan of religious bildings, through some form or nimb on head of saints and mandorla, symbolize harmony of heaven on earth. The new image that appears as substitute for a sculpture aims, to show the spiritual life, is called icon. Portrait icon and half-length icon has its root in Fayum portrait (Egypt cult of dead) and especially in ceremonial, imperial portrait lauraton, in keeping with the tradition of respect of Hellenistic characters (statue). However, perhaps, neither earlier period is not introduce so much a change in consciousness and culture of the people of Serbia, so communist regime, administered after World War II. Awareness about the extremely efficacious impact on their rulers on their subject, who cherish and whom the slaughter, has done is to bring in the crowds of reforms within the Serbian society. The emperor renewed cult is in full glory. All public institutions had the obligation to keep a wall picture of the president, and the biggest icon of Serbian educator Saint Sava replacement with photographs of Josip Broz. In this way, specific personality, whith strict facial expression, every day is attend of observers. Policy of keeping these images was extensive by educational institutions and to expand and to private homes. This cult of adoration not be kept only at the pictures, all the stories about the war feats are narrated and many songs are singed in his glory. However, when a slightly away demolition of old regime, and then the dissolution of Yugoslavia and the wars, the Serbian people no longer had a emperor also no God. The old regime is extrude religious customs and the ordinary man no longer had the ideal toward which would aspire as well as favorite rulers who would him kept and whom would be afraid. It is in this newly founded split, that has not occurred on the territory of Serbia since ancient times, an individual is facing with himself. Consiousness about its own personality and individual responsibility is manifested first throught a visual art. Involved art that enunciated in the prevoious regime through the strongly fortified performances and themes that the new format, wich artist itself experienced and visual communicate with others. If we accept the assertion that the artist always been forunner of his time, can be said that this is a first time they advertise. Apeears a new form of expression of art that engaged the discipline frees old regime and call for awekening of conscience and responsibility. Visual communication in the territory of Serbia today If we accept that the modern world is facing with visual culture as a phenomenon of visibility, visual communication and its lenguage, its funds of communication, receiving, interpreting and comprehension, representing interdisciplinary area that consist of a multitude of visible aspects. Creator of visibility in the field of art, thought and sence with form, as it is possible feel with words. Every visual artistic act is a reception thing, so that visual force whose determine composition of artistic act, does not arise only in the framework of the acts, but also outside it. Emphasizing the themes of images through sanctury, is realized on different ways in an effort to confirm desirable psychological influence applied to the observers. As the world marked fragment, the image occupy specific reciprocity of image with other performances. In principle, there is no difference between organic and psychological development. As you plant creates its flower and psyche creates its symbols (Jung, 1996, p. 68). Art in its entirety observation as communication, the system of social action, takes place through a process of information that occurs between the characters and users. Modern society which is evidence reflect the ratio of consumption and artistic act is treated as the subject of production, lead to greater use all the characters in order to attachment consumers. Precisely from this reason, many artists on the territory of Serbia to seek the notation and the use of slogans in advertising purposes to attract spectators and trigger reactions. Socially engaged artists the new age, who are trying to determine the role of the individual in the world new technology and human tendency are notice in the area in Serbia. The group named Skart impressive represents a form of social engagement in visual art at the beginning of 21. sanctuary. In 2002 this group has received the First prize at October Saloon, in Belgrade (Serbia) to work named Your shit your responsibility.

Figure 1. Awarded work on October Saloon, 2002. Such visual form of art in the form of characters, smack traffic sign the ban. Possible interpretation indicates the need-engaged artist that awaking feeling of human responsibility for their own actions. In the form of the circle that is very present in the cultural history of the Serbs, he associate of acting on the spiritual life of the individuals but also refers to closely within one individual, the constant circle of movement, from which no exit. Deleted the circle represents the prohibition of movement and function in provisional life but and framed warning that is necessary changes. The red color amplifies the impression the ban and further attracts attention. On the sign was present impersonal, anonymous individual on the level of caricatures and without especially details, whose body position symbolize ejection spiritual dirt. This remarkable character has stratification, which warns of awakening social responsibilities of individuals in all fields. He symbolizes a revolt and call on soberness. He says that the collective responsibility of both the responsibility and each individual. On the vision of artist awakens people and warned of the consequences. He talks about socially pollution and about the need for any one has a clean own rubbish before views of other

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court. Its social importance is the party as and artistic its importance. Artistic group Skart attest about the deep, inner need for change that has caught the entire population. In this way, the material image is sealed, confirmed in time and space, as the artistic act and as a mental performance. Research conducted of the territory of Belgrade on a sample of fifty participants aged from 20 55 years old, has confirmed the strenghts of this visual display. Younger population was enthusiastically with visual appearance of this work while the older deep and clear understood his message. In any case, the reactions are caused by not absence in any case. No participants has not remained aloof. Although the research done on the population of Belgrade, as the capital of Serbia, is a very recognizable character, accompanied by slogans, applied and was in a broader geographical and cultural context. Behind the images and words Visual art attest about migrations, about fighting for territory, about overlap of nations and cultures and their mutual assimilation or connection. Although the experienced certain transformation through centuries and her manifestation are exchanged depending of the needs and human beliefs, she has never lost its primary role, that visual communicate and to remain communicator between the people and times. The 18th century led to reduction mankind in all areas of human activity. Aestetics of ugliness tat appears in 19th century, came in line with rift relations with past and present to rotation, toward current and variable. Comes to the introduction of a completely new means of expression. In favour of going and what they never previously demanded art not to strong, intellectual explanation. What is beyond physiology scope senses of vision, which is directly present and what is necessary for the comprehension of reality of artistic acts, is a bit of importance to the ability picturesque realise or imagination of invisible specifically, but just prognostic. Visuality as a form of transformation linguistic media and beyond, mental performance in visual structure, has its prehistory that reaches deep into the past. The spirit of modern man in Serbia was formed with spectacular experiences of war developments, the process of industrialization and tehnological revolution. Cyclic renewal of historical events returns again and the realm of images, but it achieves its degradation due to simplifying and platitudinous, through which the lost essence of certain mage display, and stratification of sence, more than ever is minimise the level of decorations. However, the art work of the group Skart proves that a seemingly platitudinous, simplified act with a strong message essence and can make influence on the individuals and as a society as a whole. His visual message is clear, addressed to each and all he can be understood in advance suggested, the only possible way. Thanks preserved acts from the field of visual art is achieved and communication that word was never able to fully transposed to make the visible invisible and that cure for all future generations. References Argan, G. (1982). Studies of Modern Art, Belgrade: Nolit. Bogdanovic, K. (1986). Introduction of a Visual Culture. Belgrade: The Department of Textbooks and Teaching Aids. Jung, G. (1996). Man and its symbols. Belgrade:The National Book Alfa. Ognjenovic, P. (2003). Psychological Teory of Art. Belgrade: Gutembergs Galaxy. Panofski, E. (1975). Studies in Iconology. Belgrade: Nolit. Tarner, Dz. (1979). Cognitions Development. Belgrade: Nolit. Velmans, T. (2007). Marvelous Hystory of Icon. Belgrade: Clio.

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