出版社：Singidunum University. Faculty of Media and Communications
摘要：Author Jelena Damnjanović’s artistic opus, The Woman’s Letter, mainly consists of works on paper: drawings and graphics. Drawings presented in this portfolio were created in the last four years of artistic creativity with the help of combined techniques of drawing material. The pieces present women’s undergarments (corsets, jumpsuits, underwear) on prevailingly middle and larger-dimension formats. Women’s underwear in the artist’s works opens intimate spaces and experience of femininity, which before an observer’s eye appears as research, reappraisal and communication fields. Female clothing takes special place in the author’s work precisely because of its firm existential connectivity with body, which apart from its ancient role of body covering in order to protect it from the outer environmental factors also has distinctly magical function. In terms of the growth of clothing’s significance in the evolution of society, the author is enticed by the high modern aesthetics of female garments in which she finds difference between beautiful and beautified object of which nature Friedrich Schiller wrote much in his letters “On the Aesthetic Education of Man”. Female clothing commands a special place in her artistic work for it builds a firm existential connection with the body, the one that can be deciphered in respect of the fact that through out history the body has always been symbolically marked for “the attempt of transcendental spiritualization”. A garment lives with a body; a body is warm, clothing on a body is warm. “Body and clothing have a long history of function and meaning alterations as well as the changes of forms in pursuit of expressing the personal, class-caste,gender, national and cultural identity and these changes raise question of the relationship between tradition and industry, aesthetics and commercialization , uniformity and individuality, autonomy of taste and heteronomy of kitsch.”.
