{"id":24298,"date":"2019-11-28T14:32:32","date_gmt":"2019-11-28T13:32:32","guid":{"rendered":"https:\/\/balkon.art\/home\/?p=24298"},"modified":"2022-01-08T09:42:42","modified_gmt":"2022-01-08T08:42:42","slug":"hattal-megyek","status":"publish","type":"post","link":"https:\/\/balkon.art\/home\/hattal-megyek\/","title":{"rendered":"H\u00e1ttal megyek"},"content":{"rendered":"[vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” overlay_strength=”0.3″ column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]\n

Back Side \/ Dos \u00e0 la mode.<\/em><\/h2>\n[\/vc_column_text][vc_column_text el_class=”p-2-0″]\n

Mus\u00e9e Bourdelle, P\u00e1rizs
\n2019. j\u00falius 5 \u2013 november 17.<\/h4>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”2\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” overlay_strength=”0.3″ column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]Antoine Bourdelle<\/span> a 19-20. sz\u00e1zad fordul\u00f3j\u00e1n alkot\u00f3, a k\u00e9s\u0151-romantika, a szecesszi\u00f3 \u00e9s a modernit\u00e1s jegyeit haszn\u00e1l\u00f3 \u00e9s kever\u0151 szobr\u00e1sz volt, aki, mint \u00e1ltal\u00e1ban a korszakhat\u00e1rokon alkot\u00f3 m\u0171v\u00e9szek, eklektikus \u00e9letm\u0171vet hagyott maga ut\u00e1n. A Magyarorsz\u00e1gon kev\u00e9sb\u00e9 ismert, val\u00f3j\u00e1ban azonban befoly\u00e1sos Bourdelle a n\u00e1lunk is igencsak ismert Auguste Rodin<\/span> tan\u00edtv\u00e1nya volt, munk\u00e1inak st\u00edlusjegyei, gyakran monument\u00e1lis m\u00e9ret\u0171 szobrainak kompoz\u00edci\u00f3s elvei azonban hamar elt\u00e1volodtak mestere jellegzetes st\u00edlus\u00e1t\u00f3l, hogy azt\u00e1n a klassziciz\u00e1l\u00f3 nagyvonal\u00fas\u00e1g \u00e9s a modernista zaklatotts\u00e1g metsz\u00e9spontj\u00e1ban artikul\u00e1l\u00f3djanak. Bourdelle, k\u00fcl\u00f6n\u00f6sen befutott szobr\u00e1szk\u00e9nt, sok k\u00f6zt\u00e9ri szoborra kapott megrendel\u00e9st, ilyen volt p\u00e9ld\u00e1ul a p\u00e1rizsi Grand Palais el\u0151tt \u00e1ll\u00f3 La France<\/em> (1925) c\u00edm\u0171 nemzeti alleg\u00f3ria-kompoz\u00edci\u00f3, vagy az 1929-es Monument \u00e0 Adam Mickiewic,<\/em> amely \u2013 \u00e9rtelemszer\u0171en \u2013 az ismert lengyel k\u00f6lt\u0151nek \u00e1ll\u00edtott eml\u00e9ket. Bourdelle t\u00e9mav\u00e1laszt\u00e1saiban gyakran ny\u00falt vissza ismert antik toposzokhoz is, korai munk\u00e1iban m\u00e9g sokkal ink\u00e1bb a romantika epikus t\u00f6rekv\u00e9seit pr\u00f3b\u00e1lta megval\u00f3s\u00edtani. A neki szentelt m\u00fazeum1<\/span> P\u00e1rizs Montparnasse negyed\u00e9ben nem tartozik a legfontosabb turisztikai l\u00e1tv\u00e1nyoss\u00e1gok k\u00f6z\u00e9, pedig nemcsak az \u00e9letm\u0171, hanem az elrendez\u00e9s, a kivitelez\u00e9s, \u00e9s a Bourdelle-hagyat\u00e9kkal szerves\u00fclve rendezett, egy\u00e9b tematik\u00e1j\u00fa ki\u00e1ll\u00edt\u00e1sok miatt is \u00e9rdemes megn\u00e9zni. Az 1949 \u00f3ta m\u0171k\u00f6d\u0151 m\u00fazeumhoz Bourdelle egykori st\u00fadi\u00f3j\u00e1t alak\u00edtott\u00e1k \u00e1t ki\u00e1ll\u00edt\u00f3t\u00e9rr\u00e9, \u00e9s el\u00e9g hagyom\u00e1nyos m\u00f3don, nemcsak k\u00f6ztereken m\u00e1r nem l\u00e1that\u00f3, h\u00edres munk\u00e1it helyezt\u00e9k be a kollekci\u00f3ba, hanem meg\u0151rizt\u00e9k terveit, v\u00e1zlatait, rajzait \u00e9s torz\u00f3it, ahogyan a szob\u00e1k \u00e9s a m\u0171terem berendez\u00e9s\u00e9t is.[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” el_class=”box-l20″ width=”1\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” overlay_strength=”0.3″ column_border_width=”none” column_border_style=”solid” bg_image_animation=”none” offset=”vc_col-sm-offset-0″][divider line_type=”Small Line” line_alignment=”default” line_thickness=”4″ divider_color=”extra-color-2″ custom_height=”20″ custom_line_width=”100″][vc_column_text]\n

1<\/p>\n

http:\/\/www.bourdelle.paris.fr\/en<\/a><\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”default” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” el_class=”p-cont-4-0″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” overlay_strength=”0.3″ column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][image_with_animation image_url=”24291″ alignment=”” animation=”Fade In” img_link_large=”yes” hover_animation=”none” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” el_class=”full-img”][vc_column_text]\n

Back Side \/ Dos \u00e0 la mode.<\/em> | Mus\u00e9e Bourdelle, P\u00e1rizs \u00a9 Fot\u00f3: Pierre Antoine<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” scene_position=”center” text_color=”dark” text_align=”left” class=”p-4-0″ overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”2\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” overlay_strength=”0.3″ column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]Mit\u0151l nem lesz ennek ellen\u00e9re ez a m\u00fazeum atavisztikus? A t\u00e9rkompoz\u00edci\u00f3t aszerint alak\u00edtott\u00e1k \u00e1t, hogy ne csak a szobrok, hanem a helysz\u00edn \u00e9s a t\u00e9r jellegzetess\u00e9gei is \u00e9rv\u00e9nyes\u00fcljenek, \u00e9s ami m\u00e9g l\u00e9nyegesebb: folyamatosan m\u00e1s ki\u00e1ll\u00edt\u00e1sokat helyeznek Bourdelle alkot\u00e1sai k\u00f6z\u00e9, \u00edgy alak\u00edtva ki nemcsak egy saj\u00e1tos strat\u00e9gi\u00e1t, hanem olyan ki\u00e1ll\u00edt\u00e1si komplexumot, amelyben Bourdelle szobrai gyakran csak kontextusk\u00e9nt, \u00e9s nem l\u00e1tv\u00e1nyoss\u00e1gk\u00e9nt szolg\u00e1lnak. \u00cdgy m\u0171k\u00f6d\u00f6tt a Back Side<\/em> c\u00edm\u0171, 2019 j\u00faliusa \u00e9s novembere k\u00f6z\u00f6tt rendezett divatki\u00e1ll\u00edt\u00e1s is, amely \u2013 elnevez\u00e9s\u00e9b\u0151l is sejthet\u0151en \u2013 a ruh\u00e1k, \u00f6lt\u00f6zetek, kieg\u00e9sz\u00edt\u0151k \u00e9s szettek h\u00e1t\u00e1ra, h\u00e1ts\u00f3 r\u00e9sz\u00e9re koncentr\u00e1lt. Amilyen ban\u00e1lis \u00f6tletnek t\u0171nik els\u0151 hall\u00e1sra, olyan elgondolkodtat\u00f3: a h\u00e1t testt\u00e1jk\u00e9nt, gondolatk\u00e9nt \u00e9s fenomenol\u00f3giai l\u00e9tez\u0151k\u00e9nt egyform\u00e1n van jelen a ki\u00e1ll\u00edt\u00e1sban \u00e9s paratextusaiban egyar\u00e1nt. A saj\u00e1t h\u00e1t az, amit nem l\u00e1tunk, m\u00e1sok\u00e9t ugyanakkor nagyon is, s az sem mindegy, milyen kultur\u00e1lis jelent\u00e9seket t\u00e1rs\u00edtunk hozz\u00e1. A h\u00e1t k\u00e9pes m\u00e9diumk\u00e9nt m\u0171k\u00f6dni, testtel, politik\u00e1val vagy szexualit\u00e1ssal kapcsolatos jelent\u00e9seket megfogalmazni: hogy egy ruh\u00e1nak milyen a h\u00e1tkiv\u00e1g\u00e1sa, mit \u00e9s hogyan mutat meg a testb\u0151l, mit fed fel, vagy \u00e9ppen rejt el, megannyi kultur\u00e1lis v\u00e1ltoz\u00f3 f\u00fcggv\u00e9nye. Ahogyan a ki\u00e1ll\u00edt\u00e1s vezet\u0151j\u00e9ben is olvashat\u00f3, egy t\u00e1rsadalomban, amely megsz\u00e1llottan az arc t\u00f6k\u00e9letess\u00e9g\u00e9t keresi, kimondottan \u00e9rdekes megford\u00edtani a kultur\u00e1lis f\u00f3kuszt, arr\u00f3l gondolkodva, vajon hogyan \u00e9rz\u00e9kelik az emberek a saj\u00e1t h\u00e1tukat, hogyan \u00e9rz\u00e9kelik m\u00e1sok h\u00e1t\u00e1t, \u00e9s egy\u00e1ltal\u00e1n: milyen pszichol\u00f3giai \u00e9s t\u00e1rsadalomt\u00f6rt\u00e9neti vonatkoz\u00e1sok t\u00e1rs\u00edthat\u00f3k a h\u00e1ts\u00f3 oldal percepci\u00f3j\u00e1hoz? Hogyan olvad bele valami a h\u00e1tt\u00e9rbe, \u00e9s hogyan k\u00e9pes ugyanez a h\u00e1tt\u00e9r kiemelni valamit?[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” el_class=”box-l20″ width=”1\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” overlay_strength=”0.3″ column_border_width=”none” column_border_style=”solid” bg_image_animation=”none” offset=”vc_col-sm-offset-0 vc_hidden-sm vc_hidden-xs”][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”default” scene_position=”center” text_color=”dark” text_align=”left” class=”full-0-15″ overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” el_class=”p-cont-4-0″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” overlay_strength=”0.3″ column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][image_with_animation image_url=”24285″ alignment=”” animation=”Fade In” img_link_large=”yes” hover_animation=”none” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” el_class=”full-img”][vc_column_text]\n

Back Side \/ Dos \u00e0 la mode.<\/em> | Mus\u00e9e Bourdelle, P\u00e1rizs \u00a9 Fot\u00f3: Pierre Antoine<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” scene_position=”center” text_color=”dark” text_align=”left” class=”p-4-0″ overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”2\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” overlay_strength=”0.3″ column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]A Back Side<\/em> ki\u00e1ll\u00edt\u00e1s a Bourdelle m\u00fazeum \u00f6sszes ter\u00e9t kihaszn\u00e1lta: a monument\u00e1lis szobrok ez\u00fattal haute couture alkot\u00e1sok voltak, az atelier szekci\u00f3 politikai \u00fczenetet megfogalmaz\u00f3 k\u00eds\u00e9rleti darabok, az alagsori ki\u00e1ll\u00edt\u00f3t\u00e9r pedig t\u00f6rt\u00e9neti couture \u00e9s h\u00e9tk\u00f6znapi, a h\u00e1tukkal valamit \u00fczen\u0151 ruh\u00e1k h\u00e1tter\u00e9v\u00e9 v\u00e1lnak. A szobrok \u00e9s a ruh\u00e1k egys\u00e9ges narrat\u00edv\u00e1t hoztak l\u00e9tre, ami egy\u00e1ltal\u00e1n nem mag\u00e1t\u00f3l \u00e9rtet\u0151d\u0151, \u00e9s legink\u00e1bb a ki\u00e1ll\u00edt\u00e1s kur\u00e1tor\u00e1nak \u2013 Alexandre Samson<\/span> \u2013 ar\u00e1ny\u00e9rz\u00e9k\u00e9t dics\u00e9rte. A Back Side<\/em> ugyanakkor \u2013 k\u00fcl\u00f6n\u00f6sen, mivel teljesen k\u00fcl\u00f6nb\u00f6z\u0151 korszakokat \u00e9s a m\u0171v\u00e9szeti form\u00e1kat j\u00e1tszott egybe \u2013 felveti a divatki\u00e1ll\u00edt\u00e1sokkal kapcsolatos \u00f6sszes fontos k\u00e9rd\u00e9st. Mikor v\u00e1lik a divat magasm\u0171v\u00e9szett\u00e9? Hogyan lesz a divat ipara konzervat\u00edv, m\u0171v\u00e9szete viszont felforgat\u00f3? Mit keresnek a ruh\u00e1k a m\u00fazeumban? Ezekre a k\u00e9rd\u00e9sekre a kritikai kult\u00farakutat\u00e1s \u00e9s a nyugati t\u00edpus\u00fa, az \u00faj muzeol\u00f3gia \u00e9vtizedes fordulatait biztos k\u00e9zzel alkalmaz\u00f3 kur\u00e1tori gyakorlat m\u00e1r r\u00e9gen v\u00e1laszolt, Magyarorsz\u00e1gon azonban m\u00e9g mindig kev\u00e9s j\u00f3l siker\u00fclt divatki\u00e1ll\u00edt\u00e1st l\u00e1tunk. Ez az egyik oka annak, hogy nem lehet el\u00e9gszer tiszt\u00e1zni m\u0171k\u00f6d\u00e9s\u00fcket. Az al\u00e1bbiakban amellett fogok \u00e9rvelni, hogy egy couture ruh\u00e1nak semmivel sincsen kisebb l\u00e9tjogosults\u00e1ga ki\u00e1ll\u00edt\u00e1si t\u00e1rggy\u00e1 v\u00e1lni, mint egy klassziciz\u00e1l\u00f3 szobornak, s ezt a divat fogalm\u00e1nak bizonyos konnot\u00e1ci\u00f3in kereszt\u00fcl fogom bemutatni: ezek a (t\u00e1rsadalmi \u00e9s haszn\u00e1lati) t\u00e1rgyak egyszerre hoznak l\u00e9tre kultur\u00e1lis rendszert, ki\u00e1ll\u00edt\u00e1si komplexumot \u00e9s politikai hitvall\u00e1st.[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” el_class=”box-l20″ width=”1\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” overlay_strength=”0.3″ column_border_width=”none” column_border_style=”solid” bg_image_animation=”none” offset=”vc_col-sm-offset-0 vc_hidden-sm vc_hidden-xs”][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”default” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” el_class=”p-cont-4-0″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” overlay_strength=”0.3″ column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][image_with_animation image_url=”24288″ alignment=”center” animation=”Fade In” img_link_large=”yes” hover_animation=”none” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” el_class=”full-img”][vc_column_text]\n

Back Side \/ Dos \u00e0 la mode.<\/em> | Mus\u00e9e Bourdelle, P\u00e1rizs \u00a9 Fot\u00f3: Pierre Antoine<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” scene_position=”center” text_color=”dark” text_align=”left” class=”p-4-0″ overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” overlay_strength=”0.3″ column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]\n

1. A divat rendszere mint heterog\u00e9n kultur\u00e1lis t\u00e9r<\/h4>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”2\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” overlay_strength=”0.3″ column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]A divatki\u00e1ll\u00edt\u00e1sok ide\u00e1lis esetben \u2013 \u00e9s a Bourdelle-m\u00fazeumban bemutatott Back Side<\/em> szerencs\u00e9re ilyen \u2013 alkalmasak arra, hogy megmutass\u00e1k a kultur\u00e1lis absztrakci\u00f3 term\u00e9szet\u00e9t, a t\u00e1rgyi kult\u00fara m\u0171k\u00f6d\u00e9si mechanizmusait, illetve azt, hogyan k\u00e9pesek k\u00fcl\u00f6nb\u00f6z\u0151 min\u0151s\u00e9g\u0171 \u00e9s medi\u00e1lis k\u00f6rnyezet\u0171 alkot\u00e1sok p\u00e1rbesz\u00e9dbe l\u00e9pni egym\u00e1ssal. A m\u0171alkot\u00e1sok jelent\u00e9seket hoznak l\u00e9tre, ugyanakkor reflekt\u00e1lnak arra a k\u00f6zegre \u00e9s kontextusra, amely kitermelte\/megteremtette \u0151ket. A divatki\u00e1ll\u00edt\u00e1sok eset\u00e9ben kiker\u00fclhetetlen, hogy a mindenkori divat elvont term\u00e9szet\u00e9r\u0151l besz\u00e9lj\u00fcnk; arr\u00f3l, ahogyan bizonyos korszakok megteremtik a saj\u00e1t, \u00edzl\u00e9sbeli kateg\u00f3ri\u00e1ikat, vagy \u00e9ppen \u00faj jelens\u00e9geket illesztenek a kateg\u00f3ri\u00e1kba. Err\u0151l nem v\u00e9letlen\u00fcl juthat esz\u00fcnkbe Michel Foucault<\/span> klasszikus taxon\u00f3mia-elm\u00e9lete: az \u00edzl\u00e9s lev\u00e1laszt\u00e1sa a term\u00e9szetess\u00e9g kateg\u00f3ri\u00e1j\u00e1r\u00f3l m\u00e1r a Bourdelle \u00e1ltal is meg\u00e9lt moderns\u00e9gben is b\u0151ven jelen volt, m\u00e1ra pedig alapvet\u00e9ss\u00e9 v\u00e1lt. Az \u00edzl\u00e9s ugyanis nem a k\u00fcls\u0151 elemek jele, vagy a sz\u00e9ps\u00e9ghez val\u00f3 hozz\u00e1f\u00e9r\u00e9s szintje, hanem az oszt\u00e1lyz\u00f3k oszt\u00e1lyz\u00e1sa. Catherine Driscoll<\/span> Chanel: The Order of Things<\/em> c\u00edm\u0171 tanulm\u00e1ny\u00e1ban2<\/span> Foucault A szavak \u00e9s a dolgok<\/em> c\u00edm\u0171 monogr\u00e1fi\u00e1j\u00e1nak im\u00e9nt id\u00e9zett taxon\u00f3mia-fogalm\u00e1t alkalmazva amellett \u00e9rvel, hogy a divat ut\u00f3pi\u00e1ja addig m\u0171k\u00f6dik, ameddig nem kell megval\u00f3sulnia. A fogyaszt\u00e1santropol\u00f3gia adottnak tekinti, hogy az anyagi kult\u00fara elemei nem egyenrang\u00faak, viszont k\u00e9rd\u00e9sk\u00e9nt teszi fel, hogy mi a fogyaszt\u00e1s szimbolikus jelent\u0151s\u00e9ge, \u00e9s mindennek mi k\u00f6ze van a reprezent\u00e1ci\u00f3 politik\u00e1j\u00e1hoz? A reprezent\u00e1ci\u00f3 a l\u00e1that\u00f3s\u00e1g kulcsfogalma, rendszereinek logik\u00e1ja pedig nem homogeniz\u00e1l csoportokat, szok\u00e1sokat \u00e9s identit\u00e1s-modelleket \u00fagy, mintha azok egym\u00e1sb\u00f3l k\u00f6vetkezn\u00e9nek. Az identit\u00e1s vizu\u00e1lis meghosszabb\u00edt\u00e1sak\u00e9nt is m\u0171k\u00f6d\u0151 anyagi kult\u00fara meg\u00e9rt\u00e9s\u00e9nek el\u0151felt\u00e9tele az azt megalkot\u00f3 kateg\u00f3ri\u00e1k kritikai elemz\u00e9se, illetve az egy\u00e9ni fogyaszt\u00e1si szok\u00e1sokkal \u00f6sszekapcsol\u00f3d\u00f3, reflexi\u00f3ra \u00e9p\u00fcl\u0151 viszony.[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” el_class=”box-l20″ width=”1\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” overlay_strength=”0.3″ column_border_width=”none” column_border_style=”solid” bg_image_animation=”none” offset=”vc_col-sm-offset-0″][divider line_type=”Small Line” line_alignment=”default” line_thickness=”4″ divider_color=”extra-color-2″ custom_height=”20″ custom_line_width=”100″][vc_column_text]\n

2<\/p>\n

Discroll, Catherine: Chanel: The Order of Things, Fashion Theory,<\/em> Vol. 14, Issue 2, 135-158.<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_background” full_screen_row_position=”middle” column_margin=”default” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” el_class=”p-cont-4-0″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” overlay_strength=”0.3″ column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][image_with_animation image_url=”24289″ alignment=”center” animation=”Fade In” img_link_large=”yes” hover_animation=”none” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” el_class=”full-img”][vc_column_text]\n

Back Side \/ Dos \u00e0 la mode.<\/em> | Mus\u00e9e Bourdelle, P\u00e1rizs \u00a9 Fot\u00f3: Pierre Antoine<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” scene_position=”center” text_color=”dark” text_align=”left” class=”p-4-0″ overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”2\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” overlay_strength=”0.3″ column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]A divat rendszere bizonyos \u00e9rtelemben a jeltudom\u00e1nyi elemz\u00e9snek mintaszer\u0171en k\u00edn\u00e1lja fel mag\u00e1t, amennyiben jel\u00f6l\u0151knek \u00e9s jelentetteknek pontos spektrum\u00e1t hat\u00e1rozza meg, \u00e9s saj\u00e1t logik\u00e1j\u00e1n bel\u00fcl nem lehet megc\u00e1folni. Roland Barthes<\/span> A divat mint rendszer<\/em> c\u00edm\u0171 elh\u00edres\u00fclt monogr\u00e1fi\u00e1j\u00e1ban3<\/span> egy francia divatmagazin egy \u00e9vfolyam\u00e1t veti al\u00e1 szemiotikai elemz\u00e9snek, \u00e9s term\u00e9szetesen m\u00e1r emiatt is rengeteg kritika \u00e9ri. A koncepci\u00f3, hogy Barthes szerint h\u00e1romf\u00e9le ruh\u00e1t lehet megk\u00fcl\u00f6nb\u00f6ztetni, ezek pedig az \u00edrott ruh\u00e1zat (a ruha le\u00edr\u00e1sa a magazinban), a k\u00e9pi ruh\u00e1zat (\u00e9rtelemszer\u0171en a f\u00e9nyk\u00e9p), illetve az aktu\u00e1lis ruh\u00e1zat, amely az \u00e9ppen adott megval\u00f3sul\u00e1st \/ vari\u00e1ci\u00f3t jelenti (jel\u00f6li). A legf\u0151bb kritika Barthes divatszemiotik\u00e1j\u00e1val szemben, hogy l\u00e1tsz\u00f3lag indokolatlanul von le k\u00f6vetkeztet\u00e9seket jelek halmaza alapj\u00e1n, mik\u00f6zben elemz\u00e9seinek nincsen szociol\u00f3giai be\u00e1gyazotts\u00e1ga. Ezek a kritik\u00e1k \u00e1ltal\u00e1ban teljesen jogosak, kiv\u00e9ve akkor, ha divatki\u00e1ll\u00edt\u00e1sokra vonatkoztatjuk \u0151ket: eben az esetben ugyanis meg\u00e1llja a hely\u00e9t a h\u00e1rmas feloszt\u00e1s. Ha Bourdelle-szobrok k\u00f6z\u00e9 behelyezett Givenchy-t\u00e9telr\u0151l gondolkodom, akkor vajon \u00e1ltal\u00e1ban a k\u00e9t m\u0171v\u00e9szeti \u00e1g viszony\u00e1t helyezem el\u0151t\u00e9rbe, a megval\u00f3sul\u00e1st (display), vagy a vizu\u00e1lis narrat\u00edv\u00e1t, amelyet l\u00e9trehoz? Ez \u00f6nmag\u00e1ban is olyan \u00e9rvel\u00e9s, amely a posztmodern \u00e9s r\u00e9szben az azt megel\u0151z\u0151 modernit\u00e1s felt\u00e9telrendszerei el\u0151tt nem l\u00e9tezett volna. Ezt a dilemm\u00e1t fogta meg \u2013 enn\u00e9l valamivel plasztikusabban \u2013 Joseph Kosuth<\/span> (ugyancsak P\u00e1rizsban l\u00e1that\u00f3) H\u00e1rom sz\u00e9k<\/em> (1965) c\u00edm\u0171 munk\u00e1ja, amelyben a sz\u00e9k t\u00e1rgyk\u00e9nt, k\u00e9pk\u00e9nt \u00e9s elvont nyelvi jelk\u00e9nt is megjelenik. A ruha \u2013 a divatki\u00e1ll\u00edt\u00e1s \u00e1ltal\u00e1nos alapegys\u00e9gek\u00e9nt \u2013 nem tud nem t\u00e1rgyk\u00e9nt viselkedni, vagy, ha a m\u00e1r emlegetett fenomenol\u00f3gia nyelvi k\u00e9szlet\u00e9vel akarom megfogalmazni, nem tud saj\u00e1t t\u00e1rgyis\u00e1g\u00e1n \u00e9s a t\u00e1rgyis\u00e1g jelent\u00e9sein k\u00edv\u00fcl ker\u00fclni. A divatki\u00e1ll\u00edt\u00e1sok teh\u00e1t \u00e1ltal\u00e1ban mondanak valamit a t\u00e1rgykult\u00far\u00e1r\u00f3l, mik\u00f6zben megmutatj\u00e1k a t\u00e1rgy haszn\u00e1lat\u00e1nak \u00e9s t\u00e1rsadalmi jelent\u00e9seinek lehets\u00e9ges v\u00e1ltozatait is. A ki\u00e1ll\u00edt\u00e1s narrat\u00edv egys\u00e9ge, az ahhoz kapcsol\u00f3d\u00f3 kiadv\u00e1nyok \u00e9s l\u00e1tv\u00e1nyok mint paratextusok, \u00e9s a ki\u00e1ll\u00edtott darabok mint t\u00e1rsadalmi t\u00e1rgyak egyszerre hozz\u00e1k l\u00e9tre azt, amit most a ki\u00e1ll\u00edt\u00e1si komplexum kifejez\u00e9ssel fogok lefedni.[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” el_class=”box-l20″ width=”1\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” overlay_strength=”0.3″ column_border_width=”none” column_border_style=”solid” bg_image_animation=”none” offset=”vc_col-sm-offset-0″][divider line_type=”Small Line” line_alignment=”default” line_thickness=”4″ divider_color=”extra-color-2″ custom_height=”20″ custom_line_width=”100″][vc_column_text]\n

3<\/p>\n

Barthes, Roland: A divat mint rendszer.<\/em> Ford. Mihancsik Zs\u00f3fia, Budapest: Helikon, 1999<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_background” full_screen_row_position=”middle” column_margin=”default” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” el_class=”p-cont-4-0″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” overlay_strength=”0.3″ column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][image_with_animation image_url=”24290″ alignment=”center” animation=”Fade In” img_link_large=”yes” hover_animation=”none” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” el_class=”full-img”][vc_column_text]\n

Back Side \/ Dos \u00e0 la mode.<\/em> | Mus\u00e9e Bourdelle, P\u00e1rizs \u00a9 Fot\u00f3: Pierre Antoine<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” scene_position=”center” text_color=”dark” text_align=”left” class=”p-4-0″ overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” overlay_strength=”0.3″ column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]\n

2. A divat rendszere mint ki\u00e1ll\u00edt\u00e1si komplexum<\/h4>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”2\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” overlay_strength=”0.3″ column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]A l\u00e1that\u00f3s\u00e1g rendje, amely a reprezent\u00e1ci\u00f3 politik\u00e1j\u00e1b\u00f3l k\u00f6vetkezne, egy\u00e1ltal\u00e1n nem egyenl\u0151 a l\u00e1tv\u00e1nyoss\u00e1g (display) \u00e9s a ki\u00e1ll\u00edt\u00e1s k\u00e1nonj\u00e1val, amely az elrendez\u00e9s narrat\u00edv\u00e1j\u00e1ban megmutatkozik, \u00e9s azokat a kultur\u00e1lis \u00e9s t\u00f6rt\u00e9neti er\u0151ket fedi fel, amelyek a couture rendszer\u00e9nek alak\u00edt\u00e1s\u00e1\u00e9rt felel\u0151sek. A display ugyanakkor t\u00f6bb, mint puszt\u00e1n a ki\u00e1ll\u00edtott t\u00e1rgyak bemutat\u00e1sa, hanem olyan \u201et\u00e1rsadalmi \u00e9s kultur\u00e1lis tud\u00e1stermel\u00e9s, amelyben a nyilv\u00e1noss\u00e1gnak \u00e9s a vizualit\u00e1snak is fontos szerepe van.\u201d4<\/span> Tony Bennett<\/span> brit m\u00fazeumteoretikus ismert (b\u00e1r Magyarorsz\u00e1gon kev\u00e9ss\u00e9 alkalmazott) elm\u00e9lete szerint a ki\u00e1ll\u00edt\u00e1si komplexum nemcsak a m\u00fazeumok \u00e9s a ki\u00e1ll\u00edt\u00f3terek \u00f6sszess\u00e9ge, hanem mindazok a tud\u00e1sform\u00e1k, tud\u00e1sblokkok \u00e9s int\u00e9zm\u00e9nyrendszerek, amelyek a l\u00e1tv\u00e1nyoss\u00e1ghoz \u00e9s a nyilv\u00e1noss\u00e1ghoz kapcsol\u00f3dnak. Ez az (ism\u00e9t) Michel Foucault t\u00e9ziseit \u00fajragondol\u00f3 elk\u00e9pzel\u00e9s a 19. sz\u00e1zadi modernit\u00e1sban l\u00e9trej\u00f6v\u0151 int\u00e9zm\u00e9nyrendszerek \u00e9s t\u00e1rsadalmi terek (m\u00fazeum, k\u00f6nyvt\u00e1r, vil\u00e1gki\u00e1ll\u00edt\u00e1s, \u00e1ruh\u00e1z) 21. sz\u00e1zadi deriv\u00e1tumainak le\u00edr\u00e1s\u00e1ra is k\u00eds\u00e9rletet tesz. Annak bemutat\u00e1sa, hogy egy adott korszak mit tekint tud\u00e1snak, divatnak, vagy \u00e9ppen ki\u00e1ll\u00edt\u00e1snak, egym\u00e1st komplex m\u00f3don kieg\u00e9sz\u00edt\u0151 logik\u00e1k \u00e9s int\u00e9zm\u00e9nyrendszerek m\u0171k\u00f6d\u00e9s\u00e9t\u0151l f\u00fcgg. A korszak, amelyben Antoine Bourdell alkotott, h\u00fazta be a divat rendszer\u00e9t ebbe a rendszerbe: ennek nyom\u00e1t Georg Simmel<\/span> \u00e9rtekez\u0151 pr\u00f3z\u00e1j\u00e1ban \u00e9s Charles Baudelaire<\/span> essz\u00e9iben egyar\u00e1nt megtal\u00e1ljuk. A modernista (s\u0151t, k\u00e9s\u0151-romantikus) szobrokkal l\u00e9trehozott ki\u00e1ll\u00edt\u00e1si t\u00e9rben a kort\u00e1rs divat alkot\u00e1sai saj\u00e1t m\u0171v\u00e9szeti, t\u00e1rgyi \u00e9s politikai jelleg\u00fcket fedik fel, att\u00f3l f\u00fcgg\u0151en, hogy a divat term\u00e9kek\u00e9nt melyiket h\u00edvj\u00e1k el\u0151 jobban. Az, hogy mindezt a h\u00e1toldalukkal teszik, egyszerre ironikus gesztus \u00e9s bosszant\u00f3an egyszer\u0171 anal\u00f3gia.[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” el_class=”box-l20″ width=”1\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” overlay_strength=”0.3″ column_border_width=”none” column_border_style=”solid” bg_image_animation=”none” offset=”vc_col-sm-offset-0″][divider line_type=”Small Line” line_alignment=”default” line_thickness=”4″ divider_color=”extra-color-2″ custom_height=”20″ custom_line_width=”100″][vc_column_text]\n

4<\/p>\n

Frazon Zs\u00f3fia: M\u00fazeum \u00e9s ki\u00e1ll\u00edt\u00e1s \u2013 Az \u00fajrarajzol\u00e1s terei.<\/em> Budapest: Gondolat, 2011, 13.<\/p>\n

5<\/p>\n

Ld. pl. Bennett, Tony: The Birth of the Museums. History, Theory, Politics.<\/em> London-New York: Routledge, 1995<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”default” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” el_class=”p-cont-4-0″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” overlay_strength=”0.3″ column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][image_with_animation image_url=”24284″ alignment=”center” animation=”Fade In” img_link_large=”yes” hover_animation=”none” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” el_class=”full-img”][vc_column_text]\n

Back Side \/ Dos \u00e0 la mode.<\/em> | Mus\u00e9e Bourdelle, P\u00e1rizs \u00a9 Fot\u00f3: Pierre Antoine<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” scene_position=”center” text_color=”dark” text_align=”left” class=”p-4-0″ overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”2\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” overlay_strength=”0.3″ column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]A Bourdelle-m\u00fazeum f\u00f6ldszinti, legimpressz\u00edvebb ki\u00e1ll\u00edt\u00f3ter\u00e9ben \u2013 ahol a monument\u00e1lis k\u00f6zt\u00e9ri szobrok l\u00e1that\u00f3k \u2013 kifejezetten a m\u0171alkot\u00e1sk\u00e9nt kezelt, egyszeri visel\u00e9sre tervezett haute couture darabok kaptak helyet. A k\u00e9t korszak reprezent\u00e1ci\u00f3s logik\u00e1ja ugyan\u00fagy ezt dikt\u00e1lja, mint a divat hierarchikus elrendez\u00e9se: a t\u00e9rben a szobrok uralkodnak, a couture t\u00e9telek szell\u0151sen, \u00f6n\u00e1ll\u00f3 aur\u00e1t kapva helyezkedtek el. Itt \u00e1ll\u00edtott\u00e1k ki p\u00e9ld\u00e1ul a Cate Blanchett<\/span> \u00e1ltal a 2018-as cannes-i filmfesztiv\u00e1l z\u00e1r\u00f3g\u00e1l\u00e1j\u00e1n viselt ikonikus Tha\u00efs<\/em> nev\u0171, Clare Waight Keller<\/span> \u00e1ltal tervezett Givenchy-ruh\u00e1t is.6<\/span> Blanchett nemcsak a vil\u00e1g egyik legismertebb sz\u00edn\u00e9szn\u0151je, hanem tavaly a fesztiv\u00e1l zs\u0171rij\u00e9nek eln\u00f6ke is volt. A t\u00f6bbi ruh\u00e1n\u00e1l (pl. Martine Sitbon, The Row) nem mindig nevezt\u00e9k meg, hogy ki \u00e9s milyen alkalomkor viselte, ez a kiemel\u00e9s<\/em> \u00edgy azt sugallta, hogy a k\u00e1non \u00e9s a preszt\u00edzs m\u00e9g a legreprezentat\u00edvabb t\u00e9rben is k\u00fcl\u00f6n al\u00e1- \u00e9s f\u00f6l\u00e9rendelts\u00e9gi viszonyokat hoz l\u00e9tre. Az sem elhanyagolhat\u00f3 vizu\u00e1lis t\u00e9nyez\u0151, hogy a Bourdelle-szobrok nemcsak nagy m\u00e9ret\u0171ek, hanem gyakran igen kidolgozott (ez\u00e9rt a klassziciz\u00e1l\u00f3 jelz\u0151) izomzattal rendelkeznek \u2013 a monument\u00e1lis izmos h\u00e1tak \u00e9s a finom vonalvezet\u00e9s\u0171 couture h\u00e1tkiv\u00e1g\u00e1sok izgalmas kontrasztot hoztak l\u00e9tre.[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” el_class=”box-l20″ width=”1\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” overlay_strength=”0.3″ column_border_width=”none” column_border_style=”solid” bg_image_animation=”none” offset=”vc_col-sm-offset-0″][divider line_type=”Small Line” line_alignment=”default” line_thickness=”4″ divider_color=”extra-color-2″ custom_height=”20″ custom_line_width=”100″][vc_column_text]\n

6<\/p>\n

https:\/\/www.givenchy.com\/us\/en-US\/maison-red-carpet-cate-blanchett.html<\/a> | https:\/\/www.poppursuits.com\/cate-blanchett-stuns-in-a-rainbow-givenchy-dress-at-blackkklansman-cannes-premiere<\/a>\/<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_background” full_screen_row_position=”middle” column_margin=”default” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” el_class=”p-cont-4-0″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” overlay_strength=”0.3″ column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][image_with_animation image_url=”24292″ alignment=”center” animation=”Fade In” img_link_large=”yes” hover_animation=”none” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” el_class=”full-img”][vc_column_text]\n

Back Side \/ Dos \u00e0 la mode.<\/em> | Mus\u00e9e Bourdelle, P\u00e1rizs \u00a9 Fot\u00f3: Pierre Antoine<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” scene_position=”center” text_color=”dark” text_align=”left” class=”p-4-0″ overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” overlay_strength=”0.3″ column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]\n

3. A divat rendszere mint politikai alleg\u00f3ria<\/h4>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”2\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” overlay_strength=”0.3″ column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]A saj\u00e1t h\u00e1tat nem l\u00e1tjuk, m\u00e1sok\u00e9t viszont igen \u2013 ez az egyszer\u0171 meg\u00e1llap\u00edt\u00e1s egyben annak esend\u0151s\u00e9g\u00e9re is felh\u00edvja a figyelmet, hogy melyik korszak takarja el vagy \u00e9ppen teszi szabadd\u00e1 a h\u00e1tat, hiszen az teljesen kiszolg\u00e1ltatott a m\u00e1sik ember tekintet\u00e9nek. Azonban a ki\u00e1ll\u00edt\u00e1s nemcsak az \u00edves, atl\u00e9tikus vagy \u00e9ppen izmos h\u00e1takr\u00f3l tesz eml\u00edt\u00e9st, hiszen a deform\u00e1lt h\u00e1tnak is saj\u00e1tos jelent\u00e9sr\u00e9tegei vannak \u2013 el\u00e9g, ha a p\u00faposs\u00e1gra gondolunk, ami nemcsak Victor Hugo torony\u0151r\u00e9re jellemz\u0151, hanem beteg vagy id\u0151s, teh\u00e1t a divat k\u00e1nonj\u00e1b\u00f3l kiszorul\u00f3 testeknek is saj\u00e1tja.[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” el_class=”box-l20″ width=”1\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” overlay_strength=”0.3″ column_border_width=”none” column_border_style=”solid” bg_image_animation=”none” offset=”vc_col-sm-offset-0 vc_hidden-sm vc_hidden-xs”][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”default” scene_position=”center” text_color=”dark” text_align=”left” class=”full-0-15″ overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” el_class=”p-cont-4-0″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” overlay_strength=”0.3″ column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][image_with_animation image_url=”24293″ alignment=”center” animation=”Fade In” img_link_large=”yes” hover_animation=”none” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” el_class=”full-img”][vc_column_text]\n

Back Side \/ Dos \u00e0 la mode.<\/em> | Mus\u00e9e Bourdelle, P\u00e1rizs \u00a9 Fot\u00f3: Pierre Antoine<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” scene_position=”center” text_color=”dark” text_align=”left” class=”p-4-0″ overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”2\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” overlay_strength=”0.3″ column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]Ebb\u0151l a szempontb\u00f3l a leg\u00e9rdekesebb ki\u00e1ll\u00edtott t\u00e9tel Rei Kawakubo<\/span> (a Comme des Gar\u00e7ons m\u00e1rka alap\u00edt\u00f3ja) jap\u00e1n tervez\u0151(n\u0151!) p\u00e1rdarabja, amely egy deform\u00e1lt testet mutat be, illetve egy arra tervezett ruh\u00e1t. Ezen kereszt\u00fcl demonstr\u00e1lja, hogy a testide\u00e1lt a divat k\u00e1nonja, nem pedig az emberek \u00e1tlagos ig\u00e9nye vagy alkata hozza l\u00e9tre. Kawakubo ruh\u00e1it Bourdelle m\u0171term\u00e9ben \u00e1ll\u00edtott\u00e1k ki, egyed\u00fclik\u00e9nt: az atelier csapong\u00e1sa, a f\u00e9lig k\u00e9sz \u00e1llapotok metafor\u00e1ja \u00e9rdekesen reflekt\u00e1l Kawakubo anti-kanonikus<\/em> testk\u00e9p\u00e9re. A k\u00e9t deform\u00e1lt b\u00e1bun fesz\u00fcl\u0151 ruha k\u00f6z\u00fcl az egyik k\u00e9k, a m\u00e1sik r\u00f3zsasz\u00edn apr\u00f3 kock\u00e1s, mint\u00e1jukban teh\u00e1t klasszikus nyugati, a fiatals\u00e1ghoz kapcsolt ide\u00e1lt id\u00e9znek meg: ahogyan a vezet\u0151 mellett egy igen j\u00f3l inform\u00e1lt terem\u0151r is elmondta, a torz ruh\u00e1kat kifejezetten Brigitte Bardot 1959-es pink pamutsz\u00f6vet esk\u00fcv\u0151i ruh\u00e1ja ihlette. Ezek a ruh\u00e1k a Comme des Gar\u00e7ons 1997-es \u201eTest a ruh\u00e1val, ruha a testtel\u201d (Body Meets Dress, Dress Meets Body<\/em>) kollekci\u00f3j\u00e1hoz8<\/span> k\u00e9sz\u00fcltek, amely legink\u00e1bb \u201eidomtalan dudorok\u201d (lumps and bumps) kollekci\u00f3 n\u00e9ven vonult be a divatt\u00f6rt\u00e9netbe. Kawakubo m\u00e1s munk\u00e1iban is, ebben pedig k\u00fcl\u00f6n\u00f6sen kifejez\u00e9sre juttatja, mit gondol az atl\u00e9tikus testek eszt\u00e9tikai gy\u0151zelm\u00e9r\u0151l, vagy arr\u00f3l, ahogyan a n\u0151i testeket a divat ipara hozz\u00e1ragasztja a saj\u00e1t ide\u00e1ljaihoz. A Bourdelle m\u0171term\u00e9ben elhelyezett ruh\u00e1k egyszerre fedik fel a divat rendszer\u00e9nek er\u0151szakos homogeniz\u00e1ci\u00f3s strat\u00e9gi\u00e1j\u00e1t, a testpolitik\u00e1kban m\u0171k\u00f6d\u0151 sz\u00e1mtalan tabut \u00e9s kiz\u00e1r\u00e1st, \u00e9s azt, hogy a testek, akik a divat jeleit viselik, j\u00f3val kisebb sz\u00e1mban t\u00f6k\u00e9letesek, mint amilyen ar\u00e1ny\u00fa t\u00f6k\u00e9letess\u00e9get a vizu\u00e1lis reprezent\u00e1ci\u00f3 sugall. Susan Bordo<\/span> amerikai kult\u00farakritikus, a testpolitika egyik legfontosabb elm\u00e9let\u00edr\u00f3ja szerint egy adott korszak testk\u00e9p\u00e9ben, testide\u00e1lj\u00e1ban \u201ea kult\u00fara kikrist\u00e1lyosod\u00e1sa\u201d9<\/span> \u00e9rhet\u0151 tetten: az, ahogyan bizonyos testeket l\u00e1that\u00f3v\u00e1 tesz, m\u00edg m\u00e1sokat elrejt a kultur\u00e1lis testk\u00e1non. Kawakubo egy egyszer\u0171 dekonstrukci\u00f3s elj\u00e1r\u00e1ssal \u2013 torz testen Bardot esk\u00fcv\u0151i ruh\u00e1j\u00e1nak parafr\u00e1zisa \u2013 mutatja meg ennek a m\u0171k\u00f6d\u00e9s\u00e9t, a sz\u00f3 szoros \u00e9rtelm\u00e9ben: testk\u00f6zelb\u0151l.[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” el_class=”box-l20″ width=”1\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” overlay_strength=”0.3″ column_border_width=”none” column_border_style=”solid” bg_image_animation=”none” offset=”vc_col-sm-offset-0″][divider line_type=”Small Line” line_alignment=”default” line_thickness=”4″ divider_color=”extra-color-2″ custom_height=”20″ custom_line_width=”100″][vc_column_text]\n

8<\/p>\n

https:\/\/www.vogue.com\/fashion-shows\/spring-1997-ready-to-wear\/comme-des-garcons\/slideshow\/collection#15<\/a> | https:\/\/www.moma.org\/audio\/playlist\/43\/702<\/a> (utols\u00f3 hozz\u00e1f\u00e9r\u00e9s: 2019. okt\u00f3ber 30.)<\/p>\n

9<\/p>\n

Bordo, Susan: Unbearable Weight: Feminism, Western Culture, and the Body.<\/em> Oakland: University of California Press, 1993, 45-71.<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”default” scene_position=”center” text_color=”dark” text_align=”left” class=”full-5-20″ overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” el_class=”p-cont-4-0″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” overlay_strength=”0.3″ column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][image_with_animation image_url=”24283″ alignment=”center” animation=”Fade In” img_link_large=”yes” hover_animation=”none” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” el_class=”full-img”][vc_column_text]\n

Back Side \/ Dos \u00e0 la mode.<\/em> | Mus\u00e9e Bourdelle, P\u00e1rizs \u00a9 Fot\u00f3: Pierre Antoine<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” scene_position=”center” text_color=”dark” text_align=”left” class=”p-4-0″ overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”2\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” overlay_strength=”0.3″ column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]A sz\u00e1mos m\u00f3don absztrakt \u00e9s metaforikus politikuss\u00e1g mellett a ki\u00e1ll\u00edt\u00e1s als\u00f3 szintj\u00e9n direkt politikai \u00fczenetek is helyet kaptak: amellett, hogy a ki\u00e1ll\u00edt\u00e1s bemutatta, hogy a 18. sz\u00e1zadt\u00f3l kezdve hogyan v\u00e1lt a h\u00e1t \u00e9s a ruha h\u00e1tulja m\u00e9diumm\u00e1, konkr\u00e9t p\u00e9ld\u00e1kat is hoz a kort\u00e1rs politikuss\u00e1gra. Egy nagy fot\u00f3falon l\u00e1thattunk sz\u00e1mos p\u00f3l\u00f3t, amelynek a h\u00e1toldal\u00e1n felirat van, a n\u0151k elleni er\u0151szak ellen tiltakoz\u00f3t\u00f3l kezdve a z\u00f6ld, antifasiszta, vagy \u00e9ppen sz\u00e9ls\u0151jobboldali feliratokig. B\u00e1r a statement-p\u00f3l\u00f3k nem m\u0171k\u00f6dnek bonyolult m\u00f3don, m\u00e9gis van jelent\u0151s\u00e9ge annak, hogy a megfogalmazott \u00e1ll\u00edt\u00e1s az elej\u00e9re vagy a h\u00e1tulj\u00e1ra ker\u00fcl. A divat ilyen \u00e9rtelemben teh\u00e1t direkt m\u00f3don is tud politiz\u00e1lni, megmutatva ezzel nemcsak a vizu\u00e1lis, hanem az ideol\u00f3giai \u00e9rt\u00e9kv\u00e1laszt\u00e1sokat is. Az als\u00f3, legt\u00f6bb t\u00e9telt bemutat\u00f3 ki\u00e1ll\u00edt\u00f3t\u00e9rben helyet kaptak olyan m\u0171v\u00e9szek is \u2013 p\u00e9ld\u00e1ul a portr\u00e9- \u00e9s divatfotogr\u00e1fus Jeanloup Sieff<\/span>10<\/span> \u2013 akik, Bourdelle-hez hasonl\u00f3an, mark\u00e1nsan \u00e1br\u00e1zoltak h\u00e1takat is. A h\u00e1tra fel\u00e9 halad\u00e1snak sokszor vannak negat\u00edv kultur\u00e1lis asszoci\u00e1ci\u00f3i, a Back Side<\/em> ki\u00e1ll\u00edt\u00e1s azonban meggy\u0151z\u0151 m\u00f3don ford\u00edt h\u00e1tat ezeknek. Csak az ker\u00fclt el\u00e9m, amit elhagytam.[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” el_class=”box-l20″ width=”1\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” overlay_strength=”0.3″ column_border_width=”none” column_border_style=”solid” bg_image_animation=”none” offset=”vc_col-sm-offset-0″][divider line_type=”Small Line” line_alignment=”default” line_thickness=”4″ divider_color=”extra-color-2″ custom_height=”20″ custom_line_width=”100″][vc_column_text]\n

10<\/p>\n

https:\/\/www.jeanloupsieff.com\/<\/a><\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”default” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” el_class=”p-cont-4-0″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” overlay_strength=”0.3″ column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][image_with_animation image_url=”24295″ alignment=”center” animation=”Fade In” img_link_large=”yes” hover_animation=”none” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” el_class=”full-img”][vc_column_text]\n

Back Side \/ Dos \u00e0 la mode.<\/em> | Mus\u00e9e Bourdelle, P\u00e1rizs \u00a9 Fot\u00f3: Pierre Antoine<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” vertically_center_columns=”true” column_margin=”default” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” el_class=”p-2-0″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” overlay_strength=”0.3″ column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”]

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