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Rad istražuje model društvenosti, interakcije i participacije kao političke elemente postmoderne umjetnosti. Postmoderno stanje nastupa nakon propasti glavne ideje modernizma, što se temelji na vjeri u napredak i emancipaciju čovječanstva odnosno nakon kraha velikih spekulativnih pripovijesti poput idealizma, scijentizma, marksizma ili utopije o promjeni svijeta pomoću umjetnosti. Otuda se kao opće mjesto nadaje teza da umjetnost nema više onu ulogu kakva joj se pripisivala od XIX. stoljeća nadalje, kao što je politička borba, kritika društva ili socijalni angažman, odnosno da više nema funkciju kritike, onoga što upozorava i što se avangardno suprotstavlja svemu postojećem. Nasuprot takvom stavu, rad nastoji podastrijeti kritički i politički potencijal postmoderne umjetnosti, pri čemu se usmjerava na umjetničku praksu nakon 1990-ih te njezino isticanje relacija, susreta i interakcije s publikom. Riječ je o aproprijaciji avangardnih strategija, ali s povijesnim odmakom i drukčijim kontekstom. ; The paper explores the model of sociability, interaction and participation as political elements of postmodern art. The postmodern condition emerged after the failure of the main idea of modernism, which was based on the belief in the progress and emancipation of humanity, namely, after the collapse of large speculative narratives such as idealism, scientism, Marxism or a utopia of changing the world through art. Not surprisingly, therefore, the principal thesis in it is that art no longer has the role attributed to it since the 19th century, the one of political struggle, criticism of society or social engagement, namely, it no longer has the function of criticism, of something that acts as a warning and is avant-gardly opposed to everything that exists. Contrary to this view, this paper seeks to present the critical and political potential of postmodern art, focusing on post-1990s artistic practice and its emphasis on relationships, encounters and interaction with audiences. It is an appropriation of avant-garde strategies, but with a historical distance and in a different context.

The paper analyses the concept of space in contemporary art on the example of Suprematist Composition No. 1, Black on Grey by Kristina Leko from 2008. Referring to Malevich's suprematism, in December 2008 Leko initiated a project of art intervention in Ban Jelačić Square in Zagreb, where she intended to cover in black all commercials, advertisements, signs and names of various companies. This poetic intervention, as the artist calls it, was intended to prompt people to relativise material goods in the pre-Christmas period. However, despite the authorisation obtained from the city authorities, the companies concerned refused to remove their respective advertisements, be it for only for 24 hours, so this project has never been realised. The project, however, does exist in the virtual space, which is also public, and continues to act in the form of documentation. The non-feasibility of the intervention, or rather its invisibility on Jelačić Square, makes visible or directly indicates the ordering of the powers and the constellation of values in the social sphere, thus raising new questions. Indeed, in this way it actually enters the public space, sensitising and expanding it at the same time.

Rad se bavi mapiranjem i teorijskim konceptualiziranjem polemika vezanih uz "re- lacijsku formu". Pri tome ne predstavlja pokušaj pacifikacije različitih pozicija niti zauzimanja "strane" u polemikama, već se temelji na studiji koncepata (concept-based metodology) koja služe kao pomagala boljem razumijevanju objekta istraživanja. Premda je forma suvremene umjetnosti, bilo da je čine procesi ili postupci, prema tradicionalnom shvaćanju "razbijena", cilj rada je ispitati suprotno. U prvom dijelu analizirat će se pojam "relacijske forme" te diskursi vezani uz njezino artikuliranje. U drugom se dijelu istražuju tehnike i postupci odnosno strategije konceptualnih avangardi 1990-ih i 2000-ih. Zaključno se razmatraju napori, prijepori i mogućnosti umjetnosti u proširenom polju relacijskih praksi. Istraživanje će poslužiti za pobliže određenje ontološkog statusa suvremenih umjetničkih formi. ; The paper aims at mapping and theoretically conceptualizing the controversies around the "relational form." It does not, however, seek to conciliate the different positions or take "sides" in the debate; instead, it is based on a concept-based methodology as an instrument offering better insight into the researched object. Even though the form of contemporary art, be it as a process or as a procedure, is "broken" according to the traditional idea, the aim of this work is to examine the opposite. In the first part, the notion of "relational form" and the discourses related to its articulation are analyzed. The second part focuses on the techniques and procedures or strategies of the conceptual avant-gardes during the 1990s and 2000s. Eventually, the conclusion considers the efforts, debates, and possibilities of art in the extended field of relational practices. The aim of this research is to define more precisely the ontological status of contemporary art forms.