Schöpfung und Nichts: Orthodoxe Theologie und moderne Kunst im Dialog, 2023
Im Entstehungsprozess der Moderne nehmen „Kreativität“ und „Schöpfung“ als anthropologische Grund... more Im Entstehungsprozess der Moderne nehmen „Kreativität“ und „Schöpfung“ als anthropologische Grundkonzepte einen wichtigen Platz ein. Nicht nur im Bereich der Kunst, sondern ganz allgemein wird menschliches Streben mit diesen Begriffen charakterisiert. Obwohl die Idee einer Schöpfung in der jüdisch-christlichen Bibeltradition ihren Ursprung hat, ist der Idee, dass der Mensch schaffend tätig sein kann, seitens der Theologie bemerkenswert wenig Aufmerksamkeit zuteil geworden. Innerhalb der christlich-orthodoxen Tradition wurde die Frage nach der Kreativität des Menschen und deren theologische Bedeutung am deutlichsten von Nikolai Berdyaev (1874-1948) formuliert. Viele Aspekte der Philosophie Berdyaevs stellen auch heute noch eine Herausforderung dar.
Anarchy and the Kingdom of God reclaims the concept of “anarchism” both as a political philosophy... more Anarchy and the Kingdom of God reclaims the concept of “anarchism” both as a political philosophy and a way of thinking of the sociopolitical sphere from a theological perspective. Through a genuinely theological approach to the issues of power, coercion, and oppression, Davor Džalto advances human freedom—one of the most prominent forces in human history—as a foundational theological principle in Christianity. That principle enables a fresh re-examination of the problems of democracy and justice in the age of global (neoliberal) capitalism.
Anarchy and the Kingdom of God reclaims the concept of “anarchism” both as a political philosophy... more Anarchy and the Kingdom of God reclaims the concept of “anarchism” both as a political philosophy and a way of thinking of the sociopolitical sphere from a theological perspective. Through a genuinely theological approach to the issues of power, coercion, and oppression, Davor Džalto advances human freedom—one of the most prominent forces in human history—as a foundational theological principle in Christianity. That principle enables a fresh reexamination of the problems of democracy and justice in the age of global (neoliberal) capitalism.
Since the beginning of modernity, the relationship between art and religion has been a multifacet... more Since the beginning of modernity, the relationship between art and religion has been a multifaceted one, characterized both by tensions and by productive exchanges. One can claim that the modern concept of “art” (and the corresponding modern institution of art) has been one of the “secular–religious” expressions of modernity. The language we have been employing to characterize thedomainof“finearts”and“esthetic”experienceshasbeenremarkably“religious”. We“meditate” in front of artworks; art allows us to experience a “spiritual” excitement; we make pilgrimages to see and venerate masterpieces in their (secular) sacred spaces (e.g., museums) that require a special decorum, inspiring the atmosphere of devotion. In this way (and following the lead provided by WalterBenjamin)wearewitnessinganexchangebetweenthe“aura”ofdevotional(religious-esthetic) objects, and the “aura” of (secular–religious) artworks. This exchange of “auratic” experiences can also be seen in the exchange of roles between traditional sacred spaces (churches) and modern (secular–sacred) museums: modernity has turned museums into places of silent worship of sacred objects (artworks), while churches have become exhibition spaces where most of the visitors go to see artworks and not to celebrate the Eucharist. The most recent developments testify to yet another reversal. Increasinglybusymuseumspaces—withtheirever-expandinguseoftechnologyandunder constantpressuretoembrace“participatoryculture”—arebecominglessandlessoftheold-fashioned quietspaceswithafocusonestheticcontemplationinfrontofapieceofart. Churches,onthecontrary, are providing such a context for carrying out practices associated with the traditional role of the museum, outside the time of church services. All of this presents us with the need to reconsider the question of the relationship between art, religion, and the sacred. How can we think of the “aura” of (sacred) contexts and (sacred) works? How to think of individual and collective (esthetic–religious) experiences? What to make of the manipulative dimension of (religious and esthetic) “auratic” experiences? Is the work of art still capable of mediating the experience of the “sacred” and under what conditions? What is the significance of the “eschatological” dimension of both art and religion (the sense of “ending”)? Can theology offer a way to reaffirm the creative capacities of the human being as something that characterizes the very condition of being human? This Special Issue aspires to contribute to the growing literature on contemporary art and religion, and to explore the new ways of thinking of art and the sacred (in their esthetic, ideological, and institutional dimensions) in the context of contemporary culture.
RES PUBLICA contains sixteen articles on a wide range of topics related to culture, politics and ... more RES PUBLICA contains sixteen articles on a wide range of topics related to culture, politics and religion. The articles are divided in two chapters:
(RES) PUBLICA
The Defeat of Education in the Age of Digital Technologies
The Crisis of Democracy?
The Consciousness of Our Time: Noam Chomsky
Quo Vadis Europa?
Religious and National Identity in the Context of EU Integrations
Pro and Contra “Tolerance”
Orthodox Church and Socio-Economic Development
The Spectacle of the Ephemeral
The (In)Stability of Memory
RES (PUBLICA)
How to Remember?
Necessary Images: Mass Media and the Kingdom of Perishable
Beauty Will Destroy the World?
The Face of the Messiah
Faith Written in Stone: the Mosaic Workshop of the Centro Aletti
Toward Some of the Basic Theological Presuppositions of Contemporary Orthodox Architecture
Excerpts from the reviews:
"This book contains lectures given by Davor Džalto, during the winter... more Excerpts from the reviews:
"This book contains lectures given by Davor Džalto, during the winter semester 2007 at the “Faculty of Culture and Media” in Belgrade. The original form of the lectures was slightly modified and adopted for the printed version. These lectures were designed to explore some of the basic concepts of aesthetics, art history and theory. The focus was on their genesis and historical background, as well as on possibilities of their implementation within the modern theoretical discourses and contemporary art and culture. The book DECEM CONCEPTI ET TERMINI (The Ten Concepts) encompasses the following chapters:
1. Cult-Culture-Art 2. Techne-Ars-Creatio 3. The Artist 4. Mimesis 5. Simulacrum 6. Human Body as an Aesthetic Phenomenon 7. Space in Art and the Visual-Art Elements 8. Beautiful-Ugly 9. The Style and The Meaning 10. Tautology
These concepts are not just analyzed in a historical perspective and modern usage, but are interpreted by the author in an original way as well. Pointing to the various contexts in which the concepts can be seen, the author also develops his own understanding of their significance for the modern culture and broader theoretical insights. The author’s approach demonstrated here represents a unique combination of aesthetic, art-theoretical, art-historical, theological and linguistic views."
(Excerpt)
"...In line with the above given observation that the icon discloses the “Divine gaze”... more (Excerpt)
"...In line with the above given observation that the icon discloses the “Divine gaze” or “Divine perspective”, which is grounded on the consequences of the inverse perspective, it can rightly be said that the icon is the first paining in the history of European art which is not merely a passive object for observation but an active witness of faith: we look at the icon but the icon also looks at us. Through watching it, we become aware of the gaze of God ceaselessly following us. This very aspect of the icon (its gaze which, together with its perspective, come into our world and our space) was emphasized by the place that the icon used to occupy, and still does, in homes of Orthodox Christians: it is usually the most prominent place in the room, on the wall towards the entrance or in the corner, from where the icon can “observe” the whole room and the occupants. (...) Because the surface of the icon is a place where the gaze of God and the gaze of man converge, we can also say that the icon represents a “screen” (an interface) of sorts, or a medium, bridging the perishable world and the world of eternity. On this “screen”, both the gaze of the man towards God and Eschaton, and the gaze of God upon man and history are at work together."
My intention in this chapter is to inquire into the possibilities and limitations of a comparativ... more My intention in this chapter is to inquire into the possibilities and limitations of a comparative analysis of some of the foundational ideas of Orthodox Christianity and those of Lacan. In the first part, I focus on Lacan’s understanding of the figure of the “father” (especially the “Divine Father” of the “Judeo-Christian” tradition) and relate the functioning of this father figure with the Christian dogma of the Trinity (and, specifically, with the issue of the “monarchy” of the Father). In the second part of this chapter, I develop a comparative reading of Lacan’s idea of the “mirror stage” vis-à-vis the role and function of the (concept of) “icon” (image) in Orthodox Christian theology. What this analysis aspires to show is that the concept of (God) the Father, as it appears in Orthodox theology, allows for overcoming of the “tyranny” of nature, through the affirmation of a free (personal) existence. This, however, becomes thinkable only insofar as there is an “image” (icon), which enables the human being to “assemble” his/her “real” (eschatological) identity. Although this chapter relates some of Lacan’s ideas to those that we find in Orthodox theology, I do not want to suggest here that there is an inherent relationship between the two, or that a (meaningful) “Lacanian theology” is even possible (unless, of course, “theology” is taken in a more metaphorical sense). I do think, however, that a mutual dialogue can be beneficial for both discourses.
The chapter explores the concept of the “democratic jet lag,” defined as a disparity between an a... more The chapter explores the concept of the “democratic jet lag,” defined as a disparity between an actual and perceived state of democratic development. In the ex-Yugoslav countries, the term is frequently marred with self-fulfilling prophecy of backwardness. Instead of being addressed, the gap in development of democratic values is, consequently, made permanent. In the Western Europe, the democratic jet leg is often hidden or externalised. An example of the latter is the ideological construction of the “Balkan” as a place that is permanently behind modernity and enlightenment. By distancing itself from political and ideological projects, religion can potentially point to real erosion in democratic values and ideals, which are at the roots of democratic jet lags.
Masovni mediji danas mogu biti promatrani kao svojevrsni nasljednici rane modernističke ideje o „... more Masovni mediji danas mogu biti promatrani kao svojevrsni nasljednici rane modernističke ideje o „slici” i njenoj estetici. „Sliku” ovdje treba shvatiti kao estetski oblikovanu predstavu, koja posjeduje zavodljivost i koja stremi k autonomiji estetskog doživljaja. Pojava dinamične, interaktivne i multimedijalne „slike” (npr. interneta ili televizije) dovodi ove rane modernističke ideje do njihovog vrhunca pretvarajući ih u veoma moćan instrument manipulacije. Masmediji postaju generatori „stvarnosti” pri čemu se njihova uvjerljivost i dalje temelji na njihovom pretpostavljenom mimetičkom karakteru. S druge strane, oni baš u toj mogućnosti da generiraju nove realnosti, realiziraju osnovni princip moderne ideje o umjetnosti – autonomiju – pri čemu je glavno oruđe, također jedna od osnovnih estetičkih ideja, ideja o zavodljivosti osjetilne predstave. Tako, mediji logiku masovne potrošnje prenose u sferu informacija i multimedijalnih stimulusa, što rezultira svojevrsnom ovisnosti o „novi...
Schöpfung und Nichts: Orthodoxe Theologie und moderne Kunst im Dialog, 2023
Im Entstehungsprozess der Moderne nehmen „Kreativität“ und „Schöpfung“ als anthropologische Grund... more Im Entstehungsprozess der Moderne nehmen „Kreativität“ und „Schöpfung“ als anthropologische Grundkonzepte einen wichtigen Platz ein. Nicht nur im Bereich der Kunst, sondern ganz allgemein wird menschliches Streben mit diesen Begriffen charakterisiert. Obwohl die Idee einer Schöpfung in der jüdisch-christlichen Bibeltradition ihren Ursprung hat, ist der Idee, dass der Mensch schaffend tätig sein kann, seitens der Theologie bemerkenswert wenig Aufmerksamkeit zuteil geworden. Innerhalb der christlich-orthodoxen Tradition wurde die Frage nach der Kreativität des Menschen und deren theologische Bedeutung am deutlichsten von Nikolai Berdyaev (1874-1948) formuliert. Viele Aspekte der Philosophie Berdyaevs stellen auch heute noch eine Herausforderung dar.
Anarchy and the Kingdom of God reclaims the concept of “anarchism” both as a political philosophy... more Anarchy and the Kingdom of God reclaims the concept of “anarchism” both as a political philosophy and a way of thinking of the sociopolitical sphere from a theological perspective. Through a genuinely theological approach to the issues of power, coercion, and oppression, Davor Džalto advances human freedom—one of the most prominent forces in human history—as a foundational theological principle in Christianity. That principle enables a fresh re-examination of the problems of democracy and justice in the age of global (neoliberal) capitalism.
Anarchy and the Kingdom of God reclaims the concept of “anarchism” both as a political philosophy... more Anarchy and the Kingdom of God reclaims the concept of “anarchism” both as a political philosophy and a way of thinking of the sociopolitical sphere from a theological perspective. Through a genuinely theological approach to the issues of power, coercion, and oppression, Davor Džalto advances human freedom—one of the most prominent forces in human history—as a foundational theological principle in Christianity. That principle enables a fresh reexamination of the problems of democracy and justice in the age of global (neoliberal) capitalism.
Since the beginning of modernity, the relationship between art and religion has been a multifacet... more Since the beginning of modernity, the relationship between art and religion has been a multifaceted one, characterized both by tensions and by productive exchanges. One can claim that the modern concept of “art” (and the corresponding modern institution of art) has been one of the “secular–religious” expressions of modernity. The language we have been employing to characterize thedomainof“finearts”and“esthetic”experienceshasbeenremarkably“religious”. We“meditate” in front of artworks; art allows us to experience a “spiritual” excitement; we make pilgrimages to see and venerate masterpieces in their (secular) sacred spaces (e.g., museums) that require a special decorum, inspiring the atmosphere of devotion. In this way (and following the lead provided by WalterBenjamin)wearewitnessinganexchangebetweenthe“aura”ofdevotional(religious-esthetic) objects, and the “aura” of (secular–religious) artworks. This exchange of “auratic” experiences can also be seen in the exchange of roles between traditional sacred spaces (churches) and modern (secular–sacred) museums: modernity has turned museums into places of silent worship of sacred objects (artworks), while churches have become exhibition spaces where most of the visitors go to see artworks and not to celebrate the Eucharist. The most recent developments testify to yet another reversal. Increasinglybusymuseumspaces—withtheirever-expandinguseoftechnologyandunder constantpressuretoembrace“participatoryculture”—arebecominglessandlessoftheold-fashioned quietspaceswithafocusonestheticcontemplationinfrontofapieceofart. Churches,onthecontrary, are providing such a context for carrying out practices associated with the traditional role of the museum, outside the time of church services. All of this presents us with the need to reconsider the question of the relationship between art, religion, and the sacred. How can we think of the “aura” of (sacred) contexts and (sacred) works? How to think of individual and collective (esthetic–religious) experiences? What to make of the manipulative dimension of (religious and esthetic) “auratic” experiences? Is the work of art still capable of mediating the experience of the “sacred” and under what conditions? What is the significance of the “eschatological” dimension of both art and religion (the sense of “ending”)? Can theology offer a way to reaffirm the creative capacities of the human being as something that characterizes the very condition of being human? This Special Issue aspires to contribute to the growing literature on contemporary art and religion, and to explore the new ways of thinking of art and the sacred (in their esthetic, ideological, and institutional dimensions) in the context of contemporary culture.
RES PUBLICA contains sixteen articles on a wide range of topics related to culture, politics and ... more RES PUBLICA contains sixteen articles on a wide range of topics related to culture, politics and religion. The articles are divided in two chapters:
(RES) PUBLICA
The Defeat of Education in the Age of Digital Technologies
The Crisis of Democracy?
The Consciousness of Our Time: Noam Chomsky
Quo Vadis Europa?
Religious and National Identity in the Context of EU Integrations
Pro and Contra “Tolerance”
Orthodox Church and Socio-Economic Development
The Spectacle of the Ephemeral
The (In)Stability of Memory
RES (PUBLICA)
How to Remember?
Necessary Images: Mass Media and the Kingdom of Perishable
Beauty Will Destroy the World?
The Face of the Messiah
Faith Written in Stone: the Mosaic Workshop of the Centro Aletti
Toward Some of the Basic Theological Presuppositions of Contemporary Orthodox Architecture
Excerpts from the reviews:
"This book contains lectures given by Davor Džalto, during the winter... more Excerpts from the reviews:
"This book contains lectures given by Davor Džalto, during the winter semester 2007 at the “Faculty of Culture and Media” in Belgrade. The original form of the lectures was slightly modified and adopted for the printed version. These lectures were designed to explore some of the basic concepts of aesthetics, art history and theory. The focus was on their genesis and historical background, as well as on possibilities of their implementation within the modern theoretical discourses and contemporary art and culture. The book DECEM CONCEPTI ET TERMINI (The Ten Concepts) encompasses the following chapters:
1. Cult-Culture-Art 2. Techne-Ars-Creatio 3. The Artist 4. Mimesis 5. Simulacrum 6. Human Body as an Aesthetic Phenomenon 7. Space in Art and the Visual-Art Elements 8. Beautiful-Ugly 9. The Style and The Meaning 10. Tautology
These concepts are not just analyzed in a historical perspective and modern usage, but are interpreted by the author in an original way as well. Pointing to the various contexts in which the concepts can be seen, the author also develops his own understanding of their significance for the modern culture and broader theoretical insights. The author’s approach demonstrated here represents a unique combination of aesthetic, art-theoretical, art-historical, theological and linguistic views."
(Excerpt)
"...In line with the above given observation that the icon discloses the “Divine gaze”... more (Excerpt)
"...In line with the above given observation that the icon discloses the “Divine gaze” or “Divine perspective”, which is grounded on the consequences of the inverse perspective, it can rightly be said that the icon is the first paining in the history of European art which is not merely a passive object for observation but an active witness of faith: we look at the icon but the icon also looks at us. Through watching it, we become aware of the gaze of God ceaselessly following us. This very aspect of the icon (its gaze which, together with its perspective, come into our world and our space) was emphasized by the place that the icon used to occupy, and still does, in homes of Orthodox Christians: it is usually the most prominent place in the room, on the wall towards the entrance or in the corner, from where the icon can “observe” the whole room and the occupants. (...) Because the surface of the icon is a place where the gaze of God and the gaze of man converge, we can also say that the icon represents a “screen” (an interface) of sorts, or a medium, bridging the perishable world and the world of eternity. On this “screen”, both the gaze of the man towards God and Eschaton, and the gaze of God upon man and history are at work together."
My intention in this chapter is to inquire into the possibilities and limitations of a comparativ... more My intention in this chapter is to inquire into the possibilities and limitations of a comparative analysis of some of the foundational ideas of Orthodox Christianity and those of Lacan. In the first part, I focus on Lacan’s understanding of the figure of the “father” (especially the “Divine Father” of the “Judeo-Christian” tradition) and relate the functioning of this father figure with the Christian dogma of the Trinity (and, specifically, with the issue of the “monarchy” of the Father). In the second part of this chapter, I develop a comparative reading of Lacan’s idea of the “mirror stage” vis-à-vis the role and function of the (concept of) “icon” (image) in Orthodox Christian theology. What this analysis aspires to show is that the concept of (God) the Father, as it appears in Orthodox theology, allows for overcoming of the “tyranny” of nature, through the affirmation of a free (personal) existence. This, however, becomes thinkable only insofar as there is an “image” (icon), which enables the human being to “assemble” his/her “real” (eschatological) identity. Although this chapter relates some of Lacan’s ideas to those that we find in Orthodox theology, I do not want to suggest here that there is an inherent relationship between the two, or that a (meaningful) “Lacanian theology” is even possible (unless, of course, “theology” is taken in a more metaphorical sense). I do think, however, that a mutual dialogue can be beneficial for both discourses.
The chapter explores the concept of the “democratic jet lag,” defined as a disparity between an a... more The chapter explores the concept of the “democratic jet lag,” defined as a disparity between an actual and perceived state of democratic development. In the ex-Yugoslav countries, the term is frequently marred with self-fulfilling prophecy of backwardness. Instead of being addressed, the gap in development of democratic values is, consequently, made permanent. In the Western Europe, the democratic jet leg is often hidden or externalised. An example of the latter is the ideological construction of the “Balkan” as a place that is permanently behind modernity and enlightenment. By distancing itself from political and ideological projects, religion can potentially point to real erosion in democratic values and ideals, which are at the roots of democratic jet lags.
Masovni mediji danas mogu biti promatrani kao svojevrsni nasljednici rane modernističke ideje o „... more Masovni mediji danas mogu biti promatrani kao svojevrsni nasljednici rane modernističke ideje o „slici” i njenoj estetici. „Sliku” ovdje treba shvatiti kao estetski oblikovanu predstavu, koja posjeduje zavodljivost i koja stremi k autonomiji estetskog doživljaja. Pojava dinamične, interaktivne i multimedijalne „slike” (npr. interneta ili televizije) dovodi ove rane modernističke ideje do njihovog vrhunca pretvarajući ih u veoma moćan instrument manipulacije. Masmediji postaju generatori „stvarnosti” pri čemu se njihova uvjerljivost i dalje temelji na njihovom pretpostavljenom mimetičkom karakteru. S druge strane, oni baš u toj mogućnosti da generiraju nove realnosti, realiziraju osnovni princip moderne ideje o umjetnosti – autonomiju – pri čemu je glavno oruđe, također jedna od osnovnih estetičkih ideja, ideja o zavodljivosti osjetilne predstave. Tako, mediji logiku masovne potrošnje prenose u sferu informacija i multimedijalnih stimulusa, što rezultira svojevrsnom ovisnosti o „novi...
The word 'icon' (and the adjective 'iconic') is not an unfamiliar concept to the ... more The word 'icon' (and the adjective 'iconic') is not an unfamiliar concept to the contemporary reader. It is used to denote things like the 'icons' of our pop-culture (i.e. 'stars') or the 'icons' that we find on our computer screens. Although the meaning of these 'icons' is different from the way this concept is used in Christian art and theology, it is not completely unrelated to the ancient connotations of the term 'icon/iconic'. Both in its Christian and in the pop-cultural contexts the 'icon' implies a specific relationship between the spectator, the image (visual medium), and the message (i.e. the 'original') that the medium/image communicates. This article primarily examines the Orthodox Christian understanding of the image (icon) and its function within the context of the Orthodox Church and her theology. Based on this, the article also explains the aesthetic elements of traditional Orthodox Christian iconography in connection with the complex web of mutual exchanges and influences (both theological and visual/stylistic) between Orthodox Christianity and Western European religious and artistic tradition.
The chapter discusses the metaphysical foundations of the human quest for power and the significa... more The chapter discusses the metaphysical foundations of the human quest for power and the significance of freedom in the context of Orthodox Christian eschatology and anthropology. If one aspires to properly understand the place and meaning of the political sphere from an (Orthodox) Christian point of view and to explore the antagonism between the Orthodox Christian faith and power structures (in the variety of forms in which they appear), it is necessary to delve into some of the basic (metaphysical) concerns of Orthodox faith. In such reading, the problem of power manifests itself as the problem of necessity which is in some very fundamental aspects connected with the human being in the world.
This chapter explores the ontic foundations of human existence in history which manifests itself ... more This chapter explores the ontic foundations of human existence in history which manifests itself as a necessity. The author points out that Christian understanding of the historical process is paradoxical, since, on the one hand, Christianity affirms the world we live in, and our existence in history, as something basically “good.” On the other hand, Christianity acknowledges the limitations of this reality in which we live and recognizes the distorted and incomplete way in which the reality (we ordinarily experience) exists. The mode of our existence “here” and “now” prevents us—as well as other beings in the universe—from living the fullness of life. It prevents us from being ontically true.
Dr. Davor Džalto is professor of Religion, Art and Democracy at Saint Ignatios College in Sweden.... more Dr. Davor Džalto is professor of Religion, Art and Democracy at Saint Ignatios College in Sweden. His research focuses primarily on the exploration of human freedom and creativity, as metaphysical, political, as well as aesthetic concepts. All of these concerns come together in his book, The Human Work of Art: A Theological Appraisal of Creativity and the Death of the Artist, which engages aspects of conceptual art through the lens of Orthodox theology. Among the artists interpreted in this appraisal we find Marcel Duchamp, Yves Klein and Andy Warhol. Also discussed are the commonly held assumptions regarding the modern paradigm of Fine Art, including its social and ideological function. Going beyond these assumptions, Džalto shows how creativity is not to be limited to the manufacturing of objects or art as a commodity product but rather bears anthropological significance, touching on soteriological, eschatological and ecclesial dimensions. To some, Džalto’s work might seem unrelated to the general focus and aesthetic orientation of OAJ. In my view, however, it is quite pertinent although challenging, suggesting ways in which we can expand the discourse concerning the question of “Art” from an Orthodox theological perspective, beyond the limited perimeters of liturgical art. In the Orthodox anglophone world studies focusing on the topic of contemporary art and its theological significance are almost nonexistent. Džalto’s work thus offers a very important contribution, helping to close the gap between the seemingly unrelated fields of theology and contemporary art. As I’ve mentioned previously, not every artistically inclined Orthodox Christian will necessarily have a vocation as a liturgical artist. Some will choose to navigate the challenges of contemporary art. This fact raises many questions that cannot be dismissed as irrelevant. The answers are not to be found in an insular approach, in disdainful retreat and disregard for the sphere of non-liturgical art. The Sacred is to be found in places where we least expect it. With these issues in mind, what follows is an interview I had the pleasure to conduct with Dr. Davor Džalto, in which we explore some aspects of his work and art theory.
Talk on the occasion of the 40th anniversary of Fr. Milan Pejić’s priestly service, held in Hanno... more Talk on the occasion of the 40th anniversary of Fr. Milan Pejić’s priestly service, held in Hannover, on February 9, 2017, at the Serbian Orthodox parish.
This paper addresses the issue of contemporary Orthodox Christian sacral architecture in its conn... more This paper addresses the issue of contemporary Orthodox Christian sacral architecture in its connection to Orthodox theology and tradition. The question "what contemporary Orthodox architecture should look like" is a question that many clergymen, theologians, and architects seek to explore and answer to be able to better articulate many challenges they face in building new churches. This question became very important in the post-Soviet era, in countries and regions where Orthodoxy is a dominant faith, given the enormous increase in the number of newly constructed sacred buildings. However, to answer this question it is necessary to examine a whole variety of other issues, such as: Are there any theological and aesthetic principles that must be followed in the construction of Orthodox churches today, and what would they be? Is it necessary for Orthodox Christian architecture (and for that matter all religious architecture) to be traditionalist? Can it be innovative and to which extent?
U ovom radu autor se bavi pitanjem totalitarnosti religije koju definiše jako široko, tako da ist... more U ovom radu autor se bavi pitanjem totalitarnosti religije koju definiše jako široko, tako da ista uključuje i političku sferu u meri u kojoj se ona poziva na određenu ideologiju kao apsolutnu (totalnu) „istinu“. Nasuprot ovakvoj koncepciji totalne istine (koja se često i u institucionalnim formama tradicionalnih religija i u religijama politike poziva na nacionalni ili etnički totalitet kao metafizičku kategoriju) autor suprotstavlja zamisao o metafizičkoj pluralnosti kao osnovi na kojoj je moguće izgraditi autentičnu demokratiju i stvoriti pretpostavke za prihvatanjem drugog i drugačijeg. On iznosi tezu da se takva pluralnost, kao nesvodivost, koja se kao tema nameće u postmodernoj filosofiji, može izvesti i iz hrišćanskog učenja o ličnosti. Na bazi ovog modela on preporučuje sekularizaciju društva i „metafiziku pluralnosti“ kao platformu kako za prevenciju konflikata tako i za prevazilaženje istih.
If efforts for an autocephalous church serve the (neo)imperial agendas of “New Rome,” local natio... more If efforts for an autocephalous church serve the (neo)imperial agendas of “New Rome,” local nationalisms and local “national” churches will be blessed. If they don’t, local nationalisms and their cravings for autocephaly will be condemned in the name of (neo)imperial “universalism.”
The history of misunderstandings and prejudices between Christianity/Christian theology and moder... more The history of misunderstandings and prejudices between Christianity/Christian theology and modernity/modernism is long and complicated. If one wanted to point out the basic characteristics of modernity, one would consider three main phenomena that contribute to characterizing modernity: the secularization of the socio-political sphere, a belief in progress (resulting in the ideology various »liberal« tendencies and in the idea of a pluralistic society. All three properties of modernity were under a strong attack by Christian theologians and clergymen. In the twentieth century, when it became impossible to ignore or simply denounce them, the theological narrative shifted to theological theological dialogue with both modernity and post-modernity, and some of their distinct features.
Icons are one of the most characteristic expressions of Eastern Christianity and Orthodox faith. ... more Icons are one of the most characteristic expressions of Eastern Christianity and Orthodox faith. This special program explores the history and theology of icons and their visual/ aesthetic properties. The program enables students to acquire theoretical/theological knowledge of icons as a form of religious art, and to understand and appreciate a variety of artistic materials and styles used for the purposes of icon painting, both traditional and contemporary.
This program explores the interaction and mutual influences between theological ideas, religious ... more This program explores the interaction and mutual influences between theological ideas, religious beliefs and practices, and modern (secular) society and the contemporary globalization processes. Approaching these phenomena from an Eastern Christian perspective, the courses in this program will help students learn about how theology and Church practice relate to the ever changing social and political environments, how ideology (both within the Church and in society) structures our perception of the social sphere, and how one can engage with social and political contexts and democratic processes in a constructive and creative way. The program equips students with theoretical knowledge, critical analysis and writing skills necessary for future work as professionals (e.g., educators, ministers, public servants, analysts, NGO personnel and activists) or for an academic career and further research (at Ph.D. level).
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Books by Davor Džalto
(RES) PUBLICA
The Defeat of Education in the Age of Digital Technologies
The Crisis of Democracy?
The Consciousness of Our Time: Noam Chomsky
Quo Vadis Europa?
Religious and National Identity in the Context of EU Integrations
Pro and Contra “Tolerance”
Orthodox Church and Socio-Economic Development
The Spectacle of the Ephemeral
The (In)Stability of Memory
RES (PUBLICA)
How to Remember?
Necessary Images: Mass Media and the Kingdom of Perishable
Beauty Will Destroy the World?
The Face of the Messiah
Faith Written in Stone: the Mosaic Workshop of the Centro Aletti
Toward Some of the Basic Theological Presuppositions of Contemporary Orthodox Architecture
The Belgrade Harp
"This book contains lectures given by Davor Džalto, during the winter semester 2007 at the “Faculty of Culture and Media” in Belgrade. The original form of the lectures was slightly modified and adopted for the printed version.
These lectures were designed to explore some of the basic concepts of aesthetics, art history and theory. The focus was on their genesis and historical background, as well as on possibilities of their implementation within the modern theoretical discourses and contemporary art and culture.
The book DECEM CONCEPTI ET TERMINI (The Ten Concepts) encompasses the following chapters:
1. Cult-Culture-Art
2. Techne-Ars-Creatio
3. The Artist
4. Mimesis
5. Simulacrum
6. Human Body as an Aesthetic Phenomenon
7. Space in Art and the Visual-Art Elements
8. Beautiful-Ugly
9. The Style and The Meaning
10. Tautology
These concepts are not just analyzed in a historical perspective and modern usage, but are interpreted by the author in an original way as well. Pointing to the various contexts in which the concepts can be seen, the author also develops his own understanding of their significance for the modern culture and broader theoretical insights.
The author’s approach demonstrated here represents a unique combination of aesthetic, art-theoretical, art-historical, theological and linguistic views."
(Belgrade, 2008)
"...In line with the above given observation that the icon discloses the “Divine gaze” or “Divine perspective”, which is grounded on the consequences of the inverse perspective, it can rightly be said that the icon is the first paining in the history of European art which is not merely a passive object for observation but an active witness of faith: we look at the icon but the icon also looks at us. Through watching it, we become aware of the gaze of God ceaselessly following us. This very aspect of the icon (its gaze which, together with its perspective, come into our world and our space) was emphasized by the place that the icon used to occupy, and still does, in homes of Orthodox Christians: it is usually the most prominent place in the room, on the wall towards the entrance or in the corner, from where the icon can “observe” the whole room and the occupants. (...) Because the surface of the icon is a place where the gaze of God and the gaze of man converge, we can also say that the icon represents a “screen” (an interface) of sorts, or a medium, bridging the perishable world and the world of eternity. On this “screen”, both the gaze of the man towards God and Eschaton, and the gaze of God upon man and history are at work together."
Papers by Davor Džalto
Although this chapter relates some of Lacan’s ideas to those that we find in Orthodox theology, I do not want to suggest here that there is an inherent relationship between the two, or that a (meaningful) “Lacanian theology” is even possible (unless, of course, “theology” is taken in a more metaphorical sense). I do think, however, that a mutual dialogue can be beneficial for both discourses.
(RES) PUBLICA
The Defeat of Education in the Age of Digital Technologies
The Crisis of Democracy?
The Consciousness of Our Time: Noam Chomsky
Quo Vadis Europa?
Religious and National Identity in the Context of EU Integrations
Pro and Contra “Tolerance”
Orthodox Church and Socio-Economic Development
The Spectacle of the Ephemeral
The (In)Stability of Memory
RES (PUBLICA)
How to Remember?
Necessary Images: Mass Media and the Kingdom of Perishable
Beauty Will Destroy the World?
The Face of the Messiah
Faith Written in Stone: the Mosaic Workshop of the Centro Aletti
Toward Some of the Basic Theological Presuppositions of Contemporary Orthodox Architecture
The Belgrade Harp
"This book contains lectures given by Davor Džalto, during the winter semester 2007 at the “Faculty of Culture and Media” in Belgrade. The original form of the lectures was slightly modified and adopted for the printed version.
These lectures were designed to explore some of the basic concepts of aesthetics, art history and theory. The focus was on their genesis and historical background, as well as on possibilities of their implementation within the modern theoretical discourses and contemporary art and culture.
The book DECEM CONCEPTI ET TERMINI (The Ten Concepts) encompasses the following chapters:
1. Cult-Culture-Art
2. Techne-Ars-Creatio
3. The Artist
4. Mimesis
5. Simulacrum
6. Human Body as an Aesthetic Phenomenon
7. Space in Art and the Visual-Art Elements
8. Beautiful-Ugly
9. The Style and The Meaning
10. Tautology
These concepts are not just analyzed in a historical perspective and modern usage, but are interpreted by the author in an original way as well. Pointing to the various contexts in which the concepts can be seen, the author also develops his own understanding of their significance for the modern culture and broader theoretical insights.
The author’s approach demonstrated here represents a unique combination of aesthetic, art-theoretical, art-historical, theological and linguistic views."
(Belgrade, 2008)
"...In line with the above given observation that the icon discloses the “Divine gaze” or “Divine perspective”, which is grounded on the consequences of the inverse perspective, it can rightly be said that the icon is the first paining in the history of European art which is not merely a passive object for observation but an active witness of faith: we look at the icon but the icon also looks at us. Through watching it, we become aware of the gaze of God ceaselessly following us. This very aspect of the icon (its gaze which, together with its perspective, come into our world and our space) was emphasized by the place that the icon used to occupy, and still does, in homes of Orthodox Christians: it is usually the most prominent place in the room, on the wall towards the entrance or in the corner, from where the icon can “observe” the whole room and the occupants. (...) Because the surface of the icon is a place where the gaze of God and the gaze of man converge, we can also say that the icon represents a “screen” (an interface) of sorts, or a medium, bridging the perishable world and the world of eternity. On this “screen”, both the gaze of the man towards God and Eschaton, and the gaze of God upon man and history are at work together."
Although this chapter relates some of Lacan’s ideas to those that we find in Orthodox theology, I do not want to suggest here that there is an inherent relationship between the two, or that a (meaningful) “Lacanian theology” is even possible (unless, of course, “theology” is taken in a more metaphorical sense). I do think, however, that a mutual dialogue can be beneficial for both discourses.
To some, Džalto’s work might seem unrelated to the general focus and aesthetic orientation of OAJ. In my view, however, it is quite pertinent although challenging, suggesting ways in which we can expand the discourse concerning the question of “Art” from an Orthodox theological perspective, beyond the limited perimeters of liturgical art. In the Orthodox anglophone world studies focusing on the topic of contemporary art and its theological significance are almost nonexistent. Džalto’s work thus offers a very important contribution, helping to close the gap between the seemingly unrelated fields of theology and contemporary art. As I’ve mentioned previously, not every artistically inclined Orthodox Christian will necessarily have a vocation as a liturgical artist. Some will choose to navigate the challenges of contemporary art. This fact raises many questions that cannot be dismissed as irrelevant. The answers are not to be found in an insular approach, in disdainful retreat and disregard for the sphere of non-liturgical art. The Sacred is to be found in places where we least expect it. With these issues in mind, what follows is an interview I had the pleasure to conduct with Dr. Davor Džalto, in which we explore some aspects of his work and art theory.