Why REPETITION?

Replication as a form of representation, has outlined the problem of the status of works of art. As consumers, we are being (symbolically) cheated. A clever tactic that repetition had become, is to begin to function as a medium, in a form which belongs to art.

Repetition has never been passive. Artist's actions complement repetition with context, content and also with additional opportunities for interpretation, so we can not talk about the repetition without emphasizing the criterion of "novelty" which is its main characteristic. In such case Novelty will mean situationism i.e. the environment and its context, as well as time. Marcel Duchamp initiated the process of recreation of a canonical masterpiece through a creative act, which was not left unnoticed. Except from processing the image of Mona Lisa, a few decades later his gesture was vividly reflected in Warhol's activity. Discussions not about "what" but “when” is art in the events of the twentieth century, is a frequent question (of course in various configurations).

Without focusing on the heuristic replications in modernism, postmodernism and until modern times, still the existence of replication should be emphasized and the question about the status of art should be posed. It is surprising that the phenomenon of repetition is not widely discussed. Of course, artistic strategies are being "stripped down" into pieces by theorists.  However they lack a clear standpoint as to the quality of the repetition. Repetition is not a one-off situation and is not assigned to a single artist, but is shared by the whole community in the art world.

Starting from the seventies and from the slow but consistent disappearing of the object towards the concept, they began to develop ways to reinvent the work of art. It turned out that art needed another criterion to be constituted. This criterion has become the documentation, which in addition to the obvious function began to function as art.

Repetition thus has functioned as a phenomenon for many decades. Talking about it in the context of the artist's achievements should become common practice for theorists, but of course in a strictly scientific approach.