Suchergebnisse

U ovome se radu Udruženje umjetnika Zemlja (1929. – 1935.) – organizirana skupina slikara, kipara i arhitekata s lijevom političkom orijentacijom i društveno angažiranom motivacijom – sagledava kao društvenu mrežu. Bipartitna mrežna analiza i pripadajuće vizualizacije pružaju mogućnost identificiranja umjetnika koji u toj mreži imaju najvažniju ulogu, odnosno središnji položaj, kao i izložaba koje se – kao događaji koji te umjetnike povezuju – pojavljuju kao ključne. Takav pristup – temeljen na podacima o broju izloženih radova svih izlagača na Zemljinim izložbama te analizi četiriju mjera centralnosti – omogućuje nove uvide u položaj i važnost pojedinih umjetnika i izložaba u mreži, služi kao potvrda postojećih povijesnoumjetničkih tumačenja, ali i otvara neka nova istraživačka pitanja. Također, pružit će se i sažet osvrt na "geografiju Zemlje", koja se pokazuje široko položenom – od Londona na zapadu, do Sofije na istoku Europe. ; This paper analyses the Association of Artists Zemlja (1929–1935) – the organized group of left-wing and socially engaged painters, sculptors and architects – as a social network. The two-mode network analysis and the accompanying visualizations provide an opportunity to identify the artists who have played the most important role in this network, that is, who have occupied its central position, as well as the exhibitions – the events connecting the artists – which have emerged as key network constituents. Such an approach – based on the number of exhibited works by all participating artists at the Zemlja exhibitions and the analysis of four centrality measures – enables new insights into the position and importance of individual artists and exhibitions within the network and serves as a confirmation of the existing art historical interpretations, as well as raises some new research questions. In addition, this paper also offers a succinct overview of Zemlja's wide-reaching "geography" – from London in the West, to Sofia in the East of Europe.

This analysis of textbooks and working material is based on documents determining the curriculum standards and plans and the programme for primary schools of the Ministry of science, education and sport, as well as the UN conventions regarding the abolishment of all forms of discrimination of women. Covered by the analysis are the textbooks approved by the Ministry of science, education and sport. As focal points of the paper's subject matter and the centres of analysis, six aspects have been singled out: 1) contextualisation of women (individually or as social groups) in the thematic (textbook) framework, integration into the contents or mere addition of separate parts to the textbook whole, 2) lack of specific material pertaining to the equality of the sexes, 3) so-called women contents or subjects (housekeeping, female beauty, fashion), 4) wives, widows, mothers, sisters... of illustrious husbands, sons, brothers, 5) important women -- inclusion or ignoring of eminent women -- rulers, scientists, artists, 6) successful examples -- entire textbooks or some individual solutions. The analysis shows that only a small part of the textbooks and working material successfully integrates contents relating to women in such a way as to portray them uninfluenced by stereotypes. Further, the textbook authors had major problems with incorporating material dealing with women into historical events as a whole. Women and their activities, even the ones perceived as "male", as still merely added to history. Neglect or complete absence of certain great historical subjects has also been noted, e.g. of matriarchate/matrilineality and the subsequent development of the patriarchate. All authors found it much easier to portray women separately, either individually or as social groups, though the latter has, in general, been less successful than the former (important women, rulers, scientists, artists). Their position in various times is almost without exception described by the phrase "women remain at home, they cook, they look after the children, they have no rights..." with some variations in detail, but not in the essentials. Adapted from the source document.

The article includes the bulk of the results of research conducted in 1998 on the social status of female artists in the Republic of Croatia (doctoral thesis). The typology based on ancient Greek mythology (the Muses, the Nymphs, Eurynome) in the manner of Weber's ideal types enables the manifestation of diverse forms of female identity. Female artists recognize & distinguish two dimensions of power: the will for power (Nietzsche, Hegel) & the power for women (N. Hartsock). This recognition is demonstrated by a contradictory & ambivalent understanding of this notion, in fact by its redefinition (the "struggle with ease," they are & are not fighters), by the salient distancing from the will for power & the assertion of the power for women. Some female artists recognize the importance of gender for success in the world of art but an equal number of them do not. However, the majority think that awards, juries' decisions, & the opinion of the public & the critics do not depend on an artist's gender. Those among them who are aware of the importance of gender for success & recognition think that women are in an inferior position. 1 Table, 12 References. Adapted from the source document.

The article includes the bulk of the results of research conducted in 1998 on the social status of female artists in the Republic of Croatia (doctoral thesis). The typology based on ancient Greek mythology (the Muses, the Nymphs, Eurynome) in the manner of Weber's ideal types enables the manifestation of diverse forms of female identity. Female artists recognize & distinguish two dimensions of power: the will for power (Nietzsche, Hegel) & the power for women (N. Hartsock). This recognition is demonstrated by a contradictory & ambivalent understanding of this notion, in fact by its redefinition (the "struggle with ease," they are & are not fighters), by the salient distancing from the will for power & the assertion of the power for women. Some female artists recognize the importance of gender for success in the world of art but an equal number of them do not. However, the majority think that awards, juries' decisions, & the opinion of the public & the critics do not depend on an artist's gender. Those among them who are aware of the importance of gender for success & recognition think that women are in an inferior position. 1 Table, 12 References. Adapted from the source document.

This analysis of textbooks and working material is based on documents determining the curriculum standards and plans and the programme for primary schools of the Ministry of science, education and sport, as well as the UN conventions regarding the abolishment of all forms of discrimination of women. Covered by the analysis are the textbooks approved by the Ministry of science, education and sport. As focal points of the paper's subject matter and the centres of analysis, six aspects have been singled out: 1) contextualisation of women (individually or as social groups) in the thematic (textbook) framework, integration into the contents or mere addition of separate parts to the textbook whole, 2) lack of specific material pertaining to the equality of the sexes, 3) so-called women contents or subjects (housekeeping, female beauty, fashion), 4) wives, widows, mothers, sisters... of illustrious husbands, sons, brothers, 5) important women -- inclusion or ignoring of eminent women -- rulers, scientists, artists, 6) successful examples -- entire textbooks or some individual solutions. The analysis shows that only a small part of the textbooks and working material successfully integrates contents relating to women in such a way as to portray them uninfluenced by stereotypes. Further, the textbook authors had major problems with incorporating material dealing with women into historical events as a whole. Women and their activities, even the ones perceived as "male", as still merely added to history. Neglect or complete absence of certain great historical subjects has also been noted, e.g. of matriarchate/matrilineality and the subsequent development of the patriarchate. All authors found it much easier to portray women separately, either individually or as social groups, though the latter has, in general, been less successful than the former (important women, rulers, scientists, artists). Their position in various times is almost without exception described by the phrase "women remain at home, they cook, they look after the children, they have no rights..." with some variations in detail, but not in the essentials. Adapted from the source document.

U članku se razmatraju okolnosti osnutka izložbe Salon mladih ujesen 1968. te uloga te manifestacije u profiliranju društveno-političkoga identiteta mladih umjetnika u idućem razdoblju. Osvrće se na reformska nastojanja na području kulturne politike u drugoj polovini šezdesetih godina, analizira jačanje interesa za problematiku mladih u kulturi na razini Socijalističkoga saveza omladine Hrvatske. Objašnjava se materijalni i profesionalni položaj mladih umjetnika te rasvjetljavaju događaji vezani uz studentske prosvjede na Akademiji likovnih umjetnosti u Zagrebu u lipnju 1968. Nadalje se razmatraju uzroci negativne percepcije Salona u prvim godinama njegova trajanja te razlozi identitetskoga raslojavanja u redovima mladih umjetnika koje je ova izložba izazvala. Potonje se prvenstveno odnosi na suparništvo tzv. novih plastičara i likovne grupe "Atelier Biafra", o čemu se također podrobnije raspravlja. ; The article discusses the circumstances of the establishment of the Youth Salon exhibition in the autumn of 1968 and its role in profiling the socio-political identity of young artists in the following period. The starting claim is that the current knowledge about how much events related to global and local student protests directly influenced the art scene in socialist Croatia and Yugoslavia is relatively modest, that is, that the connection between a certain type of avant-garde artistic practice and particular historical context is based on general assumptions. In order to clarify these ties, the article reflects on the cultural policy that immediately preceded the rebellious year, which was marked by general reform efforts in socialist Croatia and the Socialist Federal Republic of Yugoslavia in the second half of the 1960s. The social position of young artists became one of the important topics in regard to the reform efforts in the field of culture, as evidenced by the intensity of discussions at the level of the League of Socialist Youth. The text further explains the material and professional working conditions of young artists and the reasons for their dissatisfaction with the cultural and artistic system. Light is shed on events related to student protests at the Academy of Fine Arts in Zagreb in June 1968, which were an immediate occasion for the establishment of the Youth Salon exhibition. The thesis is that the Youth Salon, as a representative type of exhibition organised by the central republican art association (ULUH) and the Central Committee of the League of Socialist Youth, represented a typical parade gesture made by the state, which sought to pacify young people's dissatisfaction with the general situation in the field of art and culture. As such, the Youth Salon experienced severe criticism in the first years of its existence. It also influenced the politicisation of young artists, who began to engage in criticism of the system as a whole. The controversy over the Youth Salon was also the immediate cause of the identity divergence between the young avant-garde artists, within which two art groups were the leading opponents: the so-called 'neoplasticists', gathered around Zagreb's SC Gallery, and artists gathered in the Art Group 'Atelier biafra', who were the initiators and organisers of the Youth Salon in the first years. This antagonism would determine the balance of power on the Croatian art scene in the long run and influence the understanding of the echoes of 1968 in art and culture in general.

U članku se analiziraju načini na koje odabrani suvremeni umjetnici iz Rumunjske, Hrvatske i Srbije koriste vizualni jezik arhitektonskih maketa u svome radu. Nakon prikaza povijesti arhitektonskih maketa autorica se u prvim dvama dijelovima članka bavi umjetnicima koji koriste makete muzejâ suvremenih umjetnosti (Zlatko Kopljar, Radoš Antonijević, subREAL, Călin Dan, Iosif Kiraly, Mihai Balko i Irina Botea). Naglašava se razlika između muzeja suvremenih umjetnosti u post-socijalističkim zemljama i globalnih "muzeja moći" kao što su MoMA, Tate Modern ili Guggenheim. Treći dio članka bavi se dokumentarnim aspektom arhitektonskih maketa i dovodi radove Lane Stojićević u vezu s konceptom dokumentaliteta Hito Steyerl. Ističe se kako su makete, kao i sama arhitektura, označitelji ideologija, politika i društava koji ih grade. Suvremeni umjetnici često se bave zgradama koje su u procesu tranzicije izmijenjene, revitalizirane ili uništene, i stoga arhitektonske makete uključene u procese suvremene umjetnosti zahtijevaju dublju analizu. ; The paper analyses the ways in which selected contemporary artists from Romania, Croatia, and Serbia use the visual language of architectural scale models in their work. After presenting the history of architectural models, the first two parts of the paper focus on artists who use scale models of museums of contemporary art (Zlatko Kopljar, Radoš Antonijević, subREAL, Călin Dan, Iosif Kiraly, Mihai Balko, and Irina Botea). They emphasize the difference between museums of contemporary art in post-socijalist countries and the global "power-museums" such as MoMA, Tate Modern, or Guggenheim. The third part of the paper focuses on the documentary aspect of architectural models and relates Lana Stojićević's works to Hito Steyerl's concept of documentality. It is argued that the scale models, as architecture itself, are signifiers of the ideologies, politics, and societies that build them. Contemporary artists often focus on buildings that have been changed, revitalised, or destroyed in the transition process, and for this reason architectural models require a deeper analysis when included within contemporary art practices.

Brendiranje gradova s nasilnom poviješću obilježeno je srcima, no kakva ljubav pogoduje uspostavljanju i unaprjeđivanju demokratskih zajednica – i kako umjetnici ovoj temi mogu pristupiti na vjerodostojan način? U Belfastu, u Sjevernoj Irskoj, dužnosnici su odlučili srušiti zgradu umjetničke škole, nazvanu po Orfeju, prvome umjetniku i graditelju mira koji je riskirao smrt za ljubav svoje žene i bio brutalno ubijen. Ovaj esej bavi se radom Sandre Johnston, koja se tamo školovala, a kasnije i predavala. Sama žrtva nasilja, svojim hrabrim performansima, instalacijama i videografijom analizira i prikazuje ljubav koja prihvaća: nešto što Martha Nussbaum ističe kao vjerodostojan odraz zrelog, demokratskog stava. ; City branding of contested cities with violent histories has taken hold of hearts, but what kind of love is conducive to establishing and furthering democratic communities - and how can artists approach this subject matter in a credible way? In Belfast, Northern Ireland, officials decided to demolish the art school's building, named after Orpheus, the first artist and peace-builder, who braved death for the love of his wife, and was brutally murdered. This essay reflects on the work of Sandra Johnston, who studied and then taught there. Herself a victim of violence, her courageous performance, installation and video work analyses and models accepting love: that which Martha Nussbaum put forward as credible reflection of a mature, democratic attitude.

Twitter has recently become an important channel of information. It is used by governments, politicians, sportsmen, artists and even scientists.We were interested in how much cartographers used Twitter and what kind of cartographic content can be found on Twitter. ; U posljednjih nekoliko godina Twitter je postao jedan od važnih kanala širenja različitih informacija. Njime se služe vlade pojedinih zemalja, političari, sportaši, umjetnici, mnogi drugi pa i znanstvenici.Zanimalo nas je u kojoj se mjeri kartografi služe Twitterom i kakvi se kartografski sadržaji nalaze na njemu.

Tko su naši suvremeni pučki tribuni? Kakva je njihova zastupnička namjera? U čije točno ime govore zastupnici naroda? I kakav ih odaziv zajednice prati? Zastupaju li u istoj mjeri »elitne«, »svenarodske« i vlastite interese unutar šire interpretativne zajednice? Stvara li svako uzimanje zastupničkog ili reprezentacijskog prava ujedno i osobit socijalni otpor (neuključenih ili prozvanih glasova), baš kao i s njime povezane političke progone? Tekst tumači javnu sferu kao dinamičko polje ideologijskih i estetičkih sučeljavanja, s posebnim naglaskom na umjetničko stvaralaštvo Olivera Frljića i Mate Matišića kao aktualnih pučkih tribuna. Obojicu prati licemjerna optužnica za »manjak patriotizma«, premda upravo napor navedenih umjetnika za uvažavanjem socijalno najranjivijih skupina i pojedinaca svjedoči u prilog osobite etike skrbi, samim time i povišene brižnosti prema zajednici kojoj se obraćaju. Tekst također sadrži i kratke razgovore s obojicom umjetnika na temu umjetnosti kao javnog zastupništva i njegovih kriza. ; Who are our contemporary tribuni plebis? What is their representative intent? What kind of communal response they receive, both from »elite« and from »common« interpretative communities? What kind of public resistance and public persecution follow from their choice to speak as the public representatives? The text understands public sphere as a contesting ideological and aesthetical field and therefore approaches works of Oliver Fljić and Mate Matišić as two artists who fiercely challenge the irresponsibility of the Croatian community and insist on public duty of intellectuals and artists to reveal both structural patterns and private schemata of social injustice. The fact that both of them are oftentimes accused in the media for their »lack of patriotism« is viewed as a grotesque form of social hypocrisy, since Matišić and Frljić demonstrate consistent care about the most wounded parts of our political community, therefore building intense field of social empathy and communal ethics of care. Text also includes voices of Mate Matišić and Oliver Frljić in response to the questions the author made.

The paper analyzes and discusses two sets of issues: (1) differences between the avant-garde and the neo-avant-garde, and (2) different avant-garde and neo-avant-garde approaches to materialism in a philosophical, political, and aesthetic sense. The avant-garde and the neo-avant-garde were seldom doctrinaire, but one can nevertheless speak about the circularity of beliefs and attitudes, the mobility of theoretical and practical platforms from self-destructiveness to artistic and media nomadism, in the manner of rhizomatic manifolds. Certainly, there are common obsessions with the unity of art and life, or the fundamental turn of art into life, which are expressed by the macro-utopian projections of the new society (industrial society, communist society) forwarded by avant-garde artists, or by the concretizations of micro-utopias (communes, alternative production and exhibition institutions) by neo-avant-garde artists. Examples of primary materialism, aleatory materialism, historical materialism, and basic materialism are given in order to point out the unstable relations between the medium (material) and the media (technique, technology) of communication, but also non-communication. ; U radu se analiziraju i raspravljaju dvije tematizacije: (1) razlike avangarde i neoavangarde i (2) različiti avangardistički i neoavangardistički pristupi materijalizmu u filozofskom, političkom i estetičkom smislu. Avangarde i neoavangarde su rijetko kada bile doktrinarne, prije se može govoriti o cirkularnosti uvjerenja i stavova, mobilnosti teorijskih i praktičnih platformi od autodestruktivnosti do umjetničkog i medijskog nomadizma te o antagonizmima istovremenog suočavanja s dijalektičkim napetostima i obratima, strukturnom proizvodnjom razlika i beskrajnim usložnjavanjima mogućnosti na način rizomatičnih mnogostrukosti. Svakako, postoje i zajedničke opsesije jedinstvom umjetnosti i života ili fundamentalnim obratom umjetnosti u život, koje se iskazuju makroutopijskim projekcijama novog društva (industrijskog društva, komunističkog društva) kod avangardista ili konkretizacijama mikroutopija (komune, alternativne produkcijske i izlagačke institucije) kod neoavangardista. Izvedeni su primjeri primarnog materijalizma, aleatornog materijalizma, historijskog materijalizma te baznog materijalizma da bi se upozorilo na relativne odnose medija (materijala) i medija (tehnike, tehnologije) komunikacije, ali i nekomunikacije.

Tijekom Prvoga svjetskog rata vojni i državni uredi pokretali su brojne akcije radi prikupljanja novca od stanovništva, a za podmirenje rastućih vojnih potreba. Država se brinula za vojnike na ratištima i ratni materijal općenito, a građanskim je društvima bila prepuštena briga za obitelji vojnika. Dio sredstava prikupljao se prodajom domoljubnih predmeta. Takve medalje i plakete imale su najviši umjetnički domet. Veći dio tih predmeta prodavanih u Hrvatskoj dolazio je uglavnom iz Beča. Samo su rijetke osmislili domaći umjetnici u akcijama dobrotvornih društava. Ovaj rad bavit će se upravo njima. ; During World War One military and government offices initiated many actions to collect money from the population to supply the growing military needs. The state took care of the soldiers on the front lines and war materials in general, and civil societies took care of the soldiers' families. Some of the assets were collected by selling patriotic objects. These medals and plaques were of the highest art value. Most of the items sold in Croatia came from Vienna. A smaller number were designed by domestic artists in actions of charity societies, and these are the subject of this article.

The prerequisites for achieving perpetual peace are the settlement of the entire Earth; the establishment of republican government (the most stable type of government); & the exchange of goods as a way of bringing peoples together, peoples among whom racial & religious differences have often sparked animosities. Kant attributes these prerequisites to "the great artist Nature," since they occur as a part of the egoistic material interests of men -- at the level of men as natural beings, without influencing their intellectual will. Starting with Kant's proviso that morality does not suffice for achieving the prerequisites for perpetual peace, the author deals with the opposition between man's material interests & the purpose of reason in Kant's ethics. She goes on to show that Kant understands the practical mind as one's disposition for a complete realization of one's humanness. The polarity between the purpose of reason & man's natural strivings she identifies in the exclusion of sensory & emotional impulses from moral acts. The author analyzes this exclusion in combination with Kant's concept of freedom, defined as the causality springing from the freedom of rational will. 11 References. Adapted from the source document.

Autor se ovim radom fokusirao na dvije od mnogih izlagačkih aktivnosti u Rijeci u razdoblju između dvaju ratova, u vrijeme talijanske vlasti u čijoj su interpretaciji uključene aktualne regionalne, talijanske državne i šire europske političke prilike. Iznesen pregled ovih bijenalnih izložbi uveliko progovara o izoliranim, nepatvorenim umjetničkim trenucima unutar precizno određenoga vremena i prostora. Analizom prvih bijenalnih izložbi u Rijeci održanih 1925. i 1927. godine koje su raznovrsnošću obuhvaćenih iskaza umjetničkoga opusa iznimno širokoga i raznolikoga broja stvaralaca određene društveno-političkim okolnostima, potiče se na promišljanje o općoj zanemarenosti u sveopćem prihvaćanju Rijeke kao grada u stagnaciji po dolasku talijanske vlasti u njezinu međuratnom razdoblju. ; The paper focuses on two of the many exhibiting activities in Rijeka during the Italian rule in the interwar period, interpreted in the context of current regional, Italian state and wider European political circumstances. The presented overview of these biennial exhibitions largely speaks of isolated, authentic artistic moments within well-defined temporal and spatial framework. The analysis of the first biennial exhibitions in Rijeka held in 1925 and 1927, determined by socio-political circumstances through the variety of artistic expressions of an extremely broad and diverse number of artists, prompts a reflection on the general neglect of Rijeka as a city in stagnation in the period that followed the arrival of the Italian authorities.