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.
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.
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.
Senior representatives of the Venetian Republic inspired distinguished noblemen and rich citizens in Venice, as well as in Terraferma and Stato da Mar, to perpetuate their memory through lavish commemorative monuments that were erected in churches and convents. Their endeavour for self-promotion and their wish to monopolise glory could be detected in the choice of material for the busts that adorned almost every monument: marble. The most elaborate monument of this kind belongs to the Brutti family, erected in 1695 in Koper Cathedral. In 1688 the Town of Labin ordered a marble bust of local hero Antonio Bollani and placed it on the facade of the parish church. Fine examples of family glorification could be found in the capital of Venetian Dalmatia – Zadar. In the Church of Saint Chrysogonus, there is a monument to the provveditore Marino Zorzi, adorned with a marble portrait bust. Rather similar is the monument to condottiere Simeone Fanfogna in Zadar's Benedictine Church of Saint Mary and the monument to the military engineer Francesco Rossini in Saint Simeon. All these monuments embellished with portrait busts have a common purpose: to ensure the everlasting memory of important individuals. This paper analyses comparative examples, models, artists, as well as the desires of clients or authorities that were able to invest money in self or family promotion, thus creating the identity of success.
Rudolf Valdec, together with Robert Frangeš-Mihanović, was a sculptor of the Zagreb circle in the late 19th and early 20th century. Medal art in Croatia began with those two leading Croatian sculptors at the time of Art Nouveau. Right from the beginning their commemorative works were on par with contemporary European medal-making. Rudolf Valdec's medals are completely in the Art Nouveau style, which implies that the plaque was the dominant form of art expression. He was an excellent portraitist, and his plaques are technologically perfect. He made small portraits and compositions in shallow relief, with meticulously rendered decorative details in curving lines. The Collection of Medals and Plaques in the Modern Gallery in Zagreb has fifty five works by Rudolf Valdec. Twenty plaques and two medals were made after posters, in several techniques and struck in a variety of materials. They date from 1905, when Valdec started his work on medals, to 1923, when he made the last plaque. The Dragutin Mandl Collection of Medals and Plaques has all the fourteen works by the artist, a total of forty-nine specimens, and six specimens were acquired from other sources. This article for the first time gives a comprehensive and detailed presentation of all the medal works of Rudolf Valdec, enabling the public at large, and also experts, to get to know his complete opus in medals in the Modern Gallery in Zagreb. The commemorative work by this Croatian sculptor must be seen in the context of the art medal. Rudolf Valdec is one of the pioneers of the modern Croatian medal, with masterpieces in this branch of sculpture. Outstanding is the portrait plaque of J.J. Strossmayer (1905) and the plaque with the figural composition Military Casino (1911).
U drugoj polovici 19. stoljeća Dalmacija je bila poprište žestokih sukoba autonomaša i narodnjaka. Upravo u tom razdoblju funkciju gradonačelnika Splita obnašao je Antonio Bajamonti, vođa autonomaške stranke. Bajamonti je ambicioznim graditeljskim pothvatima Split htio uzdići na razinu razvijenog europskog grada. Ovaj rad je usmjeren na gradnje koje su ostvarene na Marmontovom perivoju, terenu kojeg je u prvoj polovici 19. stoljeća namjeravao urediti francuski general Auguste Marmont. Kako bi se istakala povezanost Dalmacije s talijanskom kulturom za projekte na Marmontovom perivoju bili su angažirani talijanski arhitekti i umjetnici. Nakon pobjede narodnjaka na lokalnim izborima 1882. godine Bajamontijeve zasluge za grad Split počele su se sustavno osporavati. Bajamontijevim graditeljskim ostvarenjimasu od tog vremena, a posebno za vrijeme talijanske okupacije Dalmacije, pripisane pogrešne političke konotacije, a time pogrešan sud o umjetničkoj vrijednosti. Iz navedenih razloga ta vrijedna umjetnička postignuća druge polovice 19. stoljeća ostala su zanemarena sve do danas. ; In the second half of the 19th century, Dalmatia was the center of fierce clashes between autonomists and populists. It was during this period that the role of Mayor of Split was held by Antonio Bajamonti, the leader of the autonomous party. Bajamonti wanted to elevate Split to the level of a developed European city through ambitious construction projects. This paper is focused on the works that were done on the MarmontPark, a terrain intended to be arranged by French General Auguste Marmont in the first half of the 19thcentury. For projects at the Marmont Park, Italian architects and artists were hired to highlight Dalmatia's connection to Italian culture. After the victory of the populists in the local elections of 1882, Bajamonti's merits for the city of Split began to be systematically challenged. From that time, especially during the Italian occupation of Dalmatia, Bayamonti's architectural achievements were attributed to the wrong political connotations, and thus the wrong judgment about artistic value. For these reasons, these valuable artistic achievements of the second half of the 19th century have been neglected to this day.
U prilogu se objavljuju i u povijesno umjetnički kontekst stavljaju dva srebrna zidna svijećnjaka s poprsjima antičkih figura uokvirenih prepletima stiliziranog akantusovog lišća, a koji se čuvaju u franjevačkom su samostanu na Trsatu. Posljednji su put svijećnjaci snimljeni prilikom fotodokumentacijske kampanje Artura Schneidera tijekom četvrtog desetljeća 20. stoljeća, a 1974. godine su registrirani kao kulturno dobro u sklopu inventara franjevačkog samostana. Riječ je o vrijednom kompletu srebrnih zidnih svijećnjaka koje je 1693. godine trsatskom samostanu darovao car Svetog rimskog carstva njemačkoga naroda Leopold I. Habsburg (1658.-1705.). U radu se donose izvori kojima se potvrđuje naručitelj svijećnjaka te se analizira nastanak njihove specifične tipologije. Oni se prema načinu oblikovanja i ikonografskoj shemi, a putem sličnih komparativnih primjera, kao i grafičkih predložaka, smještaju u augsburški zlatarski krug. Teza se potvrđuje i zlatarskim žigom grada Augsburga te drugim utisnutim žigom koji upućuje na zlatara Antonija Grilla I., dokumentiranog u tom umjetničkom centru od 1668. do 1700. godine. ; The sanctuary of Our Lady of Trsat is a pilgrimage centre in the northern Adriatic visited for centuries by pilgrims and dignitaries, who brought various artefacts in fulfilment of their vows. Most of the oldest votive objects are today exhibited at the convent's treasury, but the two silver wall candelabra in question remain deposited in the convent's storage. They were first mentioned by Bishop Juraj Franjo Ksaver Marotti in 1710, who wrote that they had been donated to the convent in 1693 by the Emperor Leopold I (1658-1705). Petar Francetić and Klaro Pasconi corroborated this information, and late in the 19th century Julije Janković mentioned that they were standing on marble columns at the main church altar. In the early 20th century, the candelabra were briefly described by Riccardo Gigante, Gjuro Szabo, Apolinar Braničković, and Artur Schneider, but a scholarly study establishing the true value of these precious artefacts was still missing. The candelabra of Trsat used to hang on the wall like paintings, but today they are lacking the holders with candle plates. At their centre, formed of stylized fleshy acanthus leaves made of silver, there are shell-like cavities with applique silver busts of a Roman emperor and a young warrior wearing a helmet. The edge of the cavity under the busts is decorated with an embossed masqueron resembling a lion's head, placed between the curving volutes. By donating the candelabra to the Franciscans of Trsat, Emperor Leopold I. made a political gesture and also continued the tradition started by his predecessor Charles V (1519-1556), who had donated a golden pendulum in the shape of a two-headed eagle decorated with gems in 1536 as a symbol of Pietas Austriaca practiced by members of the Habsburg family from the first half of the 17th century onwards. Candelabra of this type were mostly produced for the private chambers or lavish salons of noble families and similar examples made of various materials are found in museum collections all over Germany and France. Even though the candelabra were intended for religious space, Emperor Leopold I was probably guided in their commission by the idea of expressing his power by iconographically relating himself to the mythology and history of ancient Rome. Thus, the figure of Emperor Augustus should most probably represent the emperor himself, while the young Roman warrior was to impersonate his son Joseph, who was to inherit the imperial throne. Hallmarks have been identified on the candelabra that had previously gone unnoticed and that positively relate them to a particular goldsmith's workshop in Augsburg. One of them has the form of a stylized pinecone, while the other shows a stork with a fish in its beak. This was the hallmark of Antoni Grill I, documented in Augsburg as a master from 1668 until his death in 1700. Even though he stemmed from a family of goldsmiths, whose members had been producing imaginative artefacts for European courts since the mid-16th century, his own identified works are preserved only in a few museums and private collections. Most of them are gilded silver plates with carefully elaborated compositions that reveal great skill in embossing motifs in various depths and their even distribution over the plate surface. The same feature is evident in the candelabra of Trsat. Grill's models possibly included drawings by graphic artists Jakob Wilhelm (Augsburg, documented since 1694-1738) and Leonhard Heckenauer (b. ca. 1655 in Augsburg, d. 1704 in Munich), who likewise belonged to the Augsburg circle of artists. Their maps contain several examples of wall candelabra, with complex compositions and a choice of decorative motifs that bear some similarities with the Trsat ones. Compared to other known examples, the candelabra of Trsat may be considered among the first cases of this typology in the goldsmith circle of Augsburg, and considering their provenance and the importance of their imperial donor, they are certainly special items in the rich heritage of artefacts made of precious metals preserved in the church treasuries of the eastern Adriatic.
U radu se na temelju izvornoga arhivskoga gradiva istražuje jedan aspekt kulturne politike Jugoslavije i Hrvatske prema iseljeništvu – gostovanja glazbenih umjetnika i kulturno-umjetničkih društava u zemljama iseljavanja 60-ih i 70-ih godina XX. stoljeća. U kratkom prikazu iseljeničke službe na saveznoj i republičkoj razini daje se uvid u njezinu ulogu u formiranju i realiziranju te nadzor nad tim dijelom kulturne politike. Nastojanje Jugoslavije da ostvari organizacijski i ideološki nadzor nad tim aktivnostima dodatno je ilustriran primjerima dvojice hrvatskih popularnih pjevača – Ive Robića i Vice Vukova. ; Based on the original archives, the paper explores one aspect of the cultural policy of Yugoslavia and Croatia towards emigration—guest appearances by music artists and cultural and artistic societies in the countries of emigration in the 1960s and 1970s. The policy towards emigrants, especially 'temporary workers abroad', has been particularly important since the early 1960s, as emigration began to be perceived as a vital force, for both political and economic reasons. Therefore, the emigration service in the 1960s expanded and operated through several working bodies at the federal and republican levels, and played an essential role in the formation and implementation as well as the supervision of cultural policy towards emigrants. The idea was to maintain and strengthen the influence of self-managing socialist Yugoslavia in the 'Seventh Republic', and to neutralise the impact of political émigrés averse to the communist regime as much as possible. Music, as a segment of cultural policy, was a trump card that was known to have good reception with the audience, and guest appearances by musicians—singers and cultural and artistic societies—became very popular and frequent in Western Europe and overseas. Visits thus became a medium of ideological and promotional activities towards emigrants; organisers, performers, programs, and performances were regularly monitored by the state and Party bodies, diplomatic missions, and the State Security Service. Among the implementers of cultural policy towards emigrants, a significant role was played by the Heritage Foundation of Croatia, which operated according to the instructions of state and Party bodies, but had the best insight into the situation among immigrants and maintained continuous relations with them. Yugoslavia's efforts to gain organisational and ideological control over musical guest appearances are further illustrated through the examples of two Croatian popular singers—Ivo Robić and Vice Vukov.
Omladinski klub V3 varaždinske Gimnazije utemeljen je 21. rujna 1965. godine na obljetnicu stradanja V3 (petog tri) razreda kragujevačkih učenika prema kojem je dobio ime. U početku je djelovao u bivšoj crtaoni, najvećoj prostoriji u varaždinskoj Gimnaziji. Nakon rekonstrukcije gimnazijske zgrade u periodu 1971.-1973. godine, za njegove je potrebe, uz dobrovoljni rad učenika, bio uređen podrumski prostor južnog krila Gimnazije u kojem je nastavio uspješno djelovati do izbijanja ratnih sukoba koji su početkom 90-ih godina XX. stoljeća prouzročili raspad Jugoslavije i osnutak neovisne Republike Hrvatske. Djelujući kao učenički klub koji je imao ograničenu autonomiju unutar škole, razvijao je bogatu i razgrananu aktivnost, priređujući javna događanja, kulturne i zabavne priredbe namijenjene gimnazijalcima, a često i široj publici. Zahvaljujući vlastitim prihodima, Klub je dijelom bio financijski neovisan, a njegovim su radom, uz indirektan nadzor škole, uglavnom samostalno upravljali učenici. U njegovoj su organizaciji pred gimnazijskim učenicima nastupali i izvodili svoje programe istaknuti umjetnici, književnici, glazbenici i glazbeni sastavi, znanstvenici, sportaši i društveno-politički aktivisti i djelatnici s područja čitave Jugoslavije. Polaznicima Gimnazije je tako bilo omogućeno, ne samo korisno provođenje slobodnog vremena, već i mladima svojstvena zabava jer je Klub redovito, jednom tjedno priređivao disco-večeri i godinama bio jedini disco-klub u Varaždinu. Izbijanjem Domovinskog rata i izmjenom društveno-političkog i gospodarskog sustava početkom 90-ih godina XX. stoljeća, djelovanje Omladinskog kluba V3 je spontano prekinuto. Njegov neiskorišteni prostor uprava varaždinske Gimnazije odlučila je iskoristiti kako bi osigurala brzu prehranu za potrebe svojih učenika. ; on the 21st of September 1965 at the anniversary of the plight of V3 (fifth three) class of Kragujevac students. At first its activities were confined to the former Gimnazija drawing room which was at the time the biggest room in the school. After the reconstruction process of the Gimnazija building in the period between 1971 and 1973, aided by student volunteers, the basement of the school was refurbished for the purposes of the club activities. It continued to flourish until the start of the war which in 1990s marked the collapse of Yugoslavia and contributed to the establishment of the indepedent Republic of Croatia. As a student club which had only limited autonomy within the school, the club developed a rich and varied plan of activities which entailed the organization of public events, cultural and entertainment events intended for Gimnazija students and general public as well. Thanks to its own earnings, the club was partially independent in terms of its finances and its activities were mostly organized independently by the students with an indirect supervision of the school management. The club organized various spectacles for its students which were delivered by distinguished artists, writers, musicians and music groups, scientists, athletes, political activists and other important figures from the entire territory of Yugoslavia. Gimnazija students were thus offered not only a high-quality activity plan for their free time, but also a form of entertainment because the club would regularly, once a week set up disco-evenings as it was the only discoclub in Varaždin for many years. After the beginning of the War of Independence and the newly emerged social, political and economic system in the early 1990s, the activity of the youth club V3 was spontaneously discontinued. Its emptied premises were afterwards used by the Gimnazija management for a fast food facility catering to its students.
