Suchergebnisse

In this article its author wanted to treat the history and presence of the system constitutional institutions competent for the area of conception, execution and control of security and defence policy of the Czech Republic and also addresses in short the function and content of the main security documents of the country. The author tried to sketch the institutional and documentary framework of the Czech security policy and to explain roles, relations and obligations of the highest-level constitutional bodies in the process of creation and carrying out of this policy (especially positions of the President, the Parliament, the Government and its so called power ministries and other important institutions). This text does not take a lot all this theme in detail, but it is more aimed at basic information and its target is to expound these problems to those interested, especially to foreign students. ; In this article its author wanted to treat the history and presence of the system constitutional institutions competent for the area of conception, execution and control of security and defence policy of the Czech Republic and also addresses in short the function and content of the main security documents of the country. The author tried to sketch the institutional and documentary framework of the Czech security policy and to explain roles, relations and obligations of the highest-level constitutional bodies in the process of creation and carrying out of this policy (especially positions of the President, the Parliament, the Government and its so called power ministries and other important institutions). This text does not take a lot all this theme in detail, but it is more aimed at basic information and its target is to expound these problems to those interested, especially to foreign students.

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.