Izlaganje skulpture kao društvena praksa: park skulptura Simpozijuma Beli Venčac u Aranđelovcu

U tekstu se razmatra praksa izlaganja skulpture na otvorenom prostoru u kontekstu jugoslovenske umetnosti i kulture 1960-ih i 1970-ih godina kroz studiju slučaja o nastanku i razvoju parka skulptura u okviru Simpozijuma skulpture Beli Venčac u Aranđelovcu. Ostvarivši izuzetno značajna dostignuća u domenu afrimacije i negovanja moderne skulpture, kako na užem umetničkom, tako i na širem društvenom planu, ovaj Simpozijum predstavlja jednu od ključnih stanica za razumevanje kompleksnog razvoja i funkcije modernističke skulpture na jugoslovenskom prostoru. Simpozijum je osnovan 1966. godine, kada su u belom mermeru, materijalu koji je karakterističan za lokalno podneblje, skulpture izveli jugoslovenski umetnici Oto Logo, Matija Vuković, Mira Jurišić, Angelina Gatalica, Raja Nikolić, Jovan Soldatović i Šošana Hajman (Shoshana Heiman) iz Izraela. Dela nastala u okviru Simpozijuma iste godine trajno su postavljena u parku Bukovičke Banje u Aranđelovcu, čime je inaugurisana izlagačka praksa skulpture na otvorenom prostoru koja traje do danas. Uvođenjem skulptura u prostor parka transformisan je identitet ovog (banjskog) mesta – park je dobio moderni karakter u funkciji novoostvarenih kulturnih potreba društva, a kao rezultat promene kursa jugoslovenske kulturne politike šezdesetih godina dvadesetog veka pod geslom „umetnost za sve“. Uključivši različite aktere iz umetničkog, političkog i privrednog života, oslanjajući se na prirodne resurse lokalne sredine, Simpozijum skulpture Beli Venčac funkcioniše kao primer aktiviranja potencijala jedne zajednice sa idejom stvaranja autentične slike-pejzaža njene društvene savremenosti u kojoj umetnost u javnom prostoru ima veoma značajnu funkciju.The text discusses the practice of exhibiting sculpture in open space in the context of 1960s and 1970s Yugoslav art and culture, looking at the establishment and development of the sculpture park comprising works made at the Beli Venčac Symposium of Sculpture in Aranđelovac as a case study. With its outstanding contribution to the affirmation and cultivation of modern sculpture, both in the domain of art and in a broader social context, the Symposium constitutes a key juncture in understanding the complex development and function of modernist sculpture in the Yugoslav cultural space. The Symposium was inaugurated in 1966, when the first sculptures were made, using white marble, a material that is traditionally associated with the local area, by the Yugoslav artists Oto Logo, Matija Vuković, Mira Jurišić, Angelina Gatalica, Raja Nikolić, and Jovan Soldatović, and the Israeli artist Shoshana Heiman. Works made at the first Symposium were permanently installed in the Bukovička Banja park in Aranđelovac, which thereby saw the inauguration of an open space sculpture exhibition practice that continues to this day. The introduction of sculptures to the park transformed the identity of this (spa) town – the park acquired a modern character, serving Yugoslav society’s newly found cultural needs, as a result of a change in Yugoslavia’s cultural policy during the 1960s, under the motto of “Art for All“. Involving various agents from artistic, political, and business life, making use of its local natural resources, the Beli Venčac Symposium of Sculpture serves as an example of activating the potentials of a community with the intent of creating an authentic landscapeview of its social contemporaneity wherein art in public space performs a highly important function

The Secret Life of »Wopaterni«: Encounter of the Past, the Present and the Future Within the Touch of Sound

Palača Radosavljević/Golubić nalazi se u centru Slavonskog Broda. Trenutačni su vlasnici Mile i Ankica Golubić. U radu sam opisala važnost obitelji Radosavljević i Golubić u društvenom i kulturnom životu Slavonskog Broda. U njihovoj se kući nalazi povijesni klavir bečkoga graditelja Josepha Wopaternija iz druge polovice 19. stoljeća, koji je jedan od rijetkih i vrijednih, a možda i jedinstvenih primjeraka Wopaternijeva graditeljskog umijeća na području Hrvatske. Proučavanjem dostupne literature prepoznala sam važnost Josepha Wopaternija u kontekstu duge i bogate tradicije bečkih graditelja klavira. Na temelju stručne procjene i pregleda klavira potvrđeno je da je instrument u lošem stanju te da mu je potrebna cjelovita restauracija.The Radosavljević/Golubić palace is located in the centre of Slavonski Brod. It’s current owners are Mile and Ankica Golubić. In my paper I describe the importance of those families in the social and cultural life of Slavonski Brod. A historical piano made by the Viennese pianoforte maker Joseph Wopaterni in the second half of the 19th century, an instrument which is situated in the house of Golubić family, is among the rare, perhaps even unique examples of Wopaterni’s instrument making skills on Croatia’s territory. Studying the accessible literature led me to recognize the importance of Joseph Wopaterni in the context of the long and rich tradition of pianoforte makers in Vienna. Based on an expert assessment and overview of the piano it is confirmed that the instrument is in poor state and in need of complete restoration

The Venice Biennale and Art in Belgrade in the 1950s. A Contribution to the Study of the Artistic Dialogue between Italy and Serbia

Throughout the twentieth century the International Art Exhibition Venice Bien- nale was seen as a major event by the art world of Belgrade and, more broadly, of Serbia and Yugoslavia. After the Second World War this biggest and most important internatio- nal show of contemporary art provided Belgrade’s artists and art critics with an opportu- nity to acquaint themselves with the latest developments on the international art scene. At the same time, it was used as a platform for the leading figures of Belgrade’s artistic and cultural-policy establishment to create, through the exhibitions mounted in the national pavilion, an image of the country’s artistic contemporaneity aimed at achieving its desired standing in the West. The attitude of Belgrade’s art scene to the Venice Biennale went through a particularly interesting phase in the 1950s. Its transformations offer an oppor- tunity to observe, analyse and expand the knowledge about the changes that marked that turbulent decade in the history of Serbian art, which went a long way from dogmatically exclusive socialist realism to the institutionalization of a high-modernist language as the dominant model. Based on the reconstruction of Yugoslavia’s sustained participation in the Venice Biennale (1950–60), this paper analyses the models of the representation of Serbian art in the international context of the Biennale within a broader context of the intensification of Serbian-Italian artistic contacts during the period under study

Jeremija Stanojević: istoričar i kolekcionar fotografija (starog) Beograda

U fokusu ovog rada je fond pukovnika Jeremije Stanojevića koji se čuva u sklopu Zbirke za arhitekturu i urbanizam Muzeja grada Beograda. Fond se dominantno sastoji iz fotografija beogradskih ulica koje je početkom 1930-ih godina snimio Stanojević, ali i iz većeg broja fotografija i razglednica Beograda drugih autora koje su nastale od sredine XIX veka do sredine 1930-ih godina. Kroz analizu kompletnog fonda, sa posebnim akcentom na fotografije koje je načinio Stanojević, ovaj rad iz perspektive vizuelne kulture i studija sakupljanja razmatra njegovu delatnost kao izraz dva impulsa – istoriografskog i kolekcionarskog – sa ciljem da predloži odgovore na pitanja o Stanojevićevim motivima za kompleksni poduhvat koji je preduzeo, kao i da preciznije pozicionira njegovu aktivnost u kontekstu istorije fotografije i vizuelne kulture međuratnog perioda.The focus of this article is on the memorial fund of the Colonel Jeremija Stanojević, which is a part of the Architecture and Urban Planning Collection in the Belgrade City Museum. This memorial fund includes photographs of Belgrade city streets made by Jeremija Stanojević during the 1930s, as well as many photographs and postcards of Belgrade by other authors dating from mid-19th century until mid-1930s. The paper analyses the complete fund from the perspective of visual culture and collection studies with a particular emphasis on Stanojević’s photographs, and offeres a consideration of his practice as cultural manifestation of the historiographic and collecting impulses. The aim of the article is to propose new insights into Stanojević’s motivation for such a complex photographic and collecting undertaking, as well as to methodically position his practice within the context of history of phogoraphy and visual culture of the interwar period

Olga Jevrić in the International Art World in the 1950’s

Тhe article reconstructs and analyzes the work of the sculptress Olga Jevric within the international context during the period 1955-1960, focusing on her participation in exhibitions in Paris, Venice and Torino

ODRAZ PANDEMIJE COVID-19 NA KRUZING TURIZAM : Završni rad

Kruzing turizam je danas na području Hrvatske izuzetno razvijen. Raznovrsna ponuda, mnogo specifičnosti koje ova vrsta turizma u Hrvatskoj vuče za sobom uistinu su utjecali na to da turizam postane jedna od ključnih grana gospodarstva u Hrvatskoj. Međutim, evidentno je da je i pandemija COVID 19 promijenila tijek svih grana turizma. Nažalost, ni kruzing turizam nije ostao pošteđen pandemijom COVID-a te je i on osjetio loše strane iste. Ako uporedimo godine prije pandemija u Hrvatskoj na području rasta kruzing turizma, jasno je da je godina 2020. bila obilježena gubitcima, ali su oni bili znatno manji već kad je riječ o drugim vrstama turizma.Today, cruising tourism is extremely developed in Croatia. The diverse offer, many specifics that this type of tourism in Croatia entails have really influenced the tourism to become one of the key branches of the economy in Croatia. However, it is evident that the COVID 19 pandemic also changed the course of tourism, both of this common and cruising tourism. Unfortunately, this type of tourism was not spared by the COVID pandemic, but it also felt the bad sides of it. If we compare the years before the pandemics in Croatia in the area of cruising tourism growth, it is clear that the year 2020 was marked by losses, but they were significantly smaller when it comes to other types of tourism

ODRAZ PANDEMIJE COVID-19 NA KRUZING TURIZAM : Završni rad

Kruzing turizam je danas na području Hrvatske izuzetno razvijen. Raznovrsna ponuda, mnogo specifičnosti koje ova vrsta turizma u Hrvatskoj vuče za sobom uistinu su utjecali na to da turizam postane jedna od ključnih grana gospodarstva u Hrvatskoj. Međutim, evidentno je da je i pandemija COVID 19 promijenila tijek svih grana turizma. Nažalost, ni kruzing turizam nije ostao pošteđen pandemijom COVID-a te je i on osjetio loše strane iste. Ako uporedimo godine prije pandemija u Hrvatskoj na području rasta kruzing turizma, jasno je da je godina 2020. bila obilježena gubitcima, ali su oni bili znatno manji već kad je riječ o drugim vrstama turizma.Today, cruising tourism is extremely developed in Croatia. The diverse offer, many specifics that this type of tourism in Croatia entails have really influenced the tourism to become one of the key branches of the economy in Croatia. However, it is evident that the COVID 19 pandemic also changed the course of tourism, both of this common and cruising tourism. Unfortunately, this type of tourism was not spared by the COVID pandemic, but it also felt the bad sides of it. If we compare the years before the pandemics in Croatia in the area of cruising tourism growth, it is clear that the year 2020 was marked by losses, but they were significantly smaller when it comes to other types of tourism