Metodika analýzy integračních potřeb držitelů mezinárodní ochrany

TAČR Program ÉTA Podpora inovačního potenciálu společenských věd, humanitních věd a umění projekt č. TL03000376 Evaluace úspěšnosti procesu integrace cizinců v dlouhodobém horizontu (EPIC

National Houses in Moravia and Austrian Silesia before 1914: Architecture and Fine Arts as an Opportunity for the Manifestation of National Allegiance

Tako imenovani narodni domovi so ena izmed posebnosti ne le arhitekture temveč tudi narodnega preporoda na območju habsburškega cesarstva v obdobju od ok. leta 1850 do leta 1914. Ta središča družabnega življenja so gradila društva in združenja, ne samo za svoje sede- že, temveč tudi z namenom privabiti čim širše občinstvo in s svojimi gledališkimi igrami, plesi, proslavami, predavanji ali restavracijami spodbuditi narodno zavest. Na Moravskem in v Šleziji so tovrstne objekte gradili Čehi, Nemci in Poljaki. Stavbe s tako jasno opredeljeno nacionalno funkcijo so ponujale tudi priložnost z nacionalno propagando na- govoriti tako svojo okolico kot tudi obiskovalce. To je bilo mogoče doseči z različnimi sredstvi: z izbiro arhitekturnega sloga, ikonografijo arhitekturne dekoracije in umetniških del, prireditvami ob slavnostnih otvoritvah narodnih domov in govori na teh dogodkih, kampanjami v časopisju, katerih namen je bil očrniti narodne domove nasprotnega naroda in njihove obiskovalce ter tudi t. i. »odpadnike«. Članek na konkretnih primerih in v širšem kontekstu predstavlja povezavo med arhitekturo in nacionalno propagando.National Houses are one of the phenomena not only of the architecture but also of the national revivals in the territory of the Habsburg Empire in ca. 1850–1914. These centres of social life were built by clubs and associations, not just as their private seats, but to attract a greater audience and boost national enthusiasm through theatre plays, balls, fests, lectures, or welcoming restaurants. In the case of Moravia and Silesia, these houses were built by Czechs, Germans, and Poles. It is evident that buildings with such clearly nationally orientated functions allowed for national propaganda to reach out to their surroundings as well as their visitors. This was accomplished by several means: the architectural style itself; the iconography of architectural decoration and works of art; the festivities accompanying the ceremonial openings of national houses and the speeches given at these events; the campaigns led by the press to defame opposing national houses and their visitors, as well as so-called ‘renegades’. Thus, the paper presents a connection between architecture and national propaganda and demonstrates it through specific examples in a broad period context

Metodika analýzy integračních potřeb držitelů mezinárodní ochrany

TAČR Program ÉTA Podpora inovačního potenciálu společenských věd, humanitních věd a umění projekt č. TL03000376 Evaluace úspěšnosti procesu integrace cizinců v dlouhodobém horizontu (EPIC

Looking at Zagreb: The Italian State as a Popularizer of Contemporary Art

In 1965, at the 12th International Conference of Critics, Artists and Art Scholars, held in Rimini, Verucchio and San Marino and devoted to the theme Art and Technology, Italian art critic Giulio Carlo Argan declared that Yugoslavia had overcome the problem of the relationship between art and technology. His statement concerned to the cultural milieu of Zagreb that Argan had known from the early Sixties. In the same year, Palma Bucarelli, the chief curator of the Rome National Gallery, attended the Brezovica conference held for Nova tendencija 3, to present a project in which the museum had a significant role as a state institution that had to encourage contemporary art in order to free artists from the pressures of the art market and private art galleries. In 1963, another art scholar, Umbro Apollonio, the curator of the Venice Biennale Archive for Contemporary Arts who had directly participated in the Venice exhibition Nuova tendenza 2, claimed that Italian Public Art School needed a new relationship between teaching and industries. My presentation aims to highlight how Argan, Bucarelli, Apollonio and other Italian scholars hoped for the state to intervene in the Italian art system and also how their ideas were inspired by the Croatian political and cultural situation of the 1960s