Koreografski i prostorni nivoi u plesnom filmu Paviljon Jasmine Cibic

The paper is a case study of Jasmina Cibic\u27s film The Pavilion (2015) in relation to the theory of screendance. The first part of the paper discusses the definitions of the term screendance by various researchers, and its position to related terms choreocinema, cine-dance, dance cinema, dance for the camera, dance on screen, dancefilm, and video dance. The second part of the paper is a close analysis of the film, synchronously focused on three key aspects: the choreography of the five female performers, the cinematic techniques, and the narration. The third part of the paper examines the role of the dancer Josephine Baker, to whom the film makes a reference. The paper concludes that the central choreography in the film is not that of the five female performers, but actually of the model of the pavilion which they animate. The choreography of the architectural model and the spatial reference to the body of Josephine Baker are as important semantic layers of the film as the choreography of the five performers.Rad je studija slučaja kratkog filma Paviljon (2015.) Jasmine Cibic, suvremene umjetnice koja kroz totalna umjetnička djela tematizira upotrebu umjetnosti i arhitekture u prezentaciji smijenjenih državnih ideologija. Paviljon se promatra u okviru teorije o plesnom filmu (screendance) i srodnih termina—ples za ekran, koreofilm, filmski ples—predstavljene kroz istraživanja o ovom obliku umjetnosti koja su realizirale Tarryn-Tanille Prinsloo 2018., Harmony Bench 2019., Erin Brannigan 2011. i Sherril Dodds 2004. Polazeći od toga da su koreografski i filmski elementi neodvojivi u plesnom filmu, rad pristupa analizi odnosa između plesnih i filmskih elemenata u Paviljonu. Analiziranjem primjene filmskih sredstava za prikazivanje koreografije pet ženskih figura u filmu dolazi se do zaključka da njihova koreografija nije jedina, nego da je ima i glavni objekt na koji se fokusira film – maketa paviljona koji je Dragiša Brašovan dizajnirao 1929. godine za potrebe predstavljanja Kraljevine Srba, Hrvata i Slovenaca na Svjetskoj izložbi u Barceloni. S obzirom na to da se iste godine država promijenila u Kraljevinu Jugoslaviju, demontažna maketa paviljona otjelovljuje ovaj konstruktivni karakter države i ideju unifikacije južnoslavenskih naroda. Cibic stvara naraciju o prikazivanju i skrivanju identiteta i uspoređuje Brašovanov paviljon s vilom koju je godinu dana ranije Adolf Loos dizajnirao za modernu plesačicu Josephine Baker u Parizu. Rad se iz tog razloga okreće i arhitektonskim prostorima u filmu, realnima i impliciranima, dovodeći u vezu ne samo paviljon i Loosovu vilu nego i ono što je njima bilo „izloženo”: državno tijelo u metamorfozi i tijelo plesačice čija važnost za povijest plesa nije bila prepoznata u vremenu u kojem je živjela

Architectural Scale Models within Contemporary Art: Practices in Post-Socialist Europe

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

Social Turn and Operative Realism: Two Emancipatory Methods of Contemporary Art Practices

The paper is a result of the research that focuses on two occurrences in contemporary art – the social turn, described by Claire Bishop and operative realism, defined by Nicolas Bourriaud. As the research puts a special focus on educational and emancipatory aspects of contemporary art, it depicts, as study cases, two recent installations by contemporary female artists Teresa Margolles and Vahida Ramujkić, where the author notices the presence of both the social turn and operative realism. In the introductory part of the paper, the author defines the applied research methodology and gives more information about the artistic practices of the selected two artists. The next chapter presents educational aspects of contemporary art practices and arts-based research, following the arguments and studies by William Condee, Graeme Sullivan, Danielle Boutet, Beatriz da Costa, Kavita Philip and others. In the central part of the paper, the author gives a descriptive analysis of the two selected installations, emphasising their relational, emancipatory, and educational aspects, and further concluding that the social turn and operative realism are educational and emancipatory precisely because they initiate dialogue, association, empathy and connection between different communities and individuals

Traumatic Sublime: Genealogy of the Term and Relation to Contemporary Art and Media

Prolonging the concept in art theory related to Andy Warhol’s art, whose (photo)graphic series are characterized by “traumatic”, id est repetitive, operation of technique, Hal Foster introduces the term traumatic sublime to describe Bill Viola’s video works. The term relates not only to themes presented in the videos, but also to the media presenting them. Through his HD installation Ocean Without Shore at the 52nd Venice Biennale, Viola emphasised how important technical specifications of media are for his work, defining the colour saturation on the video with water curtains. This paper gives an overview of the technical evolution of Bill Viola’s works and of the term sublime, from Longinus, over Immanuel Kant, to Hal Foster and Jean-François Lyotard. It concludes that traumatic sublime can be related to several forms of new media art, not exclusively to Bill Viola’s work

Pioneer camps in post-Yugoslav context

The paper is revalorisation and architectural analysis of pioneer cities/camps in Zagreb and Belgrade and of the children's camp Mitrovac at Tara. It is divided into an introductory analysis of the context within which pioneer camps were built and four study cases written from contemporary perspective. Artek, one of the best known pioneer camps in world, protected by UNESCO, is analysed in the paper as a paradigm for wider contextualisation of pioneer camps in former Yugoslavia. Chapter Pioneer City in Belgrade and Mitrovac at Tara emphasizes these complexes as important architectural heritage, were Mitrovac at Tara is one of the best preserved and active resorts for children. High Modernism of Vitić's Pioneer City Today summarises the process of protecting this heritage form 1951 in 2015. The paper proposes that these Yugoslav pioneer camps can be used in contemporary art production and graduate education, by opening to resident artists and students who come to Serbia via Erasmus + exchange programme

Dielectric Properties of Nanosized ZnFe2O4

In this paper we present the results concerning the dielectric properties of the nanosized ZnFe2O4. Dielectric permittivity, the loss factor, as well as the conductivity, were measured in the temperature range 300-630 K and at 1 Hz, 10 Hz, 100 Hz, 1 kHz and 10 kHz frequencies. Signifi cant improvements in permittivity, loss factor and ionic conductivity comparing to bulk samples have been observed

Holocaust Learning Handbook

"Priručnik za učenje o Holokaustu" je autorsko delo 19 profesora iz Srbije koji su 2008. godine pohađali međunarodnu školu učenja o Holokaustu u Jad Vašemu u Jerusalimu. Sastavljanjem ovakvog praktikuma želeli su da podele sa svojim kolegama u Srbiji ono što su naučili tokom studijske posete ovoj instituciji. Obrađeni su različiti pedagoško-metodički problemi sa kojima se suočavaju profesori koji mladoj generaciji treba da objasne šta je Holokaust."Priručnik za učenje o Holokaustu" (Holocaust Learning Handbook) is a work of 19 professors from Serbia who attended the International Holocaust Learning School in Yad Vashem in Jerusalem in 2008. By creating such a practicum, they wanted to share with their colleagues in Serbia what they learned during their study visit to that institution. Various pedagogical and methodological problems that professors who need to explain to the young generation about the Holocaust are addressed.Fotografija na prednjoj korici: Dolina zajednica nastalih u Holokaustu, Jad Vašem, Jerusalim, Izrael, detalj. Fotografija na zadnjoj korici: Jedan od spomenika žrtvama Holokausta u Jad Vašemu, Jerusalim, Izrael