Sarcophagus of Joan of Arc – ‘’Cult of Virgin’’ in Contemporary Art

Cilj je ovog rada prikazati i analizirati djela suvremene umjetnosti koja se referiraju na tri arhetipska lika - simbola djevice, majke i bludnice. Autorice Vera Mukhina, Cindy Sherman i Marina Abramović propituju odnos između kreatora i predmeta umjetničkog djela, kroz odnos mita, tradicije, ideologije i rodnih uvjetovanosti. Autori Tomislav Buntak, Vladimir Dodig Trokut i Ivan Folić u svom radu polaze od idealizirane slike spolnosti i žene izgrađujući ga kroz različite vjerske, tradicijske ili popularno kulturne matrice. Na ovim se primjerima analizira princip transformacije u suvremenoj umjetnosti kao i odnos između svetog i profanog u različitim društvima, kulturama, ideologijama i represivnim sustavima.The aim of this paper is to present and analyze the works of contemporary art, which refer to three archetypal characters: -the symbol of virgin, mother and prostitute. The authors Vera Mukhin, Cindy Sherman and Marina Abramović examine the relationship between the creator and art objects, through the relation between myth, tradition, ideology and gender determination. The authors Tomislav Buntak, Vladimir Dodig Trokut and Ivan Folić in their work take as a starting point the idealized images of sexuality and woman and they develop their work through different religious, traditional or popular and cultural matrices. The principle of transformation in contemporary art and relationships between the sacred and profane in different societies, cultures, ideologies and repressive systems are analyzed in these examples

Anthropological conceptualisation of the space in thangka painting and contemporary art practices

Cilj ovoga rada je putem primjera iz umjetnosti i etnografskog istraživanja pokazati i objasniti načine konceptualizacije prostora unutar thangka slikarstva i suvremenih umjetničkih praksi te utvrditi kako ti postupci utječu na oblikovanje odnosa prema slici. U ovoj sam studiji slijedio dvojni metodološki obrazac koji uključuje kvalitativne istraživačke tehnike evokativno-performativne etnografije i kritičko-analitičke tehnike tumačenja slike. Fenomen slike obradio sam na primjerima radova suvremenih umjetnika/ica i kritičkim pregledom teorija o slici. Utjecaj geometrije i nasljeđa Pitagorinih školana umjetnost, znanost i kulturu tematizirao sam različitim umjetničkim djelima. Konceptualizaciju prostora u thangka slikarstvu obradio sam na temelju rada u školi Thangde Gatsal i istraživanjem thangka slikara/ica Majstora Lochoa, Sarike Singh i drugih. Teorijski okvir mog rada temelji se na analitičkom aparatu koji se razvio zahvaljujući opusima Michela Foucaulta, Waltera Benjamina i Hansa Beltinga, koji su važni za razumijevanje konceptualizacije prostora u suvremenoj umjetnosti. Pomoću više primjera analizirao sam odnos prema slici u tibetskoj i suvremenoj kulturi. Rezultat ove studije je nova platforma promišljanja slike, nastala na temelju istraživanja, usporedbe i sinteze tibetskog i globalnog kulturnog konteksta putem modela Trećeg prostora. Model je na osnovu ideje Trećeg prostora Henrija Lefebvrea i Homija K. Bhabhe kreirao Edward W. Soja. Zaključak ove studije jest da je načine konceptualizacije prostora u thangka slikarstvu i suvremenim umjetničkim praksama, kao i oblikovanje odnosa prema slici, moguće pokazati i objasniti formom jezika transformiranom u instrumentarij Trećeg prostora koji je zasnovan na osobnom iskustvu istraživača.The objective of this work is to use examples from art history and practical evocative and performative ethnographic research to show and explain the ways of conceptualization of space in Thangka painting and some of the contemporary art practices, and how this influences the relationships towards image in different cultural contexts. In order to thematize their appropriation, translation, rehistorization and new readings, the mobility and transformability of cultural meanings and symbols between the past and the present and between tradition and contemporary theories are explained following the model of Thirdspace (Soja 1996). The spatiality of human cultural experience achieved through visual media enables one to approach the space and locus of the image in the same manner like recording the experience of the first and second space, material space and the space of representations (Lefebvre, in Soja1996:66-68). I, therefore, approach Thangka painting and examples from contemporary art practices as phenomena that go beyond the interpretations of visual space as the link between real and imaginary world and turn it into the experience of Thirdspace (Soja, in Šakaja2011:120), thus opening up the possibility of interpretation and reception of the same as the establishment of comprehensive simultaneity. Research hypotheses are based on the two elements of the conceptualization of space and understanding image as the shaper of cultural contexts. Possible redefinition of the image also includes the change of the meaning of the conceptualization of time and space in the society and culture

Sarcophagus of Joan of Arc – ‘’Cult of Virgin’’ in Contemporary Art

Cilj je ovog rada prikazati i analizirati djela suvremene umjetnosti koja se referiraju na tri arhetipska lika - simbola djevice, majke i bludnice. Autorice Vera Mukhina, Cindy Sherman i Marina Abramović propituju odnos između kreatora i predmeta umjetničkog djela, kroz odnos mita, tradicije, ideologije i rodnih uvjetovanosti. Autori Tomislav Buntak, Vladimir Dodig Trokut i Ivan Folić u svom radu polaze od idealizirane slike spolnosti i žene izgrađujući ga kroz različite vjerske, tradicijske ili popularno kulturne matrice. Na ovim se primjerima analizira princip transformacije u suvremenoj umjetnosti kao i odnos između svetog i profanog u različitim društvima, kulturama, ideologijama i represivnim sustavima.The aim of this paper is to present and analyze the works of contemporary art, which refer to three archetypal characters: -the symbol of virgin, mother and prostitute. The authors Vera Mukhin, Cindy Sherman and Marina Abramović examine the relationship between the creator and art objects, through the relation between myth, tradition, ideology and gender determination. The authors Tomislav Buntak, Vladimir Dodig Trokut and Ivan Folić in their work take as a starting point the idealized images of sexuality and woman and they develop their work through different religious, traditional or popular and cultural matrices. The principle of transformation in contemporary art and relationships between the sacred and profane in different societies, cultures, ideologies and repressive systems are analyzed in these examples

Grad i umjetnost

Publikacija Grad i umjetnost nastala je u okviru projekta „Stvaranje grada: prostor, kultura i identitet“ te u suradnji s projektom“ Creart“ Hrvatskog društva likovnih umjetnika, u nastojanju da se predstavi dio istraživanja koji se odnosi na stvaranje grada kroz umjetničke intervencije i izvedbe. Autorice Valentina Gulin Zrnić i Nevena Škrbić Alempijević u tekstu „Stvaranje grada umjetnošću“ polaze od različitih školskih, ali i individualnih, definicija grada, postavljaju okvire za etnološko i kulturnoantropološko istraživanje umjetničkih praksi u javnom prostoru te predstavljaju umjetničke intervencije u Zagrebu koje su tijekom 2016. godine bile predmetom istraživačkog interesa. Josip Zanki u svojemu tekstu bavi se izvedbom u javnom prostoru kombinirajući osvrt na neke ključne zagrebačke izvedbe, osobne reminiscencije, zakonske smjernice, te umjetničke intervencije i izvedbe u Zagrebu, koje su nastale u suradnji sa suvremenim umjetnicima tijekom 2016. godine. (crosbi

Prikazi

Sanja Potkonjak i Tea Škokić, Gdje živi tvornica? Etnografija postindustrijskoga grada (O. Biti) Marijana Hameršak, Frakture dječje književnosti. Od slikovnice do lektire, od Agrama do El Shatta (N. Kujundžić) Animal: knjiga o ne-ljudima i ljudima. Kulturni bestijarij III. dio., ur. Antonija Zaradija Kiš, Maja Pasarić i Suzana Marjanić (I. Prica) Mirjana Kolumbić Šćepanović, Nonina škrinja. Iz folklorne baštine otoka Hvara (Z. Bibić) Miroslava Hadžihusejnović Valašek, Najstarije zbirke tradicijske glazbe iz Slavonije: Uspomene na stari Brod Ignjata Alojzija Brlića (1830-ih) i Južnoslavljanske pučke pĕsme Karla Catinellija (1849) (N. Šuran) Suzana Marjanić, Mitovi i re/konstrukcije. Tragom Nodilove “stare vjere” Srba i Hrvata (D. Vukelić) David Verbuč, DIY House Shows and Music Venues in the US. Ethnographic Explorations of Place and Community (T. Halužan) Doprinos Radeta Uhlika lingvistici i kulturi Roma. Zbornik radova sa naučnog skupa održanog 5. novembra 2019., ur. Tibor Varadi, Biljana Sikimić (D. Vojak) Helena Tolić, Splitska Radunica kao turistička destinacija. Studija društvenih interakcija (V. Benković) Julia Watson, Lo-TEK. Design by Radical Indigenism (M. Flajsig) Ljubica Anđelković Džambić, Tijelo otpora Satana Panonskog. Autodestruktivni body art u hrvatskoj umjetnosti performansa i izvedbenoj praksi (G. Rem) Social Impact in Arts and Culture. The Diverse Lives of a Concept, eds. Iva Kosmos and Martin Pogačar (E. Wróblewska-Trochimiuk) GSG Magazine, Issue 3. Othering (in)(of) the Periphery, eds. Sanja Horvatinčić, Iva Kovač (P: Šarin) Jasmina Tumbas, “I am Jugoslovenka!”. Feminist Performance Politics During and After Yugoslav Socialism (V. Vuković) Između zdravlja i bolesti. Pogled sa Balkana, ur. Sanja Lazarević Radak (D. Vlaisavljević) Social Issues in Ballads and Songs, ur. Matilda Burden (B. Majnarić) Land art, Earth art, Earthworks. z/Zemlja i antropocen, ur. Zvjezdana Jembrih (J. Zanki

Prikazi

Sanja Potkonjak i Tea Škokić, Gdje živi tvornica? Etnografija postindustrijskoga grada (O. Biti) Marijana Hameršak, Frakture dječje književnosti. Od slikovnice do lektire, od Agrama do El Shatta (N. Kujundžić) Animal: knjiga o ne-ljudima i ljudima. Kulturni bestijarij III. dio., ur. Antonija Zaradija Kiš, Maja Pasarić i Suzana Marjanić (I. Prica) Mirjana Kolumbić Šćepanović, Nonina škrinja. Iz folklorne baštine otoka Hvara (Z. Bibić) Miroslava Hadžihusejnović Valašek, Najstarije zbirke tradicijske glazbe iz Slavonije: Uspomene na stari Brod Ignjata Alojzija Brlića (1830-ih) i Južnoslavljanske pučke pĕsme Karla Catinellija (1849) (N. Šuran) Suzana Marjanić, Mitovi i re/konstrukcije. Tragom Nodilove “stare vjere” Srba i Hrvata (D. Vukelić) David Verbuč, DIY House Shows and Music Venues in the US. Ethnographic Explorations of Place and Community (T. Halužan) Doprinos Radeta Uhlika lingvistici i kulturi Roma. Zbornik radova sa naučnog skupa održanog 5. novembra 2019., ur. Tibor Varadi, Biljana Sikimić (D. Vojak) Helena Tolić, Splitska Radunica kao turistička destinacija. Studija društvenih interakcija (V. Benković) Julia Watson, Lo-TEK. Design by Radical Indigenism (M. Flajsig) Ljubica Anđelković Džambić, Tijelo otpora Satana Panonskog. Autodestruktivni body art u hrvatskoj umjetnosti performansa i izvedbenoj praksi (G. Rem) Social Impact in Arts and Culture. The Diverse Lives of a Concept, eds. Iva Kosmos and Martin Pogačar (E. Wróblewska-Trochimiuk) GSG Magazine, Issue 3. Othering (in)(of) the Periphery, eds. Sanja Horvatinčić, Iva Kovač (P: Šarin) Jasmina Tumbas, “I am Jugoslovenka!”. Feminist Performance Politics During and After Yugoslav Socialism (V. Vuković) Između zdravlja i bolesti. Pogled sa Balkana, ur. Sanja Lazarević Radak (D. Vlaisavljević) Social Issues in Ballads and Songs, ur. Matilda Burden (B. Majnarić) Land art, Earth art, Earthworks. z/Zemlja i antropocen, ur. Zvjezdana Jembrih (J. Zanki

Kamienny Kwiat w Panonii: zbiorowa trauma, pamięć i wojna

This paper is an attempt to analyse the relationship between commemorative celebrations and problems of social remembrance, taking as examples the Stone Flower monument of Bogdan Bogdanović and the Memorial Museum permanent exhibition, both situated in Jasenovac Memorial site in Croatia, on the Bosnian border. Jasenovac Concentration Camp was organized in 1941 by the Fascist government of The Independent State of Croatia. It was open until 1945, and in accordance with racist regulations, it operated as a place of killing and torturing Serbs, Roma people, Jews and anti-fascist Croats. The data gathered show numbers of more than 80,000 victims, predominantly Serbs. After liberation and the establishment of The Socialist Federal Republic of Yugoslavia, the question of a memorial centre at the camp location stimulated debate on traumatic historical relations between the two largest nations in Yugoslavia, Serbia and Croatia. Bogdan Bogdanović's monument was erected in 1966 and the Jasenovac Memorial Museum was opened in 1968. Very soon after, the monument became a symbol of reconciliation, not just for the camp victims but for their descendants, as well as for advocates of the former Quisling state. The Memorial Museum exhibition was changed several times, under the pressure and influence of the ruling political ideologies. Today’s exhibition, opened in 2006 created controversy especially for its multimedia representation form. During my research on various forms of remembering and symbolic perception of the place itself I have conducted several interviews with Leonida Kovač, the art historian and author of the Memorial Museum’s permanent exhibition, as well as with members of the Anti-Fascist movement and members of Serbian and Jewish communities. I have also used Lelow’s Jewish community centre in Poland as a reference point in my comparative fieldwork. This community was wiped out during the Holocaust and the post-war Socialist period. Its history and culture can be compared to that of the Serbian community in Croatia. Both communities shared a complex space, impossible to define by national or generalized historical narrative.Artykuł jest próbą zanalizowania zależności między upamiętnianiem traumatycznych wydarzeń a czczeniem pamięci narodowej; analizowane przykłady to projekt pomnika Bogdana Bogdanovica Kamienny Kwiat i stała ekspozycja wystawiennicza w Muzeum Pamięci w Jasenovac w Chorwacji, graniczącym z Bośnią. Obóz zagłady w Jasenovac został założony w 1941 roku przez zdominowany wówczas przez faszystów rząd niezależnej Chorwacji. Do roku 1945 było to miejsce zagłady i tortur Serbów, Żydów, Chorwatów oraz innych mniejszości sprzeciwiających się faszystowskiemu reżimowi. Według danych obozu, w Jasenovac zginęło ponad 80 000 osób, w tym głównie Serbów. Po wojnie, w powstałej na tych terenach Socjalistycznej Federalnej Republice Jugosławii, w związku z próbą utworzenia centrum miejsca pamięci narodowej na terenie obozu, wybuchła debata dotycząca problemu traumatycznych stosunków między Serbią i Chorwacją. Pomnik Bogdana Bogdanovica został wzniesiony w 1966 roku a Muzeum Pamięci w Jasenovac otwarto w 1968. Wkrótce miejsce to stało się symbolem rekoncyliacji nie tylko dla ofiar obozu, ale również ich rodzin. Wystawa w muzeum była wielokrotnie zmieniana pod presją i wpływami zmieniających się rządów i ustrojów politycznych. Obecna ekspozycja od jej otwarcia w 2006 roku wciąż wzbudza kontrowersje dotyczące prezentacji czy reprezentacji multimedialnej. Podczas moich badań dotyczących form upamiętniania i symboliki miejsc pamięci, przeprowadziłem wywiady z Leonidą Kovač, historykiem sztuki i autorką wystawy stałej w Muzeum Pamięci w Jasenovac, członkami zgrupowania antyfaszystowskiego, oraz z przedstawicielami społeczności Serbów i Żydów. W celach porównawczych nawiązuję również do przykładu nekropoli żydowskiej w Lelowie w Polsce. Lokalna wspólnota z Lelowa w większości wywieziona lub wymordowana w czasie wojny była celem prześladowań również w okresie powojennym. Trudnej do zdefiniowania prze-strzeni społeczności żydowskiej w Polsce czy Serbów w Chorwacji nie da się zaprezentować próbami uogólniania historii i budowania na tej podstawie monolitycznych narracji

Taide yhteisössä: Perintö ja uudet yhteistyökäytännöt

This article discusses the culture-making and place-making initiatives created at the intersection of ethnology and cultural anthropology, art and cultural politics. The focus is on the ways in which joint ethnological and artistic involvement can change the dynamics within the local community. As a case study the authors use the project Art in the Community: Redefining Heritage of the Association of Artists ‘Zemlja’ (Croatia, 2018 – 2020). The project was based on one of the most important episodes of socially and politically engaged artistic practices in Central Europe and Western Balkans: the legacy of the Association of Artists Zemlja (1929 – 1935), and naïve art and educational work of renowned painter Krsto Hegedušić. In the locality where they had worked and found inspiration – Hlebine – contemporary artists rethought their heritage and brought it to life through this project. The project was based on participatory approaches, artistic and community-empowering process that included local naïve artists from Hlebine and students of Visual Arts and Ethnology and Cultural Anthropology from Zagreb. The text analyses the potentials and challenges in working with different stakeholders on the region’s cultural scene who take part in the project in order to affirm, negotiate or redefine their culture-building strategies