Zbornik 18 / 2022 (Muzej primenjene umetnosti. Online)

ISSN 2466-460X (Online)

ISSN 0522-8328 (Štampano izdanje)
PDF štampanog izdanja (8.0 MB)

Glavni i odgovorni urednik: Biljana Jotić

Urednik broja: Slobodan Jovanović

Uređivački odbor:
dr Nikola Šuica (Univerzitet u Beogradu, Fakultet likovnih umetnosti, Beograd)
dr Maja Stanković (Univerzitet Singidunum, Fakultet za medije i komunikacije, Beograd)
dr Vladana Putnik Prica (Univerzitet u Beogradu, Filozofski fakultet, Beograd)
mr Slađana Petrović Varagić (istoričarka umetnosti, Požega)
Biljana Jotić (Muzej primenjene umetnosti, Beograd)
Slobodan Jovanović (Muzej primenjene umetnosti, Beograd)
Biljana Crvenković (Muzej primenjene umetnosti, Beograd)

Sekretar redakcije broja: Ana Samardžić

Svi tekstovi u rubrikama Prilozi, Polemike, Kritike i Prikazi se recenziraju.
Lista recenzenata:
mr Olivera Batajić Sretenović, vanredna profesorka, Univerzitet umetnosti u Beogradu, Fakultet primenjenih umetnosti – odsek: Primenjena grafika
dr LJubica Vinulović, naučni saradnik, Univerzitet u Beogradu, Filozofski fakultet – Odeljenje za istoriju umetnosti
Prof. dr Vladimir Đurđević, redovni profesor, Univerzitet u Beogradu, Fizički fakultet – smer: Meteorologija
dr Ana Ereš, naučni saradnik, Univerzitet u Beogradu, Filozofski fakultet – Odeljenje za istoriju umetnosti
mr Jelena Zdravković, viši pr edavač, Akademija tehničkih strukovnih studija Beograd – Beogradska politehnika
dr Bogdan Janjušević, istoričar umetnosti – konzervator, Pokrajinski zavod za zaštitu spomenika kulture, Novi Sad
dr Ivana Kronja, viši predavač, Akademija tehničkih strukovnih studija Beograd – Beogradska politehnika
dr Angelina Milosavljević, vanredna profesorka, Univerzitet Singidunum, Fakultet za medije i komunikacije
dr Saša Mihajlov, viši konzervator, Zavod za zaštitu spomenika kulture grada Beograda
mr Bojana Popović, muzejska savetnica, Muzej primenjene umetnosti, Beograd
dr Milan Prosen, docent, Univerzitet umetnosti u Beogradu, Fakultet primenjenih umetnosti – odsek: Istorija umetnosti
dr Vladimir Simić, vanredni profesor, Univerzitet u Beogradu, Filozofski fakultet – Odeljenje za istoriju umetnosti
dr Ana Sladojević, nezavisna kustoskinja i teoretičarka umetnosti i medija
dr Maja Stanković, redovna profesorka, Univerzitet Singi dunum, Fakultet za medije i komunikacije – Departman za digitalne umetnosti
dr Maja Studen, vanredna profesorka , Univerzitet umetnosti u Beogradu, Fakultet primenjenih umetnosti – odsek: Kostim
dr Jelena Pavličić Šarić, docentkinja, Fakultet umetnosti, Univerzitet u Prištini, Kosovska Mitrovica – Odsek likovnih umetnosti
Prof. dr Jasmina Čubrilo, redovna profesorka, Univerzitet u Beogradu, Filozofski fakultet – Odeljenje za istoriju umetnosti
Prof. dr Marko Šuica, redovni profesor, Univerzitet u Beogradu, Filozofski fakultet – Odeljenje za istoriju
Prof. dr Nikola Šuica, redovni profesor, Univerzitet umetnosti u Beogradu, Fakultet likovnih umetnosti

Časopis je indexiran:
Ebsco, KoBSON, ERIH PLUS

Sadržaj Zbornika 18 / 2022 (Muzej primenjene umetnosti. Online)

Impresum
Impressum
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Contents
O Zborniku
About Journal
JELENA NIKOLIĆ
SREDNJOVEKOVNE ŽENE VLADARKE I NJIHOVA MOĆ U VIZUELNOJ KULTURI BALKANA
MEDIEVAL FEMALE RULERS AND THEIR POWER IN THE VISUAL CULTURE OF THE BALKANS
Apstrakt:
Raskošna odeća, skupoceni nakit i insignije mnogo govore o tome kako su žene vladarke viđene na vizantijskom dvoru i kako se reprezentuju; obično ktitorskim kompozicijama s vladarom, ponekad i sa decom, ili pak drugim vizuelnim predstavama. NJihova moć i snaga te moći može se vizuelno iščitati iz načina raskošnog odevanja vladarki, nošenja insignija, odnosno kićenja skupocenim nakitom i uopšte njihove vizuelne reprezentacije, pri čemu pojedine ističu važan materinski aspekt. Plemenite svilene tkanine i luksuzni tekstil imali su naročito istaknutu ulogu u sekularnom i sakralnom životu u romejskom društvu, budući da su se primenjivale u ceremonijalu, diplomatiji i propagandi. Žene vladarke u Romejskom carstvu i zemljama vizantijskog kulturnog kruga često su slično obučene kao vladari. Vladari i crkveni velikodostojnici postizali su svoje planove i ciljeve na političkom, diplomatskom, vojnom i drugim poljima vizuelnim reprezenovanjem, a i davanjem luksuznog tekstila na poklon. Tokom srednjeg veka i ranog modernog doba luksuzna svilena tkanina igrala je posebno važnu ulogu u uspostavljanju veze bogatstva i autoriteta vlasti, određivanjem funkcije tela i prostora kao poprišta više vrsta izražavanja moći kao što su: društvena, verska i politička moć, pri čemu značajnu ulogu na Balkanu i Mediteranu imaju žene vladarke i žene ktitori.
Ključne reči:
vizuelna reprezentacija, žene vladarke, luksuzni tekstil, moć, odevanje
Summary:
Luxurious clothes, valuable jewelry, and insignia says much about how female rulers were seen at the Byzantine court and how they were represented; usually by khtetors’ compositions with the ruler, sometimes with children, or through other visual representations. Their power and the intensity of that power can be visually perused from the luxurious way female rulers dressed, by wearing insignia, i.e. adorning themselves with expensive jewelry, and generally from their visual representation; whereby some also bring out the importance of their motherhood aspect. Noble silks and luxurious textiles played a very important role in the secular and sacred life of Byzantine society, as they were used in ceremonies, diplomacy and state propaganda. In fact, the female rulers in the Byzantine Empire and the countries of the Byzantine cultural circle were often dressed similarly to the male rulers. Rulers and high-ranking church officials achieved their plans and goals in the field of politics, diplomacy and military through visual representation and gifts of luxury textiles. Throughout the Middle Ages and the early modern era, luxurious silk fabrics played a particularly important role in communicating “wealth and the authority of power,” defining the function of “the body and space as an arena for displaying several types of power, such as social, religious and political, with female rulers and female khtetors playing a notable role in the Balkans and the Mediterranean area.”

Translated by the author
MARKO FILIP PAVKOVIĆ (MARKO FILIP PAVKOVIĆ)
THE BRICK AS A MEDIUM OF REPRESENTATION: Count Krsto II Oršić Slavetićki and Residential Architecture
ZIDANI MEDIJ REPREZENTACIJE: Grof Krsto II Oršić Slavetićki i rezidencijalna arhitektura
Abstract:
Architecture, as a medium of representation, has always been one of the most expressive ways of conveying a commissioner’s power. A commissioner is not a person who passively accepts the architect’s idea, but rather actively participates in the realisation of the building they finance. The aim of this paper is to explore the commissions of Count Krsto II Oršić Slavetićki (1718–1782) in relation to residential architecture, i.e., residential architecture will be observed as a medium of personal and family representation. The paper will not list Oršić’s every commission and purchase of residential buildings, nor will they be listed chronologically. Instead, each of the selected buildings, some of which are located in the countryside, with others in urban areas, will be analysed as a separate case study. We will try to identify analogies in the spatial and decorative design of the buildings and study Oršić’s role in the final realisation of the buildings he had commissioned. The analogies, a result of the commissioner’s wishes, are revealed in the spatial organisation of the architectural complexes, the layout organisation of the interior, and in the repertoire of decorative motifs on the works of decorative arts. It is interesting to note that Oršić’s son Adam (1748–1820), in his memoirs, described the construction and significance of several buildings covered in this paper.
Key words:
Baroque, commissioners, Count Krsto II Oršić Slavetićki, residential architecture, Zagreb
Rezime:
Arhitektura kao medij reprezentacije oduvek je bila jedan od najekspresivnijih načina za prikazivanje moći naručioca. Naručilac nije osoba koja pasivno prihvata ideju arhitekte, nego aktivno učestvuje u realizaciji građevine koju finansira. Cilj ovog rada je istražiti narudžbine grofa Krste II Oršića Slavetićkog (1718–1782) u vezi s rezidencijalnom arhitekturom, odnosno rezidencijalna arhitektura će se proučavati kao medij lične i porodične reprezentacije. U radu se neće obrađivati svaka Oršićeva narudžbina i kupovina stambenih objekata niti će se one hronološki popisati. Umesto toga, svaki od odabranih objekata, od kojih se neki nalaze na selu, a drugi u urbanim sredinama, analiziraće se kao zasebna studija slučaja. Pokušaćemo da identifikujemo analogije u prostornom i dekorativnom oblikovanju tih objekata te da proučimo Oršićevu ulogu u konačnoj realizaciji građevina koje je naručivao. Analogije, rezultat želja naručioca, otkrivaju se u prostornoj organizaciji arhitektonskih sklopova, tlocrtnoj dispoziciji enterijera te u repertoaru ukrasnih motiva na ostvarenjima primenjene umetnosti. Zanimljivo je istaknuti da je Oršićev sin Adam (1748–1820) u svojim memoarima opisao izgradnju i značaj nekoliko građevina obrađenih u ovom radu.
OLIVERA STOJADINOVIĆ
VARIJANTE SLOVA „B” U SRPSKOJ TIPOGRAFSKOJ ĆIRILICI
VARIANTS OF THE LETTER “B” IN SERBIAN CYRILLIC TYPEFACES
Apstrakt:
Dok su kurzivne varijante slova „g”, „d”, „p” i „t” karakteristične za srpsku tipografsku ćirilicu prihvaćene na međunarodnom nivou i imaju svoja mesta u unikod tabeli, u kojoj su smeštena sva slova koja postoje u svetskim jezicima, nije razrešeno da li postoji standardni srpski varijetet za slovo „b” u uspravnom i u kurzivnom obliku. U nedostatku preciznih uputstava, autori tipografskih pisama na različite načine razrešavaju ovu dilemu, pa će ovo istraživanje biti korisno za tipografsku zajednicu, a može biti relevantno i prilikom definisanja standarda srpskog pisma. Da bi se postigao cilj istraživanja, bilo je potrebno sprovesti analizu starijih i novijih izvora tipografske ćirilice. Pregledom štampanih izvora iz 18, 19. i 20. veka (knjiga, periodične štampe i kataloga štamparija) ispitani su tipografski oblici prisutni u fontovima koji su se koristili u ručnom, mašinskom i fotoslogu. Izvršeno je i poređenje sa rukopisnim i crtanim oblicima slova, koji predstavljaju osnovu za tipografske oblike. Savremene tendencije odslikava analiza digitalnih fontova koji sadrže ćirilicu. Primaran značaj imaju varijeteti slova „b” u tipografskim pismima domaćih autora, a za njima slede rešenja koja se mogu naći u globalnoj ponudi. Istraživanje će razrešiti pitanje da li postoji karakterističan oblik slova „b” koji je preporučen za korišćenje u srpskoj ćirilici ili su u opticaju različite dozvoljene stilske varijante i autorima tipografskih pisama ponuditi preporuke koje će im pomoći u oblikovanju ovog slova, kao i u programiranju njegovih eventualnih varijeteta.
Ključne reči:
digitalni fontovi, slovni varijeteti, srpsko štamparstvo, tipografsko pismo, ćirilica
Summary:
The subject of this research is the examination of the origin and development of the normal and italic form of the lowercase letter “б” (equivalent to the English letter “b”) in the Serbian typography of the newer era, whereupon the Cyrillic and Latin alphabets share their stylistic characteristics united in the same type system. It will, therefore, help us answer the question related to the desirable form of the letter “б” in the Serbian language. The aim of this paper is to resolve the dilemma of whether the alternative form of the letter “б” with a diagonal stroke starting on the right, which appears today only in the Serbian language, is also mandatory, i.e. whether the form located in the primary place is suitable for the Serbian language. By reviewing and analyzing printed sources of the Serbian language from the 18th, 19th and 20th centuries (books, periodicals and type catalogs), type forms present in fonts used by hand, as well as machine and photo typesetting were examined. A comparison was made with handwritten and drawn letterforms, which are the basis for type forms. Finally, digital fonts with Cyrillic letters by foreign and domestic authors were reviewed. Based on examples from the past and contemporary practice, it was concluded that both variants of the letter “б” are equally acceptable in Serbian Cyrillic, and that the choice and method of application is determined by the author of the typeface, who decides whether to choose a particular variant through the localization function or rather, to offer both variants as stylistic alternates. Regarding the decisions on letter shape and stroke thickness, the recommended solutions should be sought in the examples of typefaces by domestic authors, where the parameters are the typeface style, proportions and size range, while the criteria are the recognition of individual letters and stylistic consistency.

Translated by the author
VANJA KOSANIĆ
KOSTIMOGRAFIJA I SAVREMENA MODA: na primeru pozorišnih kostima Vele Nigrinove, prvakinje Narodnog pozorišta u Beogradu
COSTUME DESIGN AND CONTEMPORARY FASHION: On the Example of the Theatrical Costumes of Vela Nigrinova, the Leading Actress of the National Theatre in Belgrade
Abstract:
Тема рада је однос између костимографије и моде одевања крајем XIX и почетком XX века на примеру костима које је носила Вела Нигринова (1862–1908), славна глумица и првакиња Народног позоришта у Београду. Досадашња веома ретка истраживања у области костимографије код нас (у свету је интересовање за ову област у порасту од почетка XXI века) концентрисана су у оквирима позоришне уметности и не узимају у обзир специфичан и често двосмеран однос између моде одевања и костимографије, који је у појединим историјским периодима значајан за тумачење одређених поступака у креирању позоришних костима. Управо је период каријере Нигринове у Народном позоришту (1882–1908) карактеристичан по томе што се на светским позорницама сусрећу висока мода и позоришна уметност. Док смо проучавали костиме које је носила Вела Нигринова, на основу сачуваних фотографија, позоришних критика и литературе везане за делатност Народног позоришта, и по први пут их сагледавајући у контексту поменутих светских тенденција у костимографији, дошли смо до закључка да је Народно позориште у Београду било у корак са позориштима у свету.
Key words:
Вела Нигринова, костимографија, мода одевања, позоришни костим, позориште
Rezime:
The subject of this paper is the relation between costume design and fashion at the end of the 19th and beginning of the 20th century on the example of costumes worn by Vela Nigrinova (1862 – 1908), the famous and leading actress of the National Theatre in Belgrade. Research of costume design in our country is rare and concentrated mostly in the field of theatre arts and precludes the specific and often two-way relation between fashion and costume design, which in some historical periods is important for understanding certain processes in creating theatre costumes. In the 19th century, the appearance of the first fashion designers and fashion houses was reflected in costume design in the form of a specific connection between haute couture and the theatres in Europe. The theatre costumes worn by Vela Nigrinova seen in this context indicate that the approach to costume design at the National Theatre in Belgrade was the same as elsewhere in the world. As an artist, Nigrinova had the power to become an example of elegance and style on stage, such as Madeleine Guimard, Marie Taglioni or Sarah Bernhardt, and perhaps inspire and impact the taste and clothing of the ladies in the audience who at that time had abandoned the last Oriental elements in clothing and replaced them with appealing European fashion.

Translated by the author
SANJA KIPROSKI
ZGRADA DOMA RATNIH INVALIDA (1933–1935) U BEOGRADU: ostvarenje arhitekte Dimitrija M. Leka
THE BUILDING OF THE HOME FOR WAR INVALIDS (1933–1935) IN BELGRADE: The Work of Architect Dimitrije M. Leko
Apstrakt:
Zgrada Doma ratnih invalida (1933–1935) predstavlja jedno od najznačajnijih ostvarenja istaknutog arhitekte i univerzitetskog profesora Tehničkog fakulteta u Beogradu Dimitrija M. Leka. Kako bi u celosti bio sagledan i prepoznat višestruki značaj ovog objekta, uvažavajući prethodne istoriografske doprinose, cilj rada jeste proširivanje i upotpunjavanje analiza o zgradi Doma ratnih invalida, gde će, uz temeljitu analizu procesa projektovanja, biti sagledan i njen položaj na međuratnoj arhitektonskoj sceni Beograda, kao i širi društveno-istorijski značaj zdanja.
Ključne reči:
akademizam, arhitektura, Dimitrije M. Leko, Dom ratnih invalida, modernizam
Summary:
The building of the Home for War Invalids (1933–1935) represents one of the most important achievements of prominent architect and university professor of the Technical Faculty, University of Belgrade, Dimitrije M. Leko. The need to build a home for war invalids was especially relevant in the mid 1920s, and its materialisation was realised through an edifice erected in 1935 which testifies to numerous financial inconveniences that the state had encountered after World War I, but it is also a testament to the strong marginalisation of this social group carried out by the state and Yugoslav society. The first significant initiative was to build a facility that would represent a solution for accommodating the large number of impoverished war invalids, which appeared in 1928 when a competition was announced for the creation of a conceptual plan for the Home for War Invalids. This initiative was proposed by the Association of War Invalids, one of the most important organizations for the disabled in the interwar period. The building was supposed to be located on Mali Kalemegdan, on land ceded by the Municipality of the City of Belgrade. Due to an unfavourable financial situation in the state, the construction of the facility was postponed until 1933, when the location of the building was changed. The facility was to be built on one of the most important squares in Belgrade, Wilson Square (today’s “Savski Trg”). After the competition was announced in 1933, the conceptual plan of respected architect Dimitrije M. Leko was selected. Architect Leko conceived the functional floor plan of the building which united a wide range of different units: a boarding house for children with disabilities, a guesthouse for invalids, business premises of the Association of War Invalids with a printing house, premises for representative purposes, a large number of flats, offices, shops and warehouses. The facade of this four-storey building reflected the aesthetics of modernised academicism, as well as the forthcoming monumentalism. Well-proportioned, made of purified facade surfaces and without a pronounced visual dominance, this building radiates with a certain sense of the sublime, representing the personal artistic expression of the architect. As one of the significant representative works of architecture of modernised academicism of the 1930s in Serbia, this monumental palace has enriched the capital’s architecture in many ways with its harmonious and authentic composition.

Translated by the author
STEFAN ŽARIĆ
UTICAJI JAPANIZMA I JAPANSKE MODE U SRPSKOJ MODI (1920–2020)
INFLUENCES OF JAPONISME AND JAPANESE FASHION ON SERBIAN FASHION (1920-2020)
Apstrakt:
Fenomeni japanizma i „japanske modne revolucije”, koju iniciraju Kenzo Takada te japanski avangardni kreatori visoke mode Rej Kavakubo, Isej Mijaki i Jođi Jamamoto, temeljno su istraženi i izlagani u okviru istorije i muzeologije zapadne mode. Istovremeno, uticaji japanske mode na srpsku modu XX i XXI veka još uvek su neistraženi. Predloženi rad stoga nastoji da pokaže kako japanizam kao modno kretanje unutar zapadne mode i moda kao kulturni označitelj Japana dijahronijski funkcionišu u modnom sistemu Srbije u vremenskom okviru između 1920. i 2020. godine. Na planu mode XX veka predmet analize biće predstave „japanske moderne devojke” (modan garu) u stvaralaštvu Milene Pavlović Barili, tekstovi o Kenzu Anđelke Slijepčević, te aproprijacije kimona u modnom dizajnu Aleksandra Joksimovića i LJiljane Žegarac. U kontekstu mode XXI veka biće ispraćeni uticaji japanske avangarde na produkciju pojedinih modnih dizajnera i dizajnerki okupljenih oko Beogradske nedelje mode. Mapirajući različite elemente japanizma u srpskoj modi, prisutne posredstvom zapadne mode, te kroz usvajanje japanskih modnih matrica kao opštih kretanja mode na globalnom nivou, istraživanje otvara mogućnost novog čitanja japanskosrpskih kulturnih kontakata kroz istoriju mode.
Ključne reči:
istorija mode, japanizam, japanska avangarda, kimono, srpska moda
Summary:
As Japonisme in Serbian fashion of the first half of the 20th century was the result of Western fashion influences, its inception in the national fashion system can be traced in Milena Pavlović Barilli’s 1920s works as pioneering representations of westernized Japanese modern girls – Modan garu. With the restoration of bilateral relations between Serbia and Japan after the Second World War, Kenzo Takada’s global impact in the 1970s is revealed in Anđelka Slijepčević’s writings. At the same time, Aleksandar Joksimović resorted to ‘self-orientalization’ by turning Romanian folk costumes in kimono-resembling forms as a response to Dior and Saint Laurent’s appropriations of Japan, whereas in the 1980s Ljiljana Žegarac designed actual kimonos. After Tokyo’s positioning as a global fashion capital in the 1980s and the foundation of Belgrade Fashion Week in 1996, the influence of Japanese avant-garde designers Issey Miyake, Yohji Yamamoto, and Rei Kawakubo can be identified at the end of the 20 th and the beginning of the 21 st century Serbian fashion. By analyzing the collections of contemporary Serbian fashion designers, it is noticeable how the Japanese avant-garde has encoded itself in their expression as a denouncement of tradition. The Japonisme discourse in Serbian fashion is thus completed through an insight into the most recent fashion practices. While not a dominant aesthetic and stylistic tendency in Serbian fashion, Japonisme marked it to an extent, allowing both its contextualization within Serbian fashion history and the strengthening of Serbian fashion within global fashion, welcoming further studies on the subject.

Translated by the author
STEVAN MARTINOVIĆ
PROBLEM MUZEALIZACIJE BOGOSLUŽBENIH I RIZNIČKIH PREDMETA
THE PROBLEM OF THE MUSEALIZATION OF RELIGIOUS AND TREASURY OBJECTS
Apstrakt:
U radu se analiziraju procesi muzealizacije sakralnog/hrišćanskog nasleđa. Nastali kao promena mesta čuvanja i konteksta predmeta – od primarnog/crkvenog do muzeološkog/ muzejskog – oni su obeležili istorijsku i konceptualnu dihotomiju u načinu razumevanja baštine: od religijske do kulturne. Institucionalni okviri u kojima se ovi procesi odigravaju smešteni su između manastirske riznice kao primera crkvenog tezaurusa, s jedne, i muzeja kao savremenog modela oblikovanja javnog pamćenja, s druge strane. Da li muzealizacija na ovakvim primerima pretpostavlja nužnu defunkcionalizaciju i možemo li danas govoriti o muzeologiji religije kao disciplinarnom i teorijskom okviru ovde postavljenog problema, neke su od hipoteza koje će u radu biti razmatrane. Takođe, na primeru riznica manastira Hilandara pokazaće se kako primarni i muzeološki konteksti „opstaju”, tvoreći danas „upotrebne” i „umetničke” riznice.
Ključne reči:
muzealizacija, muzej, muzeologija religije, riznica, crkva
Summary:
This paper tries to problematize the issue of the musealization of sacral heritage starting from the assumption that an undefined and insufficiently applied theory on one hand, and an insufficiently known practice within the monastery on the other, represent two dependent albeit often completely different fields. Their further affirmation and coherent use in science would contribute to a clear and unambiguous positioning of such topics within the studies of museology, especially in the realms of the Orthodox Christian tradition. This paper shows an example how in situ musealization has its own laws which often change the optics of museology in a general sense and create new forms of a modern thesaurus.

Translated by the author
dr KSENIJA MARKOVIĆ BOŽOVIĆ, dr JOVANA KARAULIĆ
MOGUĆNOSTI I IZAZOVI ZELENE TRANSFORMACIJE SEKTORA KOSTIMA BEOGRADSKIH POZORIŠTA
THE OPPORTUNITIES AND CHALLENGES OF GREEN TRANSFORMATION IN BELGRADE THEATERS’ COSTUME SECTORS
Apstrakt:
U kontekstu klimatskih promena, kao dugoročnog izazova sa kojim se susrećemo, pozorište može da ostvari važnu ulogu društvenog aktera – ne samo kritičkim ukazivanjem na aktuelne paradigme klimatske krize kroz scenske narative već i kroz svoju ukupnu poslovnu strategiju i organizacionu kulturu koju neguje, tj. imperativ redizajniranja produkcionih pristupa i načina poslovanja kao elemenata i činioca zelene političnosti umetničkih ustanova. U diskursu ekološkog zaokreta savremenih pozorišnih sistema uočavaju se različiti aspekti zelene transformacije procesa planiranja i oblikovanja kostima kroz primenu mera štednje i energetske efikasnosti, odnosno usvajanje koncepta ponovne upotrebe materijala i reciklaže. Pojedini segmenti globalno zagovaranih preporuka u ovom kontekstu (poput ponovne upotrebe postojećih kostima iz fundusa ili second hand izvora nabavke) de facto jesu deo postojeće prakse i u srpskim pozorištima, ali nisu i de jure – praksa utemeljena na pravima i obavezama zelenih politika. Polazeći od ove teze, rad ispituje koliko su (i da li su) globalno pledirane aktivnosti zelene tranzicije poslovanja zastupljene u radu sektora kostima gradskih pozorišta Beograda, i to kroz analizu rezultata istraživanja sprovedenog u sedam pozorišnih kuća, te kroz promišljanje nalaza o načinima i principima rada ovih organizacija u svetlu relevantnih praktičnih preporuka protokola adaptacije i prilagođavanja.
Ključne reči:
zelene politike, zelena transformacija, klimatske promene, kostim, pozorište
Summary:
Climate change as a long-term challenge imposes an obligation for individuals and institutions to face the consequences of these changes. Thus, the role of a social agent that the theater realizes relates not only to pointing out the current paradigms of the climate crisis through stage narratives, but also its overall business strategies and the organizational culture it nurtures. The theater has to redesign its production approaches and ways of doing business – as elements and factors of art institutions’ “green politics.” In this regard, the various aspects and possibilities of the transformation of the process of planning and shaping costumes in modern theater systems are identified – from the implementation of energy efficiency measures, to the adoption of the concept of material reuse and recycling. However, certain segments of globally advocated recommendations in this context (such as the reuse of existing costumes or second-hand procurement sources) are already part of everyday practice in the Serbian theaters, but the question arises whether those practices are grounded on “green motives.” With the aim of answering this question, and having in mind the relevant practical recommendations of the adaptation protocol, we examine how much (and whether) globally pleaded activities of green transformation are present in the costume sector of Belgrade’s city theaters.

Translated by the authors
DEA CVETKOVIĆ
DŽUDI ČIKAGO: vez, aktivizam i umetnost
JUDY CHICAGO: Needlework, Activism and Art
Apstrakt:
U radu će biti analizirana dela umetnice DŽudi Čikago (Judy Chicago) koja se baziraju na tekstilu i vezu. U fokusu će biti dva rada, Međunarodni prekrivač časti (International Honor Quilt) i Večera (The Dinner Party), ali i umetničino nedavno korišćenje tkanine u komercijalne svrhe tokom saradnje sa modnom kućom Dior (Dior). U Večeri, jednom od najpoznatijih dela američke feminističke umetnosti, Čikago koristi vez i tkaninu kako bi ukazala na značaj različitih žena iz mitologije, istorije ili istorije umetnosti. Vodeći se seminalnim istraživanjima Grizelde Polok (Griselda Pollock) i Rozike Parker (Rozsika Parker) o hijerarhiji u umetnosti i pozicioniranju veza kao inferiorne umetnosti zbog dodira sa idejama o ženskoj i kućnoj umetnosti, koja istorijski ne pripada domenu visoke već primenjene umetnosti i zanatstva, u radu će biti istražen način na koji Čikago koristi vez kao sredstvo iskazivanja različitih aktivističkih, političkih i umetničkih poruka.
Ključne reči:
američka umetnost, vez, Večera, feministička umetnost, DŽudi Čikago
Summary:
Judy Chicago is a famous feminist artist from the United States of America. Chicago has frequently used artistic media that have historically been categorized as that of a lesser value compared to the works belonging to the category called fine arts. Two feminist authors, Griselda Pollock and Rozsika Parker, exposed the existing hierarchy of arts in art history in their seminal book Old Mistresses: Women, Art, and Ideology. The two authors wrote about the ways in which embroidery, quilts, and needlework have often been regarded as works belonging to the domain of crafts or applied arts because of their connections to the spheres of the home and their authors, who were in most cases, women. Feminist artists have used textile in their pieces in different subversive ways in order to show their political message, while using artistic disciplines that have often been left unacknowledged in art history. This paper looks at the ways in which Chicago used needlework in her works The Dinner Party and International Honor Quilt. It also looks at a piece called The Feminine Divine which was commissioned by Dior and based on Chicago’s previous pieces and feminist activism.

Translated by the author
MARIJA ZEČEVIĆ
FATTORIA DI CELLE GORI: prilog proučavanju lokalno-specifične umetnosti
FATTORIA DI CELLE GORI: Contribution to the Study of Site-specific Art
Apstrakt:
Umetnička praksa karakteristična za lokaciju (site-specific art) identifikuje se unutar fizičkog okruženja kao jedinstvena kombinacija njegovih elemenata: dužine, dubine, teksture, uslova osvetljenja, obrazaca saobraćaja, topografskih karakteristika i slično. Kasnih šezdesetih i ranih sedamdesetih godina 20. veka ova umetnička praksa napustila je jedan od konstitutivnih elemenata modernog koncepta umetnosti: ideju estetske autonomije. Odbacujući modernističku pretpostavku da je umetničko delo autonomno, umetnost karakteristična za lokaciju promenila je pristup prema kontekstu koncipiranja i realizacije dela. Jedinstvenost umetničke zbirke kolekcije „Gori” (Gori), koja je predmet ovog rada, značajna je za uvid u umetničko mišljenje kraja 20. veka, proučavanje i razumevanje lokalno-specifične umetnosti. Ovaj muzej-rezidencija, nadomak Firence, poseduje 80 dela lokalno-specifične umetnosti među kojima su najznačajnija imena savremene svetske umetnosti. Uvidom u umetničku zbirku metodom ispitivanja na terenu, te analizom i tumačenjem kataloga i tekstova, izdvojena su tri različita pristupa prostorne prakse koja će, u užem određenju, biti predmet ovog rada. Racionalizacija prostora karakteristična je za rad Ričarda Sere (Richard Serra) i Denija Karavana (Dani Karavan). Ispitivanje odnosa prirodnog i artificijelnog karakteristično je za Roberta Morisa (Robert Morris) i Danijela Birana (Daniel Buren), a razotkrivanje izveštačenosti „Gambinijevog vrta”, može se, izmeđuostalog, izdvojiti u radu DŽordža Trakasa (George Trakas). Naglašavajući postmodernističku sumnju, pomenuti pristupi dovode u pitanje pojam lokacije i ideju prirodnog u savremenom kontekstu upućujući na konceptualno ograničenje i iscrpljenost pojma „lokalno-specifično”. U nastojanju da redefinišu odnos umetničkog rada unutar prostora koncipiranja i realizacije, ovi pristupi nude alternativna prostorna polazišta, čije je mapiranje i prikazivanje osnovni cilj ovog rada.
Ključne reči:
„Gambinijev vrt”, istraživanje lokacije, publika u interakciji, site-specific art, Fattoria di Celle Gori
Summary:
The uniqueness of the art collection Gori of the villa Celle, which is the subject of this work, is important for an insight into the artistic thinking of the late XX century and the study of site-specific art. The works of art in this collection encourage the viewer to specify the focus and examine the process which each artist had created respecting the ethics of the work in nature. The specificity of the garden of the villa, Gambini’s Garden, articulated all the art of the collection, turning it into an interactive situation. In various artistic responses to the spatial framework of Gambini’s Garden, three basic approaches stand out: spatial rationalization, examination of natural-artificial relations and, an open critique of the artificiality of the idea of an ideal, romantic, landscape in the modern world we live in. As part of a rational approach, Robert Morris and Dani Karavan adapt their artistic concept completely to the spatial framework. On the other hand, Richard Serra and Daniel Buren deal with the relationship between the perception of the observer and the artistic object of architectural form and proportion. Although the place of realization of the object for these artists is in the role of the spatial rule and the unchangeable parameter in the process of artistic work, it is still in the background in relation to the artist’s intention. Finally, George Trakas reveals the artificiality of Gambini’s idealized landscape, which is separate from all the tensions of both the industrial world and the modern moment. A critical reading of the artistic heritage of the Gori villa refers at the same time to the art object, then to the landscape within which the art object is placed as a lens of observation, and the impression of the space that the observer goes through via the interaction with the art object. Thus, the artistic practice characteristic of the location is related to the intrusion into the real space and as such, the real space with its geographical, historical, cultural and other characteristics is the basis for the experience of the work of art.

Translated by the author
STEVAN VUKOVIĆ
ŠIRENJE ARHIPELAGA DEKOLONIJALNIH IZLOŽBI
EXPANSION OF THE ARCHIPELAGO OF DECOLONIAL EXHIBITIONS
Apstrakt:
Dekolonijalni obrt u društvenim naukama prevazišao je ograničenja disciplina afrokaripskih, latinoameričkih i subalternih studija. Izvela ga je grupa Modernitet / kolonijalitet, primenjujući arhipelaški način mišljenja Eduarda Glisana (Édouard Glissant). U matricu mišljenja koju su razvijali uključili su fragmente teorija emancipacije Pokreta crnaštva (négritude), od latinoameričkih teologija oslobođenja do čikano feminizma osamdesetih godina dvadesetog veka. Inicirao je i nova tumačenja načina uključivanja nezapadnih umetnika u autorske kustoske izložbe savremene umetnosti. Izložbe poput Trećeg bijenala u Havani i Čarobnjaka zemlje iz 1989. protumačene su na tim osnovama, a fokus kritike usmerio se na umetničke prakse koje uključuju dekolonijalni pristup. Zlatni lavovi na ovogodišnjem bijenalu u Veneciji za najbolji paviljon i najbolju umetnicu u centralnoj postavci dodeljeni su za takve radove: slavljenje glasova crnih pevačica u radu Sonje Bojs (Sonia Boyce) i kreolizaciju forme u radu Simon Li (Simone Leigh). Istorizacija dekolonijalnog obrta u umetnosti tek nastaje u fragmentima, a prvi, topološki pokušaj, u skladu sa metodologijom arhipelaškog mišljenja, sproveo je istoričar umetnosti i kustos Ivan Munjiz- Rid (Ivan Muñiz-Reed). Polazeći od pretpostavki koje je izneo i od kustoskih izložbi koje je apostrofirao kao paradigmatične za dekolonijalni obrt, ovaj tekst mapira obrise arhipelaga dekolonijalnih izložbi, kao i njegovog širenja.
Ključne reči:
bijenalizacija, dekolonizacija, istorija izložbi, kolonijalizam, kreolizacija
Summary:
The decolonial turn in social sciences induced in the first decade of this century by a group of Latin American sociologists, semiologists, anthropologists and literary critics and historized under the name Modernity / Coloniality had a significant influence on the interpretation of the ways in which non-Western artists were becoming included into curated exhibitions of contemporary art. Some exhibitions, such as The Third Havana Biennial and Les magiciens de la Terre, both from 1989, were reinterpreted on those grounds, and through monographic publicans inaugurated as groundbreaking for the understanding of today’s curatorial practices. On the other hand, artistic practices increasingly include decolonial approaches, and both Golden Lions at this year’s Venice Biennale (for the best national pavilion and the best artist in the central exhibition) were awarded for works of such kind, i. e. for celebrating black female voices in the work of Sonia Boyce, and for the creolization of form in the work of Simone Leigh. Nevertheless, the historization of the decolonial turn in art is still being generated from fragments, and the first topological attempt, quite in line with the methodology of nonsystematic trends in decolonial writing, was conducted by art historian and curator Ivan Muñiz-Reed. Starting from the premises that he came forward with and from the curated exhibitions he has stressed as paradigmatic for the decolonial turn, this text maps the outlines of the archipelago of decolonial exhibitions, as well as its expansion.

Translated by the author
DANIJELA M. DIMKOVIĆ
UTICAJ EKSPERIMENTALNOG FILMA I FOTOGRAFIJE NA AVANGARDNE POKRETE U ARHITEKTURI MODERNIZMA
THE INFLUENCE OF EXPERIMENTAL FILM AND PHOTOGRAPHY ON AVANT-GARDE MOVEMENTS IN MODERN ARCHITECTURE
Apstrakt:
U ovom radu pokušaćemo da definišemo uticaj avangardnog filma i fotografije u odnosu na arhitekturu i osobine arhitektonske avangardne prakse s početka XX veka. Dostignuća u okviru avangardnog filma u istoriji filmske umetnosti, proizvela su neka od najautentičnijih i najuspešnijih umetničkih dela koja se u tom periodu razvoja filma uopšte mogu naći. Iz ove konstatacije možemo zaključiti važnost razumevanja pojma i umetnosti avangardnog filma i fotografije i njihovog uticaja na druge umetničke prakse. Javila se tendencija da se preko filma i fotografije stvori jedan univerzalni jezik koji bi se bazirao na fundamentalnim estetskim principima modernog doba, kao što su svi modernistički pokreti u arhitekturi delili težnju za stvaranjem univerzalnog, kosmopolitskog i progresivističkog estetskog jezika.
Ključne reči:
avangarda, arhitektura, moderna, film, fotografija
Summary:
In this paper, we will try to define the influence of avant - garde film and photography in relation to the production of architecture and the features of architectural avant - garde practice from the beginning of the XX century. Achievements within avant-garde film in the history of film art have produced some of the most authentic and successful works of art that can be found in that period of film development. From this statement we can conclude the importance of understanding the concept and art of avant-garde film and photography and their impact on other artistic practices. There was a tendency to create a universal language through film and photography based on the fundamental aesthetic principles of the modern age, just as all modernist movements in architecture shared the aspiration to create a universal, cosmopolitan and progressive aesthetic language. Aesthetic ideas that fragment and analyze the form, made it possible to examine the way in which the content was expressed in the architecture of the modern movement. The created conditions enabled the development of new program ideas, the definition of views, the transmission of light into the object, the relationship between light and shadow, formed a new field of work. Exploring new geometric possibilities, in order to create an architecture that strives for the ideal of existential space, was an inspiring means of work. Certainly, photography and experimental film have made a significant impact in the context of avant-garde ideas in architecture. Perceiving space in this way represents a change in the experience of architecture, a change in the experience brought by modernism. Moving images change perceptions and experiences and place architecture in a reflection of a fragmented modern way of life.

Translated by the author
Bojana Popović
AKVIZICIJE MPU
ACQUISITIONS MAA