Zbornik Radova Akademije Umetnosti最新文献

Switching places: Theater projects of Olja Lozica 交换位置:Olja Lozica的戏剧项目

Zbornik Radova Akademije Umetnosti Pub Date : 2023-01-01 DOI: 10.5937/zbaku2311163p

Martina Petranović

引用次数: 0

Meisterstreich: The formation of the concept of genius and the end of normative aesthetics 天才概念的形成与规范美学的终结

Zbornik Radova Akademije Umetnosti Pub Date : 2023-01-01 DOI: 10.5937/zbaku2311106p

Radovan Popović

{"title":"Meisterstreich: The formation of the concept of genius and the end of normative aesthetics","authors":"Radovan Popović","doi":"10.5937/zbaku2311106p","DOIUrl":"https://doi.org/10.5937/zbaku2311106p","url":null,"abstract":"The concept of beauty, based on the criterion of taste, marks the boundary that separates the era of normative aesthetics of classicism from the time when rejected elements played a decisive role in art. These elements include the subjectivation of experience, individual feelings as the driving force in the reception of art, and the individualization of criteria for judging artistic values. A new term emerges as the equivalent of rationalist sensus communis and classicist raison. This term can be tentatively defined as moderation (bon sens) or more narrowly, as politeness. While ancient art embodies unchanging and universal norms of artistic creation, leading to a historico-philosophical dualism, pre-romanticism, with its emphasis on sentimentality, demands a conceptual differentiation and nuancing of rational rules, taking into account cultural-philosophical and collective-psychological factors that modify those rules to fit specific creative contexts. Within sentimentalist-romantic theories of artistic creativity, the problem of genius arises, countering the rigid prescriptionism of pseudo-Horacian poetics and notions of mimesis as the constant imitation of immediate events and actions, and their 'possible' or 'probable' variants. An ingenious work of art in this context, relies not only on the strength of feelings and the immediacy of the artist's experience, but also on their ability to shape a flawless paradigm in their mind through unreflective, imaginative transposition. This paradigm is then brought to life using relevant materials. A genius artist does not oppose the rules in their creation; on the contrary, they understands them more deeply and reliably than someone who, in a fervent pursuit of innovation, abandons the safe and shortest path to artistic truth. Abbé Du Bos, Denis Diderot, and Johann Georg Hamann have delved into thisissue, shedding light on it and interpreting it from different angles, making lasting contributions to the aesthetics and theory of pre-romantic and romantic art.","PeriodicalId":31481,"journal":{"name":"Zbornik Radova Akademije Umetnosti","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136302447","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Places, non-places, spaces 地点，非地点，空间

Zbornik Radova Akademije Umetnosti Pub Date : 2023-01-01 DOI: 10.5937/zbaku2311048b

Ivana Keser-Battista

{"title":"Places, non-places, spaces","authors":"Ivana Keser-Battista","doi":"10.5937/zbaku2311048b","DOIUrl":"https://doi.org/10.5937/zbaku2311048b","url":null,"abstract":"This study aims to provide an insight into the typology of spatialization in public spaces. Non-places characterized by anonymity, and places, imbued with significance, coexist without static or fixed meanings, serving as spaces of negotiation. The study will explore their possible relations with external spaces, including crisis and deviant heterotopias, former workers' spaces as (non-)places of resistance, the evolution and adaptation of consumerist spaces, and public spaces as political arenas, where alternative spaces challenge the tendencies of globalization in an age of liberal atomism. Furthermore, the study will question the conceptualization and identity of geographical spaces such as Eastern Europe and the Balkans, examining cultural hegemony and Orientalism as imposed conceptual schemes that demand scrutiny. The representation of non-place in films and the tendency to negate place through travel will be explored, along with the consumerist logic of ephemeral shopping centers as alternative (non-)places of culture. These spaces act as sites of consumer tactics and strategies of resistance, countering the normativity of urban everyday life through micro-procedures of resistance, ultimately creating a public-political space of resistance. 8 The text is based on the essay Nemjesta (Non-Places) read on the Third Program of Croatian Radio in 2007.","PeriodicalId":31481,"journal":{"name":"Zbornik Radova Akademije Umetnosti","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136302985","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

An artistic interpretation of the first museum non-object 对第一个博物馆非实物的艺术诠释

Zbornik Radova Akademije Umetnosti Pub Date : 2023-01-01 DOI: 10.5937/zbaku2311034j

Milena Jokanović

{"title":"An artistic interpretation of the first museum non-object","authors":"Milena Jokanović","doi":"10.5937/zbaku2311034j","DOIUrl":"https://doi.org/10.5937/zbaku2311034j","url":null,"abstract":"The integration of contemporary artists' interventions into museum exhibitions and the artistic interpretation of heritage have become increasingly common practices over the last three decades of the 20th century. These creative perspectives often raise questions about dissonant, overlooked, or insufficiently researched heritage, making artistic research projects crucial when exploring the past. Simultaneously, museums, having long-established categories dictating how objects are collected, which reflect once-dominant value systems and attitudes towards knowledge, and with now traditional ways of presenting them to the public - although sometimes too sluggishly, have gradually shifted their focus from solely emphasizing the object to considering its broader context, from a concern for the material aspect to an interest in the immaterial aspect, from preservation for the sake of preservation to the interpretation and representation of heritage in response to social changes. This paper follows the life history of a specific museum object, tracing its journey from the usable to the museum context through the acquisition carried out by the Museum of the History of Yugoslavia in 2010. The paper explores the potential of artistic interpretation in revealing multiple layers of meaning and diverse narratives associated with a single object. By analyzing the video material created by artist Aleksandra Domanović, which presents this object within the museum exhibit, the study also delves into the broader scope of her work, essential for comprehending the entire process of interpretation. Considering that the subject in this case is a non-object, specifically a digital record, the paper addresses the challenges of modernizing the museum's approach to collection practices and the (im) possibility of exhibiting digital objects in the physical space of the museum.","PeriodicalId":31481,"journal":{"name":"Zbornik Radova Akademije Umetnosti","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136302445","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

The concept of life in Soviet art history and paintings of the 1920s 苏联艺术史和20世纪20年代绘画中的生命概念

Zbornik Radova Akademije Umetnosti Pub Date : 2023-01-01 DOI: 10.5937/zbaku2311019z

Nataliya Zlydneva

{"title":"The concept of life in Soviet art history and paintings of the 1920s","authors":"Nataliya Zlydneva","doi":"10.5937/zbaku2311019z","DOIUrl":"https://doi.org/10.5937/zbaku2311019z","url":null,"abstract":"The article explores the concept of life in Soviet art history of the 1920s, as well as in the Soviet expressionism in painting. The notion of life was examined both by the art historians of the State Academy of Art Science (GAkHN) who adhered the classical art tradition, and the formalists (literary and art theorists of the left front) focused on the reduction of aesthetic values in line with their utopian social program. The two groups understood life differently: as a motion par excellence, in the first case, and as a simplified form (primitivism), in the second. However, elements of both perspectives were implicitly present in modern artistic practice, which manifested in the phenomena of Soviet expressionism. The painters combined fluid pictorial substance, motion in compositions, and dramatic conflicts in the plot, on the one hand, and simplified (\"primitive\") forms on the other. Although paintings of Drevin, Gluskin, Golopolosov and other artists associated with this movement did not receive support from either the traditionalist art critics or the formalist group, all of them were immersed in the semiosphere of the time, equally nourished by its creativity. While they rejected modern expressionism, the art theorists paradoxically professed its principles.","PeriodicalId":31481,"journal":{"name":"Zbornik Radova Akademije Umetnosti","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136302981","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Texts by Stevan Pešić for puppet and drama theater for children: A critical reception in the 1970s and 1980s: Contributing to the research of Pešić's dramaturgy 史迪文Pešić关于木偶剧和儿童戏剧的文本:20世纪70年代和80年代的批评接受:对Pešić戏剧学研究的贡献

Zbornik Radova Akademije Umetnosti Pub Date : 2023-01-01 DOI: 10.5937/zbaku2311179s

Snežana Šarančić-Čutura

{"title":"Texts by Stevan Pešić for puppet and drama theater for children: A critical reception in the 1970s and 1980s: Contributing to the research of Pešić's dramaturgy","authors":"Snežana Šarančić-Čutura","doi":"10.5937/zbaku2311179s","DOIUrl":"https://doi.org/10.5937/zbaku2311179s","url":null,"abstract":"This study explores the critical reception of Stevan Pešić's numerous texts written for puppet and drama theater for children, such as Legenda o Bošku Buhi, Vesela kuća, Guska na Mesecu, Jedne noći u Novome Sadu, Grad sa zečjim ušima, Krilata krava, Ptice, Lovačka priča, Ništa bez konja, Pet mesečevih cvetova, Braća Grim, Pinokio, Mocart i kompanija, Priča o repi, Čudno čudo, Velimir i Bosiljka, Čudesni vinograd, Bor visok do neba, Petao sa repom duginih boja, Plava ptica, and more. Many of these works were performed on stages across Yugoslavia, some were published, awarded, and even translated, emphasizing Pešić's significant influence in the literary and artistic expression of the second half of the 20th century. Through an analysis of critical comments published in periodicals and other sources during the 1970s and 1980s, this study highlights various opinions on Pešić's texts, including their communicativeness with children, his dramaturgical skill, and his poetic style, which encompassed elements of surrealism, the miraculous, fairytales, grotesque, absurdity, and dreamlike qualities. Examining how critics perceived Pešić's work becomes a crucial aspect of identifying and evaluating the key features of his dramaturgy, determining his place in literary and theatrical trends, and understanding his writer's originality. Moreover, the reception horizon provided by these critical assessments serves as an incentive for further research into Pešić's contributions, the broader tendencies in puppet and drama art for children, and the approaches adopted by the critics who engaged with it.","PeriodicalId":31481,"journal":{"name":"Zbornik Radova Akademije Umetnosti","volume":"85 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136306348","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Interior landscapes in the film 'The Enigma of Kaspar Hauser' 电影《卡斯帕豪瑟之谜》中的室内景观

Zbornik Radova Akademije Umetnosti Pub Date : 2023-01-01 DOI: 10.5937/zbaku2311146c

Marko Cvejić

引用次数: 0

The symbolic connotations of shoes in Nika Autor's films Nika Autor电影中鞋子的象征意义

Zbornik Radova Akademije Umetnosti Pub Date : 2023-01-01 DOI: 10.5937/zbaku2311128f

Ana Filipović

{"title":"The symbolic connotations of shoes in Nika Autor's films","authors":"Ana Filipović","doi":"10.5937/zbaku2311128f","DOIUrl":"https://doi.org/10.5937/zbaku2311128f","url":null,"abstract":"Nika Autor, a Slovenian visual artist, director, and photographer is a member of the Newsreel Front (Obzorniška Fronta). Her films delve into themes such as the migrant crisis, labor rights, and the politics of memory, while challenging the expressive possibilities of the film news format through stylistic experiments and interventions in the social field. This paper aims to explore the multifaceted symbolic connotations that Autor infuses into the motif of shoes while addressing the aforementioned issues, starting from the film Solidarity (2011), where footwear becomes the central visual symbol of the protest for workers' rights, all the way to the films created in 2022, focusing on illegal migration, where shoes become bear traces of arduous and uncertain movement, signifying both physical and spiritual displacement. The motif of shoes in Autor's movies is not treated as an isolated object of interest but rather as a mediator of meaning. The analysis of individual films (Postcards /2010/, Solidarity /2011/, In the Land of Bears /2011/, Newsreel 63 - The Train of Shadows /2017/, Newsreel 2021 - Here I Have a Picture /2022/, Newsreel 451 - Across the Water to Freedom /2022/), is complemented by intertextual and intermedial comparisons exploring the relationship between film and visual art. This approach provides a comprehensive insight into the subject of research and a clearer positioning within Nika Autor's artistic oeuvre, by drawing analogies with the use of the shoe motif to express related ideas by other film and visual artists.","PeriodicalId":31481,"journal":{"name":"Zbornik Radova Akademije Umetnosti","volume":"75 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136302982","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Metaarchitecture of Predrag Ristić: Bridging non-philosophy and hypermetaphysics Predrag ristiki的元建筑:非哲学与超形而上学的桥梁

Zbornik Radova Akademije Umetnosti Pub Date : 2023-01-01 DOI: 10.5937/zbaku2311084s

Vladimir Stevanović, Aleksa Ciganović

{"title":"Metaarchitecture of Predrag Ristić: Bridging non-philosophy and hypermetaphysics","authors":"Vladimir Stevanović, Aleksa Ciganović","doi":"10.5937/zbaku2311084s","DOIUrl":"https://doi.org/10.5937/zbaku2311084s","url":null,"abstract":"This paper aims to research, critically interpret and synthesize the metaarchitectural work of Dr. Predrag Ristić, a Serbian and Yugoslav architect and artist (1931-2019). The focus is on Ristić's production of meta-architecture, exploring his role as an engaged individual who intervenes in an intellectually dissident manner beyond official academic institutions, while contributing to the cultural liberalization within the social context of the Yugoslav paradigm during the second half of the twentieth century. Metaarchitecture, in this sense, can be seen as a broader semiological construct encompasing the ability and will to create ontological signs, epistemological events or methodological objects that extend beyond the architectural domain into the realms of art and culture, shaping forms of social history and criticism. The analysis of Ristić's work will be carried out in two distinct directions, reflecting two phases of his creative activity, each associated with specific theoretical paradigms. Ristić's earlier phase during the 1960s and 1970s, marked by a techno-pessimistic and techno-critical observation of the world (from the Kajmakčalan church to several Thanatopolis projects), is analytically linked to non-philosophy as an anti-dogmatic phenomenological concept. On the other hand, his later creative aspirations from the 1980s are interpreted through his semioanthropological approach to the Mesolithic culture of Lepenski Vir, a subject of his PhD thesis, which connects to hypermetaphysics as a comparative conceptual formation.","PeriodicalId":31481,"journal":{"name":"Zbornik Radova Akademije Umetnosti","volume":"48 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136306177","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

The printed magazine XZ edited by Petar Luković: Popular culture as a means of political struggle 彼得·卢科维奇编辑的印刷杂志《XZ》:作为政治斗争手段的流行文化

Zbornik Radova Akademije Umetnosti Pub Date : 2023-01-01 DOI: 10.5937/zbaku2311222g

Zlatomir Gajić

{"title":"The printed magazine XZ edited by Petar Luković: Popular culture as a means of political struggle","authors":"Zlatomir Gajić","doi":"10.5937/zbaku2311222g","DOIUrl":"https://doi.org/10.5937/zbaku2311222g","url":null,"abstract":"In the 20th century, specialized printed newspaper editions dedicated to popular culture and rock and roll typically covered events through announcements, news and critical reviews. Alongside their Anglo-Saxon counterparts, these magazines were also highly popular in the SFRY (Socialist Federal Republic of Yugoslavia). The tradition of rock magazines in the Serbian language (Ritam, Džuboks, Rock...) paved the way for the launch of the XZ magazine, edited by Petar Luković. Published monthly in Belgrade from 1996 to 1999, XZ effectively built upon previous experiences related to popular culture, consistently adopting a critical approach in two main directions: the evaluation of artistic products and the criticism of socio-political realities. The core tool of the authors' political struggle against an authoritarian regime in a war environment and an economically troubled state was their incisive social commentaries, often presented in the form of music album reviews. Utilizing media content analysis, this paper aims to confirm the value of the XZ magazine as a successful product of rock journalism, actively engaging in addressing major societal issues in the former SFRY.","PeriodicalId":31481,"journal":{"name":"Zbornik Radova Akademije Umetnosti","volume":"126 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136307742","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0