From the very inception of her professional career, the theater projects of Olja Lozica, a Croatian dramatist, playwright and director, display the author's profound artistic commitment to the researching and portraying marginalized social groups and individuals. This paper examines selected plays by Olja Lozica, where she delves into the theatrical exploration of socially vulnerable workers, the unemployed, the powerless, stigmatized minority groups and various forms of disability. It also investigates the multifaceted forms, objectives and impacts of the author's distinct approach to theatrically representing non-normative individual and collective identities. Additionally, the paper establishes connections between the considered thematic layer and some of the principles underpinning Olja Lozica's unconventional, de/ rehierarchized, and open creative process.
{"title":"Switching places: Theater projects of Olja Lozica","authors":"Martina Petranović","doi":"10.5937/zbaku2311163p","DOIUrl":"https://doi.org/10.5937/zbaku2311163p","url":null,"abstract":"From the very inception of her professional career, the theater projects of Olja Lozica, a Croatian dramatist, playwright and director, display the author's profound artistic commitment to the researching and portraying marginalized social groups and individuals. This paper examines selected plays by Olja Lozica, where she delves into the theatrical exploration of socially vulnerable workers, the unemployed, the powerless, stigmatized minority groups and various forms of disability. It also investigates the multifaceted forms, objectives and impacts of the author's distinct approach to theatrically representing non-normative individual and collective identities. Additionally, the paper establishes connections between the considered thematic layer and some of the principles underpinning Olja Lozica's unconventional, de/ rehierarchized, and open creative process.","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":"136302983","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}
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.
以品味为标准的美的概念，标志着古典主义规范美学时代与拒绝元素在艺术中起决定性作用的时代之间的界限。这些因素包括经验的主体化、个人情感作为艺术接受的驱动力、艺术价值评判标准的个体化。一个新的术语出现了，作为理性主义感性社会和古典主义理性的等价物。这个词可以暂时定义为适度(bon sens)，或者更狭义地定义为礼貌。虽然古代艺术体现了不变的和普遍的艺术创作规范，导致了历史哲学的二元论，但前浪漫主义强调感性，要求概念上的区分和理性规则的细微差别，考虑到文化哲学和集体心理因素，修改这些规则以适应特定的创作环境。在感伤主义浪漫主义的艺术创造力理论中，天才的问题出现了，反对伪贺拉斯诗学的严格规定主义和模仿的概念，即不断模仿即时事件和行动，以及它们的“可能的”或“可能的”变体。在这种背景下，一件巧妙的艺术作品不仅依赖于情感的力量和艺术家经验的即时性，而且还依赖于他们通过不加思索、富有想象力的转换在他们的脑海中塑造完美范例的能力。然后使用相关材料将这种范式带入生活。天才艺术家在创作中不反对规则;相反，他们比那些为了追求创新而放弃通往艺术真理的捷径的人更深刻、更可靠。abbous Du Bos、Denis Diderot和Johann Georg Hamann对这一问题进行了深入的研究，从不同的角度对其进行了阐释和解释，为前浪漫主义和浪漫主义艺术的美学和理论做出了持久的贡献。
{"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}
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.
{"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}
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.
{"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}
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.
{"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}
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.
本研究探讨的重要接待Stevan Peš我ć’s无数文字写给木偶儿童和戏剧剧场,如︰o波šku Buhi Vesela kuć,Guska na Mesecu, Jedne不ć我u Novome圣人,毕业生sa泽č吉姆·ušima Krilata krava, Ptice,风之子čka prič,倪šta鹿角的第二叉konja,宠物mesečevih cvetova,胸罩ć严峻,Pinokio, Mocart我kompanija, pričo repi,Čudnočudo, Velimir我为了逃避抓捕已经做Čudesni vinograd, Bor visok neba, Petao sa repom duginih boja,铜矿ptica,等等。其中许多作品在南斯拉夫各地的舞台上演出，有些被出版，获奖，甚至被翻译，强调Pešić在20世纪下半叶的文学和艺术表达中的重要影响。通过对20世纪70年代和80年代发表在期刊和其他来源的批评评论的分析，本研究突出了对Pešić文本的各种看法，包括它们与儿童的交流性，他的戏剧技巧和他的诗歌风格，其中包含超现实主义元素，奇迹，童话，怪诞，荒诞和梦幻般的品质。研究评论家如何看待Pešić的工作成为识别和评估他的戏剧的关键特征，确定他在文学和戏剧趋势中的地位，并理解他的作家的独创性的一个关键方面。此外，这些批判性评价所提供的接受视界，可以激励我们进一步研究Pešić的贡献，儿童木偶和戏剧艺术的更广泛趋势，以及参与其中的评论家所采用的方法。
{"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}
This paper, presented as a case study, delves into the exploration of the interior landscapes depicted in the film The Enigma of Kaspar Hauser (1974), directed by Werner Herzog. Under a conceptually-hypothetical framework, the paper proposes the thesis that these interior landscapes effectively convey the affective and cognitive experiences of the main character, serving as a visual representation of his dreams. Employing a critical approach, the analysis draws analogies and comparisons with sources and influences from art history, psychology, aesthetics, and film theory, with the aim of investigating the success of Herzog's method and its recognition as an independent cinematic element in his works. Ultimately, this research endeavors to confirm the hypothesis of Herzog's use of interior landscapes as a cinematic device to externalize the characters' inner lives and visualize the dynamics of their dreams.
{"title":"Interior landscapes in the film 'The Enigma of Kaspar Hauser'","authors":"Marko Cvejić","doi":"10.5937/zbaku2311146c","DOIUrl":"https://doi.org/10.5937/zbaku2311146c","url":null,"abstract":"This paper, presented as a case study, delves into the exploration of the interior landscapes depicted in the film The Enigma of Kaspar Hauser (1974), directed by Werner Herzog. Under a conceptually-hypothetical framework, the paper proposes the thesis that these interior landscapes effectively convey the affective and cognitive experiences of the main character, serving as a visual representation of his dreams. Employing a critical approach, the analysis draws analogies and comparisons with sources and influences from art history, psychology, aesthetics, and film theory, with the aim of investigating the success of Herzog's method and its recognition as an independent cinematic element in his works. Ultimately, this research endeavors to confirm the hypothesis of Herzog's use of interior landscapes as a cinematic device to externalize the characters' inner lives and visualize the dynamics of their dreams.","PeriodicalId":31481,"journal":{"name":"Zbornik Radova Akademije Umetnosti","volume":"124 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":"136306175","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}
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.
Nika Autor，斯洛文尼亚视觉艺术家、导演和摄影师，Newsreel Front (Obzorniška Fronta)成员。她的电影深入探讨了移民危机、劳工权利、记忆政治等主题，同时通过风格实验和对社会领域的干预，挑战了电影新闻形式的表达可能性。本文旨在探讨Autor在解决上述问题的同时，为鞋子主题注入的多重象征内涵，从电影《团结》(2011)开始，鞋子成为工人权利抗议的中心视觉符号，一直到2022年创作的电影，关注非法移民，鞋子成为艰难而不确定的运动痕迹，象征着身体和精神上的位移。在奥特尔的电影中，鞋子的主题不是作为一个孤立的兴趣对象，而是作为意义的中介。对个别电影的分析(明信片/2010/，团结/2011/，在熊的土地上/2011/，新闻片63 -阴影列车/2017/，新闻片2021 -这里我有一张照片/2022/，新闻片451 -越过水走向自由/2022/)，通过互文和中间比较来探索电影与视觉艺术之间的关系。这种方法通过与其他电影和视觉艺术家使用鞋子主题来表达相关想法的类比，提供了对研究主题的全面洞察，并在Nika Autor的艺术作品中有了更清晰的定位。
{"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}
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.
{"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}
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.
{"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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：