World War I produced a completely new phenomenon on the Croatian territory—a joint exhibition of female artists. This was the Intimate Exhibition of the Spring Salon held in 1916, which represented a harbinger of women’s artistic association in this region and brought a wholly new dimension of exhibition practice as one of the results of the first wave of the feminist movement. The paper presents a history of the idea of assembling female visual artists related to the exhibition of Nasta Rojc, Mila Wod and the Croatian folk art that took place in Vienna in 1914, and gives a contextual analysis of the impact of the First World War on gender roles and women’s position in society. The main part of the paper focuses on the recording and systematisation of antifeminist utterances which accompanied the 1916 Intimate Exhibition — primarily those by Kosta Strajnić and Vladimir Lunaček— and locates the origins of these utterances in the “feminine stereotype” and the notion of creativity as an ideological component of masculinity (Griselda Pollock). On the other hand, such attitudes provoked a feminist reaction which led to the first openly feminist utterances in the public space (Zofka Kveder, Andrija Milčinović), while the exhibition itself not only brought visibility to female artists on the Croatian visual art scene, but can be considered as the first step in feminist aspiration towards mastering the visual arts domain of public activities within the dominant patriarchal social model.
第一次世界大战在克罗地亚领土上产生了一种全新的现象——女性艺术家的联合展览。这是1916年举办的春季沙龙亲密展览，它代表了该地区女性艺术协会的先声，作为女权运动第一波的结果之一，它带来了一个全新的展览实践维度。本文介绍了与1914年在维也纳举行的Nasta Rojc, Mila wood和克罗地亚民间艺术展览有关的聚集女性视觉艺术家的想法的历史，并对第一次世界大战对性别角色和妇女在社会中的地位的影响进行了背景分析。论文的主要部分集中在1916年亲密展览期间的反女权主义言论的记录和系统化——主要是Kosta strajniki和Vladimir luna ek的言论——并将这些言论的起源定位于“女性刻板印象”和创造力作为男性气质的意识形态组成部分的概念(Griselda Pollock)。另一方面，这种态度引发了女权主义的反应，导致了公共空间中第一次公开的女权主义言论(Zofka Kveder, Andrija mil inovivic)，而展览本身不仅使女性艺术家在克罗地亚视觉艺术界获得了知名度，而且可以被认为是女权主义者渴望在占主导地位的父权社会模式中掌握公共活动的视觉艺术领域的第一步。
{"title":"Pojava antifeminizma u hrvatskoj likovnoj kritici: recepcija Intimne izložbe Proljetnoga salona 1916.","authors":"Ana Šeparović","doi":"10.31664/ZU.2018.103.02","DOIUrl":"https://doi.org/10.31664/ZU.2018.103.02","url":null,"abstract":"World War I produced a completely new phenomenon on the Croatian territory—a joint exhibition of female artists. This was the Intimate Exhibition of the Spring Salon held in 1916, which represented a harbinger of women’s artistic association in this region and brought a wholly new dimension of exhibition practice as one of the results of the first wave of the feminist movement. The paper presents a history of the idea of assembling female visual artists related to the exhibition of Nasta Rojc, Mila Wod and the Croatian folk art that took place in Vienna in 1914, and gives a contextual analysis of the impact of the First World War on gender roles and women’s position in society. The main part of the paper focuses on the recording and systematisation of antifeminist utterances which accompanied the 1916 Intimate Exhibition — primarily those by Kosta Strajnić and Vladimir Lunaček— and locates the origins of these utterances in the “feminine stereotype” and the notion of creativity as an ideological component of masculinity (Griselda Pollock). On the other hand, such attitudes provoked a feminist reaction which led to the first openly feminist utterances in the public space (Zofka Kveder, Andrija Milčinović), while the exhibition itself not only brought visibility to female artists on the Croatian visual art scene, but can be considered as the first step in feminist aspiration towards mastering the visual arts domain of public activities within the dominant patriarchal social model.","PeriodicalId":41082,"journal":{"name":"Zivot Umjetnosti","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-01-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69460991","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article—starting from the conclusion of art historian Božidar Gagro that nothing happened during the war that would be crucial for the overall picture—succinctly discusses the impact of World War I on the features of continuity in Croatian modern art. Based on various examples in which expressionism was articulated as a stylistic and conceptual determinant, and the relationship between art and national identity as a product of cultural nationalism, very strong at the time, the author points to the persistence of certain ideas that—despite the war—shaped the overall picture of Croatian modern art. The article ends with the conclusion that World War I did influence certain modalities of Croatian modernism, yet without defining it as a significant turning point that would lead to a fundamental change in its understanding.
{"title":"Kontinuitet ili diskontinuitet? Hrvatska moderna umjetnost i Prvi svjetski rat","authors":"Petar Prelog","doi":"10.31664/zu.2018.103.01","DOIUrl":"https://doi.org/10.31664/zu.2018.103.01","url":null,"abstract":"This article—starting from the conclusion of art historian Božidar Gagro that nothing happened during the war that would be crucial for the overall picture—succinctly discusses the impact of World War I on the features of continuity in Croatian modern art. Based on various examples in which expressionism was articulated as a stylistic and conceptual determinant, and the relationship between art and national identity as a product of cultural nationalism, very strong at the time, the author points to the persistence of certain ideas that—despite the war—shaped the overall picture of Croatian modern art. The article ends with the conclusion that World War I did influence certain modalities of Croatian modernism, yet without defining it as a significant turning point that would lead to a fundamental change in its understanding.","PeriodicalId":41082,"journal":{"name":"Zivot Umjetnosti","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-01-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69461346","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Walk-in fotografija — Od umjetnosti u kontekstu do konteksta u umjetnosti","authors":"Marko Jenko","doi":"10.31664/ZU.2018.103.08","DOIUrl":"https://doi.org/10.31664/ZU.2018.103.08","url":null,"abstract":"","PeriodicalId":41082,"journal":{"name":"Zivot Umjetnosti","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-01-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.31664/ZU.2018.103.08","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69461301","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Savremena umjetnost i pitanje medija poslije 11/9","authors":"Irfan Hošić","doi":"10.31664/ZU.2018.102.04","DOIUrl":"https://doi.org/10.31664/ZU.2018.102.04","url":null,"abstract":"","PeriodicalId":41082,"journal":{"name":"Zivot Umjetnosti","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2018-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.31664/ZU.2018.102.04","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49389147","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Mateja Kurir, Ljubljana Slovenia independent researcher
{"title":"Estetika i geneza arhitekture: o umjetnosti gradnje prema Györgyu Lukácsu","authors":"Mateja Kurir, Ljubljana Slovenia independent researcher","doi":"10.31664/ZU.2018.102.07","DOIUrl":"https://doi.org/10.31664/ZU.2018.102.07","url":null,"abstract":"","PeriodicalId":41082,"journal":{"name":"Zivot Umjetnosti","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2018-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69461263","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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