A nine-minute film, directed by architects Charles and Ray Eames, “Powers of Ten” visualized for ... more A nine-minute film, directed by architects Charles and Ray Eames, “Powers of Ten” visualized for the first time the journey through the different scales of existence - from outer space to the space of the atom. This film inspired the Keyhole Project, which, twenty years later, became Google Earth, a (non) commercial online tool for surveying the surface of Earth, making those intriguing images from the 1970s part of our everyday life. Today, as Google Earth counts more than one billion downloads per year, Felix Baumgartner experienced zoom-out mode in physical space, launching himself into the stratosphere. This new overview of the planet that is provided to us by Google Earth virtually, Felix Baumgartner for the first time experienced in physical space; he skyjumped from the height of estimated 39,000 m, proving that one can actually see the Earth as simulated by Google Earth. Humanity gained a new glance, an overview towards the territory of Earth. This paper argues that this tran...
Peristil: zbornik radova za povijest umjetnosti, Vol. 60 No. 1, 2017
U članku se na osnovi arhivske građe rekonstruira i analizira uloga Alekse Čelebonovića u procesu... more U članku se na osnovi arhivske građe rekonstruira i analizira uloga Alekse Čelebonovića u procesu postavljanja temeljnih okvira poslijeratnoga modernističkog modela predstavljanja jugoslavenske umjetnosti na Bijenalu u Veneciji između 1956. i 1964. godine. Čelebonovićeva aktivnost na funkciji komesara jugoslavenskih nastupa na Venecijanskom bijenalu razmatra se u kontekstu kulturno-političkih agendi jugoslavenske države, s ciljem da se otvori prostor i potaknu daljnja pitanja za bolje razumijevanje značajne djelatnosti ovog aktera svijeta umjetnosti u Jugoslaviji, kojem dosad nije posvećena pozornost istraživača.
Lidija Merenik et al., Ivan Grubanov: The United Dead Nations. Pavilion of the Republic of Serbia - Biennale Arte 2015, Belgrade: The Museum of Contemporary Art, 2015, pp. 84-101., 2015
The paper discusses diplomatic and cultural political conditions for the inauguration of the Pavi... more The paper discusses diplomatic and cultural political conditions for the inauguration of the Pavilion of Yugoslavia at the Venice Biennale in 1938. The first and second official participation of the Kingdom of Yugoslavia at this international art event (in 1938 and 1940) is analyzed within the context of the re-established political relations between Italy and Yugoslavia, as well as according to the exhibition concept laid out by Milan Kašanin, the commissioner of both exhibitions. A particular consideration is given to the exhibition as a field of political dialogue and as the space for articulation of the Yugoslav ideology in the international context.
ЧУПИЋ, Симона (ур.)., Јован Бијелић (1884-1964) : зборник радова поводом обележавања педесете годишњице од смрти уметника, Нови Сад: Галерија Матице српске, 2015, 11-19., 2015
У периоду између 1919. и 1927. године Јован Бијелић је у загребачкој уметничкој средини остварио ... more У периоду између 1919. и 1927. године Јован Бијелић је у загребачкој уметничкој средини остварио значајан број изложбених наступа. Прва Бијелићева самостална изложба одржана је 1919. године у загребачком Salonu Ullrich, након чега је учествовао на укупно девет изложби Прољетног салона. Имајући у виду уметникову динамичну активност у овом граду, текст разматра различите контексте у оквиру којих су се Бијелићева појављивања у загребачкој средини одиграла. Осим тога, пажња је посвећена и Бијелићевој улози у организацији уметничког живота на релацији Београд-Загреб у наведеном периоду.
A nine-minute film, directed by architects Charles and Ray Eames, “Powers of Ten” visualized for ... more A nine-minute film, directed by architects Charles and Ray Eames, “Powers of Ten” visualized for the first time the journey through the different scales of existence - from outer space to the space of the atom. This film inspired the Keyhole Project, which, twenty years later, became Google Earth, a (non) commercial online tool for surveying the surface of Earth, making those intriguing images from the 1970s part of our everyday life. Today, as Google Earth counts more than one billion downloads per year, Felix Baumgartner experienced zoom-out mode in physical space, launching himself into the stratosphere. This new overview of the planet that is provided to us by Google Earth virtually, Felix Baumgartner for the first time experienced in physical space; he skyjumped from the height of estimated 39,000 m, proving that one can actually see the Earth as simulated by Google Earth. Humanity gained a new glance, an overview towards the territory of Earth. This paper argues that this tran...
Peristil: zbornik radova za povijest umjetnosti, Vol. 60 No. 1, 2017
U članku se na osnovi arhivske građe rekonstruira i analizira uloga Alekse Čelebonovića u procesu... more U članku se na osnovi arhivske građe rekonstruira i analizira uloga Alekse Čelebonovića u procesu postavljanja temeljnih okvira poslijeratnoga modernističkog modela predstavljanja jugoslavenske umjetnosti na Bijenalu u Veneciji između 1956. i 1964. godine. Čelebonovićeva aktivnost na funkciji komesara jugoslavenskih nastupa na Venecijanskom bijenalu razmatra se u kontekstu kulturno-političkih agendi jugoslavenske države, s ciljem da se otvori prostor i potaknu daljnja pitanja za bolje razumijevanje značajne djelatnosti ovog aktera svijeta umjetnosti u Jugoslaviji, kojem dosad nije posvećena pozornost istraživača.
Lidija Merenik et al., Ivan Grubanov: The United Dead Nations. Pavilion of the Republic of Serbia - Biennale Arte 2015, Belgrade: The Museum of Contemporary Art, 2015, pp. 84-101., 2015
The paper discusses diplomatic and cultural political conditions for the inauguration of the Pavi... more The paper discusses diplomatic and cultural political conditions for the inauguration of the Pavilion of Yugoslavia at the Venice Biennale in 1938. The first and second official participation of the Kingdom of Yugoslavia at this international art event (in 1938 and 1940) is analyzed within the context of the re-established political relations between Italy and Yugoslavia, as well as according to the exhibition concept laid out by Milan Kašanin, the commissioner of both exhibitions. A particular consideration is given to the exhibition as a field of political dialogue and as the space for articulation of the Yugoslav ideology in the international context.
ЧУПИЋ, Симона (ур.)., Јован Бијелић (1884-1964) : зборник радова поводом обележавања педесете годишњице од смрти уметника, Нови Сад: Галерија Матице српске, 2015, 11-19., 2015
У периоду између 1919. и 1927. године Јован Бијелић је у загребачкој уметничкој средини остварио ... more У периоду између 1919. и 1927. године Јован Бијелић је у загребачкој уметничкој средини остварио значајан број изложбених наступа. Прва Бијелићева самостална изложба одржана је 1919. године у загребачком Salonu Ullrich, након чега је учествовао на укупно девет изложби Прољетног салона. Имајући у виду уметникову динамичну активност у овом граду, текст разматра различите контексте у оквиру којих су се Бијелићева појављивања у загребачкој средини одиграла. Осим тога, пажња је посвећена и Бијелићевој улози у организацији уметничког живота на релацији Београд-Загреб у наведеном периоду.
Attempts to explore and define in more detail, both diachronically and synchronically, relationsh... more Attempts to explore and define in more detail, both diachronically and synchronically, relationships and mutual influences between state bodies and art production, communication, education and reception have for decades formed an important part of numerous explorations in various academic disciplines such as art history, history, anthropology, sociology, education etc. The conference aims to provide insights into the current knowledge and interpretations of these relations from the 18th century to the present day, i.e. from the period in which Europe states went through intense centralization, leading to the growth of their influence on artistic production, public cultural and artistic institutions and education. In all these contexts, the term “state” is taken to stand for a politically organized body of people usually occupying a definite territory and the political organization of such a body of people (Merriam Webster Dictionary). Regardless of whether they were monarchies, republics, federations or centralized states, state bodies played an extremely important role in the production of art and in the institutionalization of knowledge, culture and art in all parts of Europe and throughout the aforementioned period. By fabricating its visual identity, commissioning works from artists whom it considered close, and censoring those segments of art production that it judged potentially dangerous to its survival, the state has largely been shaping the art scene in all parts of Europe. Additionally, states’ cultural and educational policies have influenced (and still does) the shaping of knowledge about the arts and teaching content in the field of art (history) on all educational levels. The conference therefore welcomes contributions that deal with approaches to interpretation of these phenomena and various topics in the broad field of art history (painting, sculpture, applied arts, graphic design, photography, architecture, urban planning, curricula and study programmes in art history, etc.) but also other humanities disciplines.
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Regardless of whether they were monarchies, republics, federations or centralized states, state bodies played an extremely important role in the production of art and in the institutionalization of knowledge, culture and art in all parts of Europe and throughout the aforementioned period. By fabricating its visual identity, commissioning works from artists whom it considered close, and censoring those segments of art production that it judged potentially dangerous to its survival, the state has largely been shaping the art scene in all parts of Europe. Additionally, states’ cultural and educational policies have influenced (and still does) the shaping of knowledge about the arts and teaching content in the field of art (history) on all educational levels.
The conference therefore welcomes contributions that deal with approaches to interpretation of these phenomena and various topics in the broad field of art history (painting, sculpture, applied arts, graphic design, photography, architecture, urban planning, curricula and study programmes in art history, etc.) but also other humanities disciplines.