Category

Ženske / Women

ODKRITOST ZAKRITOSTI (januar-maj 2017)

Serija predavanj in pogovorov o ženski v vizualni kulturi

Skozi pogovore in predavanja bo odkrita zastrta, v zgodovini namenoma ali naključno pozabljena prisotnost ženske v vizualni kulturi, in razmaknjen bo zastor nad pojavnostjo ženske kot fenomena objekta, ustavrjalnega subjekta in spominskega obeležja.

Serija je nastala v organizaciji RI19+, Raziskovalnega inštituta za vizualno kulturo od 19. stoletja do sodobnosti, Ljubljana.

Vsi dogodki bodo potekali v Trubarjevi hiši literature, Stritarjeva ulica 7, Ljubljana.

 

9. 1. 2017, ob 18.00

Slađana Mitrović in Magdalena Germek: Ranjeno telo

V likovni umetnosti po 2. svetovni vojni postane rana pomemben element novonastalih umetnosti. Feministične avtorice so skozi zarezo v lastno telo dojemanje pasivnega telesa muze spreobrnile v umetniški dogodek. Na drugi strani je bila rana vodilo umetniške dejavnosti akcionistov, kot je Rudolf Schwarzkogler. Predavanje in razgovor se bosta tematsko navezovala na knjigo Slađane Mitrović Užitek in nelagodje. Ženska podoba in seksualno 20. stoletja.

predavanje_1a

 

13. 2. 2017, ob 18.00

Nataša Ivanović in Marja Nikolčič: Klub likovnih umetnic v Zagrebu

Leta 1931 so slovenske predstavnice zagrebškega Kluba likovnih umetnic, prvega in edinega ženskega umetniškega združenja v tedanji državi, v Ljubljani priredile svojo prvo razstavo. Dogodek, ki je bil hkrati tudi hommage Ivani Kobilci, je promoviral prizadevanja umetnic, da bi bile kot ženske deležne enakopravnih možnosti za razstavljanje in umetniško delovanje. Ob pogovoru bo pojasnjeno, kaj je slovenskim umetnicam, kot so bile Elda Piščanec, Henrika Šantel, Anica Zupanec Sodnik idr., omogočilo vstop v klub in ali je takšen način združevanja prinesel določene prepreke pri razvoju umetniške kariere.

predavanje_2a

 

13. 3. 2017, ob 18.00

Mina Mušinović: Ženske v NOB skozi oči spomina tistih, prisotnih

Strokovno predavanje bo ponudilo nekaj primerov videnja in dojemanja žensk in njihove vloge v okviru NOB, skozi spomin tistih, ki so bili zraven. Tovarišic, mamic, kmetic, informatork, bolničark … žensk, ki so zaznamovale življenja posameznikov in skupin, in poznanstev, ki so zrasla iz naključnih srečanj ; priklic v spomin priznanih, pa tudi tistih, ki so povsem neznana.

predavanje_3

 

10. 4. 2017, ob 18.00

 Tina Potočnik: Plečnikove učenke, mainstream in margina

Arhitektke, ki so po drugi svetovni vojni diplomirale pri Jožetu Plečniku, predstavljajo svojevrstno posebnost v toku slovenske povojne arhitekture. V svojem ustvarjanju so ob boku moških kolegov nastopale kot soustvarjalke nove države in krmarile med Plečnikovim vplivom in tradicijo na eni strani ter potrebami socialistične družbe in modernizmom na drugi, kar je Tina Potočnik obravnavala v enem od poglavij v knjigi Ideological Equals: Women Architects in Socialist Europe 1945-1989 (uredili Mary Pepchinski, Mariann Simon), ki je leta 2016 izšla pri založbi Routledge.

predavanje_4

Serija pogovorov in predavanj o afriški literaturi – I

Serija predavanj in pogovorov o afriški literaturi v soorganizaciji RI19+

oktober 2016 – maj 2017
Vodnikova domačija, Ljubljana

Na srečanjih s poznavalci afrikanistike, ki se bodo zvrstila med oktobrom 2016 in majem 2017 na Vodnikovi domačiji v Ljubljani, bo skozi nabor klasičnih in sodobnih del afriških avtorjev predstavljena vsebinska, ideološka in estetska raznolikost afriške literarne fikcije.

Serijo v sodelovanju z Vodnikovo domačijo pripravlja in moderira Aleksandra Gačić, RI19+.

Ama Ata Aidoo: Vse šteje

19. 10. 2016 ob 19:00
Vodnikova domačija, Ljubljana

Prvo srečanje v izhodišče postavlja zbirko kratkih zgodb Vse šteje (Cankarjeva založba, 2004) ene najpomembnejših avtoric afriške literature, ganske pisateljice Ame Ate Aidoo. O zbirki in njenem ozadju bo predavala avtorica izbora in prevoda, afrikanistka dr. Nataša Hrastnik (1964).

Dela Ame Ate Aidoo izražajo radikalno politično vizijo, ki skuša po kolonializmu revitalizirati afriško identiteto. Avtorica se ukvarja z vprašanjem, kako ustvariti moderno afriško družbo, ki temelji na sobivanju nekolonialnih vzorcev in tradicij ter sodobnosti in tehnološke družbe. Odkrito raziskuje individualizem zahodne kulture kot protipol skupnim zavezam afriških družbenih praks. Zanimajo jo konflikti in razpetost med življenjem v tuji Evropi in domači Afriki, dileme Afričanov v stiku z Evropejci v afriških in drugih državah, afriška diaspora, evforija Afričanov po osamosvojitvi in težave pri iskanju novih poti. Osredotoča se tudi na status žensk, ki jim življenje po neodvisnosti ni prineslo nikakršnega olajšanja.

Dr. Nataša Hrastnik je diplomirana anglistka, etnologinja in doktorica sociologije kulture na temo afriške književnosti. Kot docentka afrikanistike je predavala književnost in medkulturne študije na Fakulteti za humanistiko Univerze v Novi Gorici. Sodelovala je pri nevladnih projektih za opolnomočenje žensk v Sierri Leone s poudarkom na pisanju, samoozaveščenju in glasbeni kreativnosti. Kot gostujoča profesorica predava na Oddelku za ženske študije Univerze za ženske Ahfad v Omdurmanu (Sudan).

Women Architects in Socialist Europe 1945-1989

Izšlo v letu 2016 / Published in 2016

Tina Potočnik, RI19+: Female Students of Jože Plečnik Between Tradition and Modernism
V / In: Ideological Equals: Women Architects in Socialist Europe 1945-1989
Uredili / Edited by Mary Pepchinski, Mariann Simon
Routledge

Ideological Equals Book

After World War II, in the changed socio-political circumstances of the newly established socialist state of Yugoslavia, in contrast to the pre-war period, almost exclusively female students studied under the leading Slovene neo-classicist architect Jože Plečnik (1872–1957), who at that time still taught at the Ljubljana Faculty of Architecture. In her essay Tina Potočnik focuses on those women architects who were professionally active when the crucial period in Slovene twentieth-century architecture began and reached its peak in the 1960s. Their professional position and the role of their work in the formation of the new socialist country and the new society is discussed, with special regard to the following questions: How did Plečnik’s female students navigate between his architectural views (influenced/inspired by tradition), foreign influences and the needs and directions of a socialist state, such as solving the housing problem and building public facilities? Why did they, in the time of the socialist regime, study and work under Plečnik, known for his interlacing of architecture and religion? Were they because of their gender seen as less likely to succeed professionally and thus directed to him, since Plečnik’s work was not really appreciated at that time, or were they just not enticed by ideological conformity as some of their male colleagues were? Where did they find work after concluding their studies and on what kind of commissions? Furthermore, this essay sheds light on professional as well as personal relationship between Plečnik and his female students. On the basis of archival research and interviews with Plečnik’s female students who are still alive the paper deepens our understanding of the position of women architects in socialist Europe.

O knjigi / About the book:

»Ideological Equals: Women Architects in Socialist Europe 1945-1989 presents an alternative narrative of women in architecture. A topic often considered from the perspective of difference, this edited collection conversely focuses on the woman architect in a position of equality with their male counterparts. The book looks at nations in Eastern Europe under Socialism where, between 1945 and 1989, a contrasting vision of gender relations was propagated in response to the need for engineers and architects. It includes contributions from established and emerging academics in the fields of 20th century history, art history, and architectural history in Central and Eastern Europe exploring the political, economic and social mechanisms which either encouraged or limited the rise of the woman architect. Investigating the inherent contradictions of Socialist gender ideology and practice, this illustrated volume examines the individuals in different contexts; the building types the women produced; the books and theory they were able to write; their contacts to international organizations; and their representation on both sides of the Iron Curtain.«

https://www.amazon.com/Ideological-Equals-Architects-Socialist-1945-1989/dp/1472469267#reader_1472469267

PROGRAMME: International conference “The Aspect of Woman”

International conference “The Aspect of Woman”

26th and 27th May 2016

RI19+, Research Institute for Visual Culture from the 19th Century to the Present Time

Stara mestna elektrarna – Elektro Ljubljana (Zavod Bunker)

Slomškova 18, Ljubljana, Slovenia

Programme_TheAspectofWoman_PDF 

The_Aspect_of_Woman_BOOK_OF_ABSTRACTS 

International conference “The Aspect of Woman”

International conference “The Aspect of Woman”

26th and 27th May 2016

RI19+, Research Institute for Visual Culture from the 19th Century to the Present Time

Ljubljana, Slovenia

 

“One is not born, but rather becomes, a woman,” and there were those, who became a woman long before the famous quote of Simone de Beauvoir was said out loud in 1949 and who left their footprint, seen or hidden, praised or still unrecognized. Last couple of decades have seen a radical transformation in the ways of recreation, assimilation, dispersion and reception of woman, with scholars and societies trying to rediscover her role in the visual culture through times. Critical rethinking of the complementary roles and appearances of woman – female, who refused to remain solely the other sex and appeared in the context of visual culture throughout the past century as critical and provocative subject, challenging possibilities and limitations in the world of the first sex, is the main theme of the two day conference on “The Aspect of Woman”, organised by RI19+.

Conference is an integral part of an ongoing project “Artistic Creativity of Women from the 19th Century to the Present Time” and is the first in line of the periodically scheduled events in the course of the following years, all interweaved around woman in visual culture throughout the past and present times and intense aims to evaluate and analyse their contributions in wider European space.

 

For the conference, hosted by Stara mestna elektrarna – Elektro Ljubljana (Zavod Bunker), the organizer RI19+ welcomes proposals that might include, yet are not limited solely to the following topics:

– current status of studies, questions and themes discussing women in visual culture;

– current researches concerning active roles of women in visual culture: artists, art critics, architects, designers, conservators, restorers, costume designers, theoreticians, patrons of art, curators, collectors, professors of visual culture;

– new appearances of women in visual culture;

– reflections of sexuality and gender in popular culture from women’s perspective

– the reception of images done by women artists

– women‘s power and its acceptance in visual culture.

 

Particularly welcomed are submissions seeking to analyse the role of women in Central and Southern European artistic space and accentuating transnational connections throughout history.

RI19+ welcomes proposals from artists as well as scholars from across the disciplines (art history, architecture, design, philosophy, history, etc.), and from outside the academy as well as within.

Proposals for papers, limited to 300 words, and short CV, limited to 100 words, should be sent to the organizer RI19+ at natasa.ivanovic@ri19plus.si by 20th March 2016.

MAKS FABIANI – SLOG, MEDIJ IN »ŽENSKA POSEBNOST« / MAKS FABIANI – STYLE, MEDIUM AND »FEMALE PURVIEW«

MAKS FABIANI – SLOG, MEDIJ IN »ŽENSKA POSEBNOST« / MAKS FABIANI – STYLE, MEDIUM AND »FEMALE PURVIEW«

dr. Tina Potočnik, dr. Nataša Ivanović

PREDAVANJE V OKVIRU SIMPOZIJA MAKS FABIANI / PROSTORSKI KONTEKST / TEKSTURA /TEKSTIL / TEKST

LECTURE AT THE SYMPOSIUM MAKS FABIANI / SPATIAL CONTEXT / TEXTURE / TEXTILE / TEXT

7. 5. 2015, Ljubljana (Naravoslovnotehniška fakulteta)

 

V poglavju »Ženska posebnost« filozofskega spisa »Akma« arhitekta in urbanista Maksa Fabianija se zrcali njegova izkušnja poučevanja na Umetniški šoli za ženske in deklice (Kunstschule für Frauen und Mädchen) na Dunaju, kjer je bilo ženskam omogočeno formalno izobraževanje v slikarstvu, grafiki in kiparstvu. Toda študij arhitekture zanje še vedno ni bil dostopen, arhitekturna znanja, ki so jih učenke pridobile v okviru Fabianijevih predavanjih o zgodovini sloga, pa so bila preusmerjana v ustvarjanje v mediju, ki je bil tedaj za ženske »bolj naraven« in so ga imenovali »uporabna« ali »dekorativna« umetnost (pohištvo, nakit, tekstilije, igrače etc.).

V prispevku je predstavljena relacija med percepcijo ženske posebnosti in splošno domestikacijo žensk v okviru ustvarjalnega medija (še po drugi svetovni vojni) na eni strani, na druga strani pa ornamentom, ki je do tedaj označeval različne historične sloge in dunajsko secesijo, potem pa postal predmet kritik modernističnih arhitekturnih teoretikov in se ga je slabšalno prištelo med ženske posebnosti.

 

The chapter “Female Purview” in the philosophical essay Akma, written by architect and urbanist Max Fabiani, reflects his experience, gained while teaching at the Vienna Art School for Women and Girls (Kunstschule für Frauen und Mädchen). Although it was possible for women to acquire formal education in painting, printmaking and sculpture, the studies in architecture were still outside their reach. Moreover, the architectural knowledge they acquired in the frame of Fabiani’s lectures on the history of style, was redirected to the medium of the so called “applied” or “decorative” arts (furniture, jewelry, textiles, toys etc.) which were deemed to be “natural” for women or within their abilities.
This paper discusses on one side the relation between the perception of “female purview” and general domestication of women within the creative medium (even after the Second World War), and on the other the ornament, which until then characterized various historical styles and the Viennese Secession, yet soon became the subject of critique of modernistic architectural theorists and was in some cases pejoratively added to the female purview.

Mesesnel in likovna kritika tridesetih let 20. stoletja na primeru razstave Žena v slovenski umetnosti

dr. Nataša Ivanović

5. 12. 2014, Ljubljana

6. posvet slovenskih umetnostnih zgodovinarjev: Slovenska umetnostna zgodovina in njeni producenti

5. – 6. 12. 2014, Ljubljana

Na ljubljanskem velesejmu so septembra 1932 priredili eno od obsežnejših razstav sodobnega slikarstva in kiparstva Žena v slovenski umetnosti. Ta razstava ni bila samo izraz tedanje likovne produkcije, ampak je širšo javnost spodbudila k različnim pristopom do (ne)kritičnega obravnavanja in predstavitve celostnih umetniških postavitev. V članku umetnostnega zgodovinarja Franceta Mesesnela Zrcalo likovne kritike, objavljenega (Sodobnost, 1933), je bila prav omenjena razstava iztočnica za analizo in ovrednotenje zmožnosti tedanje likovne kritike na Slovenskem ter njene večne dualnosti med pišočim žurnalističnim diletantizmom in profesionalnim pisanjem, ki mu je sledil avtor. Prispevek odgovarja na več vprašanj: kakšna je bila likovna kritika na Slovenskem, kdo jo je pisal in kako so ocenjevali njeno kakovost. Neposredno pa analizira prav t. i. profesionalno likovno kritiko Franceta Mesesnela.

http://uifs.zrc-sazu.si/sl/dogodki/6-posvet-slovenskih-umetnostnih-zgodovinarjev#v

Female Students of Jože Plečnik between Tradition and Modernism

Tina Potočnik, PhD

20. 6. 2014, Turin, Italy

European Architectural History Network. Third International Meeting

19. – 21. 6. 2014, Turin, Italy

After World War II, in the changed socio-political conditions of the newly established socialist state of Yugoslavia and in contrast to the pre-war period, more female than male students studied under the leading Slovene neo-classicist architect Jože Plečnik (1872–1957) at the Ljubljana Faculty of Architecture. The present paper focuses on those women architects who were professionally active when the crucial period in twentieth century Slovene architecture began and reached its peak in the 1960s. Their professional position and the role of their work in the formation of the new socialist country and the new society will be discussed, with special regard to the following questions: How did Plečnik’s female students negotiate his architectural views (influenced/inspired by tradition), foreign influences, and the needs and directions of a socialist state, such as solving the housing problem and building public facilities? Why did they, in the time of the socialist regime, study and work under Plečnik, known for his interlacing of architecture and religion? Because of their gender, were they seen as potentially having little professional potential and thus directed to him, since Plečnik’s work was not really appreciated at that time, or were they just not enticed by ideological conformity as some of their male colleagues were? Where did they find work after concluding their studies and what kind of commissions were they given? On the basis of archival research and interviews with Plečnik’s female students who are still alive the paper will deepen the understanding of the position of women architects in socialist Europe.

EAHN 2014: http://www.eahn2014.polito.it/index.html

EAHN 2014 Program: http://www.eahn2014.polito.it/EAHN2014booklet.pdf

EAHN 2014 Book of Abstracts: http://www.eahn2014.polito.it/EAHN2014abstracts.pdf

EAHN 2014 Proceedings: http://www.eahn2014.polito.it/EAHN2014proceedings.pdf