Category

Kritika / Critique

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

The Forgotten and Rediscovered Artist Lovro Janša

Nataša Ivanović, PhD

19. 9. 2014, Ljubljana

Decline – Metamorphosis – Rebirth, International Conference for PhD Students

18. – 20. 9. 2014, Ljubljana

Dense and interweaved short study will be an authentic presentation of the forgotten landscape painter Lovro Janša (1749–1812) not only as a simple monographic individual depiction of an artist, yet also as a part of its cultural-historical milieu. Janša’s life and his opus will serve merely as the basis of the demonstration of the discourse of the reception between the spectator, the art work and the artist in Vienna and its surroundings. The main emphasis will remain on the relevancy of the art work as an individual object which is evaluated through the historical analysis, led not by an artist as a genius but his art work as a proof of the painter’s, commissioner’s, collector’s and spectator’s view around 1800.

http://phdconference2014.wix.com/dmr-ljubljana

http://phdconference2014.wix.com/dmr-ljubljana#!abstracts/cl4m

Yugoslav Political Art: The Youth Relays – a Symbol of Peace?

Tina Potočnik, PhD

Rat i vizuelna kultura / War and Visual Culture

Konferencija bilateralnog projekta Srbija / Slovenija 2012 – 2013: Umetnička razmena i kreiranje jugoslovenskog identiteta u vizuelnoj kulturi od 1848-1990: Srbija-Slovenija / Slovenija-Srbija

18. 10. 2013, Belgrade, Serbia (Filozofski fakultet)

From 1957 the Youth Relay was given to the Yugoslav president each year until in 1987 this tradition was abolished. Within this period thirty-one relay batons, designed by leading Yugoslavian artists in a wide formal variety, were the focus of the Youth Day Celebrations, honoring Tito’s birthday and emphasizing brotherhood and unity. This paper examines symbolical dimensions of those artefacts, originally of non-artistic nature transmitted into the Yugoslav liturgy and art in a trans-national and trans-historical perspective. By widening the notion of the relay baton to the relay torch and through parallel surveying of the Youth Relays and the Olympic Torch Relay, introduced in 1936 at the Berlin Games, in relation to the re-design of a Nazi poster for the Youth Day Celebration in 1987 which depicts a relay baton in the form of the model for the Parliament building designed by Jože Plečnik, the paper also contemplates the possibility of perceiving the Youth Relays as a symbol of peace.