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.