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

Povezave – Connessioni

Izšlo v letu 2016 / Published in 2016

Tina Potočnik, RI19+: Dediščina in modernizem. Arhitektura Svetozarja Križaja z inkorporacijo historičnih struktur in tradicije vipavske ter ajdovske gradnje. Il patrimonio e il modernismo. L’architettura di Svetozar Križaj con l’incorporazione delle strutture storiche e della tradizione edile di Vipava e Ajdovščina
V / In: Povezave, gradbeništvo, arhitektura, umetnostna zgodovina, umetnost. Connessioni, ingegneria civile, architettura, storia dell’arte, arte  (E-knjiga/e-book)
Uredili / Edited by Mateja Golež, Miha Tomaževič, Janko Rožič
Založil / Pulished by Zavod za gradbeništvo Slovenije (Slovenian National Building and Civil Engineering Institute)

povezave-connessioni_page_01

povezave-connessioni-1-96

V okviru projekta MACC (Modern Art  Consevation Center), naravnanega k iskanju celostnih rešitev problemov prenove arhitekturne dediščine 20. stoletja, so partnerji, med katerimi je imel pomembno vlogo  Zavod za gradbeništvo Slovenije, in zunanji sodelavci združili znanja s področja naravoslovnih, tehničnih in humanističnih ved. V septembru 2016 je bila tako izdana e-knjiga Povezave-Connessioni, ki združuje prispevke, ki k navedeni problematiki pristopajo z gradbeniškega, arhitekturnega in umetnostnozgodovinskega vidika.

Prispevek Tine Potočnik se osredotoča na delo ajdovskega arhitekta v Svetozarja Križaja (1921–1996), diplomanta Jožeta Plečnika (1953) in enega najpomembnejših slovenskih povojnih modernistov. Na podlagi obravnave izbranih Križajevih načrtovanih in zgrajenih objektov (grajenih sestavov) v Ajdovščini in Vipavi je predstavljen Križajev pristop k  arhitekturnemu snovanju, v katerem na eni strani izhaja iz historične strukture oz. slednjo inkorporira v nove ureditve, in se na drugi strani naslanja na tradicijo vipavske in ajdovske gradnje.

OPAZOVALEC IN OBMOČJA GLEDANJA

Opazovalec in območja gledanja na prelomu 18. v 19. stoletje v habsburški monarhiji: Krajina, ujeta v grafiko Lovra Janše (1749–1812)

Javno predavanje dr. Nataše Ivanović, RI19+
25. oktober 2016, ob 13.00
Filozofska fakulteta, Ljubljana (predavalnica 343)

Obdobje razsvetljenstva je tudi v habsburški monarhiji spodbudilo družbeno potrebo vzgojiti gledalca umetnin v umetnostnega poznavalca. Prav območja opazovanja, za časa slikarja, risarja, predvsem pa grafika Lovra Janše (1749–1812) in njegovih dunajskih kolegov krajinarjev, omejena na razstave na dunajski akademiji, na t. i. prizorišča »plačaj in predvajaj«, kjer si je gledalec lahko ogledal panoramo mesta ali pa se zabaval z ogledovanjem krajin v hišah, namenjenih vzbujanju veselja, radosti in ugodja (Lusthaus), so bila tista, ki so prevzela vzgojno vlogo pri osmišljanju neposrednega gledanja krajin. Ta ista območja pa so na prelomu stoletja preusmerila tudi pozornost opazovalca slike, ko se je sočasno spopadal s širokim spektrom raznovrstnih optičnih in čutnih zaznav oziroma, kot je na to že pred časom opozoril Jonathan Crary, slika ni bila več samo polje zakoreninjene institucionalne domene, ampak tudi občutenja užitka in minljivosti.

Na kakšen način je postavitev krajinskega žanra vplivala na vzgojo gledalca, kdo je zasnoval institucionalne kanone postavljanja razstav in s tem tudi pisanje razstavnih katalogov, kdo so bili gledalci v grafiko ujetih krajin in nenazadnje kako je na začetku 19. stoletja kolektivna zavest o »modnem« vplivala na spremembo od institucionalnega vodenja gledalca k opazovalčevi subjektivizaciji krajine, so vprašanja, na katera bo odgovorjeno skozi predstavitev Janševih krajin.

Javno predavanje bo potekalo v organizaciji Društva Igor Zabel za kulturo in teorijo in Oddelka za umetnostno zgodovino Filozofske fakultete Univerze v Ljubljani.

Lovro Janša, Pogled na del angleškega parka v Schönbornu, okoli 1810, kolorirana jedkanica. Vir: Wikimedia (NÖ Landesbibliothek, Topographische Sammlung, inv. št. 6.769)

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

A Symbol of Liberation for Revolution Square in Ljubljana

Izšlo v letu 2016 / Published in 2016

Tina Potočnik, RI19+: Centro Simón Bolívar: A Symbol of Liberation for Revolution Square in Ljubljana, Slovenia
V / In: Simón Bolívar: Travels and Transformations of a Cultural Icon
Uredili / Edited by Maureen G. Shanahan and Ana María Reyes
University Press of Florida

 

In her essay Tina Potočnik connects the Centro Simón Bolívar in Caracas, Venezuela, and the Revolution Square complex in Ljubljana, Slovenia. She demonstrates that the Centro Simón Bolívar served as a model for the Revolution Square complex, meant to house the new government, administrative, and cultural center of one of the former Yugoslav Republics. The Revolution Square complex was intended as a built symbol of the new political and social order, reflecting ideas of revolution and freedom. The essay elaborates on the historical circumstances surrounding the design, the formal resemblance of both complexes, and the parallels between the reception of the liberator – Bolívar, in Latin America, and Tito in Yugoslavia. Potočnik argues that at the time when the Cold War brought about new concerns over imperialism worldwide, Latin America, Venezuela, and Bolívar in particular, offered a strong symbol of revolution and liberation.

O knjigi / About the book:

»In this volume, an array of international and interdisciplinary scholars shows the ways Bolívar has appeared over the last two centuries in painting, fiction, poetry, music, film, festival, dance, city planning, and even reliquary adoration. They illustrate how Bolívar’s body has been exalted, reimagined, or fragmented in different contexts, taking on a range of meanings to represent the politics and poetics of today’s national bodies.
By critically analyzing many examples of cultural Bolivarianisms, or cults of Bolívar, this collection demonstrates the capacity of the arts and humanities to challenge and reinvent hegemonic icons and narratives and, therefore, to be vital to democracy.«

kazalo-vsebine_table-of-contents

http://upf.com/book.asp?id=SHANA001

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.

STROKOVNE PODLAGE ZA OPN OBČINE IDRIJA / EXPERT BASIS FOR MUNICIPAL SPATIAL PLANING OF THE MUNICIPALITY OF IDRIJA

RI19+

Strokovne podlage za OPN občine Idrija – celostno ohranjanje dediščine /

Expert basis for municipal spatial planing of the municipality of Idria – integral conservation of heritage

10. 2015, Ljubljana

 

Mesto Idrija z raznovrstno in izjemno industrijsko in tehniško dediščino, povezano s pridobivanjem živega srebra, se je leta 2012 uvrstilo na Unescov seznam svetovne kulturne dediščine. Kakor drugod po Sloveniji so tudi naselja v občini Idrija, pod katero spadajo številni objekti in območja pod spomeniškim varstvom, v zadnjih desetletjih zaradi razvojnih naselbinskih procesov doživela intenzivno preobrazbo, ki je vključevala tudi segment grajene kulturne dediščine. Pri tem se pojavlja nevarnost degradacije grajenega prostora, in sicer ob odsotnosti smernic v okviru veljavnih pravnih predpisov, ki bi v okviru občine Idrija usmerjale načrtovanje novogradenj objekta oz. dela objekta na lokaciji odstranjenih objektov, skupine objektov ali delov objektov, ki so bili nekdaj spomeniškovarstveno zavarovani kot dediščina ali spomenik, nato pa jim je bil spomeniškovarstveni status odvzet. To narekuje nujnost smernic za novogradnje, ki bi upoštevale sodoben koncept stavbne dediščine, obenem pa strokovno opredeljevale, katere vrednote, ki so bile gradnik kulturnega pomena dediščine ali spomenika, se ohranja v okviru novogradnje, in na kakšen način. Na pobudo Občine Idrija tako POPULUS, Prostorski inženiring, d. o. o., in RI19+, Raziskovalni inštitut za vizualno kulturo od 19. stoletja do sodobnosti, pripravljata strokovne podlage za spremembo dela Odloka o razglasitvi kulturnih in zgodovinskih spomenikov ter naravnih znamenitosti na območju občine Idrija (Uradni list SRS št. 16/88, 17/88, Uradni list RS, št. 56/93, 45/97, 131/03, 45/07, 115/07) in Odloka o občinskem prostorskem načrtu občine Idrija (Uradni list RS, št. 38/11, 107/13).

 

Idrija, a town with diverse and exceptional industrial and technical heritage closely linked with mercury mining, gained in 2012 its place on the UNESCO World Heritage List. In the settlements within the Municipality of Idrija, just as in several other Slovenian settlements, numerous objects fall under Cultural Heritage Protection Acts, while in the last couple of decades the surrounding areas went through an intense transformation phase all due to the urbanization and other developmental processes, which included a range of built cultural heritage. The absence of guidelines in the frame of the valid legislation which would within the Municipality of Idrija direct planning of new object or part of such object on the site of removed older construction, part of construction or a group of objects, which used to be under the protection of Cultural Heritage Protection Acts, yet they have afterwards lost their status, represents danger of built environment degradation. Such situation dictates an urgency of reinstatement of directives for new-build objects, which would consider contemporary concept of built heritage and at the same time determine in a competent manner those values that gave object or monument the quality of an object of cultural importance, and made sure that these were restored in the frame of the new-build object. Following the initiative of the Community of Idrija, POPULUS, Prostorski inženiring d.o.o., and RI19+, Research Institute for Visual Culture from the 19th Century to the Present Time, are preparing the expert basis for the partial change of the Ordinance of the Designation of Natural, Cultural and Historical Monuments in the area of the Municipality of Idrija (Official Gazette SRS No. 16/88, 17/88, Official Gazette RS, No. 56/93, 45/97, 131/03, 45/07, 115/07) and the Ordinance of Municipal Spatial Planning of the Municipality of Idrija (Official Gazette RS, No. 38/11, 107/13).

 

http://www.populus.si/vsebine/podrocje-dela

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

Javni spomeniki 20. stoletja na Gorenjskem … et maneat semper… / Public Monuments and Memorials of the 20th Century in Carniola

dr. Mina Mušinović / Mina Mušinović, PhD

Vabljeno predavanje v okviru SUZD

19. 11. 2014, Ljubljana (Narodna Galerija)

S kratkim sprehodom skozi znano in manj znano memorialno dediščino na Gorenjskem bo nekaj ključnih primerov izmed dobrih petsto javnih spomenikov, postavljenih na Gorenjskem predvsem v drugi polovici 20. stoletja, predstavljenih v luči novih znanj, razumevanj in interpretacij pa v okviru novih pogledov na zgodovino, nerazdružno povezanih s spreminjajočo se politično situacijo in pod neusmiljenim bremenom časa. Osvetljeno bo delovanje nekaterih danes povsem pozabljenih umetnikov, ki so na Gorenjskem pustili svoj pečat, kot bodo izpostavljeni tudi primeri najbolj izvirnih in umetniško dovršenih spomenikov.

 

A short field trip through the known and less known memorial heritage in Carniola presents a selection of well over five hundred public monuments and memorials erected in Carniola in the second half of the 20th Century, in the context of new knowledge, understanding and interpretations as well as from different historic perspectives, closely connected with constantly changing political situation and under ruthless weight of time. The lecture exposes work of some of nowadays completely forgotten artists, who left their trails in Carniola and emphasizes the best examples of original and artistically accomplished monuments and memorials.

Lovro Janša in slikarske formulacije dunajske krajine

Predavanje v okviru Slovenskega umetnostnozgodovinskega društva

dr. Nataša Ivanović

13. 11. 2014, Ljubljana (Narodna galerija)

Vplivi in delovne naloge, ki jih je Lovro Janša (1749–1812) prejel kot študent krajinske risbe na dunajski akademiji in nato posredoval kot profesor, odgovarjajo na vprašanje, kakšen tip umetnika je sploh bil: je bil samo posnemovalec, eklektik oziroma umetnik, ki je vzorce iz preteklosti uspešno združil v kompozicijo umetnine, ali je bil inovator. Predavanje bo osvetlilo pogled na slikarske formulacije krajinske podobe na Dunaju preko opusa Lovra Janše, iz katerega je razvidno, da je pri oljnih slikah sledil že uveljavljenim starim vzorcem, pri grafiki in risbi pa je vpeljal likovne novosti. Te so zlasti pomembne pri vizualizaciji mestne podobe okoli leta 1800.

http://www.ng-slo.si/si/dogodki-in-obvestila/arhiv/2014/11/lovro-jansa-in-slikarske-formulacije-dunajske-krajine?id=3177

Stavbna in naselbinska dediščina Slovenske Bistrice

Vodeni ogled v okviru odprtja DEKD

dr. Mina Mušinović, dr. Nataša Ivanović, dr. Tina Potočnik

26. 9. 2014, Slovenska Bistrica

Dediščina gre v šole, Dnevi evropske kulturne dediščine in Teden kulturne dediščine

26. 9. 2014, Slovenska Bistrica

Slovenska Bistrica, ki se je tako kot številna druga slovenska naselja razvila iz historične naselbinske strukture in se danes v urbanem smislu spreminja z nezadržno hitrostjo, predstavlja odlično priložnost za spoznavanje osnovnih pojmov spomeniškega varstva ter problematike grajene dediščine in stanja grajenega prostora na splošno. Kaj vse zajema pojem kulturna dediščina ter kaj predstavljata pojma stavbna in naselbinska dediščina? Kakšen pomen imajo stavbe ali njihovi deli ter grajeni sestavi z dediščinskimi lastnostmi za našo sedanjost in prihodnost ter kaj je pomembno za njihovo ohranjanje? Tem vprašanjem bo posvečeno strokovno vodstvo po starem mestnem jedru Slovenske Bistrice, ki se bo dotaknilo vseh zgodovinskih plasti mesta.

http://www.zvkds.si/media/medialibrary/2014/09/Program_odprtja_v_Slovenski_Bistrici_pdf.pdf

http://www.zvkds.si/en/zvkds/dekd/2014/program/854/

Program_odprtja_v_Slovenski_Bistrici_pdf

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

The Imaginary Istanbul and the Realistic View of Vienna as Presented by Landscape Painter Lorenz Janscha

Nataša Ivanović, PhD

3. 9. 2014, Istanbul

Images IV, Images of the Other: Istanbul, Vienna, Venice

2. – 4. 9. 2014, Istanbul, Vienna, Venice

This paper will be a presentation of spectator’s horizon of expectations in the terms of the social model of the reception of graphic, drawing or painting before the discovery of photography in the late 18 th century in Habsburg monarchy. Both cities, as Vienna like Istanbul, were represented by very important landscape painter and professor on Academy of Fine Arts Vienna, Lorenz Janscha (1749–1812), but artist perception of those cities on account of commissioner was different. In Janscha’s way presentation of Istanbul and other European cities out of the Habsburg Empire were always depicted as imaginary places, while their picture were commonly used for peep-box to show Vienna’s citizens rare, distant, unknown places. On the other side Vienna was always exposed in realistic manner as a veduta (Ansichten der Residenzstadt Wien) and a panorama, realized in year 1804.

http://images-1.over-blog.org/pages/IMAGES_The_2014_Conference_Images_of_the_Other_IstanbulViennaVenice-8955765.html

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

Ogrožena arhitekturna dediščina dvajsetega stoletja

RI19+ v oddaji Podoba podobe

Avtor oddaje: Iztok Premrov

2. 6. 2014, RTV SLO

Kako se Slovenci zanimamo za arhitekturne dosežke prejšnjega stoletja, kako jih obnavljamo in kako ohranjamo zanamcem. Spregovorili bodo umetnostni strokovnjaki, arhitekti, konservatorji in raziskovalci materialov, vsi združeni v skupno reševanje problemov ogrožene arhitekture.

http://4d.rtvslo.si/arhiv/podoba-podobe/174278699

Dediščina in modernizem / Built Heritage and Modernism

Dediščina in modernizem. Arhitektura Svetozarja Križaja z inkorporacijo historičnih struktur in tradicije vipavske ter ajdovske gradnje / Built Heritage and Modernism. Architecture of Svetozar Križaj Incorporating the Historical Built Structures and the Building Tradition of the Ajdovščina and Vipava Regions

dr. Tina Potočnik / Tina Potočnik, PhD

22. 5. 2014, Štanjel

Posvet Znanje za ohranjanje dediščine 20. stoletja

22. 5. 2014, Štanjel

Svetozar Križaj (1921-1996) je bil učenec Jožeta Plečnika in en najpomembnejših arhitektov slovenskega povojnega modernizma. Študija Križajevih izvedenih in tudi načrtovanih objektov razkrije njegov pristop k arhitekturnemu snovanju, v okviru katerega se na eni strani naslanja na historično grajeno dediščino in slednjo inkorporira v nove grajene strukture, na drugi pa izhaja iz ajdovske in vipavske gradbene tradicije.

Svetozar Križaj (1921-1996) was a student of Jožef Plečnik and one of the most important Slovene modernist architects in the post-World War II period. The survey of Križaj’s realised but also planned buildings in Ajdovščina and Vipava, reveals his creative architectural approach, where he on one hand related strongly to the historical built heritage and incorporated the latter in the newly built structures, while on the other hand he simultaneously remained faithful to the building tradition of the Ajdovščina and Vipava regions.

http://www.drustvo-dal.si/pdf/ZNANJE%20ZA%20OHRANJANJE.pdf

TR v Ljubljani: arhitekturno-urbanistična kompozicija, njeni vzori in pomeni / TR in Ljubljana: Architectural Composition, its Inspiration and Meaning

Predavanje v organizaciji SUZD

dr. Tina Potočnik / Tina Potočnik, PhD

17. 4. 2014, Ljubljana (Mestni Muzej)

Kompleks TR (Trga revolucije, danes Trga republike) v Ljubljani je ena najpomembnejših arhitekturno-urbanističnih zasnov preteklega stoletja na območju Slovenije in nekdanje Jugoslavije. Zmagovalni natečaj za ureditev tega območja (1960), ki je delo Edvarda Ravnikarja (1907-1993), učenca Jožeta Plečnika in Le Corbusierja, zaznamuje monumentalna arhitekturno-urbanistična kompozicija s podvojenima nebotičnikoma nad veliko ploščadjo. Idejna zasnova kompleksa TR in njen vzor v okviru arhitekturne zgodovine ter povezava med oblikovnimi značilnostmi ter simboličnim pomenom arhitekturno-urbanističnega kompleksa sta eni izmed ključnih točk raziskave, ki jo RI19+ izvaja v okviru svojega preučevanja arhitekturnega ustvarjanja v preteklih dveh stoletij na Slovenskem.

In 1960, Edvard Ravnikar (1907-1993), a former student of the architects Jože Plečnik and Le Corbusier, won the design competition for the urban arrangement of the Revolution Square complex in Ljubljana, one of the most important architectural complexes in Slovenia and in the former Yugoslavia. The winning design entry depicts a monumental architectural composition with twin towers overlooking a wide platform. The design and its inspiration within the architectural history and the connection between the formal properties of the Revolution Square complex and its symbolic meaning are two of the key issues of the research, which is being carried out by RI19+ in the frame of the study of the 19th and 20th Century architecture in Slovenia.

Spanje razuma ustvari pošasti: problematika vrednotenja arhitekture povojnega modernizma / The Sleep of Reason Produces Monsters: the Problems of Valorisation of Modern Architecture

dr. Tina Potočnik / Tina Potočnik, PhD

13. 11. 2013, Ljubljana

Posvet Celostna obravnava objektov arhitekturne dediščine 20. stoletja (ZAG, Zavod za gredbeništvo Slovenije)

Na nezavidljivo stanje arhitekture slovenskega povojnega modernizma vpliva več dejavnikov. Eden ključnih je vrednotenje, ki je izhodišče spomeniškovarstvene obravnave kateregakoli objekta. Nerazumevanje arhitekturnih konceptov in nepoznavanje značilnosti arhitekture 20. stoletja je privedlo do nezaznavanja arhitekturnih kvalitet. Naslov znamenite Goyeve grafike Spanje razuma ustvari pošasti (El sueño de la razón produce monstruos),nakazuje prepričanje, da se prav v okviru vrednotenja na podlagi razširjenega multidisciplinarnega pogleda kažejo možnosti izboljšanja stanja moderne arhitekture na Slovenskem.

There are several factors that have greatly contributed to the poor condition of the architecture of Slovenian post-war modernism, among which without a doubt the valorisation, being itself the basis for the treatment of any kind of built heritage. The ignorance regarding characteristics of the 20th Century architecture and misunderstanding of the architectural concepts lead towards the failure in the recognition of the architectural qualities. The title of the famous Goya’s work The sleep of reason produces monsters (El sueño de la Razón produce monstruos), points out a belief that in the framework of valorisation on the basis of an expanded multidisciplinary aspect there is a potential to improve the state of Slovene modern architecture.

http://www.zaps.si/img/admin/file/Novice/Dogodki%202013/Program%20za%20strokovni%20posvet%20_Celostna%20obravnava%20objektov%20arhitekturne%20dedi%C5%A1%C4%8Dine%2020_%20stoletja_.pdf

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.

Architecture and its Financial Context: National and University Library in Ljubljana

Tina Potočnik, PhD

17. 5. 2013, Sarajevo, Bosnia

Cultures of Economy in Southeastern Europe, 4th Workshop of the DAAD network „Media and Memory“

15. – 18. 5. 2013, Sarajevo, Bosnia

In 2012 the design competition for the new National and University Library (NUK II) in the center of Ljubljana, Slovenia, came to a close. Its aim was, as in the case of the competition in the 1980ies (the winning project was never executed), to provide an architectural solution for the building of crucial national and cultural importance. The focus was set on the relation between the formal aspect of architecture, specifics of the location and culture and, on the other hand, historical and economic circumstances that influenced both competition entries for the NUK II – the first one in the time of the transition processes towards the global capitalism and the latter in the time of increasing economic and financial crisis in the European Union.

http://www.litwiss.uni-konstanz.de/fachgruppen/slavistik/forschung/media-and-memoria/workshop-sarajevo-2013/