Tesi sul tema "Art, indic – 20th century – exhibitions"

This thesis discusses how museum structures were redefined over a twenty-two year period in specific relation to the impetus of Video Art. It contends that Video Art would be instrumental in the evolution of the contemporary art museum. The thesis will analyse, discuss and evaluate the problematic nature and form of Video Art within four major contemporary art museums - the Museum of Modern Art (MoMA) in New York, the Georges Pompidou National Centre of Art and Culture in Paris, the Tate Gallery in London and the Art Gallery of New South Wales (AGNSW) in Sydney. By addressing some of the problems that Video Art would present to those museums under discussion, the thesis will reveal how Video Art would challenge institutional structures and demand more flexible viewing environments. As a result, the modern museum would need to constantly modify their policies and internal spaces in order to cope with the dynamism of Video Art. This thesis first defines the classical museum structure established by the Louvre during the 19th century. It examines the transformation from the classical to the modern model through the initiatives of the New York Metropolitan Museum to MoMA in New York. MoMA would be the first major museum to exhibit Video Art in a concerted fashion and this would establish a pattern of acquisition and exhibition that became influential for other global institutions to replicate. MoMA's exhibition and acquisition activities are analysed and contrasted with the Centre Pompidou, the Tate Gallery and the AGNSW in order to define a lineage of development in relation to Video Art. This thesis provides an historical explanation for the museum/gallery's relationship to Video Art from its emergence in the gallery to the beginnings of its acceptance as a global art phenomenon. Curatorial strategies, the influx of corporate patronage and the reconstruction of spectatorship within the gallery are analysed in relation to the unique problematic of Video Art. Several prominent video artists are examined in relation to the challenges they would present to the institutionalised framework of the modern art museum and the discursive field surrounding their practice. In addition, the thesis contains a theoretical discussion of the problems related to Video Art imagery with the period of High Modernism; examines the patterns of acquisition and exhibition, and presents an analysis of global exchange between four distinct contemporary art institutions.

At the turn of the twentieth century, as Japan expanded its territory by colonizing other Asian nations, the Japan-Korea Annexation Treaty was signed in 1910 and Korea lost its sovereignty. In political turmoil, the formation of national and cultural identity was constantly challenged, and the struggle was not argued in words alone. It was also embedded in various types of visual cultures, with narratives changing under the shifting political climate. This thesis focuses on paintings exhibited in the Joseon Mijeon (조선미술전람회 The Joseon Fine Art Exhibition) (1922-1944), which was supervised by the Japanese colonial government and dominated, in the beginning, by Japanese artists and jurors. By closely examining paintings of ‘local color (향토색)’ and ‘provincial color (지방색),’ which emphasized the essence of a “Korean” culture that accentuated its Otherness based on cultural stereotypes, the thesis explores how representations of Korea both differentiated it from Japan and characterized its relationship with the West. In order to legitimize its colonial rule, politically driven ideologies of pan-Asianism (the pursuit of a unified Asia) and Japanese Orientalism (the imperialistic perception of the rest of Asia) were evident in the state-approved arts. The thesis explores how the tension of modern Japan as both promoting an egalitarian Asia and asserting its superiority within Asia was shown in the popular images that circulated in the form of postcards, manga, magazine illustrations, and more importantly in paintings. Moreover, this project examines both the artists who actively submitted works to the Joseon Mijeon and the group of artists who opposed the Joseon Mijeon and worked outside of the state-approved system to consider the complexity of responses by artists who sought to be both modern and Korean under Japanese colonial rule.
published_or_final_version
Fine Arts
Master
Master of Philosophy

This dissertation traces the presence of installation-based practices among artists of Aboriginal ancestry via selected exhibitions across Canada. It begins with a methodological perspective on Canadian art history, federal law, and human science, as a means of establishing a contextual backdrop for the art under consideration. The rise of an Indian empowerment movement during the twentieth century is then shown to take on an international voice which had cultural ramifications at the 1967 Canadian International and Universal Exhibition. Nascent signs of a multi-mediatic aesthetic are distinguished in selected works in Canadian Indian Art '74, as well as through Native-run visual arts programs. First Nations art history is charted via new Canadian art narratives starting in the early 1970s, followed by the development of spatial productions and hybrid discourses in New Work By a New Generation in 1982, and Stardusters in 1986. The final chapter opens with a history of installation art since the Second World War, as related to the pronounced presence of multi-mediactic works in Beyond History in 1989. Post-colonial and postmodern theories are deployed to conclusively situate both the artistic and political concerns featured throughout this study, and lead into the analysis of selected installations at Indigena: Contemporary Native Perspectives and Land, Spirit, Power: First Nations at the National Gallery of Canada. These 1992 shows in the national capital region ultimately confirm the maturation of a particular socio-political aesthetic that tested issues of Canadian identity, while signifying Aboriginal sites of difference.

This dissertation examines the history of the Durban Art Gallery from its founding in 1892 until 2004, a decade after the First Democratic Election. While the emphasis is on significant changes that were introduced in the post-1994 period, the earlier section of the study locates these initiatives within a broad historical framework. The collecting policies of the museum as well as its exhibitions and programmes are considered in the light of the institution 's changing social and political context as well as shifting imperatives within a local, regional and national art world. The Durban Art Gallery was established in order to promote a European, and particularly British, culture, and the acquisition and appreciation of art was considered an important element in the formation of a stable society. By providing a broad overview of the early years of the gallery, I identify reasons for the choice of acquisitions and explore the impact and reception of a selection of exhibitions. I investigate changes during the 1960s and 1970s through an examination of the Art South Africa Today exhibitions: in addition to opening up institutional spaces to a racially mixed community, these exhibitions marked the beginning of an imperative to show protest art. I argue that, during the political climate of the 1980s, there was a tension in the cultural arena between, on the one hand, a motivation to retain a Western ideal of 'high art' and, on the other, a drive to accommodate the new forms of people's art and to challenge the values and ideological standpoints that had been instrumental in shaping collecting and exhibiting policies in the South African art arena. I explore this tension through a discussion of the Cape Town Triennial exhibitions, organised jointly by all the official museums, which ran alongside more inclusive and independently curated exhibitions, such as Tributaries, which were shown mainly outside the country. The post-1994 period marked an opening up of spaces, both literally and conceptually. This openness was manifest in the revised strategies that were introduced to show the Durban Art Gallery 's permanent collection as well as in two key public projects that were started - Red Eye @rt and the AIDS 2000 ribbon. Through an examination of these strategies and initiatives, I argue that the central role of the Durban Art Gallery has shifted from being a repository to providing an interactive public space.

This thesis will examine the practice of relational aesthetics as it involves the viewer, as well as the way in which it plays out within and outside of the institutional setting of the museum. I will focus primarily on two unique projects: that of The Machine Project Field Guide at Los Angeles County Museum of Art on November 15, 2008, produced by Machine Project, a social project operated out of a storefront gallery in Echo Park; and David Michalek's Slow Dancing at the Lincoln Center Festival in New York City, July 12-29 2007.

Notre étude porte sur la présence des artistes grecs(peintres, sculpteurs, graveurs) aux manifestations universelles et internationales qui se sont déroulées dans de différentes villes européennes, durant les quarante premières années du XXe siècle.Effectuée principalement aux catalogues officiels des expositions traitées, notre recherche a essayé d’appréhender l’activité artistique des hellènes, en la situant dans un contexte culturel international(expositions universelles et/ou internationales) et dans un cadre chronologique précis (1901-1939) ; pour ce faire, nous avons tenu compte des divers paramètres sociaux, politiques et intellectuels, qui ont régi deux réalités historiques et géographiques : d’un côté la Grèce, un état jeune dans toutes ses manifestations, et de l’autre côté l’Europe de la Grande Guerre, du progrès industriel et des avant-gardes
Our study focuses on the presence of Greek artists(painters, sculptors, engravers) in the universal and international exhibitions, that took place in various European cities during the first forty years of the 20th century.Our research, which was principally carried out in the official catalogues of the presentations in question, attempted the approach and in-depth comprehension of the artistic activity of the Greeks, placed in an international cultural context(universal and international exhibitions in Europe) and in a specific chronological frame(1901-1939). For this to be achieved, we took into consideration the diverse social, political and cultural parameters that ruled two different realities; on the one hand, Greece, a “young” country in all it’s manifestations and on the other hand, Europe of the Great War, industrial progress and the “avant-garde”

This thesis compares two contemporary artists who practice institutional criticism, Marcel Broodthaers and Fred Wilson. Looking specifically at Broodthaers's fictional museum project the Musee d Art Moderne, Departement des Aigles from 1968-1972 and Wilson's 1992 installation Mining the Museum at the Maryland Historical Society, this thesis will critically analyze each artist's similar application of deconstruction as a method. Both artists employ allegory and history as aesthetic strategies of deconstruction; using allegorical structure, the artists mobilize objects that have been arrested in history, disrupting a historical continuum that would otherwise remain foreclosed. The focus of this study will be to explore the critical approaches of Broodthaers and Wilson individually as well as the similar theoretical tendencies of the artists jointly; this investigation will assess the effect of institutional criticism on the museum's present condition, unfolding both what has changed and what is still at play within this practice.

Disertacijos tyrimo objektas – šventadienė prijuostė, tradicinio liaudies kostiumo dalis, kuri pristatoma ne tik kaip drabužis, bet kaip sąlyginai savarankiškas daugiaplanis kultūros objektas, tapęs etninių tradicijų ir tautinės savimonės raiškos simboliu. Tyrimo laikotarpis – XIX a.–XX a. pirmoji pusė. Tai pirmasis mokslinis darbas, nuosekliai atskleidžiantis procesą, kaip prijuostė, prarasdama savo pirminę paskirtį, XX a. pirmojoje pusėje įgavo naują prasmę ir tapo tautiškumo simboliu, reprezentantu ne tik Lietuvoje, bet ir užsienyje. Darbe analizuojami iki šiol sistemingai netyrinėti XIX a.–XX a. pirmosios pusės šventadienių prijuosčių (taip pat prijuostėlių) rinkiniai Lietuvos ir kitų šalių (Baltarusijos, Lenkijos, Prancūzijos) muziejuose. Tyrimo metu užsienio šalių muziejuose surastos ir identifikuotos lietuvių šventadienės prijuostės yra vertingas ne vien šių muziejų, bet ir visoje Lietuvoje turimų šios rūšies liaudies tekstilės dirbinių fondo papildymas. Atsiranda galimybė įvertinti šventadienės prijuostės meninės raiškos formas, atlikimo technikų ir medžiagų ypatumus, kurių visumą kaip svarbų šaltinį galima pritaikyti tradicinių liaudies drabužių rekonstravimo darbų praktikai ir tautinio kostiumo studijoms. Atliktas tyrimas aktualizuoja prijuostės sociokultūrinės raiškos aspektus, leidžia giliau pažinti jų meninės formos bruožus, gali pasitarnauti kaip svarbi medžiaga lyginamosioms lietuvių liaudies meno studijoms, tolimesniems Lietuvos kultūros tyrinėjimams.
This doctoral dissertation analyses a part of the traditional folk costume – festive apron – which is presented not only as a garment, but also as a relatively independent and multidimensional cultural object, and a symbol of ethnic traditions and expressions of national identity. The research covers the period from the 19th century through the early 20th century. It is the first research systematically revealing the process of the apron losing its originally intended use and being given a new meaning in the first half of the 20th century, concurrently becoming a symbol and representative of national identity not only in Lithuania but also in foreign countries. The thesis analyses collections of festive aprons (including votive aprons) of the 19th century and the first half of the 20th century available in Lithuanian and foreign museums that have not been previously analysed on a systematic basis. Lithuanian festive aprons identified in foreign museums during the research are valuable supplementation not only to the holdings of these museums, but also to the fund of folk textiles of this type available in Lithuania. This provides an opportunity to assess the forms of artistic expression, the peculiarities of weaving techniques of, and the fabrics used for, festive aprons which, in their entirety, can be used as an important source for reconstructing traditional folk clothing and for studies of the national costume. The research actualises the aspects of socio-cultural... [to full text]

Cette thèse s’interroge sur l’invention d’une formule : The Eye Club. Inventée par l’historienne américaine Eugenia Parry, elle désigne un regroupement actif dans les années 1960-1990 composé de : Pierre Apraxine, Hugues Autexier, François Braunschweig, Françoise Heilbrun, André Jammes, Gérard Lévy, Harry Lunn, Philippe Néagu, Alain Paviot, Richard Pare, Sam Wagstaff et Robert Mapplethorpe. Ces douze figures vivent entre la France et les États-Unis et sont rattachées par plusieurs facteurs culturels et temporels. Ce «club» n’est pas à proprement parler un cercle de sociabilités, c’est une constellation, une nébuleuse faite de positionnements culturels épars et de projets artistiques divers. La question principale qui a guidé cette enquête est la suivante : en quoi ce Eye Club et ses acteurs, pris individuellement, ont-t-ils contribué à réévaluer la valeur commerciale, esthétique et institutionnelle, de la photographie dans les années 1960-1990 entre Paris et New York ? La chronologie démarre avec les engagements d’André Jammes dans le monde de la photographie au tournant des années 1960 et se termine en 1989, l’année de la mort de Mapplethorpe. L’enquête réalisée dans les archives et auprès des acteurs a fait émerger des noms connus, et d’autres, qui sont demeurés dans les coulisses de l’histoire. Cette étude se propose de lever le voile sur un réseau interdépendant d’acteurs, dont les intérêts communs pour la photographie ont permis de créer le marché de la photographie, tel que nous le connaissons aujourd’hui, et son institutionnalisation. Le premier volume de la thèse propose, dans une perspective transatlantique, une réflexion sur ce regroupement à partir des images et des correspondances. Le second volume rassemble vingt-quatre entretiens réalisés au cours des cinq années de recherche. D’abord avec les figures du Eye Club (Pierre Apraxine, Françoise Heilbrun, Richard Pare et Alain Paviot), puis avec les familles des acteurs du Eye Club et enfin avec diverses personnalités du monde photographique (Frish Brandt, Peter Bunnell, Denis Canguilhem, Sylviane De Decker, Viviane Esders, Patrick Faigenbaum, Philippe Garner, Maria Morris Hambourg, Susan Kismaric, Hans Peter Kraus Jr., Harold Jones, Baudoin Lebon, Eugenia Parry, Françoise Reynaud, Samia Saouma et Daniel Wolf). Ensemble, les deux volumes esquissent une histoire de rencontres entre des passionnés de photographie qui s’est principalement articulée sous une forme orale entre la France et les États-Unis dans les années 1960-1980
This thesis questions the invention of a phrase : The Eye Club. Invented by the American historian Eugenia Parry, it has been designating a grouping active in the 1960s-1980s composed of : Pierre Apraxine, Hugues Autexier, François Braunschweig, Françoise Heilbrun, André Jammes, Gérard Lévy, Harry Lunn, Philippe Néagu, Alain Paviot, Richard Pare, Sam Wagstaff and Robert Mapplethorpe. These twelve characters lived between France and the United States and are connected and related by several cultural and temporal factors. This grouping is not, strictly speaking, a circle of sociability, it is rather a constellation or a nebula made of scattered cultural positions and diverse artistic projects. The main question that guided this survey is the following: in what way does the Eye Club and its individual actors contributed to the re-evaluation of the commercial, aesthetic and institutional value of photography between the early 1960s and the late 1990s among Paris and New York ? The chronology begins with André Jammes' involvement in the world of photography and ends in 1989, the year of Mapplethorpe's death. An inquiry of archives and key players has brought to light some well-known names, and others that remained in the shadow of history. This study aims at unveiling an interdependent network of actors, whose common interests in photography have made it possible to establish, in one generation, the photography market as we know it today. The first volume of the thesis offers, from a transatlantic perspective; an investigation and analysis of this based on photographs and correspondences. The second volume brings together twenty-four interviews conducted over my five years of doctoral research. First with the main protagonists of The Eye Club (Pierre Apraxine, Françoise Heilbrun, Richard Pare and Alain Paviot), then with the families of The Eye Club and finally with various personalities from the world of photography (Frish Brandt, Peter Bunnell, Denis Canguilhem, Sylviane De Decker, Viviane Esders, Patrick Faigenbaum, Philippe Garner, Maria Morris Hamburg, Susan Kismaric, Hans Peter Kraus Jr, Harold Jones, Baudoin Lebon, Eugenia Parry, Françoise Reynaud, Samia Saouma and Daniel Wolf). Together, the two volumes sketch a history of encounters between photography enthusiasts that has, up to now, been mainly articulated in oral form between France and the United States in the 1960s and 1980s

Cette thèse vise à interroger la façon dont les biennales internationales d’art contemporain, en tant qu’événements culturels et premiers temps d’historicisation des oeuvres et des artistes, contribuent à la fabrique des imaginaires de l’altérité. Le cadrage chronologique de notre recherche s’ancre à partir de 1989, date qui correspond à un « tournant global », un changement de paradigme qui aurait eu pour effet de repenser les rapports de domination et les logiques de centre/périphérie, notamment dans le champ de l’art contemporain. L’internationalisation de l’art contemporain et le renouvellement des cadres de pensées que l’on rattache au « tournant global » ont donné lieu à l’émergence d’un processus de labellisation de la différence, dont témoignent des catégories artistiques et esthétiques telles que « art non-occidental » ou « art global », porteuses d’imaginaires renouvelés que ce travail de recherche entend analyser. Notre démarche, qui s’appuie sur un corpus de six expositions ayant marqué le champ des événements culturels internationaux, est volontairement pluridisciplinaire et vise à considérer l’hétérogénéité du matériel qui compose ces expositions. En premier lieu, la mise en lumière des discours expographique résulte de l’analyse conjointe de trois composantes : les écrits, à partir desquels nous proposons une typologie spécifique qui considère la fois les intentions qui président à leur production et les usages qui en sont faits ; les pratiques artistiques, qui dans le cadre des biennales sont au service du discours expographique ; et les gestes de mise en exposition qui sont propres au dispositif médiatique spécifique des biennales. En deuxième lieu, la réalisation d’entretiens et la collecte d’archives ont permis de circonscrire le contexte d’énonciation et l’intentionnalité des événements. En tant que dispositif médiatique à part entière, le catalogue d’exposition a également donné lieu à une méthodologie adaptée à l’ensemble des éléments (discursifs et non discursifs) qui le caractérise. Plus particulièrement, les écrits de connaissances que l’on y trouve ont fait l’objet d’une analyse sémiolinguistique permettant de mettre en lumière les processus de concrétisation des concepts, et donc de saisir les imaginaires et valeurs qui sont attachés. L’approche privilégiée pour analyser ce corpus permet ainsi d’articuler à la fois les spécificités de chaque exposition (c'est-à-dire leur individuation à travers l’articulation de leur concept et de leur dispositif) et leur inscription dans un réseau (en tant que résultat d’un processus de réécriture), vis-à-vis du thème de l’altérité
This research aims to examine how contemporary international art biennials, considered as cultural events and as first step in the historicization process of works and artists, contribute to the making of « otherness » as an imagined community. The chronologic frame of our research is anchored in 1989, which correspond to the « global turn », a shift of paradigm that would have led to the rethinking of domination relationship and the logic center/periphery, especially in the field of contemporary art. The internationalization of contemporary art and the renewal of the frameworks of thought that are often connected with the global turn have led to a process of labeling the difference, as evidenced by artistic and aesthetic categories such as « non-western art » or « global art » that carry renewed representations that this research intends to analyze. Our approach, which is based on a corpus of six exhibitions that have marked the field of international cultural events, is deliberately multidisciplinary and aims to consider the heterogeneity of the material that composes these exhibitions. First, we highlight the expographic discourses from the analysis of three components : the writings, from which we propose a specific typology that considers both the intentions that preside over their production and the uses that are made of them ; artistic practices, which in the context of biennials are at the service of the expographic discourse ; and the gestures of exhibitions which are characteristics of the specific media device of the biennials. Secondly, interviews and the collect of archival documents have led us to circumscribe the context of enunciation and the intentionality of the events. As a media device in its own right, the exhibition catalog also gave rise to a metholody adapted to all the elements (discursive and non-discursive) that characterize it. More particularly, the writings of knowledge have been the subject of semiolinguistic analysis to highlight the processes of concretization of concepts, and thus have led us to grasp the artistic values that are attached to the imagined otherness. The preferred approach to analyze this corpus thus makes it possible to articulate the specificities of each exhibition (i.e their individuation through the articulation of their concept and their device), and their inscription in a network (as a result of a process of rewriting) at the same time

A Research report submitted in partial fulfilment of the Degree Masters in History of Arts at the University of Witwatersrand, 2017
This research report has followed three periods in the history of the political struggle for freedom in South Africa, from the height of the Anti-apartheid struggle in the 1980s to the present day by way of exploring three exhibitions of resistance posters as case studies. It is located in the realm of political and art history. Looking at the positioning of the resistance poster in South African art history, the intension is to highlight how these exhibitions have used display strategies to construct values reflected in the resistance poster. The three selected exhibitions are as follows: firstly, Thami Mnyele and Medu Art Ensemble Retrospective (2008), Second is the exhibition Images of Defiance: South African poster of the 1980’s (2004). And the third exhibition Interruptions: Posters from the Community Arts Project Archive (2014).
XL2018

A research report submitted to the Faculty of Humanities, University of the Witwatersrand, in partial fulfilment of the requirements for MA by Coursework and Research Report, Johannesburg, 2017
This research report explores the influences of memory in selected works by two visual artists: South African Kemang Wa Lehulere’s Remembering the Future of a Hole as a Verb 2.1 and Polish artist Ursula von Rydingsvard’s Droga. The report examines the ways in which personal memory can inform creative practice and the surface difficulties such endeavours may present. These works and writings on memory and creative practice inform my own practice, through which I investigate ways of expressing my memories of my grandparents’ carpentry workshop in Sunnydale Eshowe in KwaZulu Natal, South Africa.
XL2018

A thesis submitted to the Faculty of Humanities, University of Witwatersrand, Johannesburg, in fulfilment of the requirements of Master of Arts, Durban 2018
This dissertation examines the social, cultural and economic significance of locally forged field-hoes, known as amageja in Zulu. A key question I have engaged in this study is whether gender-based divisions of labour in nineteenth-century African communities of this region, which largely consigned agricultural work to women, also affect attitudes towards the tools they used. I argue that examples of field-hoes held in eight museum collections form an important but neglected archive of “hoeculture”, the form of subsistence crop cultivation based on the use of manual implements, within the Phongolo-Mzimkhulu geographic region that roughly approximates to the modern territory of KwaZulu-Natal. In response to observations made by Maggs (1991), namely that a disparity exists in the numbers of fieldhoes collected by museums in comparison with weapons, I conducted research to establish the present numbers of amageja in these museums, relative to spears in the respective collections. The dissertation assesses the historical context that these metallurgical artefacts were produced in prior to the twentieth-century and documents views on iron production, spears and hoes or agriculture recorded in oral testimony from African sources, as well as Zulu-language idioms that make reference to hoes. I furthermore examine the collecting habits and policies of private individuals and museums in this region from the nineteenthcentury onwards, and the manner in which hoes are used in displays, in order to provide recommendations on how this under-utilised category of material culture should be incorporated into future exhibitions.
XL2019

1 SUMMARY Regaining the Past. Yugoslav Legacy in the Period of Transition: the Case of Formal and Alternative Institutions of Art and Culture in Serbia at the End of the 20th and the Beginning of the 21st Century Before, during the existence of Yugoslav state, and in the post Yugoslav period, common cultural (and art) space was shaped by the similar language, culture, connections, mentality, territory, economic relations, (foreign) influences and art production. After the dissolution of Yugoslavia in disastrous war conflicts, a large economic and cultural crisis hit the whole Balkan region. Cruelty of the Bosnia war, together with embargo, economic crisis, severe inflation, protests, caused a cultural collective trauma in all former Yugoslav countries. Simultaneously. High level of (narrative) fragmentation occurs in all institutions as the consequence of the crisis in society. It reflects in the dysfunctionality of institutions and eventually in closing down. After the dark period of the ‘90s, in 2000, Serbia dived into progressive democratic changes and an unblocked transition process, that will become a large source of disappointment in Serbian society. During all the changes and fluctuations, Yugoslavia (idea and a state) figurate as a main culprit for a crisis and a huge mistake in the newest history. Individual memory and private space of citizens in Serbia was still crowded by the memories of the previous period, but translating into cultural memory became doubtful. For that kind of translation, and revitalization of the part of the culture, space for speech, discussion, search for meaning should be essential, initiated and placed in institutions of culture. In my research I was trying to investigate if and how Yugoslavia continued to exist in cultural institutions as a phenomenon, through values of its ideology and common and wide cultural space, as a notion, motif, and theme of the projects and events, in spite of all mentioned 2 circumstances. I intended to represent the importance of Yugoslav legacy (as a symbolic heritage in the first place), from the perspective of making continuity and finding (creating) meaning about the past, as a way of overcoming cultural trauma. The main categories and points of view I have chosen as a methodology of the research, could be named as interdisciplinary cultural study approach, through content analysis and notions of representations interpretation, discovering of symbolic or concrete presence/ absence. The material for my research were catalogues from the exhibitions and following publications, articles from newspapers and magazines, academic literature, non-official interviews, videos, comments on exhibitions, comments as a part of the program in institutions, personal interpretations of actors (artists, academics, curators, activists, audience) expressed in informal interviews and meetings, noted or recorded, so that could be incorporated in my research. Entire argument is divided into the four parts: State of Art, Historical Context, Official Institutions; Alternative Institutions accompanied with the Introduction at the beginning, and Conclusions at the end (together with Bibliography, List of Photos and Summary in English, Polish and Serbian). In the first chapter State of Art, with an overview of books, articles and projects that are connected with a theme of my work, I present different aspects of its formulation and content. The second chapter titled Historical context is dedicated to the history of South Slavic unity with overview of Yugoslav history. For the analytical part of my research I have chosen three official and three alternative institutions to describe and illustrate the place and role of the Yugoslav narrative and legacy in cultural institutions: among official those are Serbian Pavilion in Venice (Paviljon Republike Srbije u Veneciji), Museum of Contemporary Art in Belgrade (Muzej savremene umetnosti u Beogradu), Museum of Yugoslavia (Muzej Jugoslavije), and among nonofficial (alternative) institutions those are Centre for Cultural Decontamination (Centar za kulturnu dekontaminaciju/ CZKD), squat Inex, and alternative cultural center Catch 22 (Kvaka 22). I had an assumption that choosing from the different types of the institution could help in creating the wider image, and form the basis for a more complete map of the institutions in Serbia in the post Yugoslav period. Analytical part dedicated to official institutions placed after Historical context contains three chapters describing three institutions. 3 The first chapter in a part regarded official institutions is dedicated to the Pavilion of Republic Serbia in Venice, former Pavilion of Yugoslavia in Venice (all of state emanations). I have decided to investigate Serbian (former Yugoslav) Pavilion in Venice as the only institution where Yugoslavia still exists in the frame of international art and culture manifestations (even just as a living memory and context). The second chapter is dedicated to The Museum of Contemporary Art in Belgrade, opened in 1965 as the most prominent cultural institution representing the Yugoslav and Serbian Art of the 20th century. The Museum of Contemporary Art appears to be the institution symbol of the Yugoslav art and culture creation. The third one is dedicated to the Museum of Yugoslavia, the only institution in former Yugoslav space dedicated fully to representation of Yugoslavia. Institution showed the enormous capacity for transformation, communicating the possibility of the new modern institution. Analytical part dedicated to alternative institutions also contains three chapters with the short introduction bringing the explanations and description of alternative institutions as a phenomenon. The first chapter in a part of research Alternative institutions is dedicated to the Centre for Cultural Decontamination (Centar za kulturnu dekontaminaciju / CZKD). Being one of the oldest non official organizations in Serbia, emerged from a decisive protest against the regime of Slobodan Milošević in 1995, CZKD was my choice for the alternative institution of the older generation. As the second case I have decided to describe the squat and cultural center Inex established in a building of the Inex Film Company. The end of the analytical part dedicated to alternative institutions represents the case of Kvaka 22, as an example for the youngest generations of the artists and cultural workers, activists and citizens, and their approach towards culture and art, past and present. In the Conclusions I have presented in the same time common denominators of the all described institutions from the perspective of Yugoslav legacy, and wider context as a common space for them all. Also, I have accentuated the conclusion about the significance of cooperation between institutions, in the field of cultural memory but not just. The phenomenon of relatedness and interconnectedness appears to be crucial for the resolution of the cultural crisis.
1 Streszczenie Odzyskiwanie przeszłości. Dziedzictwo jugosłowiańskie w okresie transformacji: oficjalne i alternatywne instytucje kultury i sztuki w Serbii na przełomie XX i XXI wieku Wspólna jugosłowiańska przestrzeń kulturowa (i artystyczna) kształtowała się zanim powstała Jugosławia, w czasie jej istnienia, a także po jej rozpadzie. Czynnikami, które o tym decydowały był podobny język, kultura, powiązania, mentalność, terytorium, stosunki gospodarcze, (zewnętrzne) wpływy i produkcja artystyczna. Po rozpadzie Jugosławii w wyniku katastrofalnych konfliktów wojennych omawiany region został dotknięty ogromnym kryzysem ekonomicznym i kulturalnym. Okrucieństwo wojny w Bośni i Hercegowinie, a także embargo, kryzys ekonomiczny, ostra inflacja i protesty wywołały zbiorową traumę kulturową we wszystkich krajach byłej Jugosławii równocześnie. Konsekwencją kryzysu społecznego był wysoki stopień fragmentacji (narracji) pojawiający się we wszystkich instytucjach. Wyrażał się on w dysfunkcjonalności instytucji, a następnie w ich zamknięciu. W roku 2000, po mrocznej dekadzie lat dziewięćdziesiątych, Serbia rozpoczęła demokratyczne zmiani i odblokowała proces transformacji, który stał się powodem ogromnego rozczarowania społeczeństwa serbskiego. W trakcie tych zmian i przekształceń Jugosławia (rozumiana jako idea i państwo) zaczęła jawić się jako główny sprawca kryzysu. Pamięć indywidualną i przestrzeń prywatną obywateli Serbii wciąż wypełniały wspomnienia poprzedniego systemu, ale możliwość przełożenia tego na pamięć kulturową stała pod znakiem zapytania. Dla tego typu kulturowego przekładu i rewitalizacji wspomnianego wycinka kultury konieczna jest bowiem przestrzeń dialogu, dyskusji, poszukiwania sensu, zainicjowana i umiejscowiona w instytucjach kultury. W rozprawie podjęłam próbę odpowiedzi na pytanie, czy i w jaki sposób Jugosławia, rozumiana jako pojęcie, motyw, temat projektów i wydarzeń, przejawiająca się w określonym systemie aksjologicznym oraz fenomenie wspólnoty kulturowej – funkcjonuje w instytucjach kultury wbrew powyżej zarysowanym okolicznościom. Moim zamierzeniem było zaprezentowanie znaczenia dziedzictwa Jugosławii (przede wszystkim jego 2 symbolicznego wymiaru) w odniesieniu do procesu ustanawiania ciągłości i odnajdywania (tworzenia) sensu przeszłości jako sposobu na przezwyciężenie traumy kulturowej. Główne kategorie i perspektywy badawcze, które stały się metodologiczną podstawą moich badań, tworzą podejście nazywane interdyscyplinarnymi badaniami kulturowymi i obejmują analizę treści, interpretację reprezentacji, odkrywanie symbolicznej lub rzeczywistej obecności/nieobecności. Jako materiał naukowy posłużyły mi publikacje dotyczące wystaw i projektów, a także opracowania takie jak artykuły prasowe, filmy, komentarze do wystaw, komentarze zawarte w programach instytucji, literatura naukowa, osobiste interpretacje aktorów społecznych (artystów, naukowców, kuratorów, aktywistów) wyrażone w nieformalnych i formalnych wywiadach udzielanych podczas spotkań i zarejestrowanych przez media. Rozprawa składa się z czterech rozdziałów: Stań badań, Kontekst historyczny, Oficjalne instytucje, Alternatywne instytucje. Poprzedza je Wprowadzenie i zamykają Wnioski. W końcowej części pracy znajduje się Bibliografia, Spis ilustracji i streszczenie. W rozdziale pierwszym (Stan badań) zaprezentowałam przegląd literatury, prasy oraz projektów związanych z tematem pracy, podkreślając różnorodność w obrębie ich treści, a także w sposobach formułowania głównego problemu. Rozdział drugi (Kontekst historyczny) poświęcony jest historii idei jedności Słowian Południowych na tle historii Jugosławii. W części analitycznej rozprawy do badania roli narracji o Jugosławii i jej dziedzictwa w instytucjach kulturalnych wybrałam trzy instytucje oficjalne i trzy instytucje alternatywne. Wśród instytucji oficjalnych znalazły się: Pawilon Serbski w Wenecji (Paviljon Republike Srbije u Veneciji), Muzeum Sztuki Współczesnej w Belgradzie (Muzej savremene umetnosti u Beogradu) oraz Muzeum Jugosławii (Muzej Jugoslavije). Spośród instytucji nieoficjalnych (alternatywnych) do analizy wybrałam Centrum Dekontaminacji Kulturowej (Centar za kulturnu dekontaminaciju, CZKD), squat Inex oraz alternatywne centrum kultury Kvaka 22. Przyjęłam założenie, że taki wybór z szerokiego wachlarza instytucji przyczyni się do zaprezentowania szerokiego obrazu, a także stanowić będzie podstawę pełniejszej mapy instytucji kultury w Serbii w okresie postjugosłowiańskim. Część analityczna poświęcona oficjalnym instytucjom składa się z trzech podrozdziałów. Pierwszy podrozdział poświęcony jest Pawilonowi Serbskiemu w Wenecji, byłemu Pawilonowi Jugosławii w Wenecji (emanacji Jugosławii na każdym etapie jej politycznego istnienia). 3 Postanowiłam poddać badaniu Pawilon Serbski (były Jugosłowiański) w Wenecji jako jedyną instytucję, w której Jugosławia wciąż istnieje w ramach międzynarodowych manifestacji kultury i sztuki (choćby jako żywa pamięć i kontekst). Drugi podrozdział poświęcony jest Muzeum Sztuki Współczesnej w Belgradzie, otwartemu w 1965 roku, jako czołowej instytucji kulturalnej reprezentującej jugosłowiańską i serbską sztukę XX wieku. Muzeum Sztuki Współczesnej jawi się tu jako symbol procesu tworzenia kultury i sztuki Jugosławii. Trzeci podrozdział poświęcony jest Muzeum Jugosławii, jedynej instytucji na obszarze byłej Jugosławii w całości poświęconej Jugosławii. Instytucja ta wykazała się ogromną zdolnością transformacji, wykazując jednocześnie potencjał nowoczesnej instytucji kultury. Część analityczna poświęcona instytucjom alternatywnym również składa się z trzech podrozdziałów. Poprzedza je krótkie wprowadzenie i ogólna analiza instytucji alternatywnych jako fenomenu kulturowego. Pierwszy podrozdział poświęcony jest Centrum Dekontaminacji Kulturowej (Centar za kulturnu dekontaminaciju / CZKD). W związku z tym, że Centrum wyrosło ze zdecydowanego protestu przeciwko reżimowi Slobodana Miloševicia w 1995 roku i jest jedną z najstarszych nieoficjalnych instytucji w Serbii, zostało poddane analizie jako instytucja alternatywna starszej generacji. W drugim podrozdziale omówiony został squat i centrum kulturalne Inex, założone w budynku wytwórni filmowej Inex. W ostatnim podrozdziale części analitycznej uwagę poświęciłam instytucji alternatywnej Kvaka 22 jako przykładowi działalności najmłodszego pokolenia artystów i działaczy kultury, aktywistów, obywateli. W części Konkluzje opisałam punkty styczne wszystkich analizowanych instytucji z perspektywy dziedzictwa Jugosławii, a także naświetliłam szerszy kontekst funkcjonowania tych instytucji jako ich przestrzeń wspólną. Ponadto opisałam wnioski dotyczące znaczenia współpracy między tymi instytucjami nie tylko w obszarze pamięci kulturowej. Zjawisko pokrewieństwa i wzajemnych powiązań wydaje się mieć kluczowe znaczenie dla wyjścia z kryzysu kulturowego.

DISERTAČNÍ PRÁCE Univerzita Karlova v Praze Filozofická fakulta Ústav pro dějiny umění Studijní program Dějiny výtvarného umění Jan Mergl Výtvarný vývoj produkce Harrachovské sklárny v Novém Světě 1850-1940 Art Development of the Production of the Harrach Glassworks in Nový Svět 1850-1940 Abstract Vedoucí práce: Doc. PhDr. Jana Kybalová, CSc. 2014 ABSTRACT Highly regarded throughout the world, Bohemian glass is also acknowledged as a cultural phenomenon in its own right and the Harrach glassworks in Nový Svět in Krkonoše indisputably ranks among the most accomplished companies that have had a determining influence on the world renown of Czech glassmaking. First documented in the early 18th century, the glassworks has been in existence for three hundred years. However, its prominent status among Bohemian producers of glass is not only due to its long history. What makes it noteworthy is its traditionally outstanding craftsmanship and technological facilities, and mainly its foresighted efforts to employ and further enhance diverse techniques in working with crystal and coloured glass. Thus, the factory was able to readily respond to the changes in the styles of glass as these developed from the 18th to the 20th centuries. This work is the outcome of long-term, focused research of archival sources, especially...

Canvassing the emotions examines the role and meaning of artmaking in the lives of women who have experienced mental ill-health and/or psychological trauma in Australia between the 1950s and the present. Hovering at the nexus of a number of contested domains, the thesis bypasses the perennial question of what is art to explore the neglected and perhaps more interesting query – what does art do for the artmaker? – and associated questions of why does art matter; what is the function of artmaking in relation to wellbeing; and what are the implications of a thwarted life of making? The thesis presents the findings of three studies: The Exhibition – a touring exhibition of art produced by women with an experience of mental ill-health; The Interviews – with thirty-two women who make art and who have experienced mental ill-health; and The Collage – a collation of women’s accounts of – what does art do?