Journal 12 / 2016 (Museum of Applied Art. Online)
ISSN 2466-460X (Online)
ISSN 0522-8328 (Printed edition)
PDF of the printed edition (5.6 MB)
Editor in Chief: Ljiljana Miletić Аbramović, MA
Issue Editor: Jelena Perać, MA
Sarita Vujković, PhD (Academy of Arts, Banja Luka)
Marta Vukotić Lazar, PhD (Faculty of Philosophy, Priština)
Ljiljana Miletić Abramović, MA (Museum of Applied Art, Belgrade)
Jelena Perać, MA (Museum of Applied Art, Belgrade)
Јelena Popović (Museum of Applied Art, Belgrade)
Vladimir Simić, PhD (Faculty of Philosophy, Belgrade)
Maja Studen Petrović, MA (Faculty of Applied Arts, Belgrade)
Issue Editorial Assistant: Jelena PopovićAll the papers in the sections Contributions, Polemics, Critic Reviews and Reviews are peer reviewed.
Dragan Bulatović, Ph.D., Associate Professor, University of Belgrade, Faculty of Philosophy – History of Art Department
Sarita Vujković, Ph.D., Assistant Professor, University of Banja Luka, Academy of Arts – Graphic Design Department
Marta Vukotić Lazar, Ph.D., Assistant Professor, University of Priština, Faculty of Philosophy – History of Art Department
Mila Gajić, Senior Curator, Museum of Applied Art, Belgrade
Tatjana Dadić Dinulović, Ph.D., Associate Professor, University of Novi Sad, Faculty of Technical Sciences – Chair of Applied Arts in Architecture and Design
Slobodan Jovanović, Senior Curator, Museum of Applied Art, Belgrade
Draginja Maskareli, Senior Curator, Museum of Applied Art, Belgrade
Ljiljana Miletić Abramović, MA, Curator, Museum Advisor, Museum of Applied Art, Belgrade
Jelena Perać, MA, Senior Curator, Museum of Applied Art, Belgrade
Maja Studen Petrović, MA, Associate Professor, University of Arts in Belgrade, Faculty of Applied Arts – Costume Design Department
Bojana Popović, MA, Curator, Museum Advisor, Museum of Applied Art, Belgrade
Vladimir Simić, Ph.D., Assistant Professor, University of Belgrade, Faculty of Philosophy – History of Art Department
Predrag Terzić, Ph.D., Assistant Professor, University Singidunum, Belgrade, Faculty of Media and Communications – Department of Digital Art
Contents of the Jouurnal 12 / 2016 (Museum of Applied Art. Online)
BETWEEN THE ORDINARY AND THE SERENE: The Birth of Crown Prince Peter II Karađorđević in Visual and Print Media in the Kingdom of Serbs, Croats and Slovenes
Attention is first drawn to the role of mass media, as a practical means of disseminating royal ideology in public, while establishing the new position that European monarchs and the monarchy as an institution had to take in the life of a th nation during the 19 century. It was believed that the popularity of the ruling dynasties depended on how successfully they managed to represent themselves as a combination of the ordinary and the serene with the aim of establishing a specific communication and emotional ties with their subjects.
The paper further analyzes the coverage of the Crown Prince's birth in print and visual media in the Kingdom of Serbs, Croats and Slovenes. The photographs of the Karađorđević royal couple with the newborn Crown Prince show an image of the royal family that is close and acceptable to the masses and that enables them to be indirectly involved in the Crown Prince's birth. These photos are infused with functional emotionality and they are marked with an informal visual presentation. The marriage between the King and the Queen is depicted as the epitome of an idyllic and harmonious marriage, a model for their subjects, while the Queen is shown as an ideal woman, wife and mother. The newborn Crown Prince was seen as the symbol of the newly established Kingdom of Serbs, Croats and Slovenes. His birth not only ensured the continuity of the dynasty but it also confirmed the stability of the newly founded state, which was particularly highlighted in newspaper articles.
Madame Grès's Gown for Princess Barbara de Yugoslavia
HALJINA ZA PRINCEZU:
večernja kreacija madam Gre za princezu Barabaru od Jugoslavije
DRESS IN THE PHOTOS OF QUEEN NATALIJA OBRENOVIĆ IN THE SERVICE OF THE VISUAL REPRESENTATION OF THE QUEEN`S BODY
Kroz kostim, kraljičino telo postaje simbol. Moda je bila jedan od načina kojim su vladarke dokazivale sopstvenu besmrtnost. Odevanje je pripadalo vešto isplaniranom ritualu prikazivanja lepote, a lepota je označavala zdravlje, vitalnost, snagu i na kraju, besmrtnost, kako vladarke, tako i dinastije i države. Analizom kostima kraljice Natalije dolazi se do zaključka da je vladarka aktivno učestovala u kreiranju poruka koje odevanje prenosi, kao i stvaranju moćnog simbola kraljičinog tela.
Queen Natalija expanded the scope of costume's influence: she carried out a genuine fashion revolution by tailoring costume for each of her roles, which she had many, instead of sticking to two dress styles: for private and public spheres. Among photographic documents we can find examples that show her various identities: a femme fatale, a wife, a mother, a Serbian woman, a fashion icon. We can see her as a young woman flirting with the beholder in a dress tailored with the idea of emphasizing her feminine attributes and eroticism, but we can also see her as a lady who seduces by hiding the body under the folds of lace, which suggest more than they reveal. In the private sphere, the Queen was shown as a modest and balanced woman dressed in simple and practical clothing, alluding to women's intellectual side, in response to the eroticization that occurred in public life. The role of a mother was another important sphere because the family was considered to be a nucleus in the 19th century and the royal family was supposed to be an ideal to be striven for by all citizens. Finally, we can see the Queen in the folk dress, which she used to emphasize her commitment to the country, its history, tradition and culture.
Despite the many identities placed before Queen Natalija, she managed to appear dignified. In the medium of photography, Queen Natalija can be seen as a modern woman who both consumed and dictated the fashion of her time.
strategije prisvajanja New Look-a kasnih četrdesetih i pedesetih godina HH veka
THE FASHION OF CHRISTIAN DIOR AS A CULTURAL TEXT:
The Appropriation Strategies of the New Look in the Late 1940s and the 1950s
In this study, dress is seen as a constituent part of the historical and cultural milieu in which dress practice takes place, as well as an individual response to the prevailing fashion discourse. Creators of fashion, just like any authors, certainly imprint messages on their works, whose creation is influenced not only by authors' intentions and available knowledge but also by the ideological sphere and communication circumstances under which they are created. The work thus contains codes that we seek to analyze in the process of "contextual interpretation." As far as the New Look is concerned, we have established that the context endows a garment with meaning because it is the context that enables us to read polysemic messages in a certain way. By tracking Dior's New Look through examples in fashion and dress practice, with special emphasis on the adoption of the New Look silhouette in the clothing practice of the Federal People's Republic of Yugoslavia, we have confirmed that it was subject to an unlimited process of generating meanings. The New Look has also become a symbol of the Dior fashion brand, a status symbol, a symbol of decadence in fashion, a symbol of fashion nostalgia, elitist fashion, fashion for the masses, fashion for working women.
THE PARADIGMS OF THE ORNAMENTAL IN CONTEMPORARY SERBIAN ART
Umetnički radovi Bore Iljovskog, Slobodana Trajkovića, Dejana Kaluđerovića i Milice Rakić na različite načine eksploatišu ove idejne platforme, a pitanje ornamentalnog definišu izvan samo klasičnog pitanja stila ili formalne taksonomije. Od klasične ili digitalne slike, preko predmetne do ambijentalne instalacije, u svakoj od ovih poetika integrisano je posebno viđenje ornamentalnog i stila, kao jednovremeno promenljivih, prožimajućih i dopunjujućih plastičkih, ali i idejnih kategorija koje će tek stvoriti planove za kohabitaciju suprotstavljenih vizija sveta. Pored uporedne analize radova koji govore o promenljivom statusu ornamentalnog u poetici svakog od ovih umetnika, kratkim osvrtom ova studija referiše na istorijske interpretacije fenomena koji će definisati i neke ključne estetske i filozofske stavove u umetnosti XX i XXI veka.
The works of Serbian artists – Bora Iljovski, Slobodan Trajković, Dejan Kaluđerović and Milica Rakić – integrate a specific vision of the ornamental and the style, as simultaneously variable, cross-cutting and complementary plastic and ideological categories, but also something that Rancière would designate as the creation and exchange of new "aesthetic acts". This might be the practices that indicate the revival of the spaces in which poetic and political experiences of (common) life gradually intertwine and the formal boundaries of traditional aesthetics are being shifted.
THE FRACTAL GEOMETRY OF NATURE:
The Application of Glass Quasi-Bricks in the Façade of the Harp Centre in Reykjavik
Ovaj rad se, pre svega, bavi konstrukcijom južne čeone fasade. Posebno se ističe specifičan istraživački rad na trodimenzionalnim staklenim kvazibrik (Quazibrick) elementima, koji su rezultat petnaestogodišnjeg ispitivanja u eksperimentalnoj laboratoriji Elijasonovog berlinskog ateljea. Vodeći saradnik u tom istraživanju bio je arhitekta Ejnar Torstejn (Einar Thorsteinn), koji je definisao stakleni kvazibrik, bazirajući ga na sopstvenoj formuli I5SSDO. Svojom čistom formom i funkcionalnošću, kvazibrik je rezultat revitalizacije i obogaćivanja novim idejama staklenih geometrijskih elemenata, poznatih pod imenom „kristaline“ (Kristalline), primenjivanih u arhitekturi klasične moderne.
Pažljiva analiza ove fasade ukazuje na primenu fraktalne geometrije iz prirode, na čije je postojanje prvi ukazao Benoa B. Mandelbro (Benoit B. Mandelbrot) 1975. godine. Daljom analizom uočava se da sveobuhvatne vidljive strukture matematički složenih prirodnih elemenata na fasadi „Harpe“, omogućavaju različite vizure u zavisnosti od mesta sa kojeg se ona posmatra. U toj vizuelnoj transformaciji nalazi se i osnovna harmonija njene estetike, koja u sebe uključuje, između ostalog, klimu, svetlost, prirodno okruženje, predznanje posmatrača, dimenziju kolektivnog pamćenja itd.
In the construction of the south façade, glass quasibrick modules were used; they were created in the experimental laboratory of the Studio Olafur Eliasson as a result of the long-term exploration of geometric shapes. The leading contributor in this study was the architect Einar Thorsteinn, who defined the quasi-brick based on his I5SSDO formula. The invention of the quasi-brick form and its binding potential rely on natural quasi-crystals. The regularly irregular shapes of the quasi-brick correspond to the forms of the fractal geometry of nature and their innovative genesis is an enrichment to "crystalline" glass elements that are already known in art history and architecture.
In his work, Eliasson highlights the importance of the synthesis and dialogue between the ethics and aesthetics of nature – culture, ecology and responsibility to people in a global world. His art addresses both individual beholders and the general public, acting as a supplication. Among other things, it suggests to beholders, who are reflected in and united with the image of the natural environment reflected in the south façade of the Harp, that it is necessary to use natural resources of our planet, time and new technologies in a rational manner.
KNOWLEDGE TRANSFER IN THE APPLIED COSTUME DESIGN WORKSHOPS IN LARGE OPERA PROJECTS AT THE UNIVERSITY OF ZAGREB: Theatre Project Orpheus and Eurydice (Zagreb)