Journal 14 / 2018 (Museum of Applied Art. Online)
ISSN 2466-460X (Online)
ISSN 0522-8328 (Printed edition)
PDF of the printed edition (3.2 MB)
Editor in Chief: Ljiljana Miletić Аbramović, MA
Issue Editor: Jelena Popović
Claudia Casali, PhD (International Museum of Ceramics, Faenza, Italy)
Jelena Erdeljan, PhD (University of Belgrade, Faculty of Philosophy, Belgrade)
Slobodan Danko Selinkić (University of Novi Sad, Faculty of Technical Sciences, Novi Sad)
Miroslav Karić (Remont – Independent Artistic Association, Belgrade)
Ljiljana Miletić Abramović, MA (Museum of Applied Art, Belgrade)
Jelena Popović (Museum of Applied Art, Belgrade)
Andrijana Ristić, MA (Museum of Applied Art, Belgrade)
Issue Editorial Assistant: Andrijana Ristić, MAAll the papers in the sections Contributions, Polemics, Critic Reviews and Reviews are peer reviewed.
Saša Brajović, PhD, Associate Professor, University of Belgrade, Faculty of Philosophy – Department of Art History
Marta Vukotić Lazar, PhD, Associate Professor, University of Priština, Faculty of Philosophy – Department of Art History of Art Department
Slobodan Jovanović, MA, Senior Curator, Museum of Applied Art, Belgrade
Professor Dragan Jocić, PhD, University of Belgrade, Faculty of Technology and Metallurgy – Department of Textile Engineering
Claudia Casali, PhD, International Museum of Ceramics, Faenza
Miroslav Karić, Independent Curator, Belgrade
Professor Tanja Manojlović, PhD, University of Arts in Belgrade, Faculty of Applied Arts – Department of Interior and Furniture Design
Ljiljana Miletić Abramović, MA, Museum Advisor, Director, Museum of Applied Art, Belgrade
Jelena Perać, MA, Museum Advisor, Museum of Applied Art, Belgrade
Bojana Popović, MA, Museum Advisor, Museum of Applied Art, Belgrade
Jelena Popović, Senior Curator, Museum of Applied Art, Belgrade
Vladimir Simić, PhD, Associate Professor, University of Belgrade, Faculty of Philosophy – Department of Art History
Maja Studen, MA, Associate Professor, University of Arts in Belgrade, Faculty of Applied Arts – Costume Design Department
Contents of the Jouurnal 14 / 2018 (Museum of Applied Art. Online)
ACTIVITIES OF THE CONSERVATION WORKSHOP OF THE MUSEUM OF APPLIED ART: Coffin of Stefan the First-Crowned: conservation of wood, inlay and metal casing
The coffin was subject to the necessary conservation treatment based on the expert assessment provided by the Institute for the Protection of Cultural Monuments of Kraljevo, in cooperation with the responsible institution, the National Museum in Kraljevo, and with the consent of the hegumen of Studenica, Tihon. The challenging conservation procedure, compliant with the current standards of museological practice, was carried out between November 2017 and November 2018 at the Conservation and Restoration Department of the Museum of Applied Art in Belgrade
After the condition of the wood and inlay elements, the body of the coffin and the metal casing had been assessed, all materials used in the making of the coffin were subject to analysis. Surface cleaning tests were carried out using chemical procedures adjusted to the type of deposits. The metal casing and nails were treated with acid. The condition of the coffin had been documented in detail, after which it was undertaken to reconstruct the missing fragments and glue them to the surface.
BODIES ALIVE: Applied Graphics in Anatomical Atlases by Andrea Vesalius of 1543 and Johann Remmelin of 1609
INTERMEDIALITY AND INTERTEXTUALITY IN FASHION AT THE END OF 20th CENTURY. CASE STUDY: REI KAWAKUBO
The strategies of conceptual artists emerged in fashion practice at the end of the 20th century. When Japanese fashion designers, among others Rei Kawakubo and Yohji Yamamoto, appeared on the Western European scene, they launched a reevaluation of accepted fashion rules and codes and the idea of toying with the Western European notions about the body. The hybrid created by joining elements of clothing from Japan and Western European fashion corresponds to what Julia Kristeva describes as the way in which the text reads history and incorporates itself into it. Rei Kawakubo uses Japan's heritage through quotations in order to make the reader face, among other things, the stereotypical representation of the Other in the Western post-colonial world. Kawakubo uses intermediality by applying structures and materials specific to a certain medium and transferring them to another medium, which is illustrated by the selected works. One of the selected examples is the collection Body Meets Dress, Dress Meets Body, which also provides an example of medial transformation.
The key conclusion derived from the concept of intertextuality is that the role of the reader is vital for the path the reception of the work will take. The reader finds that it is not a coincidence that they recognize the work/ text and that it coincides with their reading memories and knowledge, that the author has purposely planted other texts within the work, thereby creating a polysemic piece of art. On the other hand, intermediality, the relationship between two artistic media, leads to the “borrowing” of creating principles and their transfer into a different medium. In any case, the goal of both intermediality and intertextuality is the same – the establishment of a link that could be artistically productive, which the case of Rei Kawakubo certainly confirms.
SLAVOLJUB–SLAVKO VORKAPIĆ: Poster for the Serbian Concert and Exhibition in Paris in 1916
When Serbia was attacked at the end of 1915 by Germany, Austro-Hungary and Bulgaria, most of the population, the government and the army went to exile. Vorkapić arrived in Paris. While Serbia was occupied, its government in exile undertook awareness campaigns to obtain help. The Serbian Concert and Exhibition were part of those efforts.
Vorkapić's poster, printed in Paris, was done in the style of academicism. He sought to inform but also to remind the audience of the tragic position of his homeland. Serbia is presented as a resurrected young woman in pain, in the clouds. Her head is turned to her left and it rests on her hand, whereas the other arm is outstretched. Around her feet, there is a crown of thorns; the traditional cup, jug and towel are laid beside her. Two young soldiers, lying on the battlefield, can be seen below. One of them grips a knife tightly, symbolizing the extreme devotion of Serbian soldiers in the struggle for freedom. Mountains and the bright sun, symbolizing the belief in a better future, can be seen above the figure. The scenes are framed by an architectural structure resembling an antique temple.
This was the first public presentation of Vorkapić's work in Paris and it helped him gain attention, just like his posters for movies helped him get noticed in his early days in the United States.
TOMISLAV DURBEŠIĆ'S DIRECTOR'S COAT AS A SUBJECT OF INTERPRETATION
REFLECTION OF MOMENT: Deconstruction of the Intimate in the Photography of Francesca Woodman
Discussing the binary opposition private–public, feminine–masculine, Woodman often uses a mirror as mobile paraphernalia, carrying it with her through deserted rooms of Victorian houses. Her fragmented reflection and hidden face question the implicated sexual attractiveness of an invisible female model, which is typically regarded as a passive object of male pleasure. Her naked blurred body merges with the surrounding or is obscured by peeling wallpapers. She is often on the verge of disappearing, evading the slightest possibility of being caught in a fixed identity. As an extremely progressive feminine voice, Francesca Woodman seeks to escape Morisot and Cassattʼs historical formation of sexed and classed subjects, and succeeds in breaking the conventional representation of women as mere objects of beauty. She dismisses banal narratives and examines the limits of her own body, revealing new opportunities for women and their future artistic activity.
PARAMETRICALLY GENERATED GEOMETRIC FORM IN INTERIOR AND FURNITURE DESIGN
Analogno i digitalno u procesu parametarskog generisanja geometrijske forme u dizajnu enterijera i nameštaja nisu u potpunosti razdvojeni. Parametarski modelovan arhitektonski sklop isuviše je dominantan da bi dozvolio nezavisan dizajn enterijera. Dizajniranje arhitektonskog sklopa i dizajn enterijera i nameštaja unutar te arhitekture jedinstven je stvaralački poduhvat vođen parametarskim načelima dizajna. Enterijer oblikovan u skladu sa principima parametricizma čitamo kao skup oblika koje karakterišu autentična geometrija, kompozicioni zakoni i prostorni efekti. Karakteristika ovog skupa je utisak koherencije, uprkos bogatstvu različitosti ostvarenih prostornih struktura i dizajniranih proizvoda unutar njih.
There is no clear boundary between the analogue and digital approach to generating a geometric form in interior and furniture design. The design process often begins with sketches, which are later transposed into the field of digital geometric form modelling. Parametrically modelled architectural structure is too dominant to allow independent interior design, accordingly, it is not justified to interpret them as two separate processes. The design of an architectural structure and interior and furniture design within the structure is a unique creative enterprise guided by the parametric principles of design. The interior shaped according to parametric principles is perceived as a set of shapes with an authentic geometry, composition rules and spatial effects. This set is characterized by a sense of coherence in spite of the differences among the spatial structures and designed objects within. The design is not characterized by monotonous repetition as our field of vision is constantly altered, while the dense, intensely filled zones alternate with large calm areas. These compositions are usually polycentric and multidirectional. All these characteristics are a result of multiple perspectival projections enabled by projective geometry.
As design must satisfy both functional and formal demands, one cannot simply add elements onto geometric parametric modelling matrix without aiming for a comprehensive formal solution. Parametrically modelled geometric form in interior and furniture design is a generic component of design rather than an isolated, special place.
LIST OF REVIEWERS / JOURNAL 14