A small bronze cross with an engraved image of a saint is kept in the parish house of the Holy Great Martyr Marina's church, in the village of Krvavica near Kruševac. The encolpion cross was found during excavations for the church foundations in the early 1990s, in the place of the assumed old sacral building. The cross represents the obverse part of the double encolpion cross dating back to the 11^th/12^th century. It has the shape of a Latin cross with the "droplets" placed on the edges of its arms. It is characterised by an engraved representation of St. Cosmas, which makes it a unique example in a wider range of crosses – reliquaries with the representations of saints. The most direct typological and stylistic analogy can be drawn between the encolpion cross from Krvavica and the reliquary cross from the military fortification in Ravna near Boljetin on the Danube. Other analogies originate mainly from the territory of today's Bulgaria.

Besides the cross, several graves were discovered during the construction of the church, which suggests the existence of a medieval necropolis. This will be confirmed by further archaeological research. The finding of the encolpion cross itself is an important chronological indicator for the dating of the assumed necropolis or one of its phases.

In the socialist 1980s, music videos in Serbia were predominantly produced by the relatively rigid system of public television broadcasters. In the context of the low competitiveness, both in the national economy and the music market, public television only exceptionally used music videos for advertising commercial products. This situation markedly changed in the early 1990s with the rapid deregulation of media systems and Serbia's “return” to the market economy. Among the newly-launched broadcasting companies, music videos became a popular (and inexpensive) segment of the airplay. At the same time, they began to serve their “original” purpose – to advertise new music releases and talents. In addition, and with growing frequency, they began to “integrate” commercial brands. In the chaotic circumstances of Serbia's war-time economy, UN sanctions, spirals of inflation, mass impoverishment, unemployment and other symptoms of economic crisis, advertising per se nevertheless has questionable commercial effects. This largely holds true for the commercial effects of the music videos as well. Due to the global developments in the media systems (emergence of the Internet as the prime medium for broadcasting music videos), their TV airplay is shrinking and the standards of their technical production are rapidly rising, along with the fans' expectations. This makes music videos (at the same time) more expensive and less economically viable. Consequently, the common practice of multiple sponsorships of music videos has “brought together” yoghurts and shampoos, condoms and batteries, HIV tests and jewellery, alcohol and detergents, cars and mobile phones... It is difficult to establish an economically justified correlation between the corporate identity of the advertisers, commercial status of the products and the artists who promote them. This logic of the fusion of music videos and “traditional” TV commercials thus reflects the chaotic circumstances in the music industry and the Serbian economy in general.

The city of Novi Sad gained its urban character in the processes of intensive remodelling, infrastructure reconceptualization, and construction modernization in the second half of the 20^th century. During this process, Novi Sad became a city. Nevertheless, the city's official cultural policies promote identity based on other values of the city's history: it is most often represented and perceived as a Central European city, valued for its Austro-Hungarian architectural heritage. In recent years, some independent projects in culture have focused on the unacknowledged "modernist code" of the urban fabric, unrecognised and suppressed city's identity, and even more, on a process of extensive modernization in which the urbanity emerged. The work explores the approaches, concepts and outcomes of these projects, whose common goal is to present and recognize "pillars of modernization", whether buildings, architects, spaces, or phenomena. The work aims to point out, through a critical review of previous practices, possible directions for further development of relations towards unabsorbed identities, and the importance of architecture in this process. The recent representation of the city to its citizens – as a polygon of modernization and urban development – was recognized as an opportunity to reaffirm the idea of the progressive and humanist function of architecture, which changes the city, space, and life.

Alfonso Leoni je bio italijanski umetnik, veliki talenat koji je, nažalost, preminuo veoma rano, u 39. godini. NJegov život je u potpunosti bio posvećen umetničkom stvaralaštvu i predavanju u Školi keramike u Faenci.

NJegovo istraživanje je bilo inovativno i multidisciplinarno za svoje vreme: imao je iskustva ne samo u keramici, već i u slikarstvu, skulpturi, instalaciji, performansima, dizajnu. Svojim radovima je umeo da produbi društvena pitanja aktuelna u Italiji i Evropi tokom 1960-ih/70-ih godina. Na umetnost je gledao kao na sredstvo za dostizanje i razvoj novih praksi koje su uzimane kao reference, posebno u umetničkim praksama umetnika rođenih 1970-ih. Ne grešim kada kažem da je on „otac” svih umetnika rođenih 1970-ih, jer je ta generacija bila u stanju da unapredi njegovu poruku kreativnosti, oslobađanja od tradicionalnih koncepata koji su se vezivali za keramiku, razvijajući se na više umetnički način. Umetnikov sjajan nastup na Nagradi Faence 1976. godine i dalje stoji zapisan u analima italijanske istorije keramike.

Analiza dokumenata iz njegove arhive, u dugoj studiji koja je obuhvatila 5 godina rada, omogućila mi je da proučavam njegovu ličnost kao protagoniste u okviru italijanskog umetničkog sistema i međunarodnog keramičkog sistema odnosa i konkursa. Leoni nije bio samo umetnik iz Italije. Imao je priliku da izlaže u inostranstvu (više puta u Japanu, Kanadi, Poljskoj, bivšem SSSR-u, Ujedinjenom Kraljevstvu) sa značajnim ostvarenjima koja su organizatori znali da prepoznaju (neki od njegovih radova pripadaju važnim javnim zbirkama). Možemo reći da je njegov rad internacionalniji nego ikada ranije.

Na neki način možemo reći i da je bio pionir keramičke umetničke skulpture.

Traditional symbolism appears to be the essential source and subject matter of a considerable part of Miodrag Vartabedijan Varta's artwork.

Varta's collective unconsciousness emerges as the palimpsest in the artist's mind, as a cumulative effect of the initial meaningful traces of his personal cultural identity. Varta was persistent in his artistic research. Being an enthusiast, he used the technique of rubbing the paper over the stone plastic surfaces dating from the antique period to the beginning of the 20^th century.

In the stone cultural heritage and its symbols, he discovered the accumulated experience and feelings, deeply rooted characteristics and psychological character traits of ancient peasant folks. By combining the technique of frottage, painting and collage he transposes the inscriptions and figures from stone monuments into modern authentic work of art, which thus becomes the guardian of art heritage. The painting becomes structuralised artistic form – the subject of which conveys completely new meaning. It presents the attitude and message of not only the stone record itself, but also the credo of the artist's own personality. Part of the work on book design is based on the monumental form of stone reliefs and it is characterised by very high aesthetics.

Varta owes a number of originally designed book covers and lavish layouts of whole books, from cover to cover, to the beauty of rich and wide-ranging cultural heritage. Analysing the symbolism of motifs in Varta's various art and design works, which present the artist's conception, it is clear that he dedicated his authentic oeuvre to the book and stone as the most significant custodians of history, heritage and script.

This work emphasises the significance of artistic research which is based on folk tradition and cultural heritage, and which points out the way of preserving and presenting people's tradition.

The problem of the media specificity of pre-digital photography as an artistic medium remained obscure in the theoretical considerations of the revolution caused by the emergence of digital technology. The concepts of manipulability and indexicality dominate in the analysis of this difference, but they are mostly explained within the same technological and aesthetic category. Although there are dilemmas about whether pre-digital and digital photography can be understood as being one medium, these two techniques are most often a priori understood that way. The ideas of Rosalind Kraus, Geoffrey Batchen, Marcel Broodthaers, Margaret Iversen, Tacita Dean and Kaja Silverman form a vital discursive field which makes possible to seek answers to many questions regarding the divergence of the photographic and the digital. The question remains whether the differences in ontological bases and technical creative processes also determine the essential differences in the possibilities and characteristics of the artistic results. The mathematical safety of digital photography largely breaks the link with the heritage of photography as a dynamic field of binaries objecthood/representation, control/chance, and light/darkness. Does pre-digital photography, which functions according to the elementary principle of physical-chemical change of materials and whose technological continuity implies a direct connection to the past, still remain on a parallel level in relation to the possibilities of digital photography as one of many forms of computer processing?

During the last decades, significant changes have occurred in art. Thanks to digitalisation and the Internet, we have gained new spaces for exploration. One of them refers to the entry of film into the museum environment, in which the traditional view of the moving image changes. In other words, the movie theatre (black box) is re-examined as well as the manner in which the museum space (white cube) behaves in the new situation. With such changes, the following questions arise: What happens to the moving image inside the museum? How does cinema/film affect contemporary art practice? What happens to the visitor – museum/gallery relationship? How do we understand the new context, the new interpretation of space and museums, and the change of exhibition activity? All these questions are important for understanding and analysing the cinema effect and the way in which it changes and moves on the contemporary art scene.

The House of Dior produced two films Le mythe Dior and Le château du tarot for their autumn-winter 2020-2021 and spring-summer 2021 haute couture collections. These films were made as it was impossible for the fashion houses to organise fashion shows, and present and promote their new collections due to the 2020/21 coronavirus pandemic. Both of Dior's high-quality films were distributed via the Internet with the aim of presenting Dior's new collections to its audience even in such difficult circumstances. They were made as an expression of creativity and synthesis of art. A large team of people from the fashion and film industry stands behind both films, and both of them use the visual language of fantasy, and in many ways refer to classical and zodiac mythology, which inspired Dior's both collections. Two main authors leading the team are Maria Grazia Chiuri, fashion designer and creative director at Dior, and Matteo Garrone, film director and writer. Using multitude of luxurious textiles with handcrafted details in both collections, Chiuri found inspiration in female artists of surrealism for the first collection, while Garrone's film was inspired by art of romanticism and symbolism, telling a story about Théâtre de la Mode in an imaginative, mythological world. For the second collection, Chiuri chose tarot symbols, motifs and figures, while Garrone translated them into the story of a girl who finds herself on an introspective journey. They succeeded in making real pieces of art with reference to Dior himself and his interests in magic, flowers, femininity, fortune-telling and fantasy, thus showing that his myth continues.

This paper analyses the significance of artistic artefacts in rural areas (memorials, monuments, sculptures, busts, basreliefs, fountains and other elements of landscaping and ambience) in the context of their possible socio-spatial revitalization.

The Introduction discusses the aspects of spatial planning in Serbia, and spatial tendencies and doctrines of different periods: the period of the traditional Serbia of the 18^th, 19^th and first half of the 20^th century, discontinuity period lasting from the Second World War to the present day, the period of real socialism, the turbulent period of the late 20^th and early 21^st century, and the transition period.

Furthermore, the paper deals with the rural space in Serbia and the context for understanding the need to install artistic artefacts in the rural environment, ranging from the formation of socio-spatial units to the development phases (agrarian, craft, and industrial). The culture of remembrance throughout history and the authorities' attitude towards the village following the Second World War are commented later on.

In the part of the text referring to the socially-adaptable and spatially-ambient aspects of arranging Serbian village centres, 12 reflections, i.e., perceptions of the paper's topic are presented. This explains the authors' insistence on giving importance to artists' involvement in the revitalization of villages and their centres.

In the section describing three cases (attempts or ideas) of arranging centres in Serbian rural areas, in addition to sharing the facts of specific examples, the authors present their views in order to consider certain previously commented aspects of the issues analysed in this paper. The concluding remarks present a view on the possibility of inverting the sequence of procedures in an attempt to revitalize Serbian villages, and suggest that such a process should begin with the attempt to build a Monument to Identity, Existence and Duration in every Serbian rural settlement that has pretentions to its own survival.

Estetika haljine, tehnike njene konstrukcije i razumevanje njenih značenja relevantni su za istraživanje materijalne i nematerijalne kulture. Jasno je da je, juče kao i danas, haljina bila snažan izraz individualnosti i identiteta – niste imali mogućnost da se oblačite ležerno.

Renesansa, kao kulturni pokret, promoviše društvo koje razume i zahteva civilizaciju u svim njenim oblicima: mera, lepota i harmonija su izrazi elitističkog znanja koje treba naučiti i pravilno preneti, a to se mora videti. Nije slučajno da je u petnaestom i šesnaestom veku došlo do porasta proizvodnje portreta i traktata o ponašanju.

U ovom eseju analiziraću tri portreta iz ranog 16. veka, čiji su autori Rafaelo i umetnici iz njegovog kruga, i razradiću tri radne hipoteze o rekonstrukciji gornjih odevnih predmeta koji su rađeni po meri kako bismo bolje razumeli poruku sadržanu u izboru haljine svake od portretisanih ličnosti.

Zbog toga ću koristiti studiju o krojačkim lutkama u razmeri 1:2 sa ciljem da predložim istraživačku metodologiju koja kombinuje podatke iz različitih izvora sa konkretnom mogućnošću da se različiti elementi identifikuju sa krojačke tačke gledišta. Dodatna vrednost ovog istraživanja leži u težnji da se rekonstruktivna hipoteza ne pomeša sa „kopijama” ili „scenskim kostimima”, što omogućava držanje distance od originalnog objekta, a istovremeno pomaže u definisanju njegove trodimenzionalnosti i krojačkih atributa.

Ove zgrade mogu značiti mnogo različitih stvari različitim ljudima. U prilog tome govori i činjenica da kvalitet Zgrade medicinske misije (The Medical Mission) stoički odoleva promenama. Diskretna zgrada puna sitnih arhitektonskih detalja i obeležja istorije koja je podrazumevala i konflikt. Pravo je otkrovenje stajati mirno na inače prometnoj gradskoj raskrsnici. Dablinska pijaca voća je i danas puna energije. Na njoj ljudi trguju. Preplavljena je opremom i vozilima koja dolaze i odlaze mnogo pre izlaska sunca. Odlikuje je skoro haotična živost. Zgrade Ajvi trasta (The Iveagh Trust Buildings) odlikuje neka druga vrsta živosti, jer one predstavljaju stambeni prostor na kom se deca igraju, a odrasli razgovaraju i obavljaju svakodnevne poslove. Zgrada Sanlajt čejmbrz (The Sunlight Chambers Building) skoro da podseća na kukavicu u gnezdu. Stoji tako izdvojena od susednih kako savremenih, tako i istorijskih zgrada. Za autora je bavljenje ovom zgradom predstavljalo jedno čudesno iskustvo. Dobro se seća kako su prolaznici reagovali dok je fotografisao ovu zgradu. Činilo se kao da je vide prvi put. Svetla, za neke možda bleštava, ali istovremeno dekorativna znatiželja u gradu koji je poznatiji po svojoj džordžijanskoj i viktorijanskoj arhitekturi. Crkva Svete Marije (St. Mary's Church) nas podseća na granu industrije koja danas predstavlja daleku prošlost, ali koja nas vraća u doba zanatlija, neimara i grnčarstva.

Da zaključimo, čovek se može zapitati – šta je utvrđeno ovim radom? Ovaj rad je započet u jedinstvenom spletu okolnosti, koji je već sada postao poznat na globalnom nivou, jer se od stanovništva zahteva da radi i živi u nužno ograničenim uslovima, usled pandemije. U ovom slučaju, radijus izolacije od 5 kilometara nije nužno ometao, ali je svakako suzio fokus istraživanja koje je imalo za cilj pronalaženje jedinstvenih primera arhitektonske keramike u Dablinu. Međutim, čak i ovaj uži fokus je otkrio neke jedinstvene primere koji inače možda ne bi bili istraženi i razmatrani. Sa ovako definisanim geografskim parametrom, istraživanje je započeto i istraživalo se unutar datog parametra. A ono što je otkriveno priča nam mnoge priče. Priče o zanatskoj i materijalnoj kulturi, dugovečnosti i nasleđu ovih građevina koje krase keramički elementi, i njihovom značaju kao delu gradskog pejzaža Dablina.

This paper presents the bibliophilic edition of the poem The Pit written by Ivan Goran Kovačić in 1943 and illustrated by fourteen-year-old Milenko Jovanović in 1964. For a year, Milenko worked in the House of Pioneers, preparing drawings and linocuts, under the mentorship of the academic painter Ivanka Lukić Šotra. The bibliophilic edition of the poem The Pit is a book printed using relief printmaking technique (linocut). The book is 43 x 43 cm in size. It has a hard canvas binding with a golden embossing on its title page. The Academy of Fine Arts in Belgrade participated in the realisation of the book. There, during May 1964, linocuts were printed on paper roll in ten copies. The pages were folded alternately in order to shape the book. The linocut boards were 36 x 36 cm in size and there was a total of 36. The first copy of the book was given to Josip Broz Tito for his birthday in 1964. In the same year, the Children's October Salon of Applied Arts was founded, organised by the Museum of Applied Art in Belgrade, where this book was among the exhibited children's artworks.

The Krajina Museum in Negotin was founded in 1934. The museum space took on its present appearance in 1952 when it was relocated into the well-known merchant Dušan Jotić's house built in the late 19^th and early 20^th century. The aim of this paper is to present the designing process and elaborate on the solutions acquired for the interiorrefurbishment from the perspective of the conversion of a residential house into a museum. Authors employ the descriptive research methodology which makes it possible to describe and define the specific features of the said building systematically and factually. Applied architectural methods for changing the function and aesthetics of the interior, as well as construction methods for the reconstruction of the whole building included the roof and façade refurbishment and protection. Moreover, the applied methods enabled compliance with all museum and technical requirements along with aesthetic and art requirements pertaining to the permanent exhibition, shaping of museum aids and in continuo visual presentation of the “museum story”. Richness and value of the museum items, particularly those in the archaeological collection, required that part of the outside court be reorganized into lapidarium. At the same time, the design proposed architectural solution for the annex – a new facility in the outside court which would be, aesthetically and functionally, connected to the existing building. The outcome of the reconstruction, functional conversion and adding onto the building of the Krajina Museum has been multiple: the protection and conservation of this important building's life cycle; modernization and completion of the permanent exhibition; acquiring additional space for curators, their work and organization of other events and activities in the museum. Restored and conceptually reorganized, the Krajina Museum has become even more significant cultural and historical centre for Negotin and the surrounding region.