UMJETNIČKA DJELA I MUZEJ FRANJEVAČKOGA SAMOSTANA ŠĆIT

Author(s): Josip Grubeša / Language(s): Croatian Issue: 4/2007

Rama, prostor između planina Raduše, Ljubuše, Vrana, Čvrsnice te obronaka Bitovnje i Zeca. Tim su pojmom od davnine označavani rijeka i područje uz njezin tok. Rijeka Rama izvirala je kod sela Varvara i ulijevala se u Neretvu kod Ustirame. Gradnjom umjetnoga jezera 1968. rijeka je potopljena pa se danas Ramom naziva kraj podijeljen na Gornju i Donju Ramu. Gornjoj pripadaju župe Šćit, Rumboci, Prozor i Uzdol, a Donjoj Gračac i Doljani.

Milyen a jó múzeumi katalógus?(Várkonyi György: Modern Magyar Képtár I. 1890-1950 Sárkány József és Várkonyi György: Modern Magyar Képtár II. 1955-200

Author(s): Gábor Ébli / Language(s): Hungarian Issue: 02/2004

“Modern Hungarian art is presented through a strong, high-standard filter.” The review analysing the catalogue of the Pécs Gallery, uses the methodological problems of museology as an important aspect.

Matoš na prijelomu stoljeća

Author(s): Aleksandar Flaker / Language(s): Croatian Issue: 3-4/1999

Interpretiert werden die Dojmovi s pariške izložbe (Eindrücke von der Pariser Ausstellung, 1900) von A. G. Matoš, insbesondere seine Überlegungen über die Kunstgattungen Literatur, Malerei, Tanz und Theater, in denen er die neuen künstlerischen Ideen und Tendenzen entdeckt hatte, die das 20. Jahrhundert prägen sollten.

The Memory Of The Future

Author(s): Kálmán Makláry / Language(s): English Issue: 05/2013

Nearly five years after the artist’s death and 35 years after his last major exhibition, a retrospective of Hantai’s work opened on 21 May 2013, at the Pompidou Centre in Paris. The exhibition is by far the most complete showing ever of the works of one of the preeminent figures of 20th-century abstract art. Hungarian by birth, Hantai left behind an extraordinary oeuvre now on display in Paris in over 130 paintings.

Geometric art and the idea of belonging

Author(s): Paulina Sztabińska / Language(s): English Issue: 13/2011

The starting point of the article is a short discussion of the problems connected with the understanding of the notions of “space,” “place,” “belonging” and “rootedness.” I mostly refer to the findings of humanistic geography and phenomenological philosophy. Next, I ask whether it is possible to apply those notions in the currents of modern art using geometric forms. The artists who created such works in the first half of the 20th century, usually assumed the idea of abstract space. They rejected the features associated with the “attachment to a place,” treating them as limiting, not allowing for the opening of art to infinite space and universal problems. As regards the works of art, their connection with specific places, with the objects from their immediate surroundings, neighbourhood or homeland was regarded as limiting. One of the reasons why representational art was rejected at that time was its interest in that kind of “trivial”content. However, the creators of geometric art did not give up the idea of settlement. They only assumed that it should take place in infinite space that was to become a specific kind of a “home” without walls and borders. In the last decades of the 20th century, universalistically conceived space was subjected to criticism, also by the representatives of geometric art. They felt the increasing need to refer to concrete things from their nearest surroundings. However, they referred to them in a specific way – not by accepting the “old” possibilities of taking root, but by looking for new ones. The article discusses three types of such actions. On the basis of Jan Berdyszak’s works, it considers the possibility of settling in concrete emptiness. On the basis of Antoni Mikołajczyk’s installations, it discusses the notion of settling in through light. Finally, by considering specific examples of memorials in which geometric elements serve the preservation of the memory of certain events from the past, I discuss the new possibilities offered by such art to the public, which can get immersed in the experiences relating to such situations as the Vietnam War (the memorial by May Lin), the Warsaw Uprising (Maciej Szańskowski’s project) or the Holocaust (Peter Eisenman’s memorial in Berlin).

Mellőzött hagyomány? A művészettörténet mint képtudomány

Author(s): Horst Bredekamp / Language(s): Hungarian Issue: 03/2003

A study on the History of Fine Arts as the Science of Image.

Mężczyźni bez ubrań

Author(s): Piotr Kosiewski / Language(s): Polish Issue: 115/116/2013

The Viennese exhibition Nackte Männer von 1800 bis heute at the Leopold Museum (19.10-3.03.2013) is devoted to the tradition of representing the male nude in art from the late 18th century to the present. The author agrees with the curators of the exhibition (Tobias G. Natter and Elisabeth Leopold) that the history of the nude can help us speak about ways of constructing identity in the context of ideological transformations. The curators of the exhibition have thus managed to show that the "body is a costume," which means that nudity in no way reveals what is hidden.

Milan Jakšić ili Radosno stvaranje sveta

Author(s): Biserka Rajčić / Language(s): Serbian Issue: 522-523/2012

FRANJEVAČKE GRAĐEVINE U BEOGRADU DO 1739. GODINE

Author(s): Katarina Glišić / Language(s): Serbian Issue: 29/2008

The Franciscans came to Belgrade as early as in 1280 when they established their monastery within the Belgrade fortress. This monastery was, after the defense of Belgrade from the Ottoman Turks in 1456, reestablished by St. John Capistran. In the year 1521 when Belgrade fell under the Turks, they demolished the monastery and exiled the Franciscans. The Franciscan church was readjusted to a mosque. During the following period in which Belgrade was under Turkish rule the activity of the Franciscan order was quite limited, so they held just a chapel in the part of Belgrade called Dorcol. Duke Maximilian II Emanuel, Elector of Bavaria conquered Belgrade in 1688 and that was the opportunity for the Franciscans to ask for permission to build the new monastery in the exact place where the old one used to be. However, that wasn’t possible because of spreading of the space which belonged to the fortress. That was the reason why Leopold I gave them a mosque with a connected room which was situated in the middle of the Danubian suburb. The Franciscans temporarily readjusted the mosque into the Church of Assumption of the Blessed Virgin Mary, while the connected room was readjusted to the Chapel of St. Anthony of Padua. The building of a Franciscan monastery also began at that time. The whole activity came to an end in 1690 after another Turkish conquest of Belgrade. The building of catholic churches and monasteries was at its best in the period of Austrian rule between 1717 and 1739. At that time, among other catholic orders, the Franciscans were also building their new church and monastery, giving the Belgrade an imposingly baroque image. After the defeat of the Austrian army in 1739, the Franciscans retreated to Zemun. They will come to Belgrade again when the political situation allows it, which happened in 1920s. At that time they established the Franciscan monastery and the Church of St. Anthony of Padua, which was the work of the famous Slovenian architect, Jože Plečnik.

Цртежот

Author(s): Blagoja Manevski / Language(s): Macedonian Issue: 59/2008

Од каталогот кон изложбата во „Мала Галерија“ (10.04.–11.05.2008)

Одблизу и оддалеку

Author(s): Bojan Ivanov / Language(s): Macedonian Issue: 59/2008

Од каталогот кон изложбата во „Мала Галерија“ (10.04.–11.05.2008)

The drawing

Author(s): Blagoja Manevski / Language(s): English Issue: 59/2008

From the catalogue of the exhibition at "Mala Galerija" (10.04.–11.05.2008)

From Near and Afar

Author(s): Bojan Ivanov / Language(s): English Issue: 59/2008

From the catalogue of the exhibition at "Mala Galerija" (10.04.–11.05.2008)

"Piękno jest okrutne...". Z Tadeuszem Różewiczem rozmawia Krystyna Czerni

Author(s): Krystyna Czerni,Tadeusz Różewicz / Language(s): Polish Issue: 646/2009

Tarján Hédi - Földbarna és ultramarin (interjú)

Author(s): Ágnes Horváth / Language(s): Hungarian Issue: 4/2007

With the introduction of the new works of the spiritual master builders of contemporary Israel, painter Hédi Tarján and composer André Hajdú (an old friend who made his debut here long ago) we intend to follow the tradition began by József Patai: to construct an intellectual bridge between the banks of the Danube and the Jordan.

The Doctors' Portraits of János Kass

Author(s): Andrea Csilla Zólya / Language(s): Hungarian Issue: 04/2011

This is a short essay about the etching series entitled “Doctors’ portraits” by Hungarian artist János Kass. The series contains twelve portraits of persons who influenced the medical sciences, from Hippocrates to Robert Koch, with their life-saving inventions. The etchings illustrate this issue of the journal "Korunk".

Invenit et fecit? 17. sajandi Madalmaade kunstiteoste autentsusest Eesti Kunstimuuseumi nelja maali näitel

Author(s): Greta Koppel / Language(s): Estonian Issue: 01/2005

Held in the Kadriorg Art Museum and the Mikkel Museum, the Art Museum of Estonia’s collection of the Low Countries comprises approximately 100 paintings, predominantly of the 17th-century Dutch school. Extensive research has shown that almost half of the collection consists of works either authored by unknown masters, based upon the motifs found in the paintings of famous artists, or that have turned out to be either copies or forgeries of well-known Dutch masterpieces.

Kunstikriitika keel ja sotsiaalse erinevuse taas/tootmine: "naiseliku" ja rahvusliku kunsti diskursustest 1939. aasta naiskunstnike näituse retseptsio

Author(s): Katrin Kivimaa / Language(s): Estonian Issue: 01/2005

This article focuses on the critical reception to the exhibition of women artists that took place in the Tallinn Art Hall in October 1939, and attempts to demonstrate how various models of differentiation, reflecting and reproducing widespread ideologies of the period, existed within the allegedly universal modernist critique. The exhibition's reception in 1939 also reflects the significance of national rhetoric and ideology in the Estonian culture of the 1930s, and in the social processes of constructing and maintaining gender ideology.

GÂNDURI DESPRE ART KLINIKA

Author(s): Mihai Badescu / Language(s): Romanian Issue: 02/2009

Într-o societate, într-o lume obosită în fuga ei spre distrugere, semănând cu un bolnav fugit de la casa de nebuni, unde se învârt şi se amestecă valorile, dar al cărei corp este încă viu, există întotdeauna semne de autoapărare, există un organ al acestui trup care încearcă să producă anticorpii necesari vindecării şi regenerării. Întreaga lume e în criză, dar aici, în Serbia, peste criza mondială se suprapun toate bolile, războaiele şi fricile unui trecut nu foarte îndepărtat, care au lăsat cicatrici adânci într-o conştiinţă aflată în reformare. Indiferent de condiţii, bunul simţ, bunul gust şi bunele intenţii, dacă există, reacţionează, răspund, se revoltă şi chiar dacă nu pot schimba multe, arată spre boală, încearcă să definească răul. De aceea a apărut la sfârşitul anilor `90 grupul LED ART, care prin proiectele şi acţiunile sale era răspunsul la acţiunile unei societăţii nevrotice, agresive, paranoice şi depresive, la care s-a ajuns în perioada Miloševic şi care a încercat să nu fie nepăsător, să aibă o atitudine prin acţiunile de stradă ce le-a desfăşurat în acea perioadă.

LUMEA TRANS-SISTEMICĂ

Author(s): Mihai Rogobete / Language(s): Romanian Issue: 02/2009

Într-o lume deja multi-polară, inter şi trans-sistemică, optica teoriei războiului rece sau a ciocnirii civilizaţiilor încă mai orbecăie opresiv, din interior în afară, datorită opacităţii neputincioase inerţiale în care, perimată, viziunea unisistemică s-a baricadat. Căci, tocmai prin autosuficienţa care de fapt îl închide, orice sistem se sufocă, se macină, se destramă, degenerează – niciunul nu-şi poate provoca întrebările care să-l deschidă, să-l regenereze împotriva închistării sale intriseci, tenace, stabilizatoare şi conservatoare. Românii transfrontalieri şi-au desmărginit ţara mentală. Captivi remanenţelor, cei de acasă ţin însă morţiş să... transfugă oricând, de afară, în temniţa sistemică dinăuntru.