Sztuka jest ryzykiem dla inwestora i dla artysty
Janusz Miliszkiewicz talks to Professor Krzysztof Pomian, a historian specialising in the collecting hobby
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Janusz Miliszkiewicz talks to Professor Krzysztof Pomian, a historian specialising in the collecting hobby
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In the presence of numerous visitors, in the building where the Unified organization of veterans and the Organization of shahids and fallen soldiers Tesanj are headquartered, the public institution Museum of Tešanj on April 30, 2012 opened the permanent exhibition entitled the Memorial room in Tešanj 1992–1995 – “The forgiveness is an enemy”. The exhibition was organized within the municipal event “Tešanj spring” and the municipal holiday 4 April – The day of resistance to fascism. Through the chronological order, text, photography and exhibited objects, the intention was to, in an illustrative way, present life in the region of Tešanj municipality during the war, beginning with the military, economic and health segment, to education and culture. The exhibition is conceptually rounded, which will be amended and supplemented with further research efforts, the aim of which is to display our recent local history in a credible way. Authors of the exhibition are Jasmin Mandžukić and the author of this article.
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In this paper, the author has developed an initiative in the form of preliminary sketches to open the “Memorial room of the Municipality of Gračanica 1992–1995” which will collect and present the museum exhibits from the period of aggression on Bosnia and Herzegovina (1992–1995) from the wider area of the municipality of Gračanica. The aim is to preserve and build the culture of memories of that period of Bosnian-Herzegovinian history. It has been foreseen that this museum collection works under the umbrella of the Bosnian Cultural Center and will be located in the Cultural Center premises.
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The article describes the restoration process of a khanjar dating from the 18th – 19th centuries belonging to the patrimony of the History Museum of Galați. The preserving and restoring operations applied to the object are highlighted. The paper was awarded at the National Restoration Saloon in Craiova, September 27-29, 2012.
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The United States Congress is considering adding new legislation to its current scheme regulating Cultural Property. The proposed law, the Protect and Preserve Cultural Property Act, would create a new Coordinator and Committee and charge them with harmonizing the cultural heritage policing efforts of the United States. These changes do not alter American law in a fundamental way, but rather mark instead the subtle move towards a dedicated group tasked with enforcing, educating, and evaluating this body of cultural property law and policy in the United States.
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This article considers whether there are any gaps within the legal framework protecting cultural heritage from attacks conducted by non-state armed groups. It first looks at the existing obligations of states vis-à-vis non-state armed groups with regard to the protection of such heritage, in particular their obligations stemming from the Hague Convention for the Protection of Cultural Property in the Event of Armed Conflict. It also examines the obligations of non-state armed groups with regard to cultural heritage, clarifying their obligations under international humanitarian law, including customary international norms, and other sources of international law. Finally, this article discusses accountability mechanisms, in particular with the application of international criminal law to prosecute the members of non-state armed groups who have conducted attacks against cultural property.
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This article deals with the international responsibility of States for their breach of cultural heritage obligations in the event of armed conflicts. The topic is both highly important and challenging. In fact, the implementation of State responsibility for the breach of a cultural heritage obligation may meet with serious practical difficulties in attributing unlawful conduct to a given State. Moreover, political circumstances often favour the prosecution of individual perpetrators, even if they acted under the direction or control of a State, rather than invoking the responsibility of that State. Viewed in such light, this article briefly discusses the sources and status of international cultural heritage in the event of armed conflict, then deals with the consequences of their violation in international practice. It also discusses the resolution Succession of States in Matters of International Responsibility, adopted this year by the Institute of International Law (IIL), and analyses its potential outcomes in relation to cultural heritage obligations applicable to States’ conduct in armed conflicts.
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The importance of culture has been present in the international human rights field since the compilation of the 1948 Universal Declaration of Human Rights (UDHR), but its prominence re-emerged in the 1990s following the surge of indigenous peoples’ movements. For the attainment of peace and stability, the right to culture needs to be encouraged and “cultural genocide”, the non-physical destruction of an ethnic group, should be punished. International human-rights frameworks, in particular Article 8 of the UN Declaration on the Rights of Indigenous Peoples (UNDRIP),have attempted to protect such groups and their cultural identity. Despite these developments, cultural rights are the least developed and understood category of human rights, largely with regards to their enforceability, legal understanding, and scope. The granting of cultural rights to minority groups or indigenous people furthermore remains a contested and controversial subject, and one full of complexity. Though it is incorporated in human rights legislation, there exists a lack of understanding about how it works in tandem with other human rights categories. The occupation of China in Tibet has embodied a destructive colonialism that is denying the Tibetan people the freedom to exercise their fundamental cultural rights. Robert Badinter described the disappearance of Tibetan culture as cultural genocide in 1989,5 a stance that has since been adopted by those challenging China’s rule in Tibet. By exploring Article 8 of the UNDRIP and the importance of cultural identity to the Tibetan people, this paper explores how China’s nationalist policies are in breach of Article 8 and, consequently, China is carrying out cultural genocide in Tibet. In concluding, the essay examines how China’s refusal to recognise Tibetans as indigenous leaves them at an impasse, as protection offered by the frameworks is compromised by other factors.
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This paper deals with two issues often dismissed when assessing cultural expressions during conflict and post-conflict situations. The first concerns the memories of victims and perpetrators as a resource for cultural heritage identification. The second involves the limitations on institutions trying to incorporate cultural issues into processes and discussions that are mainly political. This dichotomy is also reflected in the UNESCO doctrine. On the one hand, the official narratives endorsed by UNESCO and its Member States dismiss memories (some of which include recollections of conflict) that do not complement or support adopted national narratives. At the same time, UNESCO only honours and recognizes political agreements and actors which are seen as unquestionable and uncontested. Using the specific case of Cyprus, I propose an alternative lens through which to view cultural heritage in conflict and post-conflict areas and situations. In particular, I argue that Transnational Justice offers an effective platform to redress cultural heritage. At the same time I address the two limitations mentioned above.
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Two goals motivate the authors of this essay. The first is to examine the legal, historical and political context of the establishment of independence of the Croatian State at the time the Yugoslav crisis was originating. Following up on this issue in the second segment of our analysis we present a framework of the new Croatian cultural policy, which is essentially conditioned by historical events. This constitutes an overview of the founding of the new Croatian national cultural policy since the 1990s, focused on the primary sources of recent Croatian cultural and legal infrastructures in the new context of its European integration.
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A system to protect cultural property in the event of an armed conflict has been in place since the 1889 and 1907 Hague Regulations. It was solidified by the conclusion of the 1954 Hague Convention, the main document for the protection of cultural property in armed conflict, and it was recently augmented by the 1999 Second Protocol to the 1954 Hague Convention. However, these instruments contain a waiver to the protection provided, linked to the concept of “military necessity”. The purpose of this paper is to examine that concept and its relation to the protection of cultural property in order to demonstrate the true extent of the international protection of cultural property during an armed conflict.
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In the Polish legal system there is no general and coherent legal regulation created with the purpose to set the unified rules for acquiring or disposing of culture goods by public entities. Different legal acts contain few regulations in this matter and it results in difficulties in applying the regulations that are presented in this article. The paper presents a short historical background of two major moves within Polish public culture property – nationalization and municipalisation in the scope of museum property. Then the analysis is focused on those regulations of statutory law that are being applied in cases where the issue of acquiring ownership by public entities is examined, together with case law referring to the possibility to acquire ownership in the public domain via adverse possession. Culture goods are also the element of the estate of local government units and state administration units and in this sphere there are no regulations preventing or influencing the unit from disposing of the culture good. It is only when the voivodship is the owner of a movable culture object, when the law introduces the rule that the act of disposition (e.g., sale contract) requires the consent in the form of a resolution of the voivodship management board in order to be valid. When immovable culture goods are to be sold by a public entity, the law requires the consent in the form of the administrative decision of an officer from a historical monument protection office (conservation officer), and there is no reason why the freedom of disposition of movable culture goods in public administration should not be limited in a similar way.
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Since the accommodation facilities for the disposal of documentary and archive material (papers) are filled, and the human resource in Archive of Republic of Srpske is in deficit, it is necessary to carefully and strategically access to this problem. It is important, because we have to protect this valuable documentary and archive material on time.
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Archives and archivists are facing numerous, serious problems of the development of archival profession in a way of adjustment to the demands of modern technology. For the time being these processes are developing in an unevenly speed in different countries depending on their economic and social development. However, the essence of these processes lies within the fact that archives can no longer function without the IT background. Besides, archives have been a part of the developing strategies of the new IT society for years now; they are formed and approved on the World, European, regional and national level. However, if we recall all the problems presented in this paper, that are pressing the archival profession from all sides, such as the marginal position within the country, absence of basic law system on archives which could standardize the work of archives and enable the archival development in accordance with the World trends, lack of system of education of archival personnel and so on, one wonders about the way and level of dynamics this profession can develop. There is also a question how the profession that has systematically been neglected can be considered as up-to-date. The guidelines for the future are clear, but can be achieved only if the solid and clear system of education is established as well as the legal legislation. It is also highly necessary that we create basis for the popularization of archival profession as a science and that the archivists themselves become aware of their own identity and the power they possess. Yes, I said power! It is a word not so often associated with the archival profession although it should be because the archivists are the ones that keep written tracks on civilisations. By the very process of selection the archivists decide and form cultural and historical heritage of a nation as well as of the entire civilization.
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For the existing educational program in Serbia should be noted that there still is no adequate program that provides higher education in conservation and restoration of cultural heritage in Serbia. Education and training are required to maintain the standards of the profession. Professional education of conservators restorer’s at the university level or recognized equivalent master, should be a priority for conservation-restoration education personnel in our country. There is a requirement to organize a multidisciplinary academic education at the academic level according to the guidelines of European conservation organizations: ECCO – European Confederaction of Conservator-Restorer’s Organizations and Encore European Network for Conservation - Restoration. In accordance with the guidelines of European associations that promote the education of conservators-restorers to approach making a serious academic program, whether studies are organized as departments at existing universities, or to organize a separate study, which would be common for conservators and restorers of all specialties, because only well-trained professional can make an informed decision regarding protection. In addition to education of students, it is very important professional training also, of qualified conservator-restorers, for further improvement, scientific and educational work. Always bear in mind that only professionally trained staff can provide design and implementation of clearly defined national strategy for the protection of the written heritage. Raising awareness on the importance of the written cultural heritage and creating a strategy for education of personnel in the field of physical and preventive care, what should be a “moral imperative” for all institutions and individuals involved in the protection.
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Stained glass is exposed to a number of harmful chemical and physical agents. Considering its combined protective and artistic functions, materials used for stained glass production must have very good physical and chemical properties. Despite that, individual elements of stained glass often suffer irreversible damage. The present paper is aimed to present the development of conservation concepts with respect to this art discipline. The causes and types of damage to elements of stained glass are discussed. Various methods of conservation and renovation of stained glass since the 19th century to the present are covered. The analysis of selected treatment and stages of conservation works in view of their safety, effectiveness and influence on the artwork’s aesthetic qualities has been carried out. In addition, the results of tests of adhesives used for repairing damaged glass have been presented. Theoretical discussion is supported by practical examples of the use of some methods of conservation applied to the 17th-century stained glass with the image of St Peter, in the collection of the Collegium Maius of the Jagiellonian University in Kraków
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The article outlines preliminary methods of research used in conservation of black-powder weapon. The research which have been carried out are presented along with the discussion of their characteristics and the results obtained. The scope of research was very wide and concerned the technological structures of wooden and metal elements and the state of their preservation. Despite the very wide scope of issues discussed, the suggested methods of research is not exhaustive. Continuation of research work is envisaged. However, the results obtained can be successfully applied not only to black-powder weapon, but also to metal artistic craftwork in general.
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The article deals with technology and conservation issues concerning Leon Wyczółkowski’s six portraits from the Jagiellonian University Museum at Collegium Maius. The characteristics of damage related to the type of ground is discussed. Non-typical canvas grounds sprinkled with woolen and cotton fibre, the so called velour canvas, are described, along with conservation methods.
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Banderia Prutenorum is a 15th-century parchment code containing images of 56 Teutonic Knights’ and Prussian standards, some of them the trophies in the battle of Grunwald (Tannenberg) in July 1410, which later hung in Wawel Cathedral. The manuscript was created on the initiative of the great historian Jan Długosz, the founder and the author of the text part of the work. He commissioned the Kraków-based painter Stanisław Durink to paint the pictures. Between 1548 and 1731, the leaf on which Madonna with Child, adorning the banner of the Livonian Master was depicted, was cut out of the last of the five quires. The banner captured in the battle of Nakło was two-sided: on one side it was adorned with the image of Madonna and on the other side the image of St Maurice. Durink painted the images on separate sheets of parchment. In the course of the studies of the manuscript, some poorly visible smudges were noticed which may have been reflections of a small fragment of Madonna’s mantle. Computer analysis of the image of this reflection revealed the image of Madonna and thus allowed for an attempt of the virtual reconstruction of the miniature which then could be compared with images of this picture known only from reproductions. As a result of the computer analysis an image showing a surprising number of details compared to the image seen through the naked eye was revealed.
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