ARTUM: ISTORIJSKO-UMETNIČKI ČASOPIS by Ana Knežević
Treći broj istorijsko-umetničkog časopisa ARTUM objavljen je u junu 2016. godine. U njemu su obje... more Treći broj istorijsko-umetničkog časopisa ARTUM objavljen je u junu 2016. godine. U njemu su objedinjeni tekstovi o arhitekturi Sava centra, uticaju češkog modernizma na srpsku arhitekturu, obeliscima na teritoriji današnjeg Rima, o podizanju spomenika Hansu Makartu u Beču. Takođe, u ovom broju ARTUMA nalazi se nekoliko prikaza: zbornika ''Tumačiti Rembranta'', konferencije ''Književnost i umetnost u Jugoslaviji: (dis)kontinuiteti (1918-1992)'', izložbe ''Od Konstantinopolja do Istanbula'', knjige o ranohrišćanskim mozaicima u Makedoniji. Pored toga, tu si i dva razgovora - jedan o digitalnoj umetnosti u svetu i kod nas, a drugi o tehnici sitoštampe. Kao inovacija, u trećem broju ARTUMA pojavljuje se i prevod Grojskovog teksta o umetničkoj kritici sa nemačkog na srpski jezik.
Drugi broj istorijsko-umetničkog časopisa ARTUM objavljen je u decembru 2015. godine. Objavljeni ... more Drugi broj istorijsko-umetničkog časopisa ARTUM objavljen je u decembru 2015. godine. Objavljeni radovi bave se ikonografijom i simbolizmom Ganskog oltara, kompozicijom Čudo u Latmosu, portalima moravskih crkava, Mazačovom upotrebom linearne perspektive, opusom modnog dizajnera Aleksandra Joksimovića, heraldičkom dekoracijom Starog dvora, budvanskim antičkim nasleđem, titostalgijom itd. Pored toga, u 2. broju ARTUMA objavljeno je i nekoliko važnih vesti o proteklim seminarima, edukativnim programima, konferencijama, kao i razgovor o novootvorenoj galeriji Kolektiv.
Prvi broj istorijsko-umetničkog časopisa ARTUM objavljen je u julu 2015. godine. U njemu se nalaz... more Prvi broj istorijsko-umetničkog časopisa ARTUM objavljen je u julu 2015. godine. U njemu se nalaze brojni radovi studenata i profesora Odeljenja za istoriju umetnosti Filozofskog fakulteta u Beogradu, koji se bave imperijalnim panelima u crkvi San Vitale, simbolizmom u delu Gabrijela fon Maksa, arhitekturom Muzeja kralja Petra I, izložbom izopačene umetnosti, javnim identitetom sefardske jevrejske zajednice u Sarajevu, arhitekturom Brašovana i Zlokovića, itd. Pored toga, u ovom broju ARTUMA objavljeni su i razgovori o projektu ''Beograd na vodi'' i o izložbi ''Beograd Jovana Bjelića'', kao i još par vesti i prikaza.
by Istorijsko-umetnički časopis ARTUM, Katarina Đošan, Nataša Tapić, Milica Tomic, Katarina Stradner, Jasmina S. Ciric, Vladana Putnik Prica, Ana Knežević, Branka Vranesevic, Olga Špehar, Bojana Radovanović, and Dejan Vukelić Predstavljamo Vam četvrti broj istorijsko-umetničkog časopisa ''Artum'' u kome možete čitati o de... more Predstavljamo Vam četvrti broj istorijsko-umetničkog časopisa ''Artum'' u kome možete čitati o delima Paje Jovanovića, o kulturnoj aproprijaciji unutar savremene modne industrije, o video igri kao virtuelnom muzeju, sinesteziji u umetnosti kao vidu nasleđa, itd.
by Jasmina S. Ciric, Vladana Putnik Prica, Tamara Miladinović, Natalija Stokanovic, Milica Rožman, Miomir Milic, Ana Knežević, Andreja Velimirovic, Dusica Nikolic, Ljubica Vinulovic, Jovana Lazic, Katarina Kostandinović, Marija Simonovic, Katarina Stradner, Katarina Jović, Damian Iuliana, Jovan Bukumira, Jana Gligorijevic, Ilijana Radulovic, Ana Simona Zelenovic, and Olja Krčevinac Welcome to ARTUM, peer-reviewed online-journal for the history of art!
http://www.f.bg.ac.rs/... more Welcome to ARTUM, peer-reviewed online-journal for the history of art!
http://www.f.bg.ac.rs/files/iu_ARTUM1_2015-07.pdf
Publisher: Department for Art History, Faculty of Philosophy University of Belgrade
Editor-in-chief: Vladana Putnik,PhD
Editorial Board:
Ana Knežević, Tamara Biljman; Milan Popadić, PhD; Jasmina Ćirić, PhD; Vuk Dautović, M.A.
Contact: [email protected]
Papers by Ana Knežević
Glasnik Etnografskog instituta SANU, 2023
After defining Internet memes and their place within broader popular culture, this paper exami... more After defining Internet memes and their place within broader popular culture, this paper examines the methodology and interpretation of a large-scale collection of Internet memes used by the KnowYourMeme database. By observing the changed context in which Internet memes are created, shared, or forgotten, questions are raised about the formation of meme cultural memory in cyberspace, leading to critical commentary on the ways in which they are collected. By analyzing the heritization of Internet memes, this paper addresses the following issues: the formation of the future meme heritage, scope of cultural memory in cyberspace, redefinition of remembering and forgetting within the panmnemonic tendencies of online heritage projects. Using the KnowYourMeme database as an example, the problems of cyberspace heritage are discussed, and the different online projects dealing with Internet memes as heritage are compared. By defining “on-the-fly” memory, which indicates the simultaneity of the process of creating and preserving heritage, this paper offers a critical review of the existing cyber projects of “saving everything”
АФРИКА: Књижевност, језик, култура, политика, 2023
Рад се бави питањима дигиталног јаза, дигиталне искључености и неједнаке расподеле информација у... more Рад се бави питањима дигиталног јаза, дигиталне искључености и неједнаке расподеле информација у оквиру WWW-a. На основу статистичких података, онлајн мапирања, (не)доступности одређених интернет садржаја, као и кроз анализу визуелне онлајн културе, проблема digital black face-a, те западноцентричних елемената интернет вернакулара, рад нуди критички коментар на употребу интернета на афричком континенту, као и на слику Африке која се креира онлајн у доба надзорног капитализма. Компарацијом друштвених, политичких и економских последица дигиталног колонијализма и "слике Африке" која се у његовим оквирима формира, у фокус рада постављају се питања о проблематичној демократичности интернета и његовим глобалним тенденцијама у којима о(п)стају, деле се и перпетуирају неоколонијалне слике Африке.
INSAM Journal, 2022
Ovaj rad mimove posmatra u dijalogu sa umetničkim delima. U njima traži i pronalazi "klasična/tra... more Ovaj rad mimove posmatra u dijalogu sa umetničkim delima. U njima traži i pronalazi "klasična/tradicionalna" dela "standardne/ analogne" istorije umetnosti, odnosno, dela odabrana iz njenog ustanovljenog kanona. U toj potrazi i analizi, rad definiše poziciju "visoke umetnosti" i njenog značenja u haotičnom okruženju kakvo stvaraju alatke Web 3.0. Sa druge strane, kroz jedan uporedni pristup, rad mapira raznolike uticaje mim kulture na stvaranje savremenih crteža i slika, na osnovu nekoliko odabranih primera po pravilu 'algoritam kulture' , na regionalnom i internacionalnom nivou. Kroz takvu analizu, rad predstavlja ogled u razmišljanju o "umetnosti mimova" i "mimovanja umetnosti", odnosno nudi pogled na savremenu poziciju internet mima u istoriji umetnosti, i obratno, na poziciju istorije umetnosti u popularnoj kulturi mima.
Sto godina časopisa Zenit 1921-1926-2021, 2021
Mapirati afrički kontinent u Zenitu znači sagledavati zenitističke koncepte internacionalizma, ci... more Mapirati afrički kontinent u Zenitu znači sagledavati zenitističke koncepte internacionalizma, civilizacije, kulture, primitivizma, crnačke umetnosti, itd. i na osnovu njih izvesti zaključak o odlikama jedne fragmentarne, ali ipak postojeće slike Afrike u ovom časopisu. Upravo se tim tragom
ova slika i pronalazi u programskim i manifestnim tekstovima, izveštajima i vestima, reprodukcijama umetničkih dela, pesničkim tropima, kritičko-teorijskim komentarima. Posebna pažnja u Zenitu posvećena analizi umetničkog statusa „crnačke plastike“ pretpostavlja nacrt potencijalne „zenitističke teorije afričke umetnosti“. Pored toga, niz zenitističkih „Afrika“ otkriva i značajne vankolonijalne težnje u razmišljanju o ovom udaljenom kontinentu kroz primere pružanja podrške savremenim političkim događajima i narodnooslobodilačkim borbama. Značajan deo slike Afrike u Zenitu čine i oni njeni fragmenti
integrisani u viziju i misiju balkanskog primitivizma oličenog u liku Barbarogenija. U ovom radu daje se pregled svih pomenutih narativa koji skupa formiraju zenitističku sliku Afrike – mozaik složen
kroz avangardnu umetničku aproprijaciju, antiimperijalističku solidarnost i stereotipnu predstavu kontinenta.
Triptih: interdisciplinarni naučni časopis o umetnosti i kulturi 1, 2021
U radu se analizira složena ikonografija ohorokova haljine namibijskog Herero naroda. Posmatraju... more U radu se analizira složena ikonografija ohorokova haljine namibijskog Herero naroda. Posmatrajući formu i sadržaj prepoznatljive duge haljine i horizontalnog šešira, savremenog amblema Namibije, u istorijskoj perspektivi, i kroz subverziju viktorijanske mode, rad predstavlja genezu i društveni život Herero haljine kao simbola otpora i antikolonijalizma. Ohorokova haljina tumači se kao živo nasleđe i aktivno mesto sećanja Herero naroda.
Godišnjak za društvenu istoriju 2, 2021
Rad predstavlja kupolu Muzeja afričke umetnosti-zbirke Vede i dr Zdravka Pečara kao svojevrsnu ... more Rad predstavlja kupolu Muzeja afričke umetnosti-zbirke Vede i dr Zdravka Pečara kao svojevrsnu mašinu za sećanje kroz strukturu drame sa tezom. Predstavljajući novinske članke, fotografske, medijske i dokumentarne izvore, kao i usmena svedočenja, u nameri da analizira kulturu pamćenja ovog prostora i spoj zvanične i nezvanične istorije, rad analizira muzejsku kupolu kao mikrosliku širih kulturno-političkih događaja u periodu od 1989. godine do danas. Prateći istoriju njene izgradnje, neizvesnih događaja tokom prve polovine devedesetih godina dvadesetog veka, a potom i njene poznije upotrebe i savremenu poziciju, rad otvara pitanja o muzejima, muzejskim zgradama, načinima na koje se one pamte i na koje izazivaju različite vrste sećanja u društvu.
Kultura, 2019
U radu se predstavlja istorija utilitarnih funkcija današnje male izložbene sale Muzeja afričke u... more U radu se predstavlja istorija utilitarnih funkcija današnje male izložbene sale Muzeja afričke umetnosti – zbirke Vede i dr Zdravka Pečara u Beogradu, koja je od 1952. godine, kada je izgrađena, više od dvadeset godina služila kao ateljerski prostor Moši Pijade,a Zori Petrović i Bošku Karanoviću. Cilj rada je prikaz celokupne istorije ovog objekta – od njegove izgradnje i koegzistencije sličnih i različitih relacija koje
su učestvovale u njegovom stvaranju, do danas – trenutka u kom se mala sala označava kao mesto pluraliteta kulturno- političke scene (post)jugoslovenskog prostora.
Ključne reči: Moša Pijade, Zora Petrović, Boško Karanović, Muzej afričke umetnosti - zbirka Vede i dr Zdravka Pečara
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SMALL EXHIBITION HALL OF
THE MUSEUM OF AFRICAN ART IN BELGRADE
A PLACE OF PLURALITY ON THE CULTURAL-POLITICAL
SCENE OF (POST) YUGOSLAV SPACE
Abstract
The aim of this paper is to present and analyse a history of utilitarian
functions of today’s small exhibition hall of the Museum of African
Art in Belgrade – The Veda and Dr. Zdravko Pečar Collection. Original
purpose of this building was an artistic studio designed in 1952 for
the famous Yugoslav politician and artist – Moša Pijade. Over five
years (1952-1957), Pijade used this building as private working space
where he also arranged a private event organising a private exhibition
of his paintings, which was visited by Josip Broz Tito, president of
Yugoslavia. After Pijade, this space was used by Yugoslav artists Zora
Petrović (1960-1962) and Boško Karanović (1962-1975). Petrović
painted a number of monumental canvases in the same space where
Karanović later created a well-known facade mosaic for the Museum
of Yugoslavia. Another change of function of this space occurred
when Zdravko and Veda Pečar wanted to open a specialised museum
dedicated to African arts and cultures. In 1977, during events which
celebrated 45 years of Tito’s leadership of the Communist Party of
Yugoslavia, the Museum of African Art was opened in the same place
(with building adaptation). Up to this date, this space, located at 14,
Andre Nikolić street, had a few different utilitarian functions. There
were also a number of unrealized ideas – imaginary functions, which
marked this space as a place of plurality on the cultural-political scene
of (Post) Yugoslav space.
Key words: atelier, Moša Pijade, Zora Petrović, Boško Karanović,
Museum of African Art – the Veda and Dr. Zdravko Pečar Collection
Nyimpa kor ndzizi - Čovek ne može opstati sam. (Re)konceptualizacija Muzeja afričke umetnosti - zbirke Vede i dr Zdravka Pečara, 2017
Лесковачки зборник LVI, 2016
Рад актуализује архитектуру недовољно коментарисане стамбено-пословне зграде Објектив у Београду ... more Рад актуализује архитектуру недовољно коментарисане стамбено-пословне зграде Објектив у Београду као сегмента обимног опуса знаменитог српског архитекте Александра Ђокића (1936-2002), пореклом са југа Србије. Детаљно се разматра архитектонски склоп грађевине и њен урбанистички положај на периферији Београда.
(Re)konceptualizacija Muzeja afričke umetnosti – zbirke Vede i dr Zdravka Pečara
Priredile: Emil... more (Re)konceptualizacija Muzeja afričke umetnosti – zbirke Vede i dr Zdravka Pečara
Priredile: Emilia Epštajn i dr Ana Sladojević
Autori: grupa autora
Godina: 2017.
Jezik: Srpski/Engleski
Abstracts by Ana Knežević
“Digital Art History III – methods, practices, epistemologies”, 2021
This paper aims to explore and examine the possible determination
of Internet memes as different ... more This paper aims to explore and examine the possible determination
of Internet memes as different types of images such
as pathos formula, dialectical image and poor image, as defined
by the theoretical writings of Aby Warburg, Walter Benjamin, and
Hito Steyerl. As a widespread phenomenon, the Internet meme is
part of a dynamic, ongoing debate within the fields of linguistics,
political sciences, pop culture, visual culture, and media studies.
Consisting of images and words that are intended to convey a certain
message to the spectator, its structure is an inspiring basis for
the comparison between the contemporary Internet memes and
the “old”/analog/traditional forms of everyday expression, political
activism, fight, or propaganda, as well as between Internet memes
and different forms of art and pop culture. However, in this paper, I
will try to understand Internet memes in a more theoretical sense,
as part of the “Image theories” by Aby Warburg, Walter Benjamin,
and Hito Steyerl, keeping in mind the aforementioned comparisons
and existing discussions on the subject.
https://www.ipu.hr/article/en/1123/digital-art-history-iii
INTERNATIONAL CONFERENCE Digital Art History – Methods, Practices, Epistemologies, SRCE Zagreb, 2018
The aim of this paper is to present different theories of writing and reading digital art history... more The aim of this paper is to present different theories of writing and reading digital art history, as well as a big turn in their process in order to demonstrate that art historians need a new exercise and a new understanding of media messages, but also to show that the essential changes of the science itself, its methodology and goals are actually lacking because the same process is happening all the time, only in this moment written in different media. In the end, the paper concludes that the concepts of writing and reading art history in this (digital/online/new media/cyber, etc.) environment have changed, but that it is not really a new art history, only art history in a new space.
III International Congress of Art History Students, Zagreb , 2014
The focus of this paper is to find an adequate place for the residential and office building also... more The focus of this paper is to find an adequate place for the residential and office building also known as Objective, located in 2 Lješka street in Belgrade, not only within the broader scope of European and world architecture, but also within the entire career of its author, the architect Aleksandar Đokić. Even though it was built in 2001, the Objective has never been subject to professional scrutiny. The approaches to the analysis of this work of art are numerous, considering not only
the position it occupies within the space and time of the city of Belgrade, but also its unique specificities of shape and composed volumes.
Prvi međunarodni simpozij mladih povjesničara umjetnosti u Splitu - knjižica sažetaka, 2015
Rad rpedstavlja pregled umetničke kolekcije BMW automobila, koja se još uvek stvara, a svoju trad... more Rad rpedstavlja pregled umetničke kolekcije BMW automobila, koja se još uvek stvara, a svoju tradiciju ima od 1975. godine.
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ARTUM: ISTORIJSKO-UMETNIČKI ČASOPIS by Ana Knežević
http://www.f.bg.ac.rs/files/iu_ARTUM1_2015-07.pdf
Publisher: Department for Art History, Faculty of Philosophy University of Belgrade
Editor-in-chief: Vladana Putnik,PhD
Editorial Board:
Ana Knežević, Tamara Biljman; Milan Popadić, PhD; Jasmina Ćirić, PhD; Vuk Dautović, M.A.
Contact: [email protected]
Papers by Ana Knežević
ova slika i pronalazi u programskim i manifestnim tekstovima, izveštajima i vestima, reprodukcijama umetničkih dela, pesničkim tropima, kritičko-teorijskim komentarima. Posebna pažnja u Zenitu posvećena analizi umetničkog statusa „crnačke plastike“ pretpostavlja nacrt potencijalne „zenitističke teorije afričke umetnosti“. Pored toga, niz zenitističkih „Afrika“ otkriva i značajne vankolonijalne težnje u razmišljanju o ovom udaljenom kontinentu kroz primere pružanja podrške savremenim političkim događajima i narodnooslobodilačkim borbama. Značajan deo slike Afrike u Zenitu čine i oni njeni fragmenti
integrisani u viziju i misiju balkanskog primitivizma oličenog u liku Barbarogenija. U ovom radu daje se pregled svih pomenutih narativa koji skupa formiraju zenitističku sliku Afrike – mozaik složen
kroz avangardnu umetničku aproprijaciju, antiimperijalističku solidarnost i stereotipnu predstavu kontinenta.
su učestvovale u njegovom stvaranju, do danas – trenutka u kom se mala sala označava kao mesto pluraliteta kulturno- političke scene (post)jugoslovenskog prostora.
Ključne reči: Moša Pijade, Zora Petrović, Boško Karanović, Muzej afričke umetnosti - zbirka Vede i dr Zdravka Pečara
---
SMALL EXHIBITION HALL OF
THE MUSEUM OF AFRICAN ART IN BELGRADE
A PLACE OF PLURALITY ON THE CULTURAL-POLITICAL
SCENE OF (POST) YUGOSLAV SPACE
Abstract
The aim of this paper is to present and analyse a history of utilitarian
functions of today’s small exhibition hall of the Museum of African
Art in Belgrade – The Veda and Dr. Zdravko Pečar Collection. Original
purpose of this building was an artistic studio designed in 1952 for
the famous Yugoslav politician and artist – Moša Pijade. Over five
years (1952-1957), Pijade used this building as private working space
where he also arranged a private event organising a private exhibition
of his paintings, which was visited by Josip Broz Tito, president of
Yugoslavia. After Pijade, this space was used by Yugoslav artists Zora
Petrović (1960-1962) and Boško Karanović (1962-1975). Petrović
painted a number of monumental canvases in the same space where
Karanović later created a well-known facade mosaic for the Museum
of Yugoslavia. Another change of function of this space occurred
when Zdravko and Veda Pečar wanted to open a specialised museum
dedicated to African arts and cultures. In 1977, during events which
celebrated 45 years of Tito’s leadership of the Communist Party of
Yugoslavia, the Museum of African Art was opened in the same place
(with building adaptation). Up to this date, this space, located at 14,
Andre Nikolić street, had a few different utilitarian functions. There
were also a number of unrealized ideas – imaginary functions, which
marked this space as a place of plurality on the cultural-political scene
of (Post) Yugoslav space.
Key words: atelier, Moša Pijade, Zora Petrović, Boško Karanović,
Museum of African Art – the Veda and Dr. Zdravko Pečar Collection
Priredile: Emilia Epštajn i dr Ana Sladojević
Autori: grupa autora
Godina: 2017.
Jezik: Srpski/Engleski
Abstracts by Ana Knežević
of Internet memes as different types of images such
as pathos formula, dialectical image and poor image, as defined
by the theoretical writings of Aby Warburg, Walter Benjamin, and
Hito Steyerl. As a widespread phenomenon, the Internet meme is
part of a dynamic, ongoing debate within the fields of linguistics,
political sciences, pop culture, visual culture, and media studies.
Consisting of images and words that are intended to convey a certain
message to the spectator, its structure is an inspiring basis for
the comparison between the contemporary Internet memes and
the “old”/analog/traditional forms of everyday expression, political
activism, fight, or propaganda, as well as between Internet memes
and different forms of art and pop culture. However, in this paper, I
will try to understand Internet memes in a more theoretical sense,
as part of the “Image theories” by Aby Warburg, Walter Benjamin,
and Hito Steyerl, keeping in mind the aforementioned comparisons
and existing discussions on the subject.
https://www.ipu.hr/article/en/1123/digital-art-history-iii
the position it occupies within the space and time of the city of Belgrade, but also its unique specificities of shape and composed volumes.
http://www.f.bg.ac.rs/files/iu_ARTUM1_2015-07.pdf
Publisher: Department for Art History, Faculty of Philosophy University of Belgrade
Editor-in-chief: Vladana Putnik,PhD
Editorial Board:
Ana Knežević, Tamara Biljman; Milan Popadić, PhD; Jasmina Ćirić, PhD; Vuk Dautović, M.A.
Contact: [email protected]
ova slika i pronalazi u programskim i manifestnim tekstovima, izveštajima i vestima, reprodukcijama umetničkih dela, pesničkim tropima, kritičko-teorijskim komentarima. Posebna pažnja u Zenitu posvećena analizi umetničkog statusa „crnačke plastike“ pretpostavlja nacrt potencijalne „zenitističke teorije afričke umetnosti“. Pored toga, niz zenitističkih „Afrika“ otkriva i značajne vankolonijalne težnje u razmišljanju o ovom udaljenom kontinentu kroz primere pružanja podrške savremenim političkim događajima i narodnooslobodilačkim borbama. Značajan deo slike Afrike u Zenitu čine i oni njeni fragmenti
integrisani u viziju i misiju balkanskog primitivizma oličenog u liku Barbarogenija. U ovom radu daje se pregled svih pomenutih narativa koji skupa formiraju zenitističku sliku Afrike – mozaik složen
kroz avangardnu umetničku aproprijaciju, antiimperijalističku solidarnost i stereotipnu predstavu kontinenta.
su učestvovale u njegovom stvaranju, do danas – trenutka u kom se mala sala označava kao mesto pluraliteta kulturno- političke scene (post)jugoslovenskog prostora.
Ključne reči: Moša Pijade, Zora Petrović, Boško Karanović, Muzej afričke umetnosti - zbirka Vede i dr Zdravka Pečara
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SMALL EXHIBITION HALL OF
THE MUSEUM OF AFRICAN ART IN BELGRADE
A PLACE OF PLURALITY ON THE CULTURAL-POLITICAL
SCENE OF (POST) YUGOSLAV SPACE
Abstract
The aim of this paper is to present and analyse a history of utilitarian
functions of today’s small exhibition hall of the Museum of African
Art in Belgrade – The Veda and Dr. Zdravko Pečar Collection. Original
purpose of this building was an artistic studio designed in 1952 for
the famous Yugoslav politician and artist – Moša Pijade. Over five
years (1952-1957), Pijade used this building as private working space
where he also arranged a private event organising a private exhibition
of his paintings, which was visited by Josip Broz Tito, president of
Yugoslavia. After Pijade, this space was used by Yugoslav artists Zora
Petrović (1960-1962) and Boško Karanović (1962-1975). Petrović
painted a number of monumental canvases in the same space where
Karanović later created a well-known facade mosaic for the Museum
of Yugoslavia. Another change of function of this space occurred
when Zdravko and Veda Pečar wanted to open a specialised museum
dedicated to African arts and cultures. In 1977, during events which
celebrated 45 years of Tito’s leadership of the Communist Party of
Yugoslavia, the Museum of African Art was opened in the same place
(with building adaptation). Up to this date, this space, located at 14,
Andre Nikolić street, had a few different utilitarian functions. There
were also a number of unrealized ideas – imaginary functions, which
marked this space as a place of plurality on the cultural-political scene
of (Post) Yugoslav space.
Key words: atelier, Moša Pijade, Zora Petrović, Boško Karanović,
Museum of African Art – the Veda and Dr. Zdravko Pečar Collection
Priredile: Emilia Epštajn i dr Ana Sladojević
Autori: grupa autora
Godina: 2017.
Jezik: Srpski/Engleski
of Internet memes as different types of images such
as pathos formula, dialectical image and poor image, as defined
by the theoretical writings of Aby Warburg, Walter Benjamin, and
Hito Steyerl. As a widespread phenomenon, the Internet meme is
part of a dynamic, ongoing debate within the fields of linguistics,
political sciences, pop culture, visual culture, and media studies.
Consisting of images and words that are intended to convey a certain
message to the spectator, its structure is an inspiring basis for
the comparison between the contemporary Internet memes and
the “old”/analog/traditional forms of everyday expression, political
activism, fight, or propaganda, as well as between Internet memes
and different forms of art and pop culture. However, in this paper, I
will try to understand Internet memes in a more theoretical sense,
as part of the “Image theories” by Aby Warburg, Walter Benjamin,
and Hito Steyerl, keeping in mind the aforementioned comparisons
and existing discussions on the subject.
https://www.ipu.hr/article/en/1123/digital-art-history-iii
the position it occupies within the space and time of the city of Belgrade, but also its unique specificities of shape and composed volumes.
Ključne reči: muzej, sajber, totalni, virtuelni, mediji
In addition to explaining the key differences between digital and digitized art history, the aim of this paper is to make a comparison between ”analogue” and “digital” art history methods and to prove that ”digital art history” is not methodologically new, nor revolutionary, however it is current with the expanded field of research. In conclusion, this paper sums up the positive and negative impacts of this ”new” methodology on art history as a discipline.
Key words: art history, methodology, digital art history, digitized art history, old methodology, new methodology
kroz ilustrativne primere različitih praksi obrazovanja u MAU, ukazuje na specifičnost i svojevrsnost edukacije u ovom Muzeju.
KLJUČNE REČI: obrazovanje, prošireno polje, Muzej
afričke umetnosti, kustos, program, radionica
Ceo elektronski katalog dostupan na:
https://um.edu.rs/html/MMMStranice/txt.html
The previous tugging of the MAA’s permanent display were executed by writing between the lines/objects, through palimpsestic and displaced inscription on the museum space, while Unprotected Witness No 1: Afrodisiac can be marked as a ruse of a writing at play in space or the form Foucault, writing about Magritte’s two pipes, termed unravelled calligram. In such a sense, the motive behind or theme of this calligram is the MAA itself, and its ability to trap things in a double cipher visually created by the artworks which have literally been interpolated in the space of the permanent display (the use of identical labels for new, artworks, the intensely ambient art pieces, total social adaptation, submergence into the original blue-green design of the display, etc.).