Journal 12 / 2016 (Museum of Applied Art. Online)

ISSN 2466-460X (Online)

ISSN 0522-8328 (Printed edition)
PDF of the printed edition (5.6 MB)

Editor in Chief: Ljiljana Miletić Аbramović, MA

Issue Editor: Jelena Perać, MA

Editorial Board:
Sarita Vujković, PhD (Academy of Arts, Banja Luka)
Marta Vukotić Lazar, PhD (Faculty of Philosophy, Priština)
Ljiljana Miletić Abramović, MA (Museum of Applied Art, Belgrade)
Jelena Perać, MA (Museum of Applied Art, Belgrade)
Јelena Popović (Museum of Applied Art, Belgrade)
Vladimir Simić, PhD (Faculty of Philosophy, Belgrade)
Maja Studen Petrović, MA (Faculty of Applied Arts, Belgrade)

Issue Editorial Assistant: Jelena Popović

All the papers in the sections Contributions, Polemics, Critic Reviews and Reviews are peer reviewed.
List of Reviewers:
Igor Borozan, Ph.D., Assistant Professor, University of Belgrade, Faculty of Philosophy – History of Art Department
Dragan Bulatović, Ph.D., Associate Professor, University of Belgrade, Faculty of Philosophy – History of Art Department
Sarita Vujković, Ph.D., Assistant Professor, University of Banja Luka, Academy of Arts – Graphic Design Department
Marta Vukotić Lazar, Ph.D., Assistant Professor, University of Priština, Faculty of Philosophy – History of Art Department
Mila Gajić, Senior Curator, Museum of Applied Art, Belgrade
Tatjana Dadić Dinulović, Ph.D., Associate Professor, University of Novi Sad, Faculty of Technical Sciences – Chair of Applied Arts in Architecture and Design
Slobodan Jovanović, Senior Curator, Museum of Applied Art, Belgrade
Draginja Maskareli, Senior Curator, Museum of Applied Art, Belgrade
Ljiljana Miletić Abramović, MA, Curator, Museum Advisor, Museum of Applied Art, Belgrade
Jelena Perać, MA, Senior Curator, Museum of Applied Art, Belgrade
Maja Studen Petrović, MA, Associate Professor, University of Arts in Belgrade, Faculty of Applied Arts – Costume Design Department
Bojana Popović, MA, Curator, Museum Advisor, Museum of Applied Art, Belgrade
Vladimir Simić, Ph.D., Assistant Professor, University of Belgrade, Faculty of Philosophy – History of Art Department
Predrag Terzić, Ph.D., Assistant Professor, University Singidunum, Belgrade, Faculty of Media and Communications – Department of Digital Art

The Journal is indexed:
Ebsco, KoBSON, ERIH PLUS

Contents of the Jouurnal 12 / 2016 (Museum of Applied Art. Online)

Impresum
Impressum
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Contents
O Zborniku
About Journal
JASMINA TRAJKOV
IZMEĐU OBIČNOG I UZVIŠENOG: pođenje prestolonaslednika Petra II Karađorđevića u vizuelnim i štampanim medijima Kraljevine Srba, Hrvata i Slovenaca
BETWEEN THE ORDINARY AND THE SERENE: The Birth of Crown Prince Peter II Karađorđević in Visual and Print Media in the Kingdom of Serbs, Croats and Slovenes
Abstract (original language):
U tekstu su analizirani snimci kraljevske porodice Karađorđević, fotografa Vladimira Benčića, nastali 1923. godine prilikom rođenja prestolonaslednika Petra II. Oni su u širem kontekstu sagledani kao deo opšte prakse evropskih monarhija da masovne medije koriste u funkciji dinastičke propagande kao specifičan oblik komunikacije sa podanicima. Osim vizuelnih dokumenata, analizirani su i tekstovi o rođenju prestolonaslednika objavljeni u prestoničkoj i lokalnoj štampi. Prateći odnos dinastičke propagande i masovnih medija, ukazano je na ulogu koju su masovni mediji, kao važno sredstvo kreiranja javnog mnjenja, imali u popularisanju kralja Aleksandra Karađorđevića i njegove porodice i u formiranju osećaja bliskosti i povezanosti vladarskog doma i podanika.
Key words (original language):
vladarska propaganda, masovni mediji, Petar II Karađorđević, fotografija
Summary:
The paper presents an analysis of the photographs of the Karađorđević royal family made by the photographer Vladimir Benčić in 1923 at the birth of Crown Prince Peter II, and articles about the event published in daily press.
Attention is first drawn to the role of mass media, as a practical means of disseminating royal ideology in public, while establishing the new position that European monarchs and the monarchy as an institution had to take in the life of a th nation during the 19 century. It was believed that the popularity of the ruling dynasties depended on how successfully they managed to represent themselves as a combination of the ordinary and the serene with the aim of establishing a specific communication and emotional ties with their subjects.
The paper further analyzes the coverage of the Crown Prince's birth in print and visual media in the Kingdom of Serbs, Croats and Slovenes. The photographs of the Karađorđević royal couple with the newborn Crown Prince show an image of the royal family that is close and acceptable to the masses and that enables them to be indirectly involved in the Crown Prince's birth. These photos are infused with functional emotionality and they are marked with an informal visual presentation. The marriage between the King and the Queen is depicted as the epitome of an idyllic and harmonious marriage, a model for their subjects, while the Queen is shown as an ideal woman, wife and mother. The newborn Crown Prince was seen as the symbol of the newly established Kingdom of Serbs, Croats and Slovenes. His birth not only ensured the continuity of the dynasty but it also confirmed the stability of the newly founded state, which was particularly highlighted in newspaper articles.
MIRJANA PROŠIĆ DVORNIĆ
A DRESS FOR A PRINCESS: Madame Grès's Gown for Princess Barbara de Yugoslavia
HALJINA ZA PRINCEZU: večernja kreacija madam Gre za princezu Barabaru od Jugoslavije
Abstract:
Northwood University, a private business school located in Midland, Michigan, proudly fosters an International Costume Collection, which supports its Fashion Management and Marketing program. The collection features designer attire created mainly between the 1940s and the early 1980s that well represent the industry of that period. Among them, and particularly interesting for Serbian culture, is a magnificent deep purple silk jersey evening gown, worn by Princess Barbara of Liechtenstein (b. in 1942), who in 1973 married HRH Prince Alexander of Yugoslavia (1924–2016), the eldest son of Prince Paul and Princess Olga of Greece and Denmark. The analysis of its construction, workmanship and style of the gown, consisting of a superbly cut fitted dress covered by front and back richly pleated panels, indicates that it was made by the famous Madame Grès, who boasted European royalty and celebrities on both sides of the Atlantic among her clientele. This article also explains the history of Northwood's Costume Collection and how a gown that belonged to a European princess became a part of its inventory.
Key words:
haute couture, Madame Grès, HRH Princess Barbara de Yugoslavia, Northwood University International Costume Collection
Summary (translated):
Univerzitet Nortvud (Northwood University), privatna poslovna škola, osnovana je 1959. godine u srednjem Mičigenu, sa ciljem da obezbedi priliv stručnjaka širokog obrazovanja u različite sfere poslovnog sveta. Jedan od značajnih principa škole, verne idejama slobodnog preduzetništva, bio je isključivo samofinansiranje kroz školarine i priloge zainteresovanih kompanija i pojedinaca. U tom cilju, slično volonterskim grupama u crkvama, organizuje se Ženski nacionalni odbor, koji sy sačinjavale ugledne, talentovane članice lokalnih zajednica. Odbor je pomagao u prikupljanju donacija, afirmaciji škole i u realizaciji brojnih kulturnih programa. Jedna od članica Odbora, vikontesa Harijet de Rozijer (Harriet de Rosière), došla je na ideju, sredinom osme decenije XX veka, da zamoli svoje mnogobrojne prijatelje iz svetskog džet seta, da u svojim garderobama pronađu primerke haute couture koje više nisu želeli da nose i da ih proslede na adresu sedišta Ženskog odbora u Hjustonu (Nortvud je 1984. godine otvorio svoj drugi kampus u blizini Dalasa). Kolekcija služi kao sredstvo za očiglednu nastavu na Odeljenju za modni marketing i promet, ali i kao izložbeni materijal na raznim svečanim skupovima i izložbama visoke mode. U tom prvom prikupljanju, u kolekciju je stigla i prelepa večernja haljina koju je NJeno visočanstvo kneginja Barbara od Lihtenštajna (i Jugoslavije), supruga kneza Aleksandra (Pavla) Karađorđevića, nosila 1977. godine. Toaleta koja je izrađena od tamnoljubičastog svilenog žerseja sadrži brojne elemente koji nedvosmisleno ukazuju da je ovu veoma neobičnu haljinu kreirala čuvena Madam Gre (Madame Grès), jedna od najtalentovanih couturieres XX veka koja je i u periodu posle Drugog svetskog rata ostala verna ručnom modeliranju i izradi svake toalete, lišavajući se tako profitabilnog licenciranja svoje etikete (masovna proizvodnja prête à porter odeće). Iako je veliki broj njenih skica uništen prilikom zatvaranja pariskog salona 1988. godine, primerci izrađene odeće su mnogobrojni i brižno se čuvaju u najvećim svetskim privatnim i muzejskim zbirkama.
JOVANA NIKOLIĆ
KOSTIM NA FOTOGRAFIJAMA KRALJICE NATALIJE OBRENOVIĆ U FUNKCIJI VIZUELNE REPREZENTACIJE KRALJIČINOG TELA
DRESS IN THE PHOTOS OF QUEEN NATALIJA OBRENOVIĆ IN THE SERVICE OF THE VISUAL REPRESENTATION OF THE QUEEN`S BODY
Abstract (original language):
Rad se bavi kostimom kneginje, a potom i kraljice Natalije Obrenović i istražuje načine reprezentovanja kraljičnog tela u vizuelnoj kulturi Srbije druge polovine XIX veka. Rad će se bazirati na fotografskoj građi. Kraljica Natalija bila je modna ikona svog vremena i, poput vladarki evropskih dvorova, posvećivala je posebnu pažnju kostimu kojim je predstavljala svoje vladarsko telo. Moda na dvoru je u drugoj polovini XIX veka bila odraz politike, ali i ličnog ukusa. Kraljica Natalija je uvela pravu modnu revoluciju jer je umesto dva načina odevanja, za privatnu i javnu sferu, birala kostim za svaku svoju ulogu, a igrala ih je mnogo. Među foto-dokumentima izdvojiće se oni primeri koji ukazuju na kreiranje ovih uloga – fatalne žene, supruge, majke, kraljice, modne ikone.
Kroz kostim, kraljičino telo postaje simbol. Moda je bila jedan od načina kojim su vladarke dokazivale sopstvenu besmrtnost. Odevanje je pripadalo vešto isplaniranom ritualu prikazivanja lepote, a lepota je označavala zdravlje, vitalnost, snagu i na kraju, besmrtnost, kako vladarke, tako i dinastije i države. Analizom kostima kraljice Natalije dolazi se do zaključka da je vladarka aktivno učestovala u kreiranju poruka koje odevanje prenosi, kao i stvaranju moćnog simbola kraljičinog tela.
Key words (original language):
kraljica Natalija Obrenović, kostim, moda, reprezentacija, kraljičino telo
Summary:
Queen Natalija (Natalie of Serbia) was a fashion icon of her time and similarly to women rulers at European courts, she paid special attention to the dress that was meant to represent her sovereign body. The fashion at the court in the second half of the 19th century reflected both politics and personal tastes. Through dress, the Queen's body was turned into a symbol.
Queen Natalija expanded the scope of costume's influence: she carried out a genuine fashion revolution by tailoring costume for each of her roles, which she had many, instead of sticking to two dress styles: for private and public spheres. Among photographic documents we can find examples that show her various identities: a femme fatale, a wife, a mother, a Serbian woman, a fashion icon. We can see her as a young woman flirting with the beholder in a dress tailored with the idea of emphasizing her feminine attributes and eroticism, but we can also see her as a lady who seduces by hiding the body under the folds of lace, which suggest more than they reveal. In the private sphere, the Queen was shown as a modest and balanced woman dressed in simple and practical clothing, alluding to women's intellectual side, in response to the eroticization that occurred in public life. The role of a mother was another important sphere because the family was considered to be a nucleus in the 19th century and the royal family was supposed to be an ideal to be striven for by all citizens. Finally, we can see the Queen in the folk dress, which she used to emphasize her commitment to the country, its history, tradition and culture.
Despite the many identities placed before Queen Natalija, she managed to appear dignified. In the medium of photography, Queen Natalija can be seen as a modern woman who both consumed and dictated the fashion of her time.
JELENA ZDRAVKOVIĆ
MODA KRISTIJANA DIORA KAO TEKST KULTURE: strategije prisvajanja New Look-a kasnih četrdesetih i pedesetih godina HH veka
THE FASHION OF CHRISTIAN DIOR AS A CULTURAL TEXT: The Appropriation Strategies of the New Look in the Late 1940s and the 1950s
Abstract (original language):
U ovom radu se New Look Kristijana Diora (Christian Dior) posmatra prvenstveno kao tekst koji se analizira i interpretira u odnosu na kontekst u kom delo nastaje, kao i u odnosu na tekstove sa kojima dolazi u dodir. Odevanje se u ovom radu posmatra kao konstitutivni deo istorijsko-kulturnog miljea u kom se odevna praksa odvija, ali i kao individualni odgovor na vladajući modni diskurs. Samim tim moda Kristijana Diora može da se posmatra kao tekst kulture. Rad se prvenstveno oslanja na dela Rolana Barta (Roland Barthes), Umberta Eka (Umberto Eco), Jurija M. Lotmana (Ю. M. Lotman) i teoretičara mode Malkolma Barnarda (Malcolm Barnard), a koristi i uvide iz teorija roda i teorije citatnosti. Na primerima prisvajanja Diorove mode biće pokazano da se kodovi na osnovu kojih možemo čitati istu siluetu, isti tekst, razlikuju i zavise od konteksta u kome se odevna praksa odvija. Radom su obuhvaćeni karakteristični primeri iz odevne prakse zapadnoevropskih zemalja i sa tla SAD, a posebna pažnja je posvećena interpretaciji New Look-a na prostoru FNRJ.
Key words (original language):
Dior, kôd, kontekst, semiotika, tekst kulture
Summary:
In this paper, Christian Dior's New Look is presented primarily as a text to be analyzed and interpreted with regard to the context in which it was created and texts with which it comes into contact. The theoretical framework of the paper relies on the works of Roland Barthes, Umberto Eco, Yuri M. Lotman and the fashion theorist Malcolm Barnard.
In this study, dress is seen as a constituent part of the historical and cultural milieu in which dress practice takes place, as well as an individual response to the prevailing fashion discourse. Creators of fashion, just like any authors, certainly imprint messages on their works, whose creation is influenced not only by authors' intentions and available knowledge but also by the ideological sphere and communication circumstances under which they are created. The work thus contains codes that we seek to analyze in the process of "contextual interpretation." As far as the New Look is concerned, we have established that the context endows a garment with meaning because it is the context that enables us to read polysemic messages in a certain way. By tracking Dior's New Look through examples in fashion and dress practice, with special emphasis on the adoption of the New Look silhouette in the clothing practice of the Federal People's Republic of Yugoslavia, we have confirmed that it was subject to an unlimited process of generating meanings. The New Look has also become a symbol of the Dior fashion brand, a status symbol, a symbol of decadence in fashion, a symbol of fashion nostalgia, elitist fashion, fashion for the masses, fashion for working women.
JELENA KRIVOKAPIĆ
PARADIGME ORNAMENTALNOG U SAVREMENOJ SRPSKOJ UMETNOSTI
THE PARADIGMS OF THE ORNAMENTAL IN CONTEMPORARY SERBIAN ART
Abstract (original language):
Istraživanje fenomena ornamentalnog, izvan pitanja stila (Riegl, 1893) ili formativne volje u umetnosti (Gombrich, 1979), a kao filozofske kategorije po sebi, intenzivira se na kraju XX veka kroz brojne teorijske i umetničke prakse. Na deo ambicija savremene umetnosti, kao i na oživljavanje istorijske interpretacije ornamentalnog s početka XX veka, iz današnje perspektive zahvalno je podsetiti kroz jednu od filozofskih sintagmi o „preraspodeli čulnog“ i Ransijerovo tumačenje ornamentalnog kao sveprisutnog a „jednovremenog načela formalne, kao umetničke revolucije, i načela političke organizacije zajedničkog života“ (Rancière, 2006). Po shvatanju nekoliko eminentnih filozofa i teoritičara umetnosti, upravo savremene umetničke prakse teže i da svoj diskurs artikulišu i prošire u pravcu ove teze i na jedan sasvim specifičan način danas ponovo pokušaju da aktualizuju pitanje ornamenta i ornamentalnog.
Umetnički radovi Bore Iljovskog, Slobodana Trajkovića, Dejana Kaluđerovića i Milice Rakić na različite načine eksploatišu ove idejne platforme, a pitanje ornamentalnog definišu izvan samo klasičnog pitanja stila ili formalne taksonomije. Od klasične ili digitalne slike, preko predmetne do ambijentalne instalacije, u svakoj od ovih poetika integrisano je posebno viđenje ornamentalnog i stila, kao jednovremeno promenljivih, prožimajućih i dopunjujućih plastičkih, ali i idejnih kategorija koje će tek stvoriti planove za kohabitaciju suprotstavljenih vizija sveta. Pored uporedne analize radova koji govore o promenljivom statusu ornamentalnog u poetici svakog od ovih umetnika, kratkim osvrtom ova studija referiše na istorijske interpretacije fenomena koji će definisati i neke ključne estetske i filozofske stavove u umetnosti XX i XXI veka.
Key words (original language):
ornament, stil, filozofska paradigma ornamentalnog, postmodernistička umetnost, Žak Ransijer (Jacques Rancière)
Summary:
By coining syntagm “the distribution of the sensible”, the French philosopher Jacques Rancière refers, from a philosopher's point of view, to the life of the early 20th -century art avant-garde – the distribution of the sensible between politics and art, the omnipresent decorative character of the planarity of depicted signs and its ornamentality, the unstable interweaving of the power of speech and the images, the distribution of the sensible between the fine and decorative arts, etc. However, as a contemporary, he advocates for the recognition of those forms of sensibility in the works of contemporary artists which most convincingly create a redistribution of the sensible as an “equivalent principle of art's 'plastic' revolution and the shared political experience within the community” – reflecting some of the most convincing positions of the modern world and the most mature solutions in the opuses of contemporary art.
The works of Serbian artists – Bora Iljovski, Slobodan Trajković, Dejan Kaluđerović and Milica Rakić – integrate a specific vision of the ornamental and the style, as simultaneously variable, cross-cutting and complementary plastic and ideological categories, but also something that Rancière would designate as the creation and exchange of new "aesthetic acts". This might be the practices that indicate the revival of the spaces in which poetic and political experiences of (common) life gradually intertwine and the formal boundaries of traditional aesthetics are being shifted.
SLOVENA MITROVSKI
O FRAKTALNOJ GEOMETRIJI IZ PRIRODE NA PRIMERU PRIMENE ELEMENATA STAKLENOG KVAZIBRIKA NA FASADI GRAĐEVINE „HARPA“ U REJKJAVIKU
THE FRACTAL GEOMETRY OF NATURE: The Application of Glass Quasi-Bricks in the Façade of the Harp Centre in Reykjavik
Abstract (original language):
Fasada građevinskog kompleksa „Harpa“ (Harpa), odnosno Islandskog nacionalnog koncertnog i konferencijskog centra u Rejkjaviku, koji je građen od 2005. do 2008, a otvoren 2011. godine, projektovana je u duhu inovacija karakterističnih za prvu deceniju XXI veka. NJen tvorac je renomirani dansko-islandski umetnik Olafur Elijason (Olafur Eliasson), koji je, uz saglasnost autora čitavog kompleksa, arhitekte Heninga Larsena (Henning Larsen), zajedno sa timom stručnjaka u svom berlinskom ateljeu, osmislio dizajn i arhitektonsku formu spoljnih površina. Kompleksno zamišljen multidisciplinarni projekat podrazumevao je rad stručnjaka iz oblasti kulture, umetnosti, nauke i tehnike.
Ovaj rad se, pre svega, bavi konstrukcijom južne čeone fasade. Posebno se ističe specifičan istraživački rad na trodimenzionalnim staklenim kvazibrik (Quazibrick) elementima, koji su rezultat petnaestogodišnjeg ispitivanja u eksperimentalnoj laboratoriji Elijasonovog berlinskog ateljea. Vodeći saradnik u tom istraživanju bio je arhitekta Ejnar Torstejn (Einar Thorsteinn), koji je definisao stakleni kvazibrik, bazirajući ga na sopstvenoj formuli I5SSDO. Svojom čistom formom i funkcionalnošću, kvazibrik je rezultat revitalizacije i obogaćivanja novim idejama staklenih geometrijskih elemenata, poznatih pod imenom „kristaline“ (Kristalline), primenjivanih u arhitekturi klasične moderne.
Pažljiva analiza ove fasade ukazuje na primenu fraktalne geometrije iz prirode, na čije je postojanje prvi ukazao Benoa B. Mandelbro (Benoit B. Mandelbrot) 1975. godine. Daljom analizom uočava se da sveobuhvatne vidljive strukture matematički složenih prirodnih elemenata na fasadi „Harpe“, omogućavaju različite vizure u zavisnosti od mesta sa kojeg se ona posmatra. U toj vizuelnoj transformaciji nalazi se i osnovna harmonija njene estetike, koja u sebe uključuje, između ostalog, klimu, svetlost, prirodno okruženje, predznanje posmatrača, dimenziju kolektivnog pamćenja itd.
Key words (original language):
Olafur Elijason (Olafur Eliasson), fraktalna geometrija, koncertni i konferencijski centar „Harpa“ (Harpa), kvazibrik (quasi-brick).
Summary:
The paper seeks to present the complexity of the structure and the specific perception of the south façade of the Harp concert and conference Centre in Reykjavik, while highlighting the use of the fractal geometry of nature. The Harp architectural complex, designed by the architect Henning Larsen, is a segment of the extensive spatial plan for the eastern port of Reykjavik. The remarkable façade of this building is a work of the renowned Danish and Icelandic artist Olafur Eliasson. It was designed in 2011 in a multidisciplinary project that involved collaborators from various areas.
In the construction of the south façade, glass quasibrick modules were used; they were created in the experimental laboratory of the Studio Olafur Eliasson as a result of the long-term exploration of geometric shapes. The leading contributor in this study was the architect Einar Thorsteinn, who defined the quasi-brick based on his I5SSDO formula. The invention of the quasi-brick form and its binding potential rely on natural quasi-crystals. The regularly irregular shapes of the quasi-brick correspond to the forms of the fractal geometry of nature and their innovative genesis is an enrichment to "crystalline" glass elements that are already known in art history and architecture.
In his work, Eliasson highlights the importance of the synthesis and dialogue between the ethics and aesthetics of nature – culture, ecology and responsibility to people in a global world. His art addresses both individual beholders and the general public, acting as a supplication. Among other things, it suggests to beholders, who are reflected in and united with the image of the natural environment reflected in the south façade of the Harp, that it is necessary to use natural resources of our planet, time and new technologies in a rational manner.
IVANA BAKAL
TRANSFER ZNANJA U RADIONICAMA PRIMIJENJENE KOSTIMOGRAFIJE NA VELIKIM OPERNIM PROJEKTIMA ZAGREBAČKOG SVEUČILIŠTA: kazališni projekt Orfej i Euridika (Zagreb)
KNOWLEDGE TRANSFER IN THE APPLIED COSTUME DESIGN WORKSHOPS IN LARGE OPERA PROJECTS AT THE UNIVERSITY OF ZAGREB: Theatre Project Orpheus and Eurydice (Zagreb)
Abstract (original language):
U radu se kontekstualiziraju povijest, afirmacija i profesionalizacija kostimografske struke gledano kroz prizmu praktičnog rada studenata i transfera znanja između mentora i studenta i obrnuto na velikom kazališnom projektu Orfej i Euridika. Projekat je rezultat suradnje fakulteta u sklopu Sveučilišta u Zagrebu (Muzičke akademije, Akademije dramske umjetnosti, Akademije likovnih umjetnosti i Tekstilnotehnološkog fakulteta). U sklopu projekta studenti kostimografije Tekstilno-tehnološkog fakulteta stekli su praktično iskustvo neophodno za rad u profesionalnom kazalištu. Slobodnim mentorskim pristupom u vidu obostranog transfera znanja – mentora koji studentima prenosi svoje znanje stečeno u obrazovnom sustavu i kroz cjeloživotni praktičan rad, i studenata koji svojom svježinom i mladenačkom inovativnošću prenose svoj entuzijazam na mentora – stvorena je kostimografija jedinstvenog rukopisa čiji su autori studenti. Diplomski studij kostimografije na Tekstilnotehnološkom fakultetu time je opravdao svoje postojanje upravo u sklopu navedene matične institucije, na kojoj je studentima omogućeno teorijsko i praktično obrazovanje u sklopu likovno-tekstilno-tehnoloških radionica izrade kostima na fakultetu i u sklopu međufakultetske suradnje na realizaciji predstave. Uspješnost ovakvoga tipa rada ogleda se i 1 u činjenici da je projekt dobio dvije Rektorove nagrade i da je uvršten na Praški kvadrijenale (PQ 2015), u sklopu studentske nacionalne sekcije Hrvatske. Autorica teksta je u projektu sudjelovala kao mentor studenata kostimografije. Ovaj rad posvećen je istraživanju obrazovnog sustava kostimografije na hrvatskim visokoobrazovnim umjetničkim institucijama kroz povijest, te rezultatima praktičnog rada na studentskim projektima danas.
Key words (original language):
kazališni projekt, kostimografija, mentorski pristup, praktični rad na predstavi, transfer znanja.
Summary:
The paper contextualizes history, the affirmation and the professionalization of the vocation of a costume designer through the prism of student practical work and knowledge transfer while working on a large theatre project Orpheus and Eurydice, carried out jointly by four faculties within the University of Zagreb. It offers an analysis of the mentor–student knowledge transfer and vice versa, as well as a comprehensive overview of student work, largely inspired by the Bauhaus school of art. The paper demonstrates the successful outcome of the collaboration between the mentor and the students reflected in a unique imprint on the whole body of costumes, which looked as if they had been created by a single designer. This is an example of original visual qualities and the excellent workmanship demonstrated by the students in creating costumes adjusted to the requirements of the performance and made in the tailoring, painting and sculpturing workshops (established specially for this purpose) within the Faculty of Textile Technology. A liberal approach on the part of the mentor in the form of mutual knowledge transfer – in which a mentor transfers to the students the knowledge gained through the education system, as well as through life-long practical work, while students, with their fresh approach and youthful innovation, transfer their enthusiasm to the teacher/mentor – led to the creation of costumes whose authors were the costume students, while the teacher/mentor expanded her knowledge and her creative limits through collaboration with students while creating the visual imprint of the opera production. The project received two Rector's Awards and was selected for the Prague Quadrennial (PQ 2015) as part of the Croatian national student selection. The Graduate Programme in Costume Design at the Faculty of Textile Technology has justified its existence under the auspices of this institution, where students are offered an opportunity to get both theoretical and practical training at art, textile and technology workshops dedicated to costume making and organized by the Faculty of Textile Technology within the inter-faculty collaboration at the University of Zagreb aimed at creating a stage production.
MILA GAJIĆ, DRAGINJA MASKARELI, JELENA PERAĆ, BOJANA POPOVIĆ
AKVIZICIJE MPU
ACQUISITIONS MAA