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Pregled bibliografske jedinice broj: 628105

Museum Experience: Constructing the Imaginary.


Kršinić-Lozica, Ana
Museum Experience: Constructing the Imaginary. // "Material Meanings" - Third Biannual Conference of the European Network for Avant-Garde and Modernism Studies / Ayers, David (ur.).
Canterbury (Kent), England: University of Kent - Keyness College, 2012. str. 93-93 (predavanje, međunarodna recenzija, sažetak, znanstveni)


Naslov
Museum Experience: Constructing the Imaginary.

Autori
Kršinić-Lozica, Ana

Vrsta, podvrsta i kategorija rada
Sažeci sa skupova, sažetak, znanstveni

Izvornik
"Material Meanings" - Third Biannual Conference of the European Network for Avant-Garde and Modernism Studies / Ayers, David - Canterbury (Kent), England : University of Kent - Keyness College, 2012, 93-93

Skup
Third Biannual Conference of the European Network for Avant-Garde and Modernism Studies - EAM

Mjesto i datum
Canterbury (Kent), Engleska, 7-9. 09. 2012

Vrsta sudjelovanja
Predavanje

Vrsta recenzije
Međunarodna recenzija

Ključne riječi
Remembrance; memorialisation; museum display; ready-made; assemblage; avant-garde; hybrid; performance

Sažetak
Jasenovac Memorial Site (Croatia), founded in 1968, marks the place where concentration camp was situated during the World War 2. Since the remains of the camp were completely destroyed in the war, Jasenovac Memorial Site is in a specific situation regarding the other memory sites of a similar type, insofar as the material remains of the events that are being commemorated are reduced on minimum. Therefore the memorial site is designed as an environment that symbolizes the traumatic experience, consisting of land-art, monuments and architectural buildings. One of the monuments (Flower by Bogdan Bogdanović, 1966) operates as a sculpture and as an architectural space at the same time, while land art work and architectural buildings take certain concepts from the performing arts. Moreover, exhibit layout of memorial museum Jasenovac (2006) replaces representation with performance while creating an atmosphere of the imaginary camp by using stage- setting approach. Design of exhibition layout along with exhibits operates as heterogeneous, fragmentary and open work, which consists of objects that are made in various media and produced in different time periods. The objects found at the site, works of art made by prisoners, the contemporary films, photographs and posters, later filmed documentary films about the camp, photographs of victims taken from pre-war family photo albums, videos of today's testimony of survivors are used as ready-made objects. Isolated from their original context by method of appropriation, these objects are juxtaposed within the museum space. Exhibit layout as assemblage mounts different recontextualized objects, and by doing so creates semantic discontinuity. These procedures belong to the area of constructing the imaginary and, as such, they are close to the artistic modes of activating trauma. This paper will analyse how introduction of procedures that are legacy of the avant-garde art into the museum experience influences on the relationship between fact and imaginary, historiography and fiction, visual and textual.

Izvorni jezik
Engleski

Znanstvena područja
Arhitektura i urbanizam, Povijest umjetnosti, Znanost o umjetnosti

Napomena
Partneri Skupa: The Centre for European Modern Literature, The Faculty of Humanities, The School of English (Departmens at the University of Kent) ; Polish Cultural Institute, London ; Romanian Cultural Institute, London.



POVEZANOST RADA


Projekt / tema
101-0000000-3046 - Modernizam i prostorni identitet Hrvatske u dvadesetom stoljeću (Boris Magaš, )

Ustanove
Hrvatska akademija znanosti i umjetnosti

Autor s matičnim brojem:
Ana Kršinić-Lozica, (319223)