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Museum Experience: Constructing the Imaginary. (CROSBI ID 596494)

Prilog sa skupa u zborniku | sažetak izlaganja sa skupa | međunarodna recenzija

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: University of Kent - Keyness College, 2012. str. 93-93

Podaci o odgovornosti

Kršinić-Lozica, Ana

engleski

Museum Experience: Constructing the Imaginary.

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.

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

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.

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Podaci o prilogu

93-93.

2012.

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objavljeno

Podaci o matičnoj publikaciji

"Material Meanings" - Third Biannual Conference of the European Network for Avant-Garde and Modernism Studies

Ayers, David

Canterbury: University of Kent - Keyness College

Podaci o skupu

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

predavanje

07.09.2012-09.09.2012

Canterbury, Ujedinjeno Kraljevstvo

Povezanost rada

Arhitektura i urbanizam, Povijest umjetnosti, Znanost o umjetnosti

Poveznice