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1

AFRICAN ART: THE JOURNEY FROM ETHNOLOGICAL COLLECTION TO THE MUSEUM OF ART

100%
Pawłowska A.
Muzeológia a kultúrne dedičstvo
|
2020
|
vol. 8
|
issue 4
161 – 176
EN
This article aims to show the transformation in the way African art is displayed in museums which has taken place over the last few decades. Over the last 70 years, from the second half of the twentieth century, the field of African Art studies, as well as the forms taken by art exhibitions, have changed considerably. Since W. Rubin’s controversial exhibition Primitivism in 20th Century Art at MoMA (1984), art originating from Africa has begun to be more widely presented in museums with a strictly artistic profile, in contrast to the previous exhibitions which were mostly located in ethnographical museums. This could be the result of the changes that have occurred in the perception of the role of museums in the vein of new museology and the concept of a “curatorial turn” within museology. But on the other hand, it seems that the recognition of the artistic values of old and contemporary art from the African continent allows art dealers to make large profits from selling such works. This article also considers the evolution of the idea of African art as a commodity and the modern form of presentations of African art objects. The current breakthrough exhibition at the Bode Museum in Berlin is thoroughly analysed. This exhibition, entitled Beyond compare, presents unexpected juxtapositions of old works of European art and African objects of worship. Thus, the major purpose of this article is to present various benefits of shifting meaning from “African artefacts” to “African objects of art,” and therefore to relocate them from ethnographic museums to art museums and galleries.
2

MUSEUM META-NARRATIVES AND MICRO-STORIES OF THE GREAT RUSSIAN REVOLUTION (TO THE 100TH ANNIVERSARY OF THE REVOLUTION)

100%
Chuvilova I.
Muzeológia a kultúrne dedičstvo
|
2018
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vol. 6
|
issue 1
77 – 81
EN
The article is devoted to an overview and analysis of Museum projects dedicated to the 100th anniversary of the Great Russian revolution. Preparing for the anniversary initiated a return to the difficult topic, the desire to relate modern historical knowledge of the Museum and of a concept of Russian history on the whole space of the country. The author selects two main groups of Museum projects with meta-and microhistory, which are disclosed through the regional aspects of the event, the individual aspects, the monologue of a single event or a single artefact, cultural theoretical reflection, personal understanding of our contemporaries.
3

VÝSTAVNÉ SEZÓNY 2014 – 2015 V SLOVENSKÝCH MÚZEÁCH A GALÉRIÁCH

100%
Maráky P.
Muzeológia a kultúrne dedičstvo
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2015
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vol. 3
|
issue 2
97 – 105
EN
This paper surveys the most prominent examples of short-term exhibitions in Slovak museums and galleries in the years 2014 and 2015, highlighting current trends in exhibition design. Despite the great number of such exhibitions which take place every year in Slovakia, their logistical aspects often leave a lot to be desired (for example, hard copy catalogues with full lists of exhibited objects, when printed at all, are usually lacking) and only small fraction is reprised. The public‘s engagement with such exhibitions in form of professional reviews as well as their social and economic effectiveness are virtually non-existent and thus a great desideratum.
4

STRATÉGIE VEĽKÝCH VÝSTAV A ICH PODIEL NA FORMOVANÍ UMENIA „SORELY“

100%
Kusá A.
ARS
|
2007
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vol. 40
|
issue 1
67-86
EN
The article is dedicated to the problematics of the visual art of the early Socialist Realism in Slovakia, also called 'Sorela', during the fifties of the 20th century, when after the communist takeover in February 1948, Czechoslovak cultural policy started to be formed by the so-called Stalin-Zhdanov doctrine. The author at first determines the cultural-political situation of the period, and then studies formulation and 'translation' of the art program into the definitions and instructions - specific official frameworks, visible in strategies of the major exhibitions. The conclusion tries to answer the most frequent question concerning 'Sorela': How far was it Soviet implantation imported in together with liberation and to what degree was it a consequence of post-war culture? The most intensely implanted was the requirement of the pro-Soviet i.e. Stalinist course of the Socialist Realism, application of the doctrine was influenced by the local factors. It can be literally said that there was such a thing as s Slovak variant. Slovak 'Sorela' existed in permanent triumvirate where following elements competed: previous development of the national visual art, individual understanding of 'Sorela' and the Soviet model. It is important to stress here that the Socialist Realism of the Stalinist type presented a completely different problem in former Czechoslovakia than in Soviet Union. There were different motives for its formation, different conditions and it was created in a completely different time. On this very basis, Slovak 'Sorela' can be understood as something independent even though influenced by foreign ideology.
5

STAVEBNÁ ČINNOSŤ A BÝVANIE V PREŠPORKU OD POLOVICE 19. STOROČIA DO ROKU 1919

75%
Vargová L.
Muzeológia a kultúrne dedičstvo
|
2015
|
vol. 3
|
issue 2
83 – 96
EN
This paper is divided into two parts the first of which examines the urban space in Bratislava (Prešporok) during the last decades of the existence of Austro-Hungarian monarchy, primarily through basic information about the city’s administrative division, its inhabitants and its infrastructure. We also focus on housing developments and construction, prevailing architectural styles and examples of new buildings using photographic documentation. In the second part of the paper, we survey and review both permanent and temporary museum exhibitions in Bratislava’s cultural institutions that concentrate on the daily life in Bratislava in the 19th and early 20th century.
6

RIGA PORCELAIN MUSEUM (Rigas Porcelana muzejs)

75%
Zibina Z.
Makslas Vesture un Teorija
|
2009
|
vol. 12
52-57
EN
The article presents Riga Porcelain Museum founded in 2001. It took over the collection of the former Riga Porcelain Factory that had been gathered since the 1960s. Highlights of the exposition from the early 20th century up to the present are described along with the major artists' contributions to the porcelain design over the century. The article concludes with the present-day exhibition practice of the Museum.
7

THE ODYSSEY OF JAKOB BELSEN 1879-1937 (Jekaba Belzena odiseja 1879-1937)

63%
Abele K.
Makslas Vesture un Teorija
|
2007
|
vol. 9
5-28
EN
Jakob Belsen's art in the country of his forefathers remained associated almost exclusively with the ten oil paintings and water-colours shown in the Latvian Art Exhibition of 1910. Now the number of his paintings at the Latvian National Museum of Art (LNMA) in Riga can be counted on one hand. With four works of undisputed authorship and one of doubtful attribution, this is the largest public collection of Belsen's paintings in the world. Although three of these paintings are familiar to the public from Latvian art albums, exhibitions and catalogues, knowledge of the artist's life has been very poor even among experts, partly because of distances separating Riga from his basic places of residence - St. Petersburg, Berlin and New York. An avalanche of recent discoveries sheds new light on previously obscure periods and episodes in Belsen's life and career. Several of his paintings from the 1920s have newly appeared in Latvian private collections. Numerous supplements to his non-Latvian historiography have been found in publications of both his and our contemporaries. The St. Petersburg Regional Section of the Public Russian German Academy of Sciences held a memorial Belsen exhibition in 2001 and supplied the LNMA with a CD of its materials documenting the artist's productive work as illustrator and cartoonist as well as containing reproductions of private photographs. Some of these images have been used in this article by courtesy of Antonie Tosca Grill in Baden-Baden, whose father was a nephew of Jakob Belsen's first wife. My inquiries into the provenance of this picture archive resulted in a correspondence with Wenedikt Bohm (St. Petersburg) to whom I owe a debt of gratitude for copies of extremely important sources of biographical evidence.
8

The World of Erich von Campenhausen: A Creative Spirit to Mark the Opening of a New Artistic Era in Riga… and Beyond (Art Historical Lacunae: A Case Study). Part II

63%
Howard J.
Makslas Vesture un Teorija
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2018
|
vol. 21
49-71
EN
The article continues to explore the diverse activities of the Baltic German artist Erich von Campenhausen (1872–1926), analysing his known works in the art-historical context. The second part of the article focuses on the artist's contribution to painting and graphic arts. His paintings are a peculiar synthesis of Impressionist and Expressionist approach as well as Japonism. Campehausen designed numerous covers for popular Latvian magazines and supplied illustrations; he also illustrated children's poetry and took part in the organisation of Riga's art life and exhibitions. An insight is given into his biography as well as the reception of his legacy which has been marginalised by both nationally oriented and Soviet art historians.
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