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1

Writing about and exhibiting Central European modernism in North America then and now

100%

Benson T. O.

Umění (Art)

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2021

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vol. 69

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issue 2

203-208

EN

Much has changed in North America affecting the practicality of writing about and exhibiting Central European Modernism. While the perspective of centres and peripheries can still be considered as a backdrop to understanding evolving practices of transnationalism and cultural exchange, new possibilities are suggested in the current discourse. Evolved in part through nomadic Modernism— Matthew Rampley’s ‘networks of mobility of art and artists’ — the ‘Modernist Other’ of the formation ‘Eastern Europe’ was ‘being transformed into the postmodernist Other (of undulating expanse) in the 1920s (Andrzej Turowski). Chance and fragmentation in photomontage further disrupted the chain of determinism, contributing to a self-reflective discourse about time and space seen in dada, as well as in the Devětsil photocollages of Jindřich Štyrský and Karel Teige—all suggesting that we consider a more episodic historiography. In the global present, episodes of encounter involving non-European self-identifying modernist movements have prompted many useful metaphors that expose entanglements in colonial and post-colonial asymmetrical circumstances including ‘transmodernism’ (Christian Kravagna), microhistories, ‘cultural mediation’ (Piotr Piotrowski), ‘contextual modernism’ (R. Siva Kumar), microsociology (Thomas Hauschild), micro-stories, and what David Joselit calls a ‘reanimation’ of heritage, a concept similar to Rampley’s ‘critical heritage discourse’. Moreover, the much needed ‘critical museum’ hoped for by Katarzyna Murawska- Muthesius and Piotrowski appears to be in full swing across the U.S. and Canada, prompting a further shift in priorities from post-colonial to decolonization, audiences to communities, collecting to repatriation, and global to local. Curators and scholars may become entrepreneurial facilitators drawing together diverse objects and ideas in unexpected juxtapositions, not unlike Joselit’s notion of a ‘curatorial episteme’. Central European Modernism is rich in vanguard strategies that could invigorate contemporary discourses in smaller, more focused, more affordable, and ecologically sustainable exhibitions and publications.

CS

V Severní Americe došlo k mnoha změnám týkajícím se psaní o středoevropském modernismu a jeho vystavování. Ačkoliv perspektiva center a periferií stále může být pokládána za východisko pro pochopení vývoje transnacionalismu a kulturní výměny, v současném diskurzu se otevírají nové možnosti. Útvar „východní Evropa“ pojatý jako „moderní Druhý“, zčásti vzniklý díky nomádského modernismu — viz „sítě mobility umění a umělců“ Matthewa Rampleyho, se ve dvacátých letech 20. století „proměňoval v postmoderní Druhý (v neurčitém prostoru)“ (Andrzej Turowski). Náhoda a fragmentace ve fotomontáži dále narušovaly linii determinismu a přispívaly k sebereflektující úvaze o času a prostoru, jež se objevuje v dadaismu i v kolážích Jindřicha Štyrského a Karla Teigeho z období Devětsilu. Vše tedy naznačuje, že bychom měli uvažovat spíše o historiografii epizodních jevů. Epizody setkání s mimoevropskými, sebeidentifikujícími modernistickými hnutími inspirovaly v globální současnosti mnoho přínosných přirovnání, která poukazují na vazby mezi asymetrickými koloniálními a postkoloniálními podmínkami, včetně „transmodernismu“ (Christian Kravagna), mikrohistorie, „kulturní mediace“ (Piotr Piotrowski), „kontextuálního modernismu“ (R. Siva Kumar), mikrosociologie (Thomas Hauschild), mikropříběhů a myšlenky „reanimace“ kulturního dědictví Davida Joselita podobné Rampleyho „kritickému diskurzu kulturního dědictví“. Navíc ve Spojených státech a Kanadě se již naplno prosazuje velmi potřebný koncept „kritického muzea“, v nějž doufali Katarzyna Murawska-Muthesius a Piotr Piotrowski, a podněcuje další posuny priorit od postkolonialismu k dekolonizaci, od publika ke komunitám, od sbírání k repatriaci a od globálního k lokálnímu. Kurátoři a badatelé se mohou stát iniciativními zprostředkovateli, kteří vytvářejí nečekaná spojení různých objektů a myšlenek, podobně jako v Joselitově představě „kurátorské epistémé“. Bohatství avantgardních strategií středoevropského modernismu by pak současný diskurz mohlo oživit v menších, úzce zaměřených, dostupnějších a ekologicky udržitelných výstavách a publikacích.

2

DZIAŁALNOŚĆ GALERII POLSKIEGO OŚRODKA SPOŁECZNOKKULTURALNEGO W LONDYNIE

88%

Ciechanowska J.

Zeszyty Naukowe PUNO

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2017

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issue 5

307-312

EN

POSK Gallery is situated in The Polish Social and Cultural Centre in West London. e gallery showcases primarily Polish modern and contemporary art focusing on both, globally established artists and the young up-and-coming talent. It also shows artists from continental Europe and beyond. Exhibitions frequently feature paintings, graphics, photography, sculpture and art installations.

3

Gdansk Library of the Polish Academy of Sciences

88%

Pętlicka W., Tylewska-Ostrowska Z., Walczak A.

Nauka

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2020

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issue 2

EN

The present Gdansk Library of the Polish Academy of Sciences is the second oldest, unbrokenly operating, publicly available library in today’s Poland. Even on the European scale there are only a few libraries that are of similar age or older. There are many works on the history of the Gdansk Library and its growing collection of books through the centuries. Apart from a brief look at history, this particular article focuses, however, on one other aspect – loans of special collections for exhibitions organized outside the Library by external institutions – the so-called “loan service”. Such modern transformation of an old institution indicates the power of the library and its custodians not only to engage in cultural preservation, but also fostering culture. We should see the special collections loan service in the same light – as reaching out to the public instead of waiting for the public to reach the library. This fact alone indicates a growing shift in the understanding of the library as a service provider. For the purposes of this article, the Gdansk Library has subjectively selected five of the most important and interesting examples of external exhibitions that have used its “special collections loan service” between 2011 and 2020.

4

Timespace for Emotions: Anachronism in Flaubert, Bal/Williams Gamaker, Munch and Knausgård

88%

Hernández Navarro M. Á.

Text Matters: A Journal of Literature, Theory and Culture

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2017

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issue 7

98-113

EN

Quoting Flaubert through time, Mieke Bal and Michelle Williams Gamaker’s Madame B brings Madame Bovary’s reflections on love and emotions to the present day, in a productive anachronism. Their work produces an intertemporal space where the past is relevant for the present, and the present enables us to understand the past. Intimacy and routine are central in their exploration of Flaubert’s contemporaneity. Those issues are precisely one of the keys in Karl Ove Knausgård’s project of literary autobiography, where he expands narration foreclosing the ellipsis and giving visibility to small things and emotions; a project with some resonances with Munch’s crude-obscene uses of intimacy. This essay explores how both proposals, Bal and Williams Gamaker in film, and Knausgård in literature, can serve us to connect present and past sensibilities and, more than that, demonstrate resistances to the hegemonic discourses of temporality.

5

Timespace for Emotions: Anachronism in Flaubert, Bal/Williams Gamaker, Munch and Knausgård

88%

Hernández Navarro M. Á.

Text Matters: A Journal of Literature, Theory and Culture

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2017

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issue 7

98-113

EN

Quoting Flaubert through time, Mieke Bal and Michelle Williams Gamaker’s Madame B brings Madame Bovary’s reflections on love and emotions to the present day, in a productive anachronism. Their work produces an intertemporal space where the past is relevant for the present, and the present enables us to understand the past. Intimacy and routine are central in their exploration of Flaubert’s contemporaneity. Those issues are precisely one of the keys in Karl Ove Knausgård’s project of literary autobiography, where he expands narration foreclosing the ellipsis and giving visibility to small things and emotions; a project with some resonances with Munch’s crude-obscene uses of intimacy. This essay explores how both proposals, Bal and Williams Gamaker in film, and Knausgård in literature, can serve us to connect present and past sensibilities and, more than that, demonstrate resistances to the hegemonic discourses of temporality.

6

Dějiny s třpytem, či bez něho? : glosa na okraj příští diskuse

75%

Šmahel F.

Dějiny - Teorie - Kritika (History - Theory - Criticism)

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2010

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vol. 7

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issue 2

256-260

EN

The development of art studies research, superb books presenting the artistic heritage and in particular huge exhibitions with many visitors are beginning to find an unintended response in broad historical public awareness. This particularly involves artistic artefacts from the Luxembourg era which as pars pro toto have taken on the role of history-making agent. For the basic line to stand out properly it needed a contrast, i.e. Hussitism as a new Dark Ages, when instead of the likes of Hus and Chelčický iconoclasts and destroyers of sacred buildings came to the fore. What was at best only indirectly indicated in specialist works became fodder for cheap journalism.

CS

Rozvoj výzkumu dějin výtvarného umění, nádherné knihy představující umělecké dědictví a především hojně navštěvované rozsáhlé výstavy začínají nacházet nezamýšlenou odezvu v širším historickém povědomí veřejnosti. To se zvlášť týká uměleckých artefaktů z éry Lucemburků, kteří se stali prototypem dějinotvorných činitelů. Aby tato základní myšlenka vynikla, je zapotřebí kontrastu - tedy husitství jako nové doby temna, z níž byli spíše než Hus či Chelčický vyzdviženi obrazoborci a bořitelé sakrálních staveb. To co bylo v pracích odborníků nanejvýš nepřímo naznačeno, stalo se živnou látkou pokleslé publicistiky.

7

Čtyřicet let Národopisného muzea Slánska v Třebízi

75%

Jiřikovská V.

Národopisný věstník

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2016

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vol. 33_(75)

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issue 2

94-102

EN

The Ethnographic Museum of the Slaný Area in Třebíz was opened to the public in 1975. The museum includes farmsteads and buildings around a village green, which have been preserved and repaired in their original place. In 1995, the village centre was announced a village conservation area. In the course of museum´s development, a lot of important experts cooperated with the museum, whose focus was on the research into and documentation of regional settlements and buildings. The resulting studies, books and short articles give information about typical mostly two-storeyed village buildings built of stones, building elements proving the age of the buildings, surviving documents of half-timbered structure, and about courtyard balconies, gates and other parts of rural buildings. The documentation of village settlements, which was organized by the National Heritage Institute, brought about many valuable documents as well. The results of this documentation were presented at several exhibitions. The Ethnographic Museum of the Slaný Area in Třebíz enjoys the visitors´ interest, however, it does not collect new knowledge about folk culture; that means about village buildings. Monitoring of the development and currentconditions of settlements could undoubtedly bring about interesting and valuable results.

8

FROM TEXTILE TO PLASTIC: ARCHITECTURE, EXHIBITION DESIGN, AND ABSTRACTION (1930–1955)

75%

Ottenhausen C.

Artium Quaestiones

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2021

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issue 32

89-112

EN

This article investigates the growing proliferation of curtains and wall hangings as key elements in the design of art exhibitions in the years 1930–1955. To demonstrate how textiles were successfully employed as mediators on the threshold between architecture, design objects, and fine arts, I first examine the increasing use of curtains in the interwar period, Fascist Italy, and Nazi Germany to subsequently explore how the role of fabrics in both countries’ rationalist and neoclassicist architecture also played a significant part in exhibition design after the Second World War. I chart how the interest in textiles culminated in 1955, when glossy plastic curtains were integrated into the exhibition architecture at the first documenta in Kassel, Germany, one of the country’s most prestigious recurring art events to this day. During these politically turbulent decades, the exchange between exhibition designers in both countries was bound together by a profound reassessment of the relation between architecture, design, and art. The renewed consciousness of design as an integrated practice played a key role in 1930s architecture, also providing the foundation for the Bauhaus curriculum and the work of artists, designers, and architects (e.g., Wassily Kandinsky, Giuseppe Pagano, Le Corbusier, Carlo Scarpa, Willi Baumeister, Arnold Bode). I demonstrate that during this period textiles were essential for creating continuity between exhibitions and exhibits of vastly differing styles and contexts. The wall hangings, veils, and banners that were used as part of the monumental spaces created for the Fascist regimes in Italy and Germany were ultimately appropriated and turned into means to undermine the neoclassicist and rationalist style in a way that echoed, I argue, society’s neobaroque sensibility in the aftermath of World War II. Though the Federal Republic of Germany’s first two decades were characterized by the general will to educate its citizens in the aesthetics of internationalism, this effort and the concomitant return to the interwar period were accompanied by a strong resurgence in religiosity and desire for emotionally compelling experiences, which signify a partial disavowal of modernism’s most radical stipulations.

9

Działalność Biblioteki Jagiellońskiej w 2011 roku. Sprawozdanie

75%

Cieślar A.

Biuletyn Biblioteki Jagiellońskiej

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2012

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vol. 62

249–297

10

Jedinečnost Abúsíru v kontextu Egypta: českoslovenští egyptologové a egyptské památky

63%

Navratilova H., Podhorný R.

Pražské egyptologické studie (Prague Egyptological Studies)

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2020

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issue 24

96-114

EN

In 2020, the Czechoslovak and Czech excavations at Abusir celebrate their 60th anniversary. A presentation of Egyptological activities in temporary exhibitions and museum displays has become an essential follow-up of archaeological work. However, artefacts located in former Czechoslovakia and present Czech Republic have travelled from Egypt in several groups, being only in part directly connected to the excavation work. Nonetheless, all the artefacts have become a part of the public presentation of Egyptology and have a role in a more generalised interest in Egypt. The complex history of travelling artefacts is almost always intertwined with cultural, political, and social histories, and the Egyptian artefacts in Central Europe are no exception. Although the history of Egyptology is not limited and should not be reduced to its political aspect, artefacts have often played the role of being accessories to diplomacy, alongside their cultural message, aesthetic impact and prestige connected to their ownership. This paper outlines the complex corpus of Egyptian artefacts in the historical Czech lands, the history of exhibitions, and the role of excavations at Abusir in the long history of presenting Egypt to Czech audiences.

CS

V roce 2020 si česká i mezinárodní egyptologická veřejnost připomíná 60. výročí zahájení výkopových prací Českého (tehdy Československého) egyptologického ústavu Filozofické fakulty Univerzity Karlovy na lokalitě Abúsír. Nedílnou součástí práce několika generací českých egyptologů není jen výzkum lokality jako takové a vyhodnocení získaných poznatků, ale také prezentace a popularizace výzkumu v Abúsíru jakožto zásadního příspěvku pro studium starého Egypta širší veřejnosti jak doma, tak i ve světě v rámci vědecké spolupráce. Součástí této prezentace jsou výstavy staroegyptských památek, jimž je věnován tento příspěvek. Seznamování člověka s minulostí prostřednictvím artefaktů je dlouhodobě významným historickým fenoménem, a to nejen pro svůj studijní nebo estetický potenciál. Možnost setkat se s autentickými historickými předměty je výjimečná a nelze ji ničím nahradit, ačkoli výstavní metody a nové technologie ji dokážou například vhodným vizuálním doprovodem obohatit a ovlivnit tak prožitek návštěvníků. Pokud jde o cestující památky, které našly svůj domov v českých zemích, všechny jsou spojeny s kulturními, hospodářskými i politickými dějinami Egypta a Evropy. Existují dvě velké skupiny egyptských artefaktů: ty, které předcházejí, a ty, které následují český/československý vstup mezi archeologické expedice působící v Egyptě. V jejich rámci se setkáváme se sbírkami kosmopolitních mecenášů i se sbírkami, které se dostaly na české území jako výsledek jednání kulturní diplomacie. S ní souvisí i dohody o archeologické činnosti na území Egypta, v nichž hraje Abúsír nezastupitelnou roli. Celé spektrum je zde představeno v kontextu sběratelství, kulturní politiky i okouzlení Egyptem.

11

African contemporary art and the curatorial turn

63%

Pawłowska A.

Art Inquiry. Recherches sur les arts

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2015

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vol. XVII (XXVI)

219-237

EN

During the fifty year period of the second half of the 20th century the field of African Art History, as well as the forms of art studies and art exhibitions have changed considerably. This article considers the evolution of the idea of African identity in contemporary arts. I would like to examine the different forms of art representation and interviewing of African fine arts in the last three decades. In order to illustrate the dynamic changes in the European approach to African Art, it is simply enough to recall the famous remarks of Carl Einstein and Roy Sieber on that subject or William Rubin’s controversial exhibition Primitivism in 20th Century Art at the Museum of Modern Art in New York (1984). It seems that the visibly growing practice of engaging curators of African origin in the creation of exhibitions of modern African art, particularly as a strategy to incorporate the voices of those represented, is one of the most important aspects of the “curatorial turn” of the 21st century.

PL

W II połowie XX wieku podejście do historii sztuki afrykańskiej jako dziedziny naukowej jak też formy studiów artystycznych oraz wystaw tejże sztuki znacznie się zmieniły. Celem artykułu jest zobrazowanie ewolucji idei tożsamości współczesnej sztuki afrykańskiej poprzez prezentację sposobów ekspozycji tej sztuki w ciągu ostatnich trzech dekad. Aby pojąć dynamikę zmian w europejskim podejściu do sztuki afrykańskiej, wystarczy przypomnieć słynne uwag Carla Einsteina i Roya Siebera z I połowy XX w. na ten temat lub kontrowersyjną wystawę Williama Rubina w Muzeum Sztuki Nowoczesnej w Nowym Jorku (1984), pt. Primitivism in 20th Century Art. Wydaje się, że obecnie proces przemian w postrzeganiu i prezentowaniu współczesnej sztuki afrykańskiej pogłębia się. Jednocześnie rośnie udział kuratorów pochodzenia afrykańskiego, co pozwala na stworzenie nowej strategii kuratorskiej – prawdziwego „zwrotu kuratorskiego” z początku XXI w., który pozwala odzyskać głos uprzednio jedynie reprezentowanym Afrykanom.

12

Działalność wadowickiego Muzeum Miejskiego w czasach pandemii

63%

Pytlowska-Bajak J.

Wadoviana. Przegląd historyczno-kulturalny

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2020

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issue 23

197-205

EN

Despite the difficulties related to the coronavirus pandemic, the Town Museum was active in 2020, adapting to the prevailing situation. Thanks to subsidies from external funds, it was possible to implement, among others virtual tour of the core exhibition and the documentary „John Paul II. This is how I see him until today”. Particularly noteworthy is the development of the collection, which is significantly expanding thanks to numerous donors.

13

Performing a difficult past in a museum: The History Museum of Bosnia and Herzegovina

63%

Chrzová B.

Slavia Meridionalis

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2019

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vol. 19

EN

Performing a difficult past in a museum: The History Museum of Bosnia and HerzegovinaThis paper examines the case of the History Museum of Bosnia and Herzegovina in Sarajevo to explore the entanglements of the somewhat contradictory concept of a history museum as a research institution that aims to educate visitors about the past, as opposed to an artistic performativity that provides sensory engagement and a reliving of past moments. Drawing on the performative paradigm, it focuses on the ways in which a past is made into a present to facilitate experience and bodily re-enactments. The History Museum of Bosnia and Herzegovina has recently embraced new museology approaches that stem from the performative turn. For providing a platform where people can meet and talk about the past, museums have been viewed as promising places for dealing with difficult memories. Artistic performativity has also been valued for opening ways to reconciliation. However, given historical exhibitions’ and artistic installations’ different approaches towards the past, this paper seeks to address some questions that arise from performing difficult pasts in a museum. How do narratives conveyed by exhibitions and artworks interact and influence the overall narratives offered by museums? Does their entanglement open up ways for reconciliation and more inclusive narratives about a difficult past? This paper examines how Brian Eno’s multimedia piece “77 Million Paintings” and the sound installation “Bedtime Stories” interact with the narrative of the permanent exhibition “Besieged Sarajevo” and influence the overall experience of visitors. It suggests that artistic performativity enhances visitors’ attentiveness and sensibility and contributes to their understanding of museum exhibitions in universalistic terms, not necessarily leading to reconciliation but instead opening up ways for the multidirectionality of memories. Performowanie trudnej przeszłości w muzeum. Muzeum Historyczne Bośni i HercegowinyAutorka analizuje Muzeum Historyczne Bośni i Hercegowiny, badając powiązania w pewnym stopniu sprzecznej koncepcji muzeum historycznego, rozumianego jako instytucja badawcza, której celem jest edukowanie odwiedzających na temat przeszłości, oraz koncepcji performatywności sztuki, której zadaniem jest zaangażowanie zmysłów i umożliwienia ponownego przeżycia przeszłości. Korzystając z paradygmatu performatywnego, autorka koncentruje się na sposobach, w jakie przeszłość przekształcana jest w teraźniejszość, by umożliwić doświadczenie i cielesne odtworzenie tego, co minione. Muzeum Historyczne Bośni i Hercegowiny przyjęło niedawno nowe podejście do muzealnictwa, wynikające ze zwrotu performatywnego. Muzea uznano za właściwe miejsca do radzenia sobie z trudnymi pamięciami, zapewniające przestrzeń do spotkań i rozmów o przeszłości. Z kolei performatywność sztuki uznano z kolei za czynnik otwierający drogę do pojednania. Mimo to, biorąc pod uwagę różne podejścia do przeszłości, pojawiają się pytania dotyczące performowania trudnej przeszłości w muzeum, do których niniejszy artykuł próbuje się odnieść. W jaki sposób narracje przekazywane przez ekspozycje i działa sztuki korespondują i wpływają na ogólne narracje tworzone przez muzeum? Czy ich powiązanie otwiera drogę do pojednania i bardziej integrujących narracji o trudnej przeszłości? Autorka analizuje, w jaki sposób instalacje artystyczne, w szczególności multimedialna praca „77 Million Paintings” autorstwa Briana Eno, instalacja dźwiękowa „Opowieści na dobranoc” oraz wystawy czasowe korespondują z narracją stałej ekspozycji „Sarajewo oblężone” oraz w jaki sposób wpływają na ogólne doświadczenie zwiedzającego. Autorka konkluduje, że performatywność sztuki zwiększa uważność i wrażliwość zwiedzających oraz wpływa na ich rozumienie wystaw muzealnych w kategoriach uniwersalnych, niekoniecznie zaś prowadzi do pojednania, zamiast tego zaś toruje drogę do wielokierunkowości pamięci.

14

Jak należy oglądać wystawę, czyli słów kilka o dziewiętnastowiecznej tęsknocie za przejrzystością doświadczenia

63%

Sikora A.

Napis. Pismo poświęcone literaturze okolicznościowej i użytkowej

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2014

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issue 20

163-181

EN

In my article I analyse how in the Polish press from the second half of the nineteenth century an experience of the exhibition was projected and presented. I am mainly interested in the opposition between chaotic experience (no orientation in space, lack of knowledge about what to look at) and structured visual experience. Journalism of that period expresses the belief that the spatial order of the exhibition should transparently structure the experience: the visitor always has to know what he is looking at (thanks to catalogues, maps, signatures, a suitable arrangement of exhibits), easily orient himself in space (thanks to the appropriate organization), to know how to move. He should also behave properly: watch and learn. The sense of sight is to dominate the touch, hearing, taste, smell, analytical reception – over active participation. The visitor is therefore expected to be a passive spectator in Richard Sennett’s sense, excluded from the active shaping of interpretation, interaction and space. However, the messages dealing with how the exhibition should be experienced simultaneously reveal concerns about “inappropriate” reception. These concerns manifest themselves in images of the space post-exhibition (rotting flowers, lost umbrellas and children), comments on the “wrong” behaviour of the audience, criticism on how the exhibition was organized. Planned in advance visual order of the project therefore remains in constant tension with what goes beyond it – chaos, spontaneity, multi-sensuality, melancholy. This ambivalence seems to indicate that the exhibition was a specific attempt to “subdue” the modern experience (the rate of change, motion, opacity) by limiting it in time and space, organization, regimentation, bringing to the visual aspect.

15

Działalność Biblioteki Jagiellońskiej w roku 2014. Sprawozdanie

63%

Cieślar A.

Biuletyn Biblioteki Jagiellońskiej

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2015

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vol. 65

201-264

16

Działalność Biblioteki Jagiellońskiej w roku 2017. Sprawozdanie

63%

Cieślar A.

Biuletyn Biblioteki Jagiellońskiej

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2018

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vol. 68

193-252

17

The Activity of the Jagiellonian Library in 2017. A Report

63%

Cieślar A.

Biuletyn Biblioteki Jagiellońskiej

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2020

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vol. Special Issue

343-408

18

Działalność Biblioteki Jagiellońskiej w roku 2015. Sprawozdanie

63%

Cieślar A.

Biuletyn Biblioteki Jagiellońskiej

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2016

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vol. 66

245-306

19

Działalność Biblioteki Jagiellońskiej w roku 2016. Sprawozdanie

63%

Cieślar A.

Biuletyn Biblioteki Jagiellońskiej

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2017

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vol. 67

417-474

20

Działalność Biblioteki Jagiellońskiej w 2013 roku. Sprawozdanie

63%

Cieślar A.

Biuletyn Biblioteki Jagiellońskiej

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2014

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vol. 64

229-292

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Writing about and exhibiting Central European modernism in North America then and now

DZIAŁALNOŚĆ GALERII POLSKIEGO OŚRODKA SPOŁECZNOKKULTURALNEGO W LONDYNIE

Gdansk Library of the Polish Academy of Sciences

Timespace for Emotions: Anachronism in Flaubert, Bal/Williams Gamaker, Munch and Knausgård

Timespace for Emotions: Anachronism in Flaubert, Bal/Williams Gamaker, Munch and Knausgård

Dějiny s třpytem, či bez něho? : glosa na okraj příští diskuse

Čtyřicet let Národopisného muzea Slánska v Třebízi

FROM TEXTILE TO PLASTIC: ARCHITECTURE, EXHIBITION DESIGN, AND ABSTRACTION (1930–1955)

Działalność Biblioteki Jagiellońskiej w 2011 roku. Sprawozdanie

Jedinečnost Abúsíru v kontextu Egypta: českoslovenští egyptologové a egyptské památky

African contemporary art and the curatorial turn

Działalność wadowickiego Muzeum Miejskiego w czasach pandemii

Performing a difficult past in a museum: The History Museum of Bosnia and Herzegovina

Jak należy oglądać wystawę, czyli słów kilka o dziewiętnastowiecznej tęsknocie za przejrzystością doświadczenia

Działalność Biblioteki Jagiellońskiej w roku 2014. Sprawozdanie

Działalność Biblioteki Jagiellońskiej w roku 2017. Sprawozdanie

The Activity of the Jagiellonian Library in 2017. A Report

Działalność Biblioteki Jagiellońskiej w roku 2015. Sprawozdanie

Działalność Biblioteki Jagiellońskiej w roku 2016. Sprawozdanie

Działalność Biblioteki Jagiellońskiej w 2013 roku. Sprawozdanie