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Wunderkammern in the art world: the use of historical models of collecting in contemporary art practice

dc.contributor.advisorPopadić, Milan
dc.contributor.otherMerenik, Lidija
dc.contributor.otherBožić-Maroević, Milica
dc.creatorJokanović, Milena
dc.date.accessioned2021-10-12T10:02:16Z
dc.date.available2021-10-12T10:02:16Z
dc.date.issued2018
dc.identifier.urihttp://nardus.mpn.gov.rs/handle/123456789/9870
dc.identifier.urihttp://eteze.bg.ac.rs/application/showtheses?thesesId=5975
dc.identifier.urihttp://vbs.rs/scripts/cobiss?command=DISPLAY&base=70036&RID=50362639
dc.identifier.urihttp://reff.f.bg.ac.rs/handle/123456789/83
dc.description.abstractPredmet ovog istraživanja je odnos između baštinske i umetničke vrednosti, te upućivanje na njihovu međusobnu uslovljenost u kontekstu savremene umetničke prakse koja se oslanja na istorijske modele kolekcioniranja. Ovako određen predmet rada temelji se na premisama istorije kolekcionarstva, te na muzeološkoj teoriji vrednosti i interpretativnoj teoriji umetnosti. Upotreba koncepata i estetike kabineta čudesa, modela kolekcionarske prakse vezanog izvorno za period renesanse, prepoznaje se u određenim delima moderne i savremene umetnosti, te se izvode zaključci o značenjima ovakve pojave u savremenom svetu umetnosti. Ovi odnosi tumače se na primerima izabranih postavki Bijenala savremene umetnosti u Veneciji (1986; 2013) kao i analizom stvaralaštva za temu referentnih savremenih umetnika u Srbiji (Saše Markovića Mikroba, Stevana Novakovića, Vladimira Perića, Dragana Papića i drugih)...sr
dc.description.abstractThe subject of the following research is the relation between the heritage and artistic value with an aim to stress their coexistence in the context of contemporary art practice which is based on the historical models of collecting. This subject is formed upon the premises of the history of collecting, museological value constructing and interpretative art theory. The use of aesthetics and concepts of Wunderkammer, a model of collecting practice characteristic for the renaissance period, is recognized in particular modern and contemporary artworks. Therefore, conclusions about the signification of this notion in contemporary Art World are brought. These theoretical positions are seen through the case studies of the relevant Contemporary Art Biennials in Venice (1986 and 2013), as well as through the analyses of, for this topic relevant, works of contemporary Serbian artists (Saša Marković Mikrob, Stevan Novaković, Vladimir Perić, Dragan Papić etc.)...en
dc.languagesr
dc.publisherUniverzitet u Beogradu, Filozofski fakultet
dc.relationinfo:eu-repo/grantAgreement/MESTD/Integrated and Interdisciplinary Research (IIR or III)/47019/RS//
dc.rightsopenAccess
dc.rights.urihttps://creativecommons.org/licenses/by-nc-nd/4.0/
dc.subjectvrednostsr
dc.subjectsvet umetnostisr
dc.subjectsavremena umetnička praksasr
dc.subjectmuzeologijasr
dc.subjectmuzejsr
dc.subjectkolekcioniranjesr
dc.subjectkabineti čudesasr
dc.subjectčudesnosr
dc.subjectWunderkammeren
dc.subjectwondrousen
dc.subjectvalueen
dc.subjectmuseumen
dc.subjectmuseologyen
dc.subjectcontemporary art practiceen
dc.subjectcollectingen
dc.subjectArt Worlden
dc.titleKabineti čudesa u svetu umetnosti : upotreba istorijskih modela kolekcioniranja u savremenoj umetničkoj praksisr
dc.titleWunderkammern in the art world: the use of historical models of collecting in contemporary art practiceen
dc.typedoctoralThesis
dc.rights.licenseBY-NC-ND
dc.identifier.fulltexthttp://reff.f.bg.ac.rs/bitstream/id/2342/80.pdf
dc.identifier.rcubhttps://hdl.handle.net/21.15107/rcub_nardus_9870
dc.type.versionpublishedVersion


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