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Dani europske baštine 2019.

25.9.2019. u 11:59
   Martina Petrinović 25.9.2019. u 11:59
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Međunarodna radionica

25.9.2019. u 11:50
   Martina Petrinović 25.9.2019. u 11:50
   Martina Petrinović 25.9.2019. u 12:31
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11.9.2019. u 13:39
   Martina Petrinović 11.9.2019. u 13:39
   Martina Petrinović 11.9.2019. u 13:43



Kutina – srce Moslavine

subota, 28. rujna 2019.

9:00polazak iz Zagreba (parkiralište iza Cibone)

10:15 dolazak u Kutinu. Stanka za kavu. Obilazak središta grada (Aušovo)

11:00 šetnja Crkvenom ulicom („Moslavački tremovi“ – drvene kuće) do župne crkve sv. Marije Snežne. Obilazak crkve

12:30 Gradište Turski stol

13.00 posjet Galeriji i Muzeju Moslavine

14:00 – 16.00 Ručak (cijena: 50 kn)

16:00 Polazak za Zagreb. Moguće kratko zaustavljanje u Popovači

18:00 Dolazak u Zagreb


Stručno vodstvo: Danko Dujmović i Vladimir P. Goss


Cijena prijevoza (cijena ručka nije uključena): 100 kn za članove, 120 kn za ostale i 50 kn za studente povijesti umjetnosti.

Prijave i uplate do 23. rujna 2019. na dpuh@inet.hr ili 01 48 12 920. 

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5.9.2019. u 13:31
   Martina Petrinović 5.9.2019. u 13:31
   Martina Petrinović 5.9.2019. u 13:42
35th CIHA World Congress
MOTION: Migrations
São Paulo
September 13-18, 2020
Since the first manifestations of its genre, art historical texts try to understand the artistic processes of creativity as a process of migration; inventions are understood as mobile processes. The development of the figure of an artist or of a style can be seen as a complex process of migrating individuals or concepts. Migration has also been understood through its historical, political and socio-economic aspects. In addition to this, it has been a fundamental aspect of the human experience since the beginning of the Modern Age, i.e., since the times of the circumnavigation of the world, which provoked displacements of large population groups across all the continents. Even before the creation of art history as a scholarly discipline in the 19th century, art and culture have been construed through the exchange of objects, concepts and practices among a variety of territories and societies around the globe, not only between Europe and their colonies and vice versa, but also between Africa and the Arabian Peninsula or India, or Asia and the Americas. European mass emigration to the Americas, that started in the 19th century and continued throughout the 20th century as a forced migration related to the two World Wars and the many other violent conflicts around the globe, reaches an unprecedented level in the 21st century, when humankind faces new challenges brought about by different forms of transit of peoples, ideas and images.
It is precisely through its establishment as a scholarly practice during the neocolonial era, and after its own self-reflection that art history has started revising its methods and theories in regard to such a phenomenon, while attempting to articulate new ways to describe and analyze its complexity by reaching out into a transdisciplinary practice. Art historical discourses had declared within the formation of post-colonial critique the opening of the discipline towards a global outreach: a World Art History, which is distinctive from a universal art history, where the discipline is redefined in the plural form (world art histories), to encompass the diversity of cultural processes of the visual arts. These processes however are complex, especially when they involve images. As W.J.T. Mitchell points out in his article on Migrating images, it implies not only movement but “contradiction, difficulty, friction and opposition.” (Image Science, 2015, p. 65)
The forthcoming CIHA conference aims to describe, to reflect upon and to analyze those different forms of migrations in a concrete, historiographical and theoretical way. Contemporary challenges can help us to define our epistemological questions, as well as historical foundation can deepen and widen the perspectives for our knowledge. Migration can mean a movement of peoples, objects and ideas (or concepts). How travelling artifacts can challenge cultural patterns? Migrated objects could be creative, for example, in establishing different cultural codes in collections – from the Wunderkammer to contemporary artist’s networks; or they could be threatening within the cultural encounters – from apotropaic figures to iconoclastic manifestations, since the Byzantine iconoclasm to the recent destructions of the Bamiyan Buddhas or other objects declared as “world heritage”. Does it make a difference whether such concepts, peoples and objects are forced to emigrate, or do it by free will? Concerning the object, how should we deal with the question of repatriation? How are art historical practices to deal with migrations across time? How does the latter help us to deal with the notion of anachronism? How productive and/or creative can it be when considering artistic practices and cultural exchanges? How, for instance, were pre-modern artifacts integrated in Renaissance architecture and their related concepts?
Migrations also shaped different cultural and therefore art historical so-called identities. In which way “Italian”, “German” art was created? But also, how “American” (meaning here the United States), “Latin American” concepts were built on ideas of migration, or ideas of “Négritude” or “Méditerranée”? How are such national, regional or continental identities, conceived in a very specific historical moment, still used today? If they continue to emerge, what are they being used for, in a world that tends to become more and more globalized? What are the consequences of migrations of images and objects between different institutions, for example private and public, between countries or different cultural zones? How aesthetic concepts of Buddhism or Hinduism transformed the creative processes in other Asian regions? The influence of commercial routes for the migration of people, objects and ideas like the transpacific economy or the silk route?
Especially for the contemporaneity, but not exclusively, migrations between the so called ‘real’ and the ‘virtual’ reached such a level of complexity that it requires transdisciplinary approaches not only within the humanities, but also exchanges with other disciplines of the ‘exact sciences’: How can network theories help us to understand global artistic movements, how social media shape ‘reality’; and how digital archives can help to preserve fragile documents and objects, but also how these new types of archives are threatened by other technological and cultural challenges? And what are the theoretical and methodological consequences?
As Mieke Bal has explained in her Rough Guide of travelling concepts, art history, within the humanities, belongs to culture, but does not constitute it. Such critique will also be adopted here. The qualifier ‘culture’ indicates precisely that migrations of objects, persons and concepts should be analyzed in view of their existence in culture. And “They are not seen as isolated jewels, but as things always-already engaged as interlocutors, within the larger culture from which they are emerged” – and for our proposal from where or to where they are migrated.
If the last decade has seen an expansion of art history regarding the range of objects to be encompassed within the field, we still have to expand the discipline in terms of methodological and theoretical discussions. Western art historians – whatever this means, and this is a main issue to discuss - still see art historical theory as their domain, and rarely are open to theoretical and methodological debates running outside the mainstream of the discipline. The present Congress aims at changing this situation. The challenge of doing art history outside such an idea of “Western tradition” also places the effort of finding new ways to approach the field, and scholars sitting outside the main stream of art historical tradition are likely to have important contributions to give. What are the differences of art historical practices across the globe? How the discipline builds its practices in such different contexts? In which cases would it be more inclined to borrow new methods from sociology, anthropology and history, or to go to the fields of philosophy, aesthetics, philology and so forth? How do we “animate” objects in different contexts? How do they “react” to the different settings of art historical thinking? In this new perspective, migrations are of utmost importance to consider, for we cannot go on working with objects, concepts and peoples disconnected of their contexts. For us to be able to understand the world, as it has been shaped necessarily by the experience of dislocation and movement, it is vital to deal with these different layers of the making of art. This congress, specifically in its Brazilian counterpart, intentionally wants to avoid a whole range of “post-colonial” approaches, which are generally considered adequate for a conference held outside Europe and the U.S. The idea is to reinforce central discussions that concern the field as a whole to a relatively new but lively center of art historical practice, such as Latin America.
Last but not least, the congress proposes to explore the concept of migration in art historical practice. In the contemporary scenario, the concept of migration acquires new meanings and can be seen as a disturbing element within the social network, in general, and in art in particular. Migrations produce unpredictable movement and resistance, disorganizing special and temporal coordinates. Migrations create what art historian Inge Boer described as “uncertain terrains”, in which frontier lines are transformed in imprecisely defined zones of encounters where multiple special references and multiple temporalities are obliged to coexist. Mieke Bal considers these spaces as offering resistance over the “technical control” that dominates social structures today. In her understanding, it creates a space in which it is possible to experiment the tensions and conflict natural to life in society. In art, these experiences become visible and tangible. In other words, could the concept of Migration, seen as a disturbing element within contemporary society, become operative within the field of art history?
The 35th CIHA World Congress will be held within a collaboration with Italy, which will host the first part of the congress in 2019 in Florence. To migrate between the two continents throughout the extent of this joint conference, in two successive moments in Italy and Brazil, may also help us to grasp some of the metamorphosis that ideas, peoples and concepts suffer throughout their dislocation in space. We are sure that each researcher taking part in the conference will enter the discussion from their particular point of view and experience, so that we can expect a very lively, complex and challenging debate.



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3.9.2019. u 14:21
   Martina Petrinović 3.9.2019. u 14:21

Napustio nas je dragi kolega Vladimir Ukrainčik (1934.-2019.)

Ispraćaj je u četvrtak, 5. rujna 2019. u 12:30 na groblju Mirogoj.

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23.7.2019. u 15:00
   Martina Petrinović 23.7.2019. u 15:00

PERISTIL 62/2019

Zbornik radova za povijest umjetnosti

Pozivamo članove Društva povjesničara umjetnosti Hrvatske i kolege iz Hrvatske i inozemstva na predaju stručnih i znanstvenih tekstova za objavljivanje u 62. broju Peristila.

Društvo povjesničara umjetnosti Hrvatske redovito izdaje Peristil od 1954. godine. Peristil je znanstveni godišnjak u otvorenom pristupu u kojem se objavljuju recenzirani znanstveni i stručni radovi iz područja povijesti umjetnosti i srodnih društveno humanističkih znanosti.

Primaju se isključivo neobjavljeni tekstovi na hrvatskom ili nekom stranom jeziku.

Svi brojevi Peristila besplatno su dostupni u otvorenom pristupu na Portalu znanstvenih časopisa RH Hrčak https://hrcak.srce.hr/peristil.

Peristil je indeksiran u međunarodnim bazama ERIH i EBSCO te direktoriju časopisa u otvorenom pristupu DOAJ

Rok za predaju: 15. rujna 2019.

Upute autorima

Uredništvo prima isključivo neobjavljene rukopise.

Tekst treba imati do 16 kartica / 1 autorski arak/ i 10 slikovnih priloga i biti uređen prema uputama objavljenim na www.dpuh.hr.

Uredništvo osigurava najmanje dvije neovisne recenzije.

Autori neće biti upoznati s imenima recenzenata od strane uredništva, a i sami recenzenti moraju voditi računa o povjerljivosti i svojem pravu na anonimnost.

Konačnu odluku o kategorizaciji rada donosi Uredništvo uzimajući u obzir mišljenja recenzenata.

Uredništvo autora obavještava o provedenom postupku recenzije i eventualnim dopunama ili ispravcima koje je autor obvezan unijeti prije konačnog prihvaćanja priloga za objavljivanje.

Autor je obvezan postupiti prema primjedbama recenzenata i uredništva i završni tekst dostaviti u roku od 20 dana. Ako autor ne poštuje ovaj rok, članak se ne objavljuje.

Autori podmiruju troškove nabavljanja ilustracija, fotografija i arhitektonskih nacrta u fotoarhivima i drugim ustanovama.

Časopis autorima ne naplaćuje objavu radova.

Uredništvo časopisa Peristil:



PERISTIL 62/2019

Scholarly Journal of Art History

Submission deadline: 15 September 2019


Author guidelines

Peristil, scholarly journal of art history has been regularly published by The Croatian Society of Art Historians since 1954. Peristil is an open access annual scientific journal that contains peer reviewed articles in the field of art history and related social sciences and humanities.

Editorial board accepts only previously unpublished manuscripts.

Each accepted manuscript is subjected to at least two independent reviews provided by the editorial board. The peer-review process is confidential and identities of authors and reviewers are not released.

The editorial board makes final decision on article category taking into account the peer review suggestions.

Authors will get information about the peer review process and possible additions or corrections that should be made before the final acceptance of the manuscript.

Authors are required to follow the instructions of the reviewers and editorial board and submit the revised text within 20 days. In case the authors fail to submit the text in this period, the text will not be published.

Authors will cover all copyright expenses in archives and other institutions in order to publish illustrations, photographs and architectural drawings.

Authors are asked to adjust their texts according to the technical instructions published on www.dpuh.hr.

Journal does not charge article-processing.

Peristil editorial board:


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2.7.2019. u 14:31
   Martina Petrinović 2.7.2019. u 14:31
   Martina Petrinović 2.7.2019. u 14:37
Muzej likovnih umjetnosti u Osijeku raspisao je natječaj za radno mjesto kustosa na neodređeno vrijeme.
Kustos - 1 izvršitelj (m/i) na neodređeno vrijeme s punim radnim vremenom, uz probni rad od 6 mjeseci u Muzeju likovnih umjetnosti
Kandidati koji se prijavljuju na natječaj moraju ispunjavati opće uvjete propisane Zakonom o radu (Narodne novine br.93ll4,l27ll7), kao i sljedeće uvjete:
- završen diplomski sveučilišni studij ili integrirani preddiplomski i diplomski sveučilišni studij ili specijalistički diplomski stručni studij ili visoka stručna sprema sukladno propisima koji su bili na snazi prije stupanja na snagu Zakona o znanstvenoj djelatnosti i visokom obrazovanju: Filozofski fakultet - Odsjek za povijest umjetnosti
- položen stručni ispit za zvanje kustos,
- poznavanje rada na osobnom računalu,
- poznavanje jednog stranog jezika.
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17.6.2019. u 11:33
   Martina Petrinović 17.6.2019. u 11:33
   Frano Gracin 18.6.2019. u 13:31

Theater Tirena organizes the jubilee 15th  Theater  Campaign  to be held in Zagreb. 

In the period from June 17th to June 30th, you can expect up to 13 workshops, lasting 1 to 3 days!

Within this year's Camp we organize a special day  where four workshops will be held by students of the Postgraduate Specialist Study of Dramatic Pedagogy at the Faculty of Teacher Education of the University of Zagreb ! The Theater of Tirana is the place of pedagogical and artistic practice of the Specialist Study and for the third year in a row one of the co-organizers of the Scientific and Art Symposium on Dramatic Pedagogy. 



21 June, 9:30 am - 11:30 pm

The fact that we know to read does not mean that we understand the read text. In reading comprehension, the reader understands and experiences reading. However, texts often offered to students are far from their experience and are therefore not motivated to read. And then we enter the vicious circle - the less our students read, the harder it is to read them. To encourage them to read and help them to enjoy reading time, we need to bring them closer to the literary work. We have, among other things, numerous dramatic techniques that help children and young people understand the readings, make it easier for them to read and, most importantly, allow them to enjoy the read.

Attendees:  teachers, teachers, associates, students

Leader:  dr.sc . Maša Rimac Jurinović, prof. eng. languages ​​and literature and drama pedagogues


June 21, 12:00 - 14:00

Physical Arts Teachers and Teachers of Visual Arts will be presented with the opportunity to include dramatic expression in teaching their subjects on the example of dramatic (methodical-didactic) exercises applicable in different teaching content and situations. Beginners will get ready-made tools for implementing these exercises on their own lessons.

Attendees:  Teachers of Fine Arts, Teachers of Fine Art, teachers of class teaching

Manager:  Jelena Kovačić, mr. Croatian language and art history


EVERY ONE ... (storyboards)

June 21, 15:00 - 17:00

By expressing and listening to stories and by promoting spoken creativity, the skills of oral expression and the communication and presentation skills needed for active participation in a society that wishes to change are developed. The story-telling workshop conducts the process of selecting the story through preparation to narrative performance. Participants will develop their narrative, creative and performance abilities and never-ending communication, mimicry and gestures. Combining logical and emotional in storytelling we will jointly create stories, interpret their messages and metaphors and prepare for transferring their values ​​to children and young people in regular teaching or extracurricular activities. The exercises that the attendees will undertake will help prepare for the narrative performance and are applicable to teaching and the pursuit of the educational outcomes.

Attendees:  High School, Students, Educators, Teachers, Teachers, Activities Leaders for Children and Youth

Leaders:  Katja Petrović and Barbara Crnčan

PROCESS DRAMS (according to the new "Pravda" Vladana Desnice)

June 21, 17:30 - 19:30

The process drama will deal with the problem of interference in a foreign conflict. The aim is to point out the two most common reactions that occur: on the one hand, indifference (turning the head and ignoring the problem), on the other hand impulsively and unintentionally involved in the conflict. In the process drama we will recognize the need for an appropriate and constructive conflict resolution and the fact that it is important to know the context of the situations and the causes that led to the eventual involvement in the conflict.

Attendees:  teachers, teachers, associates, students, all interested in the process drama

Leaders:  Lidija Topolovčan and Monika Miholić Cvitanić




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17.6.2019. u 11:22
   Martina Petrinović 17.6.2019. u 11:22

UTORAK, 18. LIPNJA 2019. U 17:00



Bernardo Bernardi i TVIN 

Tematska izložba iz fundusa Hrvatskog muzeja arhitekture HAZU u suradnji s Gradskim muzejom Virovitica i Muzejom za arhitekturo in oblikovanje u Ljubljani. Bernardo Bernardi (1921.–1985.), arhitekt po formaciji i industrijski dizajner po vokaciji, sredinom 1960-ih godina započinje višegodišnju suradnju s Drvno industrijskim kombinatom TVIN iz Virovitice. U kreativnom dijalogu s Razvojnim odjelom TVIN-a, u svojstvu kućnog dizajnera tvornice, Bernardi je realizirao niz uspješnih, višestruko nagrađivanih sistema komponibilnog namještaja. Bernardi je opremio brojne poslovne interijere, poput redakcije Start u neboderu Vjesnik 1976. ili glavne uprave Zagrebačke banke u Zagrebu 1979. godine.

Stručno vodstvo: autorica izložbe Iva Ceraj


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7.6.2019. u 10:47
   Martina Petrinović 7.6.2019. u 10:47

Na predavanju će biti prezentirana gotovo nepoznata, a vrlo vrijedna islamska baština u Hrvatskoj koju su autori cjelovito istražili, kako u povijesnome sloju osmanskih spomenika 16. i 17. st., tako i u sloju moderne i suvremene islamske arhitekture 20. i 21. stoljeća. Razlozi nepoznavanja i neafirmiranosti ovog korpusa spomenika posljedica su sustavnih i temeljitih razaranja 'turskih znamena' još u prvim godinama kršćanske reconquiste krajem 17. stoljeća. te ideoloških i vjerskih antagonizama u prošlosti koji su rezultirali zatiranjem preostalih materijalnih ostataka, ali i potiskivanja svijesti o tome da je veliki dio našeg ozemlja više od stoljeća i pol pripadao svijetu islamske civilizacije, kulture i umjetnosti. Hrvatska je prostor najzapadnijeg rasprostiranja osmansko-islamske baštine u Europi, ujedno i područje istovremenog dodira, ponekad i preklapanja, islamske likovnosti sa zapadnom renesansom 's druge strane granice'. Istraživanjem sloja modernih i suvremenih džamija u Hrvatskoj reafirmiran je niz nepoznatih projekata relevantnih autora naše moderne.

Zlatko Karač i Alen žunić dobitnici su Godišnje nagrade Društva povjesničara umjetnosti Hrvatske „Radovan Ivančević“ za knjigu „Islamska arhitektura i umjetnost u Hrvatskoj“ objavljenu u 2018. godini (izdavači: Arhitektonski fakultet Sveučilišta u Zagrebu i UPI-2M PLUS)

Zlatko Karač(Vukovar, 1961.) diplomirao je i doktorirao na Arhitektonskom fakultetu Sveučilišta u Zagrebu gdje je izvanredni profesor i prodekan za znanost. Na Filozofskom fakultetu utemeljio je i vodi kolegij Islamska arhitektura i umjetnost. Objavio je više od 500 znanstvenih, stručnih i popularizacijskih radova, glavni je urednik časopisa 'Prostor' [WoS], laureat je godišnje Državne nagrade za znanost i nagrade Radovan Ivančević. Član je Senata Sveučilišta te Hrvatskog povjerenstva za suradnju s UNESCO-om.

Alen Žunić(Zagreb, 1989.) na zagrebačkom je Arhitektonskom fakultetu diplomirao i doktorirao; poslijediplomski studij History and Philosophy of Design završio je na GSD Harvard University, postdoktorsko usavršavanje obavio je na ETH Zürich – Institut für Geschichte und Theorie der Architektur; docent je na AF, od 2019. istraživač na Columbia University NY. Bavi se modernom i suvremenom arhitekturom o čemu je objavio gotovo 300 radova. Dobitnik je nagrada Ranko Radović, Radovan Ivančević i Nagrade Grada Zagreba