Starting with the academic year of 2016/2017, there will be another study at the Academy of Arts in Osijek - a postgraduate specialist study of creative therapies. We have discussed this with the dancer and movement and dance psychotherapist Sanela Janković Marušić who has participated in this project from the beginning.
Žeravica, Katarina Facing the ghosts of the past (The night stage of the Croatian National Theatre in Osijek: Marijan Gubina, 260 Days, directed by Dražen Ferenčina, premiered on the 7th of November 2014)
This is a play that one should not miss either because of its artistic accomplishment, a memory of all the Croats who have been marked by the war in the nineties or because of the empathy for a man who has summoned the courage, without hatred and revenge, to face the past using an intimate story.
Despite some shortcomings (the scene of the meeting of Đuro and Vera in the woods using a projector screen, the unusual visual identity of grandmother Tereza and the all-too-sudden death of Đuro) The Power of Soil is yet another good play of the Croatian National Theatre in Osijek. Its future is secure since its actors and various themes (class differences, love, the importance of family and community, truthfulness, sincerity, hard work...) make it a clear and understandable play that will appeal both to younger and older audiences.
In Osijek, Tosca has acquired some of its grandeur due to the emergence of young and new members of Osijek opera such as Domagoj Dorotić and the children’s opera choir. This has given this opera the enthusiasm, positive attitude and, finally, relative success.
I have reached the point where I believe that there is nothing new or better that I can do. While I was preparing a retrospective book, I considered AA (ad acta) for the cover page, but then I thought I was not that silly to send myself to the archives. I belong to art history, but I am no longer in the competition. The young ones compete and fight for their status and place, I have done that. I have finished my life cycle and created to the best of my ability. If that does not suffice, it is not my fault.
The exhibition Engravings and etchings from the noblemen’s collections of Slavonia and Srijem took place at the Museum of Fine Arts from December 10, 2015 until January 31, 2016. The exhibition was part of the programme Days of Printmaking VII, an exhibition/publishing and educational programme, which has been presenting printmaking by means of exhibitions, workshops and lectures since 2004. The Museum of Fine Arts and its exhibition curator, dr. sc. Jasminka Najcer Sabljak, the senior curator of the Museum, received proper recognition from dr. sc. Lovorka Magaš Bilandžić in 2013 who said that Days of Printmaking was one of the most important factors in the popularisation of this branch of art as well as in the encouragement of Osijek printmaking scene.
Almost every work by Jelena Kovačević forming the cycle entitled “Promemorija” contains a division into textual and visual parts. The textual is always related to the visual and vice versa while neither member of that artistic binomial form has been given precedence. The texts that can be read at this exhibition are, in terms of style and content, far away from dry technical descriptions or statements which authors usually use in order to explain the starting points or possible meanings of their work and which lately tend to appear at exhibitions. Jelena uses text as the integral part of her work. Without it, the visual part of the work would keep its “completeness”, but would certainly stop being “legible” and clear.
The important characteristic of the whole cycle is that the works are deprived of the firm outer layer which is the result of the properties of the construction material itself. Due to the airy nature of the works, it is possible to play with light using the dynamic relationship between light and shade. This is especially true in case of reliefs which, fixed to the wall, simultaneously protrude into the room and absorb the space through its pores into its inner world. Observing only individual works, Filipović’s idea shyly reaches the interested eye which concludes that it is an interesting form.
In 2013, Croatian Radiotelevision launched a project commemorating the locations where its employees had been killed while on duty during the Homeland War. After erecting the memorial to cameraman Gordan Lederer on Čukur Hill near Hrvatska Kostajnica, Croatian Radiotelevision announced, in cooperation with the Town of Osijek, the public competition for the memorial to cameraman Žarko Kaić. He died on the 28th of August 1991 in the Osijek settlement of Brijest when he was killed in a hail of bullets from a transporter while filming the passage of Yugoslav National Army tanks near the military training ground C. In this anonymous competition the jury has selected the proposal by the team that includes izv. prof. art. Božica Dea Matasić, dipl. ing. arh. Bernarda Silov and mag. arh. Davor Silov.
In terms of the content, it is a very rich film. But in terms of the plot, there is almost no conflict. It does exist in the deeper layers more as a conflict of the author’s private attitudes which are opposed to the collective failure to brood about the contribution to the unconscious creation of an ever darker future - the Earth in general as well as the humankind that inhabits it - than as an outer or at least inner conflict of the characters.
The scientific-artistic symposium Mia Čorak Slavenska, Osijek – Slavonski Brod 2016
Remembering Mia constitutes yet another attempt of dancers and those who love dance to point out, emphasise and convince others of the importance, beauty and greatness of dance. Mia’s dances, although long gone, should not remain just part of the history of dance, but a living basis for the progressive growth and development in Zagreb, Osijek and, of course, Mia’s Slavonski Brod.
Darko Lukić Memorial, Osijek 2016
The international meeting of young pianists, the 19th Darko Lukić Memorial took place on November 13-15 2015 in the atrium of the Town Guard of the Museum of Slavonia in Osijek. This traditional memorial was realised by the Musical Youth of Osijek under the auspices of the Town of Osijek, Osijek-Baranja County and the Ministry of Culture of the Republic of Croatia. The international meeting of young pianists takes place every year commemorating the renowned Croatian pianist and pedagogue Darko Lukić, born in Osijek, who continued his studies in Paris.
Creative Treasury, Osijek 2015
More and more towns experience growth due to culture. Also, culture stimulates the development of local and/or wider communities not only in the cultural sense. Creating links, culture transforms towns and settlements, making them attractive by its openness. Osijek, a town of rich cultural tradition, is currently participating in the European Capital of Culture competition since cultural and creative industries have important economic potential. A popularisation symposium of the cultural and creative industries of the Faculty of Economics in Osijek entitled Creative Treasury deals, in theory and practice, with the ways that can stimulate business as well as social and economic development by encouraging creativity.
This text deals with the theory of symbolic convergence which is one of the communication theories that creates and transfers meanings besides such theories as the theory of symbolic interactionism, the coordinated management of meaning or the theory of rules, constructivism, narrative paradigm and the theory of social construction. The communication theory will be described using the example of the British comedy group Monty Python and its members. They use many possibilities in their artistic expression which was made public using, at that time, a new media (TV). Their fantasy themes are “told” in the forms of stories, jokes, metaphors, anecdotes or other narrative forms. In that way, they present their unique interpretation of meanings of different symbols when perceiving reality. The text portrays Monty Python as a comedy group and points out the factors that enable group cohesion as well as the consequences that this cohesion has on the group members. There are also a few examples that prove the symbolic convergence of this unique group by displaying the wide variety of possibilities of their impressive artistic oeuvre.
Tampere is a town that has maintained a harmonious relationship with nature despite its industrial characterisation. Such relationship may be the result of the fact that it is not an old town and that it is situated in one of the most sparsely populated European countries. The town is dominated by industrial architecture which has nowadays lost its function as a means of production and which primarily evokes the memory of its history. Besides its industrial peculiarity, Tampere gets its charm from the traditional wood house building. The text mostly focuses on the industrial past of the town which is recreated through architecture and museum collections. These stories and the conveyed impressions point out the great differences between the worlds of Croatia and Finland that can be perceived in the way of life, world views, priorities and many other elements.
Forty years after the death of Croatian sculptor Vanja Radauš we can have a more comprehensive view of his artistic work and interest for different fine arts media and literature as well as establish intermedia links between seemingly different forms of expression. He left us numerous drawings, prints, paintings, sculptures, poems and other literary forms all of which are based on the same art concept of archetypal patterns of violence, death and evil. During many years of his artistic work, he created a recognisable world of combined creatures, a so-called demonic bestiary which is rooted in mythical patterns. The publishing and analysis of his literary works that complement his oeuvre in terms of the content is a special contribution to the understanding of intermedia.
The research of the topic “The archival musical material of the Franciscan monastery in Vukovar” lasted two years. The focus was turned to the description of the condition of the material that had been returned after the Homeland War and to the most valuable works (discoveries) found in the collections of the Franciscan monastery in Vukovar.
The text deals with Billy Morrissette’s film Scotland, PA. Although the film is based on William Shakespeare’s play Macbeth, many transformations take place in it: a tragedy turns into a black comedy; the eleventh century becomes 1975; castles turn into restaurants, horses into cars, daggers and swords are replaced by fridge doors, frying pans and crowbars...
When it takes one over 20 years to write a book it must be due to the subject, or the research it needs, or the working conditions, or the chosen approach. It’s a combination of all this in the case of the prominent Latvian theatre critic and scholar Guna Zeltina and herSHAKESPEARE With a Baltic Accent. Propitiously published at the very turn of the year (by the Institute of Literature, Folklore and Art, University of Latvia), the book is chosen as one of the 11 best successes in science for 2015 and, at the same time, nominated for the 2016 Prize of the Baltic Assembly, the most prestigious award for cultural achievements in the three Baltic Republics.
The decision of director Quentin Tarantino to kill Adolf Hitler in his filmIngloriousBasterdshas sparked criticism for alleged forgery of history. However, when studying the archives of the Jewish ghetto in Poland, Swedish writer Steve Sem- Sendberg noted that fiction has started with the preservation of the first document. Had the Boston bomber not appeared on the cover of the Rolling Stone magazine, we could, in fact, ask the question formulated by Jean Baudrillard: Did it even happen?
Considering everything that could be seen and the comments that could be heard, I have concluded the following: it is an initiative that should have been started earlier and which should definitely continue. One should take into account the purpose of this music sheet collection and that is the education of young tambura players, children, tambura students. One could also add that such collections should be mandatory in the teaching of tambura. These facts present a great responsibility for editors and composers since one has to keep in mind that the task of such collections, especially those for beginners, is to shape the young mind so that it can appreciate the beauty of music and differentiate good quality from poor quality.
I can vouch for the importance of using the possibility of Erasmus+ mobility (key activity K1) which lends insight into the organisational structure abroad, enables the exchange of knowledge, experience and different traditions, makes students as well as (non)teaching staff more independent in their work by improving their communication skills, develops social intelligence and makes integration and flexibility in the new circumstances and environment easier, even if only for a short time.
Zvonko Festini, a true connoisseur and admirer of puppetry, has left us forever. This inescapable fact demands some sort of a synthesis of his place within the Croatian culture and puppetry in particular, the cradle of artistically sincere values. An admirer as a director of the harmony of ideas when it comes to dramatic words, Festini was not inclined to unnecessary experiments and avant-garde on the stage. Rather, he would deliberately call upon the awareness of audiences and emphasise easily neglected human feelings using chosen means of expression.
Festini embarked on the puppetry voyage when the Croatian puppetry was born following the procedure of director Gatara but slowly moving away from it in his own personal way so that he could transfer the poetics of puppetry from being didactic to being artistic. First, he introduced a logicalmise-en-scène in the drama theatre so that he could distance himself from factual solutions leading puppetry towards art. Mise-en-scène included very bold decisions such as a car on the stage or the rhythm of twist. Finally, he was the only one who dared to stage the texts by Paljetak which are still waiting for a new creative director and a new directing interpretation.