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Recenzija, Prikaz


Jasmina Bavoljak ; Galerija klovićevi dvori, Zagreb

Puni tekst: hrvatski, pdf (1 MB) str. 116-120 preuzimanja: 59* citiraj
APA 6th Edition
Bavoljak, J. (2013). Refleksije o "Refleksijama". Informatica museologica, 44 (1-4), 116-120. Preuzeto s
MLA 8th Edition
Bavoljak, Jasmina. "Refleksije o "Refleksijama"." Informatica museologica, vol. 44, br. 1-4, 2013, str. 116-120. Citirano 04.12.2020.
Chicago 17th Edition
Bavoljak, Jasmina. "Refleksije o "Refleksijama"." Informatica museologica 44, br. 1-4 (2013): 116-120.
Bavoljak, J. (2013). 'Refleksije o "Refleksijama"', Informatica museologica, 44(1-4), str. 116-120. Preuzeto s: (Datum pristupa: 04.12.2020.)
Bavoljak J. Refleksije o "Refleksijama". Informatica museologica [Internet]. 2013 [pristupljeno 04.12.2020.];44(1-4):116-120. Dostupno na:
J. Bavoljak, "Refleksije o "Refleksijama"", Informatica museologica, vol.44, br. 1-4, str. 116-120, 2013. [Online]. Dostupno na: [Citirano: 04.12.2020.]

The exhibition Reflections of the time 1945-1955 was held in
Klovićevi dvori Gallery from December 12, 2012, to March 10,
2013. The conception and selection of works were by Jasmina
Bavoljak, the exhibition design was by Nedjeljko Mikac, and
the audio-visual set up by Darko Bavoljak. While looking
around the exhibition visitors were constantly accompanied
by authentic sounds of the time (radio broadcasts, music,
politicians’ speeches), lasting for 60 minutes, edited and correlated
with the topics of the exhibition by Petar Vujačić.
The objective of the exhibition was not to define and prove the
truth about the time spoken of; rather, the conception was to
engage with some of the phenomena of this time, complex in
its social and political issues, cultural and artistic phenomena.
Its discursive formations were suggested by the very structure
of the exhibition, which was organised around a number
of thematic units. They included: children and teenagers in the
communist party system; soldiers and shock workers; female
comrades and ladies; marshal and dandy; radio and television;
labour and prosperity.
The primary wish of the exhibition’s creator was to show the
atmosphere of the time and recall the dynamism and multifariousness
of the processes in post-war Croatia. Essential in the
conception of the set-up were the stylisation of the documentary
and the idea of the intermingling of the different media
(audio and video, photographs, original and secondary texts)
which were intended to confirm the omnipresent heightened
emotional charge of the time. In each exhibition room especially
edited archival film material found in the Croatian State Archives
was shown. It was enhanced by the commentaries of
witnesses and participants, and told of one of the themes of
the exhibition: the liberation of Zagreb, the establishment of
the new state, the elections, shock workers, work actions, the
Goli otok prison camp, Kumrovec and others.
A large number of photographic enlargements were employed
to conjure up the atmosphere of the first post-war years,
and the heterogeneous socialist-realist artworks of socialist
realism were a continuous thread in the exhibition. Diverse in
quality and imposing in quantity, it was set up so as to draw
attention to the creative and yet propagandist thrust of the

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