| Abstract | Živi atelje DK neprofitna je udruga čiji je cilj očuvanje umjetničke zbirke jedne značajne, a nepravedno zaboravljene hrvatske kiparice, točnije, Vere Dajht-Kralj. U srpnju 2018. Udruga poziva građane na sudjelovanje u inicijativi sakupljanja sredstava putem platforme za javno financiranje, kako bi, uz njihovu pomoć, široj javnosti predstavila plod trogodišnjeg rada na ovom vrijednom umjetničkom opusu. Istraživanje je predstavljeno kroz izložbu i istoimenu monografiju pod nazivom Izvan Vidljivog: Javna plastika Vere Dajht-Kralj, koja se bavi analizom dosad najmanje istraženog dijela opusa kiparice. Osim izostanka financijske podrške od strane institucija Grada i Ministarstva, udruzi je nedostajala i stručna pomoć, obzirom da je određeni broj skulptura bilo potrebno konzervirati a neke i restaurirati. Vlastitom inicijativom te uz potporu profesora_ica ostvarena je suradnja Akademije likovnih umjetnosti i udruge Živi Atelje DK koja je podrazumijevala i konzervatorskorestauratorske radove na dvjema skulpturama kasnije izloženima na već spomenutoj izložbi. Suradnjom na pripremi te izložbe postavljeni su temelji za sustavno održavanje zbirke te je definiran pristup i tehnologija za buduće konzervatorsko- restauratorske radove na drvenim polikromiranim skulpturama iz opusa. Skulptura na kojoj su izvedeni konzervatorsko-restauratorski radovi u sklopu praktičnog dijela ovog diplomskog rada također pripada dijelu opusa javne plastike Vere Dajht-Kralj, iako o njoj vrlo malo znamo. Upravo zbog manjka izvora i podataka o skulpturi, u ovom istraživačkom radu naglasak je stavljen na kritička promišljanja. Prvi dio istraživanja upoznaje nas s kiparicom, njenim životom i stvaralaštvom. Kroz analizu javne plastike čitatelja se upoznaje s načinom oblikovanja i vrijednostima koje kiparica uvrštava u svoju poslijeratnu memorijalnu plastiku, kao i skulpturu generalno. Nadalje, na primjerima iz javne skulpture Zagreba, iz feminističke perspektive, otvara se diskurs kulture isključivanja čija je namjera apelirati na marginaliziranu poziciju umjetnica nekad i danas, te apostrofirati kako je rodno isključivanje i dalje prisutno u svim sferama umjetnosti. Sonja Pavin Diplomski rad 3 Drugi dio ovog diplomskog rada bavi se problematikom etičkog pristupa u konzerviranju i restauriranju moderne i suvremene umjetnosti koja je stručnjacima postavila mnoge zamke, te najavila početak novih etičkih i tehničkih izazova struke. Konzervatori-restauratori više nisu u mogućnosti oslanjati se na poznate i iskustvom prihvaćene postupke i tehnike zaštite, jer pravila u modernoj i suvremenoj umjetnosti ne postoje ni prilikom njihova nastanka. Kroz kratku povijest moderne konzervatorsko-restauratorske teorije, u istraživanju su prezentirane različite mogućnosti u pristupu zahvata rekonstrukcije skulpture. Cilj teorijskih razmatranja jest preispitati tradicionalan pristup ovog zahvata te ponuditi neka nova, možda progresivnija rješenja. Mogućnost rekonstrukcije, kao i svaki drugi konzervatorsko-restauratorski zahvat, ovisi o raznim čimbenicima poput razine omogućenih financijskih sredstava, dostupnosti materijala, vremenske ograničenosti te o razini stručnosti osobe/tima koja izvodi radove. Oni određuju tijek radova, te samu mogućnost i kvalitetu njihove realizacije. Jedan od glavnih razloga zašto su danas restauratorske radionice primarno rezervirane za sakralnu i kolekcionarsku umjetnost, jest dobro poznata praksa da se najbogatiji najviše i nagrađuju. U restauratorsko-konzervatorskim radionicama rijetko će se kada pronaći prostor za umjetnine o kojima, primjerice, brinu neprofitne udruge te umjetnine koje više ili uopće ne uživaju status zaštićenog kulturnog dobra. Tako, mnoge umjetničke zbirke, spomenici i arheološki lokaliteti, ne prepoznati od strane Ministarstva kulture i ostalih državnih tijela kao vrijedna baština, trpe posljedice profesionalne neodgovornosti te su većinom prepušteni sustavnom zaboravu i devastaciji. Iako je, poput mnogih drugih kreativnih projekata u Hrvatskoj, zanemaren od strane institucija, rad udruge Dajht-Kralj prepoznat je na razini zajednice, te studenata i doktoranada koji putem svojih disertacija doprinose vidljivosti i očuvanju ove vrijedne zbirke. |
| Abstract (english) | Živi atelje DK is a non-profit organization with a goal to preserve the art collection of a significant, but unfairly forgotten Croatian sculptor, Vera Dajht-Kralj. In July 2018, the organization invited citizens to participate in a fundraising initiative through a public funding platform in order to present the general public the results of three year long work on this valuable artistic opus. The research is presented at the exhibition named Beyond Visible: Public Sculpture by Vera DajhtKralj and in the monograph that carries the same title. Both explain the analysis of the least researched part of the sculptor's work so far. Not only did organization lack the financial support from city and ministerial institutions, but it also lacked professional assistance, given that several sculptures needed to be conserved and some restored. On my initiative and with the support of my professors, the Academy of Fine Arts and Živi atelje DK started a new collaboration that included conservation and restoration work on two sculptures later exhibited at the aforementioned exhibition. Through cooperation on this exhibition, the foundations for collection’s systematic maintenance were laid, and the approach and technology for future conservation and restoration works on wooden polychrome sculptures from the opus were defined. The sculpture, that the conservation and restoration works were performed on in this practical part of thesis, also belongs to the Vera Dajht-Kralj’s public sculpture opus, although we have very little data collected about it. Precisely because of the lack of sources and data on sculpture, the emphasis in this research paper is put on critical reflections. The first part of the research introduces us to the sculptor, her life and work. Through the analysis of public sculpture, the reader is introduced to the way of shaping and the values that the sculptor includes into her post-war memorial sculpture, as well as sculpture in general. Furthermore, examples from the public sculpture of Zagreb, from a feminist perspective, open the discourse of the culture of exclusion whose intention is to appeal to the marginalized position of female artists then and today, and to emphasize that gender exclusion is still present in all spheres of art. The second part of this thesis deals with the issue of ethical approach in the conservation and restoration of modern and contemporary art, which has set many pitfalls for experts, and Sonja Pavin Diplomski rad 5 announced the beginning of new ethical and technical challenges of the profession. Conservatorsrestorers are no longer able to rely on known and experienced procedures and techniques of protection because the rules in modern and contemporary art do not exist even in their creating process technology. Throughout the short history of modern conservation-restoration theory, the research presents various possibilities in the approach to the reconstruction of sculpture. The aim of the theoretical considerations is to re-examine the traditional approach of this intervention and offer some new, perhaps more progressive solutions. The possibility of reconstruction, like any other conservation and restoration work, depends on various factors such as the level of financial resources, availability of materials, time constraints and the level of expertise of the person / team performing the work. They determine the course of work, possibility, and quality of its realization. One of the main reasons why restoration workshops today are primarily reserved for sacred and collector's art is the well-known practice of rewarding the richest the most. At restoration and conservation workshops, it is rare to find space for works of art that are cared for, for example, by non-profit organizations or for works of art that no longer enjoy the status of a protected cultural property. Thus, many art collections, monuments and archeological sites, not recognized by the Ministry of Culture and other state bodies as valuable heritage, suffer the consequences of professional irresponsibility and are mainly left to systematic oblivion and devastation. Although the work of the Živi atelje DK has been neglected by institutions, like many other creative projects in Croatia, it is highly recognized at the community level, especially by college and phd students who are contributing to the visibility and preservation of this valuable collection through their dissertation papers and practical work on opus. |
