The National Committee Magazine No 7 | December 2017

ECOMUSEUMS AND COMMUNITY Top Trend in the World A Word from President From content Year of international cooperation The international museum community gathered in Paris in the first week of June 3 at the 83rd meeting of the ICOM Advisory nd Seminar Committee and 32 General Assembly. It was an excellent opportunity to acquaint Ecomuseums and Community in more detail many colleagues worldwide Museums with the activities of Serbian museums. The new issue of ICOM magazine – featuring a changed concept and lay- out, and published in English for the first 6 time – was first presented to president of Interview ICOM, Suay Aksoy. Since it was quite im- practicable to bring along a sufficient num- Alberto Garlandini, ber of copies, the entire ICOM community ICOM Vice-President learned about the work of the ICOM Ser- bia National Committee through the elec- tronic version of the magazine. Speaking of the international and regional 8 cooperation, we need to highlight excep- Jubilees tional activities the museums were en- 170th Anniversary of the Gallery of gaged with this summer. The Ethnographic Museum in was a host to its col- leagues from Ljubljana and also a guest at the National Museum in New Delhi; the colleagues from the Pavle Beljanski Memorial Collection and Heritage House paid a visit to ; the Museum of Natural History 10 introduced itself at the Museum of Polimlje; in cooperation with “Ilijanum” of Šid and the In Focus National Museum of Kraljevo, the Museum of Naïve and Marginal Art opened a unique exhibition at the Halle Saint Pierre in Paris; the Historical Museum of Serbia presented its With Lubarda for More than a exhibitions all the way from Thessaloniki to Corfu; the colleagues from the Museum of Century Vojvodina paid a guest visit to Slovakia; the Museum of won the international award for the best short museum-related video; and, finally, the and the China Film Museum signed a memorandum of cooperation. 13 As one of the projects in the cycle of professional museum seminars was drawing to Events a close, the concluding discussions noted the increasing role of ecomuseums in the conservation and presentation of cultural and natural heritage. Ecomuseums are a Ethnology Fest synonym of power of a community and through the implementation of feasible de- velopment of cultural tourism they are an essential element for the improvement of well-being and development of the entire community. At the same time, the ICOM Serbia National Committee – as a professional association – will carry on its activities 30 that will contribute to the completion of already started and the initiation of new Museology projects of ecomuseums.

Colonial Williamsburg Reflecting the need for a planned approach to culture, this year has also been marked by a series of public debates on the Proposal of the cultural development strategy of Serbia from 2017 to 2027. The particularly important segments of this proposal include the adoption of several laws and bylaws, as well as the protection of cultural heritage as a key value of the society. Additionally, stress was laid on the need for development of contemporary creative works through the increase of funds for the mobility of artists, among other means. Of special note are the plans for capital investment and opening of new museums, along with the completion of two vital reconstruction projects – the National Museum and the Museum of Contemporary Art in Belgrade. Regardless of the praises and criticisms addressed to the Proposal, it should be taken as the start of a constructive dialogue which will finally lead to the adoption of this document of major strategic importance. Slavko Spasić

2 icom srbija ICOM SERBIA SEMINAR ECOMUSEUMS AND COMMUNITY MUSEUMS Top Museum Trend in the World The expansion of ecomuseum and its undeniable potentials have motivated the ICOM Serbia National Committee to organize an international seminar on the subject. It was an opportunity for both the initiators of the establishment of such museums in Serbia and the representatives of local communities and self-governing bodies to meet with the leading experts from the region and

Text: Biljana Djordjević / Photos: Vuk Nenezić, @eljko Andjeljkovi}

he increasing role of ecomuseums in the preservation and presentation Slavko Spasić, of cultural and natural heritage, as president T of ICOM well as their actual potential in sustaina- ble development, served as a motive for Serbia, and ICOM Serbia to organize an international representatives seminar on the topic Ecomuseums and of ecomuseums Community Museums. The seminar that and local brought leading ecomuseologists from comunities from Italy and Croatia to Serbia from 25th to Serbia 27th October was supported by the Mini- stry of Culture and Information of the Re- public of Serbia, the Italian Cultural Insti- tute in Belgrade and the Regional Alliance ICOM SEE. The partners of the National Committee in carrying out this significant programme were the Golubinci Ethno-Eco Museum Foundation and the Municipality of Stara Pazova. This two-day seminar, the fields beyond cultural mainstream. countless activities – from the reconstruc- held at the Yugoslav Film Archive and the Raul dal Santo, an ecologist and coordina- tion of the Schloss castle, as the future Kolarac Endowment, was opened by Pao- tor of the Landscape Ecomuseum of Para- museum headquarters, to various actions la Cordone, deputy director of the Italian biago, underlined the capacity of ecomu- and programmes for the preservation of Institute and cultural attaché. seum to encourage the participativeness in local cultural and natural heritage, and the approach to protection and promotion passing on the awareness about their value Community as an Active Guardian of not only cultural, but of natural heritage to younger generations. of Heritage as well. The project for the development of eco- The speakers at the first session were Ecomuseums in Serbia – museums of Zlakusa and Potpeće, two Darko Babić, PhD, Head of Museology Experiences and Challenges connected villages in western Serbia, is in and Heritage Management Department of its initial stage. In order to form a clear the Faculty of Philosophy, University of The opening speech on the second day basis for the establishment of ecomuse- Zagreb, and Alberto Garlandini, ICOM of the seminar was given by Tamara Ni- ums, we need to implement comprehen- vice-president and an expert in manage- kolić Djerić, Chair of the Board of the sive, multidisciplinary research studies ment of cultural heritage. Babić focused Batana Ecomuseum in Rovinj, the most that would point to all the potentials of the on the origin of ecomuseums and their successful ecomuseum in Croatia, added area and suggest sustainable possibilities development from the 1970s to this day, to UNESCO’s Register of Best Safeguard- for controlled exploitation. The idea for while Garlandini pointed to the contribu- ing Practices in 2016. The example of the creating ecomuseums was presented by tion of ecomuseums to ICOM’s debate on Batana Ecomuseum may be the closest to Biljana Djordjević, PhD, author and head the social role of museums and the respon- our community and the most applicable as of the project Zlakusa, Potpeće and the sibility of museums toward landscape. a model of all that have been presented to Surroundings. Multidisciplinary Research us. Aimed at Integrative Protection and In- Continuing on with the seminar, the at- clusion into the Zlatibor County Cultural tendees had the opportunity to listen to Later on, the seminar was dedicated to Tourism. two Italian experts in this field. Donatel- case studies in Serbia. The Golubinci Eth- la Murtas, an architect and environmen- no-Eco Museum was introduced by eth- Miroslav Nikolić, director of the Muse- tal protection engineer, talked about the nologist Jovanka Sečanski, founder of the um of Coal Mining, talked about Senjski ecomuseum of the terraced landscape and foundation managing this longest-stand- Rudnik (Senje coal mine) as an emerging vineyard in northwest Italy, where ecomu- ing ecomuseum in Serbia. Located just ecomuseum. Although the first stage that seum has been chosen as the most efficient outside of Stara Pazova, the Golubin- included the renovation of several build- model for managing the local heritage in ci ecomuseum has been the initiator of ings has been successfully completed, the icom srbija 3 ICOM SERBIA SEMINAR ECOMUSEUMS AND COMMUNITY MUSEUMS transformation of Senjski Rudink into an ecomuseum is still under way, with priori- DROPS – International Platform ty being placed on educating local popula- tion in the next stage. Dal Santo put a special focus on the Italian network of ecomuseums. The networking provides stronger positions of ecomuseums through sharing of experiences. To this Ecomuseum Ibar Valley, a comprehensive end, the international platform for ecomuseums and community museums – DROPS and ambitious project presented by Kata- (https://sites.google.com/view/drops-platform/home) has been created with the aim to rina Grujović Brković of the Institute for connect all national ecomuseum and community museum networks, existing or to be the Protection of Cultural Monuments, established, in a virtual and interactive space. This platform also serves as a base of Kraljevo, is quite complex since it in- a multilingual documentary and a bibliographic pool of resources on ecomuseology cludes the territory of three municipalities and its best practices. As a member of the DROPS Board, Raul dal Santo suggested – Kraljevo, Raška and Novi Pazar – and that the information on ecomuseums in Serbian also be included in the platform, thus their varied cultural and natural heritage. contributing to a better visibility of the efforts being made in this field in Serbia. The initial project of mapping the poten- tials is finished, but the implementation has not started yet. Efforts should be put and its surroundings. Folk representatives of local communities and into closer bonding of local communities and the Rajac Scythe Festival have been self-governments to realize the important and local self-governments so that the identified as the backbone of development role an ecomuseum may have in the devel- project can get under way. of this ecomuseum. opment of their communities. The lively discussion ensuing from all the lectures is The final example, Ecomuseum Slavkov- The primary goal of the seminar was to the most direct evidence of how success- ica, is still in its infancy. It is commend- follow the leading museum trend in the ful and essential this kind of seminars and able that the initiative came from the local world by educating and connecting the similar ones may be. community which sought professional participants from Serbia in a construc- help from Vladimir Krivošejev, PhD, di- tive dialogue, and thus provide sharing of At the end of the seminar, a visit was paid rector of the National Museum in Valjevo. opinions and experiences with respectable to Golubinci and the emerging Ethno-Eco He presented preliminary results of the experts from abroad. At the same time, the Museum in this picturesque village in recognition of potentials of Slavkovica intention was to encourage the attending Srem.

Raul dal Santo coordinator of the Landscape Ecomuseum of Parabiago (Italy) underlined the capacity of ecomuseum

4 icom srbija ICOM SERBIA SEMINARS Museum and Memory Culture Memory Culture and Contemporary Museum as one more in a series of educational programmes of the ICOM Serbia National Committee, organized in cooperation with UNESCO Chair in Cultural Policy and Management, University of Arts in Belgrade and Europa Nostra Serbia, with the support from the Secretariat for Culture, City of Belgrade at the end of November

Text: Marijana Cvetković / Photos: ICOM Serbia

ublic memory, one of the key topics of cultural heritage theory and practice, Pparticularly in countries in transition, such as Serbia, gathered more than forty par- ticipants at the University of Arts in Belgra- de and Jovan Cvijić’s House () in late November. The aim was to question the concept of pub- lic memory based on Eric Hobsbawm’s crit- ical approach, according to which the past should be viewed from the perspective of its role in homogenization and accomplishment of hegemony, and strengthening of power of the dominant classes, groups or nations. At the University of Arts Memory culture implies broad participation of different social actors who pass on their in the domain of public space (projects such which Miloš Miletić and Mirjana Radova- memories, mementos, sensations, artifacts as Belgrade Sound Map, presented by Andri- nović have been working for several years. and experiences to their community with ja Stojanović, or Beopatrimonium by Milena The seminar provided an opportunity for the aim of developing as rich, broad and di- Jokanović) or even musealized space (such talks about the methods and approaches of the versified collective memory as possible and as the Non-Aligned Movement heritage, work on conceptualizing two new museum guarding this wealth of memories for the new spoken about by Dr Ana Sladojević, or the projects. Staro Sajmište Memorial Centre is a generations. The responsibility of museums heritage of the Yugoslav National Liberation project that has failed to overcome differenc- and other cultural heritage institutions in Movement, spoken about by Miloš Miletić es in the community of experts and political these processes is huge, but their task is also and Mirjana Radovanović). complex and delicate. In order for our muse- cleavages for years now, proving in this way ums to live up to this task, they need museum Some of the examples showed how import- Hobsbawm’s claim about the ruling groups professionals who understand the importance ant it was to get out of museums in order to striving to impose hegemonic memory. The of participative work on guarding the mem- approach the heritage: Bikeculture – the proj- discussion about this project shed light on ory, the participation of different groups and ect of the , presented various factors affecting the implementation individuals, citizens and active memory car- by Marija Djorgović, or Lessons in Defence, of this significant undertaking. The second riers in museum projects. through artistic research and deliberation on example was the future exhibition of the Bel- grade City Museum in its new building in Re- Therefore, the concept of the seminar provid- savska Street. It showed the dominant work ed insights into different practices of work techniques in this kind of museums, requiring with heritage, the involvement of various critical thinking, openness, transdisciplinari- participants and instruments facilitating the ty and participativeness in order for the future keeping and mediation of memory, of its con- permanent exhibition to be set up as a place tradictions, ephemerality and dissonance. of public dialogue and open forum. The opening lectures given by Prof. Dr Mile- The final part of the seminar was the Muse- na Dragićević Šešić, Dr Olga Manojlović um as a Mediator of Memory workshop con- Pintar and Dr Vjeran Pavlaković shaped the ducted by Dr Višnja Kisić. All participants seminar’s theoretical and methodological were engaged through reflection on specific framework which enabled critical consider- contemporary practices of collecting, docu- ation of all presented case studies from Serbia menting, researching and communicating the and the wider region of former Yugoslavia. memory in particular museums in order to The participants learned about different prac- formulate the ideas for museum mediation of tices of research and recontextualization of memory that are critical, multi-perspective, suppressed personal or collective memories, Staro Sajmište pluralistic and/or participative.

icom srbija 5 INTERVIEW ALBERTO GARLANDINI, ICOM VICE-PRESIDENT Power of Museums Lies in Diversity ICOM Vice-President Alberto Garlandini visited Belgrade in late October as one of the speakers at the ICOM Serbia Ecomuseums and Community Museums seminar. It was an opportunity to talk to him about ICOM activities, and its current plans and programmes

Text: Tamara Ognjević / Photos: Vuk Nenezić, VR Team

n experienced museum professio- nal, Alberto Garlandini used to be Athe president of ICOM Italy, and as of July 2016 he has been ICOM Vice-Presi- dent. He is the member of ICOM Executive Council and many national committees with the Italian Ministry of Culture. His prior positions include the long-term President of Lombardy Film Commission Foundation and one of the leaders of the project for the Italian cultural heritage promotion worldwi- de. He has written almost two hundred bo- oks, articles and essays on museology and heritology, translated into many languages. He is a distinguished and often invited inter- national lecturer, but, first of all, a professio- nal dedicated to the well-being of the world museum community. Ranked among the most active ICOM executives, he is literally always on business trips, but is, at the same time, incredibly willing to reply to e-mails immediately and to instantly remember your name and the setting you met each other in. I first met him in late November 2015 at the ICOM pre-conference in Brescia (Italy). Back then, he was capturing the attention with his simplicity, patience and heartiness, just as during the ICOM Serbia seminar. I will not be wrong if I say that Alberto Gar- landini is a true museum lover, a man who has subordinated and dedicated his life to this profession. What exactly is ICOM? People are often confused about what the International Council of Museum actually does, what its competencies are, how powerful it is? First of all, I would like to emphasize that ICOM is a non-governmental organization. It is completely autonomous and depends only on its 37.000 members all over the world. ICOM and UNESCO were founded in the same year, 1946, and the initial idea in both cases was the same – to face the world full of destruction, demolished in the world war at that time, and to build a new, peaceful platform for cooperation. What was import- ant back then is also important now. ICOM without the awareness of their cultural heri- ing in museums, since, in the first place, a strives to draw attention to the role of mu- tage and the role of museums in this process. museum is all about the people working in seums, culture and cultural heritage in the So, ICOM’s primary function is to point to these nice buildings, people whose task is modern society since today there are com- the role of museums in a society and then not only to care for collections, but also of munities which believe they can develop also to highlight the role of people work- numerous social, cultural and education- 6 icom srbija INTERVIEW ALBERTO GARLANDINI, ICOM VICE-PRESIDENT

al activities defining the role of museums cial for the overall development. You see, in a society. We live in a very complicated ICOM is a non-governmental organization, world. From one perspective, we clearly and being a non-governmental organization witness the destruction of cultural heritage, is a fortune. We are our own masters, and and not only as collateral damage due to what’s more, we are professionals. There- a conflict, but as a targeted action. To this fore, we are able to provide very useful in- end, ICOM’s task is to react, to collaborate formation and advice, to help make certain with the organizations such as UNESCO, in things become much better without being its struggle to thwart such actions, protect partial. We are useful. And, it was the first the heritage and do our utmost in high risk time that a non-governmental organization situations. On the other hand, we exert our equally participated in a G7 summit, and best efforts when preventive protection is that organization was ICOM. concerned. With that in mind, we cooper- ate with the governments all over the world What is the largest global challenge for and commit ourselves deeply to develop the ICOM at this point? awareness of the importance of cultural her- In my opinion, it’s the illegal trade in cultur- itage protection. al goods. It is a huge challenge and a huge ICOM is a large organization and some- problem. For instance, on the one hand, you times its structure seems complex, too have extremists destroying cultural goods ambitious. while, on the other, these same extremists organize illegal trade in what they haven’t Yes, ICOM is a very complex system, a destroyed yet. It this way they raise mon- composite organization. However, its true ey for their activities. Unfortunately, their power lies in the national committees. We trying to sell cultural goods would not be a operate on the international scale – natural- problem in itself, but the real issue is that Alberto Garlandini with our editor ly, ICOM has its international committees there is a market which is buying such in Yougoslav Kinoteka Museum as well – but ICOM’s real strength and true goods disregarding the fact that criminal ac- power comes from its national committees. tivities are involved. In light of these occur- They are the most efficient, and if they are ecutive Board was elected. What innova- rences, the acceptance and implementation well-structured and have clear objectives, tions did President Suay Aksoy and her of ICOM Code of Ethics is of utmost impor- they can really be hugely influential. team bring? tance, by which I mean that the code should How much can ICOM influence the deci- Regardless of the replacement of people be accepted not only by professionals, but sions of politicians, government systems, running ICOM, we all make sure that con- also by governments all over the world. decision makers? tinuity is maintained regarding what has al- ICOM has recently invited its members In the past, ICOM was much more closed ready been achieved. This Board is trying to to take an active part in deliberation and oriented toward the profession and the expand ICOM influence internationally. We about a new definition of a museum. idea of exchange among professionals. Yet, are seeking to influence the decision-mak- Having in mind that the world museum in recent years, ICOM has been increasingly ing structures, to explain to them the im- community is quite diversified, large and present in public, speaking out louder about portance of museums and cultural heri- complex, with different appreciation of its positions and has insisted that the organi- tage worldwide. We are cooperating much the role museums have, the question is zation’s opinion be heard in decision-mak- whether the new definition can be accept- ing places. ICOM is a large, complex able to all? organization. However, ICOM’s real The power of museums lies exactly in the We have heard about the USA announc- strength and true power comes ing its withdrawal from UNESCO. Is this fact that they are not homogenous, that going to disturb the balance in ICOM as from its national committees they operate in different cultures, that they well? have different experiences and mindsets. This diversity is good. It is fruitful. With more with the organizations such as OSCE. Not in the least. We are, of course, sorry this in mind, ICOM does not want a rigid Thanks to the cooperation with us, they now that something like that is happening since definition. On the contrary, it is exactly by have a much better understanding of the role we think that culture, heritage and educa- the interlacing of different perspectives that tion should stand above political decisions. of museums and cultural heritage as a vital we want to create a platform which can be In this respect, ICOM is not going to be element of the overall development of soci- supplemented at any time, a flexible one. Fi- jeopardized for sure. ICOM United States ety. To illustrate my point, we took part in nally, we are aware that we live in a world National Committee is one of the largest the G7 summit in Italy for the first time this of continuous change and challenges, and in and most active ones, and their view of the year – we are talking about the conference such world museums also have to change all matter is clear, but the consequences of this of the world’s most industrialized countries the time in order to take an active part in decision of the US government, if it is to be where the issues of economy and politics are the development of a society. ICOM’s task implemented, are not good for many other usually discussed. For the first time this kind is to provide help in this process, to connect reasons. of meeting gathered ministers of culture. A its actors and enable their exchange of opin- Last year in Milan ICOM celebrated its lot of attention was devoted to the consider- ions, ideas and experiences – and we are try- 70th birthday on which occasion new Ex- ation of ICOM’s role in the processes cru- ing to do this job as best we can. icom srbija 7 ICOM SEE IN THE REGION Alliance Is Getting More and More Active From Zagreb to , Belgrade and Paris – Regional Alliance for South-East Europe is getting more and more efficient in linking the museum professionals in the region

Text: Biljana Djordjević / Photos: ICOM SEE

n 2017, the Regional Alliance of ICOM ry – Repression and Fear in the Great War were welcomed by Vice-President Sarita for South-East Europe (RA ICOM SEE) in which Biljana Djordjević, ICOM SEE Vujković. has carried on with its main mission – Secretary took part; the conference Tradi- I At the ICOM Annual General Assembly in active linking of the museums and museum tion and Innovation, hosted at the Museum Paris, ICOM SEE representatives participat- professionals from the nine member coun- of the Republic of Srpska in Banja Luka, ed in the conference Crowdfunding 4 Cul- tries. Some of the members have been more gathered a large number of the Alliance rep- ture and had a meeting with the coordina- active than others in this context, but conti- resentatives from , tors of the Red List of Endangered Cultural nued communication among them suggests , Croatia and Serbia. On behalf of Objects. their interest in more intensive involvement ICOM SEE, the attenders in Banja Luka of them all in long-term, multilateral projects. In October, ICOM SEE was a partner to ICOM Serbia National Committee in the In addition to regular meetings of the Ex- organization of the seminar Ecomuseums ecutive Board held in Paris in June and in and Community Museums which assembled Zagreb in November, ICOM SEE either tens of museum professionals from all over organized or participated in many activities Serbia, who, aided by the colleagues from undertaken in cooperation with other associ- ICOM Italy – Alberto Garlandini, Donatella ations and ICOM National Committees. Murtas and Raul dal Santo, and from Croatia Already in April, at the invitation of Creative – Darko Babić and Tamara Nikolić-Djerić, Europe Desk Serbia and Europa Nostra Ser- elaborated on the idea of linking local cul- bia, ICOM SEE President, Goranka Horjan, tural heritage and sustainable development. took part in the panel Regional Cooperation The central and most important activity of in the Field of Museums and Cultural Heri- ICOM SEE in 2017 took place at the very tage: Key Topics, Potentials and Challeng- end of the year. The RE-ORG project, im- es. The invitation from Europa Nostra came plemented at the Ethnographic Museum in again in June for the conference Cultural Zagreb, carried on with its activities in the Heritage Counts for South-East Europe, Region on the important mission of educa- where Goranka Horjan pointed to the possi- tion in the reorganization of museum stor- bilities offered to museums to overcome ob- ages. This time the participants came from stacles and help better financing of cultural Croatian and Slovenian museums, and the heritage protection through joint projects. speakers were Gaël de Guichen, ICCM (In- Meanwhile, in celebration of the Interna- ternational Committee of the Conservation tional Museum Day and its theme Saying of Mosaics) Honorary President, Jana Šubic the Unspeakable in Museums, the Histor- Prislan, ceramics conservator from Slovenia ical Museum of Serbia organized a round and Veljko Džikić, conservator at the Cen- table discussion Museums and Hard Histo- tral Institute for Conservation in Belgrade. 8 icom srbija may 2018 < INTERNATIONAL MUSEUM DAY >

Hyperconnected museums New approaches, new publics

www.icom.museum @ICOMofficiel icom srbija 9 EVENTS MUSEUM OF CONTEMPORARY ART, BELGRADE

A Happy start to a New Life! Ten years after closing its doors for renovation, the Museum of Contemporary Art in Belgrade has been reopened with the exhibition Sequences. Art of Yugoslavia and Serbia from the collection of the Museum of Contemporary Art, featuring more than 300 works of art created from the early 20th century to this day

Text: Suzana Spasić / Photos: Vladimir Živojinović, VICE Serbia ver so glad about rediscovering the to reenter this famous and architecturally composed of giant angular cubes, made of remarkable establishment at Ušće, unique building in Belgrade. Many of them marble and glass, the roofs of which they Ethe visitors were haunting the mu- were given the chance for the first time in had been looking at for years from the Bel- seum for days, patiently standing in line October 2017 to set foot in this complex grade fortress, emerging from the greenery

10 icom srbija EVENTS MUSEUM OF CONTEMPORARY ART, BELGRADE

behind the Sava river, during the “lifeless” left till the completion of renovation. How- is as old as the contemporary art itself.” period of a long and arduous reconstruction ever, since the deadlines were missed again Protić noted down that by building the mu- of this jewel and cultural property. and again, the clock was turned off before seum, Serbia and Belgrade wanted to present the scheduled time. The irregularities in A cheerful atmosphere prevailed at the simultaneously both national and Yugoslav the process of contractor selection slowed opening and throughout the days that fol- contemporary art – the first one as an integral down the renovation again. Removals from lowed. Officially, the programme started part of the other. This concept is also evident office, scandals and a lengthy renovation at 10.30 on 20 October 2017 with a sever- in the new exhibition staged for the opening marked a decade behind us in the history al-hour performance by the Dresden Frank- of the museum in October 2017. of this museum. And yet, not one of these furt Dance Company and ballet dancers issues has diminished the joy of rediscov- Ever since 1960, when selected as a win- from Serbia in the Lecture Hall, in an im- ering of this unique building and the collec- ning design for the new museum, this archi- provised cage. tion it holds within its airy walls. tectural masterpiece by architects Ivo Antić The audience was welcomed with the ex- and Ivanka Raspopović has been a testimo- Belgrade has been given the museum re- hibition Sequences, authored by Dejan ny to a new, modern perception, to the unity constructed in accordance with the interna- Sretenović, PhD, with curators Mišela of art, nature and life. The museum building tional museum standards. Blanuša, MA, and Zoran Erić, PhD. Staged reflects life sequences from the confluence on the museum’s five levels, the exhibition Art as Conscience and as Awareness of the Sava and the Danube rivers, while in- is structured as a series of 18 sequences, side, its walls bear witness to live art which chronologically following the development The Museum of Contemporary Art in Bel- is changing and developing as a manifesta- th of art in Yugoslavia and Serbia. Sequences grade was opened on 20 October 1965. tion of life, human endeavor and shifting of shows 120 years of artistic creation. However, its activities began in 1958, borders of art and creativity. when the Cultural Council of the Peoples’ As a symbol of Belgrade and an institution Committee of Belgrade passed an act on Finally, let us remind ourselves of Aleksa housing the largest collection of the Serbian the establishment of the Modern Gallery. Čelebonović’s words in the text written on and Yugoslav art, it was designed exactly to In the spring of 1961, the Modern Gallery the occasion of the opening of the Museum meet the museum needs. The ten-year long commenced its work at 14, Pariska Street, of Contemporary Art (Politika, Belgrade, reconstruction of the Museum of Contem- the present location of the Salon of the Mu- 24th October 1965): “The art as conscience porary Art witnessed as many as six min- seum of Contemporary Art. It was the first and as awareness needs to have a base which isters of culture and four museum directors gallery with a permanent programme and is not improvised, in which a modern-con- changing office. Since July 2007, during the a clearly defined concept. The Museum of cept museum can have a superior role.” At time when the building was closed, there Contemporary Art collection consists of that time Čelebonović also noted that open- were many extensions to the reconstruction more than 8.000 pieces telling a story of the ing of the museum was such a significant deadline. The first stage of works, focus- artistic creation in Serbia and the in event that the consequences could not be ing on the reconstruction of roof, basement the 20th and 21st century. foreseen right away and wished the new area with the conservation studio and depot, museum a life-giving role in our cultural was finished as late as 2011. Afterwards, As the Museum’s first director, Miodrag B. being. These past ten years that the Muse- the works were suspended again. In 2015, Protić, who did not live to see the comple- um of Contemporary Art spent in exile from marking half of the century since opening tion of the renovation works (deceased in our minds and conscience have proved how of the museum, a clock was set up with a 2014), wrote down, “the idea of establishing much we all missed this institution. May we symbolic meaning, counting down the days the Museum of Contemporary Art in Serbia wish it a happy start to a new life! icom srbija 11 JUBILEES THE GALLERY OF MATICA SRPSKA National Pride for 170 years! A modernly designed museum protecting and presenting the national visual arts of recent times, and following the contemporary museological trends, the Gallery of Matica Srpska has been proving its leading position on the regional museum stage and its attribute of a true pride of the nation for 170 now

Text: Tijana Palkovljević Bugarski / Photos: Gallery of Matica Srpska

n the year marking its 170th anniversary, the Gallery of Matica Srpska has prepared Inumerous programmes and events. Du- ring the restoration works on the façade, their programmes were staged in other institutions. Eđšeg castle housed the exhibition Growing up with Art featuring the results of a ten-year work with the children from , achie- ved through educational gallery programmes. Under the cooperation with the , the Rectorate building housed two exhibitions – Serbian Art in Ten Paintings and Beehive. During the Month of Francophonie, the Gallery organized a guest exhibition Ser- bian Art in Ten Paintings at the French Insti- tute, promoting its most important pieces. Fi- nally, the visiting concept ended with moving Jubilee in the Gallery of of the permanent 20th century exhibition The- Matica Srpska in Novi Sad mes and Ideas – Serbian Painting from 1900 to 1941 to the Museum of Contemporary Art ceiving and interpreting the national art in a perts told stories from their field of expertise of the Republic of Srpska in Banja Luka. broader European context, while the visiting on each of the 170 days. With the start of a Celebrating the completion of the façade res- exhibition from the Sava Šumanović Gallery new school year, free admittance was provid- toration works, a magnificent programme was in Šid – The Šid Women by Sava Šumanović ed for all students of the University of Novi held on 1st June featuring an artistic light spec- – focused on the values and significance of Sad, while a new educational programme ti- tacle and musical performance in cooperation inter-institutional cooperation. The exhibi- tled Art Time Machine was introduced for pre- with the Academy of Arts in Novi Sad and the tions were continually accompanied by var- school children and those of lower school age. ious events – lectures, book promotions and European Capital of Culture Foundation. On The Gallery introduced several novelties professional interpretation of displays. this occasion three exhibitions were opened, aimed at modernization. The exhibition halls showing the Gallery’s strategic commitments. Many new features and programmes were set on the ground floor and in salons were named Aimed at the promotion of gift donations as up to complement these exhibitions: longer after famous individuals related with the his- an essential value of Matica Srpska, the Ivan- working hours, a new series of museum sou- tory of this institution: Sava Tekelija, Teodor ka Acin Gift Collection was put on display. venirs, print publication 100 Artworks from Pavlović and Leposava Šelmić. The staircase The exhibition Images of Ephemeral World: the Gallery of Matica Srpska Collection. A area is now home to the Pantheon of artists Links Between French and Serbian Intimism, media campaign titled Live, Revive and Ex- consisting of their sculpture portraits, high- organized in cooperation with the French In- perience Art was launched and a programme lighting the important role of those figures in stitute in Serbia, noted the necessity of per- was organized within which the Gallery ex- the development of national art and culture.

Jubilee in Budapest

12 icom srbija JUBILEES THE GALLERY OF MATICA SRPSKA

Opening of restored building of the Gallery in Novi Sad

Finally, several conservator stories were in- come true, a foundation was laid on which the achievements of a nation. troduced into the permanent collection in Gallery’s activities are based on even today: In the year marking its 170th anniversary, the order to make the audience familiar with this to create and preserve the national cultural Gallery of Matica Srpska was donated a re- valuable activity of the Gallery. identity with the works of visual arts. To mark markable artistic collection consisting of eighty- this occasion, a plaque featuring an allegorical The programmes continued on with the im- three pieces by the Tarkett company. Bringing a composition from the old Tekelijanum build- plementation of the Outings project which ing was awarded to all the institutions partici- major addition of some missing pieces to the brought pieces from the Gallery’s permanent pating in and contributing to the protection of gallery collections, this gift is a nice example collection in the form of a mural to the streets Serbian cultural heritage in Hungary. of cooperation between the public and private of Novi Sad with the intention to establish a sector, an institution of culture and a large cor- dialogue between the art and public beyond Only a few days later, a traditional Gallery poration, which promotes the act of art donation the gallery space. This was followed by an ex- Day was held, dedicated to the presentation as an important model of philanthropy. hibition and a book promotion titled Dimitri- of a five-year projectArsenije Teodorović and Under the regional cooperation and the ne- je Avramović. An Artist of European Frames the Serbian Church in Budim. The church cessity to underline the importance of making and Serbian Context, held to honour the 200th was destroyed in a bombing raid in 1945, to museums more available to disabled persons, anniversary of the artist’s birth, gathering be torn down several years later. The only re- the Gallery hosted a guest exhibition of the many experts from different scientific institu- maining witnesses to this significant cultural Museum of Contemporary Art of the Repub- tions and museums. monument were the preserved icons which were restored in a joint effort of the Serbian lic of Srpska – Space, Shape, Touch – adapted The jubilee of the establishment was celebrat- Orthodox Museum in Szentendre, the Gallery to the blind and visually impaired. ed with two gala events. A celebration was of Matica Srpska and the Provincial Institute And, finally, although it is an institution with held in the grand hall of Tekelijanum in Buda- for the Protection of Cultural Monuments, a long history and continuity, the Gallery pest on Sunday, 14th October. Its purpose was and displayed as a whole at the Sava Tekeli- wished to acknowledge its commitment to to note the continuity of the institution and to ja Hall after almost seventy years. Believing the future and readiness to keep up with the point to the connection with the place where that this project, which deals with the protec- trends by creating the first application and an idea for the establishment of the Matica tion, study and presentation of a segment of three tours through its permanent collection Srpska Museum was conceived. The muse- Serbian cultural heritage, best indicates the using the augmented reality technology. um from which the Gallery of Matica Srpska continuity of the ideas of the Matica Srpska was to evolve, was founded at the meeting of Museum founders, we chose it as the theme All these programmes bear testimony to the the Board of Directors, at Teodor Pavlović’s of central ceremony. By displaying seven- Gallery’s striving for the same ideals that our suggestion, in the old Tekelijanum building ty-three icons, we showed how cultural her- founders cherished – to be the pride of our on 14th October 1847. By making this idea itage can be evidence of historical and artistic nation. icom srbija 13 International Cooperation Pavle Beljanski Memorial Collection and Heritage House With Lubarda for More than a Century Celebrating the 110th birth anniversary of the painter Petar Lubarda, in cooperation with the Heritage House, the Pavle Beljanski Memorial Collection carried out a complex regional project dedicated to this artist.

Text: Milana Kvas / Photos: Pavle Beljanski Memorial Collection

wo related-profile institutions – the Pavle Beljanski Memorial Collection, set up as a donation of a superior art T th collection dating from the first half of the 20 century, bequeathed to the Serbian people in 1957 by the diplomat Pavle Beljanski, and the Heritage House, founded in 2004 as an institution comprised of ten art bequests, inc- luding the one of Petar Lubarda – carried out an international project aimed at reminding the public of the creative works by one of the most distinguished painters in the region and the world, as well. In recognition of its pro- found importance, the project was supported by the Ministry of Culture and Information of the Republic of Serbia, Provincial Secretariat for Culture, Public Information and Relations with Religious Communities, and the Secreta- riat for Culture, City of Belgrade. The exhibition concept was designed by the curators of the Pavle Beljanski Memorial Col- Introducing Lubarda to lection and the Heritage House, Milana Kvas, Novi Sad audience M.A. and Dina Pavić. Starting from Lubar- da’s nine paintings created between the two world wars, which Pavle Beljanski included the second half of the 20th century, when his Art of the Republic of Srpska in Banja Luka. authentic painting language becomes a part of in his collection, and twenty-four paintings, The accompanying programmes of Pe- the world art heritage. nine drawings and a sketch by this artist, kept tar Lubarda 1907–1974–2017 exhibition, by the decision of Petar Lubarda and his wife This flexible exhibition gained a new charac- based on the interdisciplinary museology Vera in the Heritage House as an inalienable ter each time it changed the gallery where it approach (workshops, curator-guided tours, part of Lubarda’s legacy, the authors shaped was staged. It premiered in August this year in film screenings, a tactile segment intended the exhibition to be complemented with other the Petrović Castle in Podgorica, the home of for blind and visually impaired persons), had important works and material essential for the the Contemporary Art Centre of . a considerable contribution to the project’s appreciation of Petar Lubarda’s works of arts, This was a suitable starting point since the main goal to offer a different perspective of borrowed from the Gallery of Matica Srpska, landscapes of the artist’s native Montenegro the personality and work of this extraordinary the Museum of the Serbian Orthodox Church, painter, to share with the professional public Belgrade City Museum, SASA Art Collec- used to be his everlasting inspiration. In Oc- and wider audience some new facts about one tion, Government of the Republic of Serbia, tober, the exhibition went on to be showcased of the most notable representatives of mod- the National Museum in Smederevska Palan- at the Pavle Beljanski Memorial Collection in ernism on the national and international scale, ka and “Milan Konjović” Gallery in Sombor. Novi Sad, where it was marked by the close and to recontextualize his paintings according A special contribution to this project is the relationship between the artist and the collec- to the demands of modern museology and gained access to the so far unknown docu- tor who was Lubarda’s best man at his wed- history of art. To that end, a highly important ments about Lubarda, the fruit of Parisian re- ding to his first wife Jelena Jovanović in 1933. scientific gathering dedicated to Petar Lubar- search by Gordana Krstić Fej. In early November, the exhibition arrived at da was held at the Pavle Beljanski Memorial The outcome is an exhibition featuring thirty 46, Knez Mihailova Street, to the Heritage Collection on 19th October 2017, on the oc- works of art and sixteen accompanying pan- House in Belgrade, where it is to stay until the casion of which twelve experts from Mace- els, illustrating the stages in Lubarda’s artistic beginning of January 2018. After Belgrade, in donia, Montenegro and Serbia displayed their biography – from his first recognition on the early 2018, the exhibition is travelling on to works. The Proceedings of this gathering international and home visual arts scene, to the Gallery “Lubarda” of the Andrić Institute were presented in early December this year at the World War II period, to establishing him- in Andrićgrad (Višegrad), after which it will the Serbian Academy of Sciences and Arts in self in the Yugoslav and international art in be hosted at the Museum of Contemporary Belgrade. 14 icom srbija INTERNATIONAL COOPERATION HISTORICAL MUSEUM OF SERBIA A Diplomat among Museums The Historical Museum of Serbia has marked this year with great exhibitions housed on its premises at Nikola Pašić Square – Serbia 1915-16 and The Legacy of Olja Ivanjicki. It has been engaged in an intensive international cooperation, organizing many visiting exhibitions and hosting of exhibitions from abroad

Text: Suzana Spasić / Photos: Historical Museum of Serbia

rich exhibition season, museum at the end of November.” thousands of visitors and a The exhibition also features Greek considerable effort to find A families who migrated to Serbia a place for the Historical Museum in the 19th century, noted Greek of Serbia on the map of European merchants in Serbian towns, influ- museums have marked the year 2017. During the summer, Saint ential political and social figures Sava of Serbia was featured as a of Greek origin in the liberated visiting exhibition at the Museum Serbia. We were collecting the of Byzantine Culture in Thessalo- documentation about diplomats niki, and was one of the best visi- and diplomatic cooperation in the th ted ones in the season. Showca- period spanning from the 19 cen- sing historical archives, copies of tury to 1960s for more than two frescoes and icons, and photos of months. A special focus was also personal belongings and relics, the placed on Serbian-Greek relations exhibition – authored by museum in the Balkan wars and World adviser Andrej Vujnović – aimed War I. Realized on the initiative at bringing closer to the public the of Dušan Spasojević, Serbian am- secular and spiritual journey of bassador to Greece, this exhibition Sava Nemanjić as thoroughly as will travel on to Corfu and is to be possible, as well as his role in the finally set up afterwards as a per- manent display in the Embassy of history of Serbian state and chur- Opening in ch, and his influence in shaping Thessaloniki the Republic of Serbia in Athens. the cultural and national identity This summer, the Historical Mu- of . seum of Serbia complemented the After Thessaloniki, the exhibition headed to permanent exhibition housed in the Serbian Paris where it will be hosted in the Serbian Museum of Corfu with new exhibits. Cultural Centre at the end of the year, and in Under the collaboration with Intesa Sanpaolo 2018 it will be displayed in Warsaw, Krakow Group, in October this year the Historical and Wroclaw. The exhibition is planned to Museum of Serbia displayed two paintings by continue travelling abroad, acting like a kind a Dutch 16th-century artist, Gaspar van Wit- of missionary and diplomat on the cultural tel, The Piazza Navona, Rome and View of the map of the world. Piazza del Popolo, Rome. This mini-homage The Historical Museum of Serbia has initiat- to the artist who spent most of his life in It- ed an inter-museum cooperation between Bel- aly was opened by Gian Maria Gros-Pietro, grade and Thessaloniki at the Museum of the Chairman of the Board of Directors of Intesa Sanpaolo. Macedonian Struggle where the exhibition this exhibition, together with museum adviser titled Serbia and Greece – 150 Years of Strug- Nebojša Damnjanović, and conservator Bo- This year, the Historical Museum of Serbia gle for the European Balkans was organized. ban Veljković, points out that the display has has opened its doors to one more international It marks the 150th anniversary of the alliance also had an emotional effect on the audience, exhibition – Cities on the Move. As a part of between Serbia and Greece formed in 1867, adding: “Using severely damaged photo- the SIBA scientific research project and sup- when Prince Mihailo Obrenović and King graphs as models, Boban Veljković has done ported by the Swiss National Science Founda- George I of Greece made a pact about final as many as thirteen portraits of the figures tion, this exhibition features the development liberation from the Turks. Although Prince who marked this period – from , of new states formed in the post-Ottoman era Mihailo’s death thwarted their plan, the re- Constantine and Alexander Ypsilantis, Kap- through the photo material taken from Yugo- lations between the two countries remained odistrias, Rodofinikin, Giorgakis Olympios, slav and Turkish daily newspapers. Displayed strong. better known here as Jorgać, Čučuk Stana, photographs record the changes in four cit- Dr Dušica Bojić, director of the Historical etc. These portraits are also part of The Mur- ies: Belgrade, Sarajevo, Istanbul and Ankara Museum of Serbia and one of the authors of der of Karađorđe exhibition, opened in our during the 1920s and 1930s. icom srbija 15 INTERNATIONAL COOPERATION ETHNOGRAPHIC MUSEUM All-Time Beauty of Ethnographic Heritage The international activities that the Ethnographic Museum started last year have been continued with equal success in 2017 – from visiting exhibitions in Russia, and India, to reciprocal visits of distinguished museums from these countries to Serbia

Text: Marina Cvetković / Photos: Ethnographic Museum he Ethnographic Museum in Bel- grade hosted the exhibitions of the Russian Museum of Ethnography in T th th Saint Petersburg from 27 October to 26 December 2016. There were two exhibiti- ons on display – Timeless Beauty: Museum of Antiquities of Natalia de Shabelsky, while the photo exhibition Children of Russia was a guest in Manak’s House. Future coopera- tion has been announced with the National Historical Museum in Minsk, Belarus; the National Museum of Bosnia and Herzego- vina in Sarajevo, the Ethnographic Museum in Banja Luka, etc. The Ethnographic Museum in Belgrade was a guest of the Azerbaijan Museum in from 7th October to 6th November 2016 with its exhibition The Play of Varicolored Filaments: Collection of the Pirot in the Ethnographic Museum in Belgrade, authored by museum adviser Marina Cvet- ković. The exhibition showcased twenty-six Azerbaijan exhibition in Belgrade representative Pirot kilims from the museum collection, which best present the extraor- and their role in the everyday life of differ- to 31st August 2017. With a select range of dinary cultural-historical and artistic value ent social classes. A carpet was a dominat- textile handicrafts and pieces of bridal jew- of the Pirot carpet weaving as the highest ing element of the interior both in city and elry showcased in the area of more than 360 achievement in Serbian textile design. The country houses, as well as in nomadic tents square meters, the emphasis was laid on the exhibition was accompanied by an exten- (alachig). The exhibits were accompanied specific character and richness of Serbian sive monograph in Serbian and English: by metal objects, artistic embroidery and the ethnographic heritage. In addition to the Two Faces – the Catalogue of Pirot Kilims elements of traditional costume reflecting kilims, the visitors were also attracted by in the Ethnographic Museum, Belgrade. the idea of ideal proportions of the Eastern richly ornamented decorative towels, while Attended by the representatives of the rel- women. the bridal jewelry segment indicated its evant Ministry and diplomatic corps, visi- A part of the exhibition featured the primary purposes – to mark marital status, tors and a large number of journalists, the designed and created by an outstanding sci- to denote economic power, and to serve as exhibition was opened by Deputy Culture entist and founder of the Carpet Museum, protection. Jewelry and textile handicrafts, and Tourism Minister of Azerbaijan Sevda Latif Karimov. displayed in a chest containing bridal trous- Mammadova, and the greeting speeches seau, used to be an essential part of wedding The exhibition was opened by Vesna Mer- were given by Dr Mirjana Menković, di- traditions. rector of the Ethnographic Museum at the icki, the representative of the Serbian Min- time, and Dr Shirin Melikova, director of istry of Culture and Information. Additional After the traditional lighting of candles for the Azerbaijan Carpet Museum. speakers at the opening ceremony were Dr good luck, the exhibition was opened by Shirin Melikova, Zarifa Alizade, director of Rashmi Verma, Secretary to the Ministry of The Ethnographic Museum was a host to the the Azerbaijan Cultural Center in Belgrade, Culture & Tourism, who expressed genuine Azerbaijan Carpet Museum reciprocal exhi- and Dr Mirjana Menković. admiration for the Serbian ethnographic bition titled Abiding Values, authored by Dr The Ethnographic Museum in Belgrade pre- heritage and promised that the National Mu- Shirin Melikova, held from 1st to 30th June sented its guest exhibition Textiles & Deco- seum would present Indian culture with a re- 2017. ration in Culture of Serbs in 19th and First ciprocal visit to Belgrade. Dr Budha Rashmi By showcasing carpets and woven hand- Half of 20th Centuries, authored by muse- Mani, Director General of the National Mu- icrafts originating from the 19th and early um advisers Marina Cvetković and Jelena seum, Vladimir Marić, Serbian Ambassador 20th century, the attention was drawn to their Tešić, in one of the most important muse- to India, and Dr Mirjana Menković also significance in spiritual and aesthetic sense, ums in India in New Delhi from 26th June gave speeches at the opening ceremony. 16 icom srbija JUBEVENTSILEJ I GALERIJAETHNOLOGY MATICE FEST SRPSKE 2017 An Endless Source of Inspiration The first Ethnology Fest held at the Museum of Science and Technology and the Ethnographic Museum this autumn has shown that museum professionals and modern entrepreneurs are able to create extremely appealing programmes with joint efforts

Text: Aleksandra Ivković / Photos: SuperStar Culture n cooperation with the Museum of simović is a fashion show with which our cultural identity in this way. And, how hard Science and Technology and the Ethno- distinguished stylist demonstrated how the indeed it is to keep one’s cultural identity Igraphic Museum, the SuperStar Culture famous sweaters never went out was the topic of a special Ethnology panel agency organized the firstEthnology Fest in of style and were wearable with modern titled The Role of Media in the Promotion of mid-October this year. This interesting inter- dresses by famous Serbian designers – Igor Cultural Heritage, organized in cooperation national event, authored by Goga Grubješić, Todorović, Saša Milojković, Suzana Perić, with Color Press Group. focuses on the wealth of cultural heritage as Iva Stefanović, Marija Tarlać, Jelena Blečić, A highly engaging talk was organized on this an endless potential, both in traditional and Dragana Ognjenović, Ines Janković, Mag- more than topical subject. The moderator contemporary sense. Using various forms of net Boho (Milena Gojković and Filip Mak- was Marina Kosanović and the participants communicating the heritage, Ethnology Fest simović) and Milena Zevu. were: Tamara Ognjević, M.A., director of showcased to the audience a whole range of Artis Center and vice-president of ICOM content in only three days, from 13th to 15th This year, the country in focus – special Serbia National Committee; Jasna Jovanov, October. From lectures and exhibitions, to guest of the first Ethnology Fest – was Rus- PhD, director of Pavle Beljanski Memorial sia. Coming from this vast, culture-rich workshops and film screenings, to dynamic Collection; Veselin Simonović, director of country, the masters of Yakut folklore (the panels and exclusive fashion shows. “Blic” daily newspaper; Jele- Sakha Republic) introduced themselves to Special emphasis on intangible cultural na Blečić, assistant professor at Faculty of the local audience with their traditional rit- heritage – first of all, on traditional folklore Contemporary Arts; and Robert Čoban, uals, colourful costumes and unique jewel- combined with modern design – gave this chairman of the board, Color Press Group. ry. It was quite interesting to hear how they new event a clearly defined shape and char- The first Ethnology Fest was officially acter. passed on their skills and knowledge from one generation to the other, preserving their closed with an exclusive fashion show of The first Ethnology Fest was offi- the best-known Russian designer, Slava Zaitsev, at the Ethnographic cially open at the Museum of Sci- Ethno Couture “Kolo” fashion Museum in Belgrade. Slava Zaitsev ence and Technology with fashion show in Museum of Science became famous worldwide with show Ethno Couture “Kolo”, fea- and Technology turing hand-made folk costumes, his collections inspired by Rus- the fruit of vision and taste of anon- sian motifs. During the Cold War ymous, and yet exquisite woman era, he designed clothing for the artists of the people. This exclusive political and cultural elite of the fashion show of original costumes, former USSR, because of which he a kind of an homage to the sev- was nicknamed “the Red Dior” by en-decade anniversary of the Na- Western media. Zaitsev presented tional Ensemble of Folk Dances and his special collection Sources, a Songs of Serbia “Kolo”, is a unique retrospective of his thirty-year cre- indicator of how much folklore has ative work. Sources are a represen- always been popular and inspiring tative display of Zaitsev’s mastery in the best sense of the word. in combining folk art motifs with the demands of modern fashion Later on during the event, the audi- design. The specific quality of his ence had an opportunity to see an skill is reflected in using tradition- exhibition of handicrafts of Ethno al craftsmanship techniques in the network, while lectures caught spe- processing of textile and accesso- cial attention. Bojana Popović, cu- ries, which makes Slava Zaitsev a rator of the Museum of Applied Art, guardian of old artistic crafts. spoke about the work of Aleksandar Belgrade audience gave a standing Joksimović, the first domestic de- ovation to the closing programme signer who made a name for himself of the firstEthnology Fest which of- with collections inspired by the Ser- fered an interesting model of coop- bian tradition. Marija Miloš of the eration among museums, entrepre- Museum of African Art presented neurs and the civil sector that could the clothes of the Maasai tribe. take hold for a long time with a little Sirogojno Ethnology by Filip Mak- effort from all the parties involved. icom srbija 17 Awards Museum of Yugoslavia Russian Avant-Garde in Short The Museum of Yugoslavia has received a prestigious European award Museums in short 2017 for the best video related to activities of museums

Text: Sara Sopić / Photos: Museum of Yugoslavia

t the international contest Museums in short, organized by the European AMuseum Academy (EMA), Fonda- zione Brescia Musei, the Museum of Indu- stry and Labour of Brescia and ICOM Italy, the prestigious award for the best video re- lated to museums was delivered to the Mu- seum of Yugoslavia in Belgrade and its film about the exhibition Russian Avant-Garde in Belgrade. Among forty competing muse- ums from all over the world, a panel of five judges singled out the video by the Museum of Yugoslavia on the basis of two criteria: film production quality and contribution to contemporary museum interpretation.

The video Russian Avant-Garde in Belgrade constant communication between the cura- first time. The set design in the shape of was made as part of a project of the same tors who created the video content, taking two intersecting walls with the space for name, implemented in 2015 on the occasion care that the works were adequately inter- the square is preserved throughout the en- of celebrating the 100th anniversary of the preted, and the production team which – tire film as a canvas on which the anima- creation of Black square, a masterpiece by while developing the 3D animation – tried tion is projected. The first part of the video Kazimir Malevich at the Museum of Yugo- to influence the curators to make the content deals with the introduction of geometri- slavia. The project backbone was a visiting as entertaining and understandable as possi- zation into the artistic expression through exhibition by Ana Pahomova and Faina Bal- ble to a wider audience. the animation of pieces by Ivan Klyun and ahovska. The exhibition featured the works Kliment Redko, and then focuses on con- The video concept was designed in such that included almost all streams of the Rus- structivism, trying to present the main idea a way as to present the basic idea of dif- sian avant-garde – futurism, suprematism, of the stream. The climax revolves around ferent Russian avant-garde artistic streams constructivism and functionalism, created the animated characters taken from the through the animation of works included by a large number of artists among which costume designs which Sergei Eisenstein in the Belgrade exhibition, and also of the the following names can be distinguished: made for Macbeth, with the theatre stage Vasilly Kandinsky, Alexander Rodchenko, most important pieces of this movement. leading to the end of the film. The video Ivan Klyun, Alexander Archipenko, Alexan- The video opens with the set design of debuted at the exhibition gala opening and der Vesnin, Lyubov Popova, and also Kazi- “The Last Futurist Exhibition 0.10” where was subsequently available on the museum mir Malevich who was present- the Black Square was displayed for the YouTube channel. ed at the exhibition in Belgrade with the works of applied art. By winning the first prize for the video accompanying the The idea for the film began to Russian Avant-Garde in Bel- form when the Museum of Yu- grade exhibition, the Museum goslavia curator team was given of Yugoslavia has joined the a task to animate the visiting ex- most distinguished museums in hibition with additional content. the world investing a great deal This content included a series of effort and funds into video of supplementary programmes, production. Museum film is an a programme for children, stu- integral part of contemporary dent guiding tours through the exhibitions, a powerful tool in exhibition, and film production museum education and museum as well. The film was conceived programme promotions. On the as a 3D animation, and since other hand, the local museum the production of such a project practice has only recently set a was extremely demanding, the timid foot in this field, which museum established coopera- makes this award given to a tion with Domino Production. Serbian museum all the more The work on the film required important. 18 icom srbija INTERNATIONAL COOPERATION

Exhibition about Bordjoš Slovak minority excavations From Szentendre to Moscow, from Udine to Kiel The umbrella institution for heritage protection in Vojvodina – the Museum of Vojvodina – has completed a series of successful projects in the field of international cooperation in this year

Text: Lidija Mustadanagić / Photos: Museum of Vojvodina or decades now, the Museum of Voj- Museum in Romania, for the purpose of joint vodina has had a developed policy of participation in international projects within Fbusiness and professional relations, the Creative Europe programme. and a cooperation strategy focused both on The Museum of Vojvodina has established the countries in the region and all over Eu- rope. Certain relations are still being develo- cooperation with the Viennese company ped, which is also the case with the range of Oroundo, resulting in the creation of a mul- contacts that such a sophisticated, complex timedia guide through its permanent collec- museum is able to support. The year 2017 has tion for mobile devices, while plans have also been marked by the cooperation with many been made for the implementation of other similar institutions – museums, institutes, information and communication technolo- cultural centres and other organizations. operation has been signed with the Museum gies (Virtual Reality, etc.). of the Republic of Srpska in Banja Luka, fo- The subject of cooperation with the Hun- An agreement has been made with the ar- cused on the exhibition exchange during the chaeological museum of Udine (Italy) for the garian National Museum in Budapest was a next year. loan for the Avars Revived exhibition, where loan of our artifacts for its exhibition Women, a piece from the Early Medieval Collection Early this year, the cooperation with the Fer- Mothers, Goddesses: Universal Languages – a tube (made of a horn originating from enczy Museum in Szentendre was made topi- and Metaphors in the Prehistoric Art. Mokrin, with a sketch of a tree and animals) cal again. At the exhibition The Silver Age of In addition to the above activities, our muse- th – served as a central motif of the exhibition’s Szentendre, inaugurated on 26 October, the um experts have taken part in several interna- visual identity. museum also showcased the pieces from the tional gatherings in Austria (Being Refugee: The cooperation with Slovakia has been es- Museum of Vojvodina’s collections – the per- a European Narrative, organized by the Uni- tablished with the aim of staging a visiting sonal belongings of Eugen Dumtsa, the first versity of Vienna), Romania (International exhibition Over the Woods and Valleys – mayor of Szentendre. symposium organized by the Arad County Three Centuries of Vojvodina Slovaks at the Ever since 2014, the Museum of Vojvodina Cultural Centre and Banat – History and Slovak National Museum in Martin, from has been cooperating with Kiel University Multiculturalism in Resita), Russia (Second where it will be moved on to Bratislava near (Germany) on the research of Neolithic site Russian-Serbian Conference on Archaeology the end of the year. There is a long-standing Bordjoš near Novi Bečej. This cooperation in Moscow), the Republic of Srpska (Pre- cooperation with the Republic of Croatia, has produced series of findings and publica- School Institutions, Schools and Museums particularly with the Historical and Maritime tions, and mutual exchanges of experts have – Associates in Education and Tradition and Innovation in Banja Luka), Hungary (Eugen Museum of Istria in Pula, where apart from been arranged regarding the restoration of Dumtsa (1838–1917) – the First Mayor of the exchange of experts and experiences, the museum pieces and the presentation of re- strongest emphasis is placed on the exchange Szentendre and His Time). They have also search results. of exhibitions. This year, their museum has been engaged in providing professional help, displayed its visiting exhibition Old Target, A cooperation agreement in ethnological re- such as the conservation and restoration of New Distance. Additionally, a protocol of co- search has been signed with the Banat Village artifacts in the Krka Monastery in Croatia. icom srbija 19 MUSEOLOGY COLONIAL WILLIAMSBURG A Good Museum, on its Way to be Excellent (Again) Where exactly is Colonial Williamsburg in the global network of museum practices as the largest and most significant living history museum in the world and is it as excellent as it was / could be?

Text and photos: Nikola Krstović

olonial Williamsburg is … enormo- us! The Revolutionary city, which is Thomas Jefferson Cone of its official names, consists of Merchants Square, the Governor’s Palace and the Capitol areas with 88 original structures and around 300 reconstructed buildings, inc- luding craftsmen’s workshops, shops, inns and taverns, several hotels. Approximately 3.000 employees and 400 interpreters work in this unique city-museum within which there are two “classical” museums, the John D. Rockefeller Junior Library, the Research center, an IT department and Hospitality ser- vice, among other departments. A total of 30 scheduled and at least as many unscheduled programmes are performed daily. Visitors could be engaged in versatile programs – from professional guide tours, detective ga- mes, specially designed entertainments, and workshops to diverse mobile apps. This is a on development of local community and tou- debates on the national scale and also the pro- place where actors-interpreters acquaint the rism, although it has actually been defined as tests at the event itself – a great picture for audience with famous historical figures, such a living history museum. the advocates of contemporary, new “new” and radical museology! “The property sold at as George Washington and Thomas Jefferson, Revolutionary Theatrical Legacy as well as with those not widely known, but the auction included land and four slaves.” All important for Virginia, Williamsburg and the Twenty-three years ago, a reenactment of a that was known about them were their names. development of the American society in ge- slave auction was performed (only once – to About the auction, held in historical reality to neral. Colonial Williamsburg has had no pro- tell the truth) on the steps of Wetherburn’s cover former owner’s debts, more is known. blem embracing the principles of ecomuseo- Tavern, which has apparently branded the The documents do not speak equally of ev- logy and economuseology, sociomuseology, museum to this day. The reenactment titled eryone, but the museum has the power to em- cultural landscape and the effect of heritage Auction (or Sold!) has caused some serious phasize the facts in a different manner. That is to say – to correct the mistakes! The show symbolized facing the dark past and also a Journey to very gloomy illustration of the global contem- Redemption porary reality – from an institutional problem of a nation to the global issue of racism and the still obvious inequality of people, human trafficking, slave labour and underprivileged. Across the "Museum-Type Rubicon” – A Theatre as an Exclusive Interpretative Channel Bearing witness to the fact that the slavery is- sue is still traumatizing, but that there also is a clear need to shed some light on the darker corners of history, are numerous shows illus- trating the life of over half of the population in the capital of the colonial America in the 18th century: Change Is Coming with Gowan Pamphlet (an enslaved Baptist preacher); What Holds the Future – a drama about an

20 icom srbija MUSEOLOGY COLONIAL WILLIAMSBURG

Fifes and drums

upcoming slave auction at which a mother is about to be separated from her children; Faith, Hope, and Love – about the wish to rescue the romance and run to freedom at the same time; My Story, My Voice – a series of monodramas about ordinary people and their view of the revolution and fight for inde- pendence; A Perfect Adornment – about the complicated relationships between gentry woman and her enslaved maidservants; and many others in the form of the first-person interpretation. The most compelling show is Journey to Re- demption, which is not a one-way theatrical interpretation. It is difficult to explain what Redemption is in theatrical sense, just as it is difficult to comprehend the very concept A Perfect Adornment and the scale of the process of redemption in real life. Owing to parallel and also inter- Relevance and "Revolutionary ery is a historical issue that we should deal and twining narratives, there is not much space for Character” be faced with, but not with its contemporary thinking during the play – you simply have mutated form – racism. The Universal Decla- to go with the flow. However, the emotion- Where exactly is Colonial Williamsburg in ration of Human Rights was a great achieve- al and cognitive accents are perfect and un- the global network of museum practices as the ment of the Age of Enlightenment, but what conditionally keep the spectator tensed. Six largest and most significantliving history mu- about the new forms of freedom? Visitors can actors build twelve characters: six historical seum in the world? It is a decent practice to be relate to the historically contested narratives and six real-life ones – themselves. These understood in its Victorian sense. But, Colo- on the ideological level only because they are are biographies as much as autobiographies, nial Williamsburg is a remarkable “product” historical. On the personal level this connec- and histories as much as confessions. Con- considering its size, structure and organiza- tion is lost since it does not affect our minds versions from “self” as a character to self as tion. In terms of a contemporary world-class and emotions in actual reality. Therefore, a real person (also played) are so subtle that museum and state-of-art heritage practices, Colonial Williamsburg can be best described it is – as any “mutant museum” or a national chronologies become intertwined. The past with the words of one of its regular visitors: project – average. On the other hand, CW has becomes as relevant as the present, the values “It’s a museum for history lovers.” Of course, a “perfect” alibi – dealing with a determined and meanings not being lost along the way. the market of history lovers is huge, but it is Journey to Redemption is a drama and an historical period that ended two centuries ago. not something the museum excellence in the art performance, a teatre and a reality show, And, that history is over, as the “fifteen-min- 21st century should be based on. a still image and a motion. This is Colonial ute star” Francis Fukuyama remarked some Williamsburg at its qualitative peak at this twenty-five years ago. It seems to me such is The essay is one of the outcomes of Colo- point – pushing the boundaries and limits of not the case with Colonial Williamsburg – it nial Williamsburg Foundation and EX- performative interpretations. plays safe and within its comfort zone – slav- ARC/ICOM fellowship award. icom srbija 21 ICOM DEMHIST/CECA Are We Trying Hard Enough? At the Annual Conference held in London, two of the ICOM International Committees showed how important it was to combine different approaches when museum projects and programmes are concerned, particularly regarding the musealization of private life – a new sphere in the focus of museum professionals

Text and photos: Milja Stijović y professional interest in muse- ology, musealization of private Mlife, house museums and theo- ry of collecting was the reason behind my attendance at the annual conference of the ICOM DEMHIST International Committee for Historic House Museums. I set out for the DEMHIST/CECA Annual Conference – Relevance 2017: Are we trying hard eno- ugh? – in London as a recipient of the grant for young ICOM members. The conference was divided into sever- al sessions. The lectures were held in two locations: Tower of London and Hampton Court Palace, while one day was dedicated to the tours of historic and museum hous- es. Depending on personal interests, the DEMHIST and CECA members of both committees were able to together this year in London choose one of the two excursions which included either Kensington Palace, Design garding the educational aspect of the sched- tion Queer British Art, which was only one Museum and Leighton House Museum, or uled sessions – from a detailed elaboration, of the ways in which the United Kingdom Sir John Soane’s Museum, Charles Dickens to solving the problems emerging in the marked the 50th anniversary of 1967 Sexual Museum and Foundling Museum – the first implementation process, to the important Offences Act. charity for abandoned children in the Unit- segment of education that can be included ed Kingdom. After the official programme At the annual conference, the General As- in the heritology concept of historic houses. was closed, a gala dinner for the participants sembly of DEMHIST also took place at was organized in Henry VIII’s Great Watch- The new director of Tate Maria Balshaw which the new Board was elected. Elsa Ro- ing Chamber at Hampton Court Palace, was one of the two key lecturers. After the drigues was elected new Chair for the fol- during which an exhibition of works was lecture on the changes in exhibition activi- lowing three years. Other Board members held by a young female artist Merlin who ties she had initiated in all Tate galleries, she include: Frank Louhenapessy, Treasurer; drew sketches during each of the lectures. looked back on the recently closed exhibi- Yvonne Ploum, Vice Chair and Secretary; After the conference, a tour and Ana Cristina Carvalho, of Oxford museums was Vice Chair. arranged, on the occasion of which we were given A particularly interest- presentations by the new ing lecture was given by director of the Pitt Rivers Franklin Vagnone, princi- Museum, Dr Laura Van pal of Twisted Preserva- Broekhoven, and head of tion, the writer of Anar- the Ashmolean Museum chist’s Guide to Historic Education Department, Jo House Museums, currently Rice. perhaps best known as the author of One Night Stand The idea of the two ICOM blog posts where he writes committees organizing a about his own experienc- joint conference proved es during stays at historic excellent. The members of houses – museums. Read CECA Committee gave an more about his lecture at exceptional contribution the London conference in to the discussion held by the next issue of the ICOM DEMHIST members re- Serbia magazine. 22 icom srbija JUBICOMIL EJI GALERIJA MATICE SRPSKEICC

The Narrative Power of Clothes The ICOM Costume Committee Annual Meeting, held in London in June this year, suggests that clothing and fashion will always have particular importance in the presentation and interpretation of cultural heritage

Text and photos: Draginja Maskareli he ICOM Costume Committee (ICC) and institutions. Each of the three current his work. The exhibition was sponsored by Annual Meeting was held at the exhibitions at the Kensington Palace – Di- American Express, while the X-ray imag- London College of Fashion, UAL ana: Her Fashion Story, Victoria Revealed es of Balenciaga garments uncovering the T th th from 26 to 29 June 2017. The topic of and Enlightened Princesses – introduced structures in his designs were of particular this year’s conference was The Narrative in a different way the influential women interest in this museum presentation of haute Power of Clothes. Among forty-six presen- from the British royal family: Princess Di- couture. A dedicated approach to studying tations from twenty-six countries, the pro- ana, Queen Victoria, Caroline of Ansbach, the structures of historical costumes and gramme featured two presentations of the Augusta of Saxe-Gotha and Charlotte of their reconstruction was presented to the participants from Serbia: Contributions to Mecklenburg-Strelitz. Moreover, the partic- participants during their visit to the London the Understanding of Socialist Fashion by ipants had the opportunity to visit a simple School of Historical Dress. Mirjana Menković, PhD, of the Ethnograp- and functional depot in Kensington Palace Serbia has gained recognition and a nota- hic Museum, and To the Altar and Beyond where a part of the collection is kept in com- ble role in the ICOM Costume Committee by Draginja Maskareli of the Museum of pliance with modern museology standards. owing to the long years of work and com- Applied Art. The visit to the Balenciaga: Shaping Fash- mitment of Mirjana Menković, PhD. Many Furthermore, Draginja Maskareli received ion exhibition at the Victoria and Albert colleagues still remember their visit to Ser- this year’s subvention of the Costume Com- Museum was preceded by a detailed presen- bia for the annual meeting In between: Cul- mittee to attend the meeting. Since her pre- tation given by curator Cassie Davies-Strod- ture of Dress between the East and the West sentation was related to the research works der. In addition to the Balenciaga designs, organized by the Ethnographic Museum by Bojana Radojković, PhD, curator and there were also some designs by his students and held in September 2011. An accom- longtime director of the Museum of Ap- and contemporary designers inspired by panying event, Month of Dress in Serbia, plied Art in Belgrade, gathered twenty cul- conducted in Boka Ko- tural institutions from torska in early 1960s, Belgrade and Novi considerable amount of Sad which showcased professional assistance twenty-seven exhibi- was also provided to tions dedicated to fash- her by Mileva Peja- ion and clothing. This ković Vujošević, M.A., meeting was a strong president of ICOM incentive for Serbian Montenegro. museums to carry on with presentations of The London Meeting fashion heritage since programme also in- it has always been a cluded several study Balenciaga in V&A keen interest of the au- visits to exhibitions Museum in London dience. icom srbija 23 Ceramics and its Dimensions Stoke-on-Trent Between the Past and the Future The Museum of Applied Art and the National Museum in Belgrade were active participants in the new stage of the international project focusing on ceramics.

Text: Biljana Djordjević / Photos: CaiD

he international project Ceramics and its Dimensions, under way since TDecember 2014 within the Creative Europe programme, is drawing to a close. The project has gathered twenty-five insti- tutions from eleven countries: Germany, Great Britain, Ireland, Finland, Estonia, Latvia, Spain, Italy, Slovenia, the Czech Republic and Serbia. Owing to the partici- pation in this project, the partner instituti- ons from Serbia – the Museum of Applied Art and the National Museum in Belgrade – were awarded the flattering title “Museum of the Year” by the ICOM Serbia National Future Lights Committee in celebration of the Internatio- selection 2018. nal Museum Day this year. This project consists of ten modules, its cul- modules of the Project were presented. Fur- Abramović, MAA, director of the Museum mination being the international congress ther work was divided into sessions: Ce- of Applied Art, who presented Module 1 – dedicated to the numerous dimensions of ramics and education; Ceramics, tradition Symposium Ceramics between Change and ceramics and the role ceramics does and and heritage; Analogue and digital craft; Challenge, between Past and Present, held may have in the development of modern Ceramics, place and materiality; Ceramics, in May 2015 at the Gallery of Frescoes of world. Titled CERAMIC VALUES. Can wellbeing and museum engagement; Ce- the National Museum in Belgrade, at the ceramics make a difference?, the congress ramic collections and object biographies, round table chaired by Wilhelm Siemen, was held at the Potteries Museum and Art Professionalism: building a career in ce- director of the Porzellanikon museum in Gallery in Stoke-on-Trent on 5–6 Octo- ramics. Selb and the head of the Project. Biljana ber, during the British Ceramics Biennial, Crvenković, senior curator at the Museum The representatives of partners in the Proj- the event itself worthy of special attention. of Applied Art, contributed to the session ect took part in the work of all sessions, This important gathering was organized by Ceramic collections and object biographies and besides them, the congress also hosted Ulster University from Northern Ireland. with her paper Porcelain as Heritage: The the participants from Taiwan, India, Tur- Belgrade Buffon Service. The session was key, and Sweden. The Serbian The congress started with plenary lectures chaired by Biljana Djordjević, PhD, mu- delegation was headed by Ljiljana Miletić and a round table discussion where all the seum adviser at the National Museum in Belgrade, who also took part in the session Ceramics, tradition and heritage with her Future Lights in Ceramics – Selection 2018 presentation Ceramic Technology – The Value of Intangible Cultural Heritage. Jele- Immediately before the Congress, the Staffordshire University in Stoke-on-Trent na Popović, senior curator at the Museum hosted the final selection by the jury at the Future Lights in Ceramics competition. This of Applied Art chaired keynote 2 of the concerns Module 8 of the Ceramics and its Dimensions project. The jury consisting plenary session Can ceramics make a dif- of Wilhelm Siemen (Germany), Franz Chen (Taiwan), John Tynan (Ireland), Barbara ference?. Schmidt (Germany), Kai Lobjakas (Estonia), Jaume Coll (Spain), Nathalie Natali Lautenbacher (Finland), Mateja Kos (Slovenia), Rachel Dickson (Great Britain) and The special feature of the congress was Biljana Djordjević (Serbia), was presented with the task to choose – among eighteen the involvement of a large number of free- finalists – six winners who will have the chance to complement their knowledge and lance researchers who are not institutional- skills by visiting one of the eminent ceramic manufacture facilities in Faenza (Italy), ly bound, as well as artists specializing in participating in the prestigious Ambiente fair in Frankfurt and presenting their work at ceramics, who conducted art workshops for professional conferences. The winners are: Chloë Dowds (Ireland), Maria Gasparian a wider audience in parallel sessions held (Armenia), Ahryun Lee (Korea), Weronika Lucinska (Poland), Julia Schuster (Austria) at the former Spode factory, chosen as the and Sophie Southgate (Great Britain). Biennial central venue. At the conference, the 2017 winners – Karolina Bednorz, Maria Juchnowska, Monika This approach included all dimensions of Müller, Sabrina Vasulka, Rhiannon Ewing-James and Wendy Ward – had the opportunity the contemporary ceramics, and the con- to share their own experiences and encourage new winners and future applicants. cluding note stated the affirmative answer to the question raised in the congress title.

24 icom srbija CONFERENCES MUSEOEUROPE 2017 Museum Kitchen Debates In mid-October, the Regional Museum in Maribor organized one more excellent symposium within the Museoeurope project, with one of the sponsors being the International Council of Museums

Text: Tamara Ognjević /Photos: Regional Museum Maribor

Museoeurope is a complex project, the im- plementation of which was commenced by the Regional Museum in Maribor in 2012 when the largest town in Styria and sec- ond largest urban centre in the Republic of Slovenia was elected European Capital of Culture. With the belief in “the knowledge reviving the dying ones” and “the art bringing back to the light that which disappears into the darkness”, the colleagues from Maribor museum got down to a demanding task involving research, ex- hibition, conservation and restoration, and – above all –organization and communica- tion, with the idea of gathering colleagues from all over Europe on selected topics, and Conference participants at Srček sharing with them experiences, thoughts and ideas. This ambitious project has enjoyed The symposium was inaugurated by Nina who shared with the colleagues at the sym- ICOM’s full support ever since its launch, Zdravič Polič of ICOM Europe, while the posium some of her experiences of the muse- and Dr Mirjana Koren, director of the Mari- introductory lecturer was Janez Bogataj, um and gastronomic heritage ties in Serbia. bor museum, and her small, but well-tuned Emeritus Professor, University of Ljubljana. A themed sightseeing tour through the town team have been exerting a double effort to The enchanting Knights’ Hall of the Maribor and its surroundings added a special aroma to show the enormous cultural and natural castle was a host of quite an interesting two- the Maribor symposium. We had the oppor- heritage of Lower Styria on the one hand, day discussion that offered comparisons be- tunity to witness an exceptionally conceived while, on the other they have been trying to tween the Romanization of the ancient world cooperation between museums and masters be leaders in museology and culture, com- and current globalization through food; ex- plying with the obligation that all Europe- periences in designing the kitchen furniture of old crafts, winemakers, gastronomes and an capitals of culture have. Since 2012, the fashionable back in the second half of the the local community striving to preserve and wave of their activities has included as many 20th century , manufactured by “Marles”, improve the traditional products specific for as five thematic programmes encompassing Maribor; the way Slovenia’s gastronomic to- this region. Thus, we met the experts from exhibitions and symposiums as a rule, but pography was mapped out and how the map “Piramida” Educational Centre in Maribor also a whole range of accompanying events was included into the national sustainability who showed us the many ways local Tatarian – workshops, lectures, round-table discus- strategy; details about the establishment of buckwheat can be used, tasted Styrian wines sions, youth programmes, culinary diploma- an extraordinary food museum Alimentari- in “Stara Trta” (Old Vine House), in front cy. This year, from 19th to 21st October, the um in Vevey (Switzerland), and how it op- of which the oldest vine in Europe grows, Regional Museum organized an internation- erates and educates the audience all over the and also in the small empire of agritourism al symposium on the topic Kitchen Debate, world; facts about Japanese traditional diet, – the “Gaube” winery and farm, visited the which is an integral part of a highly interest- food as a unique “instrument” in the promo- famous “Srček” – the heart of Slovenian ing exhibition with the same title, displayed tion of National Socialism in World War II, wines, tasted delicious specialties made of in the museum from 8th June through 31st and about the authentic tradition, as well as game, mushrooms and other authentic pro- December. In five sessions – From the Fire- economizing, related to eating lamb on the duce in “Hiša Denk”. We also paid a visit place to the Food Industry; The Kitchen, a island of Cres, or the communicative power to the Viticultural Museum Kebl in Svečina Space of Innovations; Food Between Need, of food in reviving the past and in audience and attended the opening ceremony of the Pleasure, and Addiction; Kitchen and Food development in the archaeological Park in largest Slovenian theatre festival – Borštnik within Art, Culture, and Politics; Kitchen Budinjak, Samoborsko Gorje in Croatia. Meeting – at the Slovene National Theatre and Food within Museum Exhibitions and There were also tens of topics addressing the Maribor. Finally, cultural heritage is a com- Pedagogical Programmes – it gathered Eu- issues of kitchen, food and diet, the need for plex mosaic made of countless tesserae in ropean experts who engaged in discussions protectors – above all, museum profession- different shades forming a complete, authen- on kitchen, food and diet from the perspec- als – to adopt a particular attitude towards tic picture, and lucky are those who have a tive of cultural heritage and, additionally, the protection of this kind of intangible cul- perfect host, such as the Regional Museum of sustainability and different challenges in tural heritage, which was the subject of the in Maribor, so that they get the chance to see which the current reality is not lacking. paper written by the author of these lines, the picture in its entirety. icom srbija 25 Editor’s Corner Museum and Communication PUBLISHER good share of museum professio- nals still do not fully understand the ICOM SERBIA National Committee advantages of a quality communica- A CHIEF EXECUTIVE OFFICER tion with the public. They even less under- stand the necessity to create their own means Slavko Spasić of communication, use websites and social EDITOR-IN-CHIEF networks. Consequently, numerous exhibi- Tamara Ognjević tions, projects, conferences, research stu- dies and most diverse museum programmes CONTRIBUTORS IN THIS ISSUE remain far from the public eye. As a result, Marina Cvetković, Marijana Cvetković, both the museum and public are deprived of Biljana Djordjević, Aleksandra Ivković, Nikola such an important interaction, as well as of Krstović, Milana Kvas, Draginja Maskareli, all those effects that may develop from it. Gordana Milanović, Lidija Mustadanagić, Vuk Nenezić, Jelena Ognjanović, Tijana Palkov- That the problem is not of a local but of a ljević-Bugarski, Suzana Spasić, Sara Sopić, global character, and that it is most directly Milja Stijović, Miroslav Žarkov connected with cultural politics is clearly su- ggested by the fact that there are plenty of international museum programmes and TRANSLATION INTO ENGLISH conventions about which the public is practically unaware of because museums or Stela Spasić associations gathering museum professionals fail to recognize the increasing need for information. It is good to wonder why that is so. PROOFREADER Biljana Djordjević One has the impression that the museum is self-sufficient in each society where cultural politics implies the state is a sponsor of museum programmes – in PREPRESS other words, that the museums in the countries with liberal cultural politics are Vuk Milosavljević incomparably more involved in communication with the public since their survival is most directly dependent upon it. Hence the diametrically opposed attitudes CONTACT towards understanding the importance of professionalization of appropriate ICOM Serbia National Committee museum departments in charge of communication and therefore the presence or Trg Republike 1a yet the complete absence of museums in media space. The result of this disparity is obvious. On the one hand, there are museums representing an inalienable part Belgrade/Serbia of the cultural identity, the leaders in culture and education, while on the other [email protected] there are disappointingly marginalized, almost unnoticeable institutions lacking http://network.icom.museum/icom-serbia authority and influence. This kind of attitude strikes the eye particularly in times of crisis which have not been scarce recently in the world and in Serbia as well. The printing office shortage of professionals in PR departments of museums has been very much felt by certain local museums in critical situations and, in turn, the damaged reputation of these institutions has been felt throughout the entire museum community since CIRCULATION there is no favourable publicity for any profession when one of its members ends 500 up in crime news instead of the culture section. COVER PAGE All these reasons suggest the need for professionalization of PR departments in Motif created with compositing technique, domestic museums. At the ICOM Serbia seminar Museum and Communication used for the design of a poster for Ecomuse- ums and Community Museums 2017 ICOM held in 2015 we tried to point to the examples of good practice and useful seminar, design: Biljana Sovilj, professor tools in museum PR and marketing activities. The awareness of the necessity at the College of Fine and Applied Arts, of quality communication has led us to redesign and modernize our own Belgrade publication and also to think about raising it to a more professional level and The contents of this issue have been appro- recording it with the Media Register of the Republic of Serbia. Namely, the ved by the Executive Board of ICOM Serbia National Committee. practice so far shows that there is no one that can present a museum and its activities better than museum professionals themselves. Of course, as long as ISSN 2217-7531 the professionals involved in these kinds of activities have a grasp of how media function, and, above all, understand the audience and its cultural needs – to the © ICOM Serbia 2017 mutual benefit and pleasure. Tamara Ognjević 26 icom srbija HOW WILL YOU SHOW YOUR COLLECTION NEXT TIME? PRESENT YOUR COLLECTION WITHOUT GETTING A HEADACHE! Just by Your demands and Your measurements, we will create: • A good exhibition showcase • Functional displays for exhibition • Frames for a quick display of posters When You need something... • Even a showcase for Your dreams. Speak out! To both Your and our delight.

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