ACTA HISTORIAE ARTIS SLOVENICA 18|2 2013 UMETNOSTNOZGODOVINSKI INŠTITUT FRANCETA STELETA ZRC SAZU 2013 2 | 18 Vsebina • Contents Damjan Prelovšek, Monuments by the Architect Jože Plečnik • Plečnikovi spomeniki Vuk Dautović, A Monument to Fallen Jewish Soldiers in the Wars Fought between 1912 and 1919 at the Sephardic Cemetery in Belgrade • Spomenik judovskim vojakom, padlim med letoma 1912 in 1919, na sefardskem pokopališču v Beogradu The Victory Monument, Jasmina Čubrilo, Two Monuments by Sreten Stojanović. Continuity in Discontinuity • Dva spomenika Sretena Stojanovića. Trg zmage/Victory Square, Kontinuiteta v diskontinuiteti Murska Sobota Renata Komić Marn, Men on Horseback. The Role and Reception of the Equestrian Monument in Slovenia • Možje na konjih. Vloga in recepcija konjeniškega spomenika na Slovenskem Katarina Mohar, “Freedom is a Monument”. The Victory Monument in Murska Sobota – Its Erection, Destiny and Context • »Svoboda je spomenik«. Spomenik zmage v Murski Soboti – nastanek, usoda, kontekst Barbara Murovec, The Statue of the Communist Revolutionary Boris Kidrič (1912–1953). Art, Ideology and Ethics in the Public Space • Kip slovenskega komunističnega revolucionarja Borisa Kidriča (1912–1953). Umetnost, ACTA HISTORIAE ARTIS SLOVENICA ideologija in etika v javnem prostoru Tanja Zimmermann, „Skopje 2014“: Erinnerungsexzesse in der Republik Makedonien • »Skopje 2014«: Spominski ekscesi v Republiki Makedoniji ACTA HISTORIAE ARTIS SLOVENICA Visualizing Memory and Making History Public Monuments in Former Yugoslav Space in the Twentieth Century 25 � 18|2 2013 http://uifs1.zrc-sazu.si AHAS_18_2_ovitek.indd 1 20. 12. 13 15:02 XXXXXXXXXXXXXXXXXX Umetnostnozgodovinski inštitut Franceta Steleta ZRC SAZU France Stele Institute of Art History ZRC SAZU ACTA HISTORIAE ARTIS SLOVENICA 18|2• 2013 Visualizing Memory and Making History Public Monuments in Former Yugoslav Space in the Twentieth Century LJUBLJANA 2013 XXXXXXX XXXXXXXXXX Acta historiae artis Slovenica ISSN 1408-0419 Znanstvena revija za umetnostno zgodovino / Scholarly Journal for Art History Visualizing Memory and Making History Public Monuments in Former Yugoslav Space in the Twentieth Century Izdaja / Published by Umetnostnozgodovinski inštitut Franceta Steleta ZRC SAZU / France Stele Institute of Art History ZRC SAZU Glavna urednica / Editor-in-chief Barbara Murovec Vabljeni sourednik / Invited Co-editor Nenad Makuljević Uredniški odbor / Editorial board Tina Košak, Ana Lavrič, Barbara Murovec, Mija Oter Gorenčič, Blaž Resman, Helena Seražin Mednarodni svetovalni odbor / International advisory board Günter Brucher (Salzburg), Jaromir Homolka (Praha), Iris Lauterbach (München), Hellmut Lorenz (Wien), Milan Pelc (Zagreb), Paola Rossi (Venezia), Sergio Tavano (Gorizia-Trieste) Lektoriranje / Language editing Jesse Gardiner, Kirsten Hempkin, Mija Oter Gorenčič, Anke Schlecht Prevodi povzetkov in izvlečkov / Translations of summaries and abstracts Renata Komić Marn (srbskih in angleških v slovenski jezik), Tina Košak (slovenskih v angleški jezik) Oblikovna zasnova in prelom / Design and layout by Andrej Furlan Naslov uredništva / Editorial office address Acta historiae artis Slovenica Novi trg 2, p.p. 306, SI-1001 Ljubljana, Slovenija E-pošta / E-mail: [email protected] Spletna stran / Web site: http://uifs1.zrc-sazu.si Revija je indeksirana v / Journal is indexed in BHA, FRANCIS, IBZ, ERIH, EBSCO Publishing, Scopus Letna naročnina / Annual subscription: 35 € Posamezna enojna številka / Single issue: 25 € Letna naročnina za študente in dijake: 25 € Letna naročnina za tujino in ustanove / Annual Subscription outside Slovenia, institutions: 48 € Naročila sprejema / Orders should be sent to Založba ZRC / ZRC Publishing Novi trg 2, p. p. 306, SI-1001, Slovenija E-pošta / E-mail: [email protected] AHAS izhaja s podporo Agencije za raziskovalno dejavnost Republike Slovenije. AHAS is published with the support of the Slovenian Research Agency. © 2013, ZRC SAZU, Ljubljana Tisk / Printed by Cicero d. o. o., Begunje Naklada / Print run: 400 Contents Vsebina Nenad Makuljević, Barbara Murovec Preface 5 Uredniška beseda 7 DISSERTATIONES Damjan Prelovšek Monuments by the Architect Jože Plečnik 11 Plečnikovi spomeniki 27 Vuk Dautović A Monument to Fallen Jewish Soldiers in the Wars Fought between 1912 and 1919 at the Sephardic Cemetery in Belgrade 43 Spomenik judovskim vojakom, padlim med letoma 1912 in 1919, na sefardskem pokopališču v Beogradu 58 Jasmina Čubrilo Two Monuments by Sreten Stojanović. Continuity in Discontinuity 59 Dva spomenika Sretena Stojanovića. Kontinuiteta v diskontinuiteti 73 Renata Komić Marn Men on Horseback. The Role and Reception of the Equestrian Monument in Slovenia 75 Možje na konjih. Vloga in recepcija konjeniškega spomenika na Slovenskem 95 Katarina Mohar “Freedom is a Monument”. The Victory Monument in Murska Sobota – Its Erection, Destiny and Context 115 »Svoboda je spomenik«. Spomenik zmage v Murski Soboti – nastanek, usoda, kontekst 131 Barbara Murovec The Statue of the Communist Revolutionary Boris Kidrič (1912–1953). Art, Ideology and Ethics in the Public Space 147 Kip slovenskega komunističnega revolucionarja Borisa Kidriča (1912–1953). Umetnost, ideologija in etika v javnem prostoru 157 Tanja Zimmermann „Skopje 2014“: Erinnerungsexzesse in der Republik Makedonien 159 »Skopje 2014«: Spominski ekscesi v Republiki Makedoniji 180 APPARATUS Abstracts and key words / Izvlečki in ključne besede 184 Contributors / Sodelavci 189 Photographic credits / Viri ilustracij 191 Preface The 2013 Acta historiae artis Slovenica comprises two thematic volumes dedicated to public monuments. In the past few years, researchers from the France Stele Institute of Art History at the Research Centre of the Slovenian Academy of Sciences and Arts have started to conduct systematic research into public monuments, related topographic studies, and wider questions of public space and memory with regards to commissions and realised works. In the research programme Slovenian Artistic Identity in a European Context (Slovenian Research Agency, P6-0061) and several other research projects related to this programme, such as Visual Arts and Architecture in the Spatial Context of the City of Maribor (applicative project, co-financed by the Slovenian Research Agency, the Maribor Municipality and the Slovenian Academy of Sciences and Arts, L6-4315), and Artistic Exchange and the Creation of Yugoslav Identity in Visual Culture 1848–1990: Serbia-Slovenia/Slovenia- Serbia (bilateral project in cooperation with the Department of Art History, Faculty of Philosophy, University of Belgrade), scientific conferences were organized and international collaborative research projects were set up between researchers of public monuments and memory in Central and South-East Europe, especially the countries which once formed the Austro-Hungarian Monarchy and Yugoslavia. An important contribution to this collaborative research was made by the research network Media & Memoria: Cultural Science Network for South-Eastern European Studies. In the history of public monuments, the twentieth century has a special significance. It was a period of ‘monumentomania’. Monuments are a very important visual medium; they contribute to the formation and foundation of various national identities and help spread various ideologies. Examples from Slovenia and Serbia clearly reveal the extent to which monuments followed contemporary social and political changes or how they promoted them, as well as how monuments determined collective memory. The First World War had altered the appearance of Europe thoroughly. The need to preserve the memory of the victims and the events of war resulted, together with the emergence of new states, in the intensive construction of public monuments. Alongside numerous public projects, burial monuments were commissioned by private individuals. The complexity of solutions in monument planning in the first half of the twentieth century is clearly demonstrated in the overview study by Damjan Prelovšek, which discusses monuments by the architect Jože Plečnik. One of the characteristics of monument production in the twentieth century was the erection of monuments to ethnic minorities. Vuk Dautović deals with the erection and symbolic aspects of the memorial to Jewish members of the Serbian army in the First World War at the Belgrade Jewish cemetery. In the newly established Kingdom of Serbs, Croats and Slovenes, and in Yugoslavia, new monument types came into use. Renata Komić Marn analyses the role and reception of equestrian monuments in Slovenia using the examples of the monuments to Yugoslav Kings Peter and Alexander from the Karađorđević dynasty, which were erected between the two wars, and the monuments to General Rudolf Maister from the end of the twentieth century. The period after the Second World War, in which Communism became the new state ideology, represented a new chapter in the cultural and political life of Yugoslavia. Despite the ideological break, some artists were given commissions by both the monarchic and communist Yugoslavia. Jasmina Čubrilo shows the continuity of discontinuity with the example of two sculptures by Sreten Stojanović, the monument of King Peter Karađorđević (1928) and the monument Fight (1949). As demonstrated in the article by Katarina Mohar, the Victory Monument erected to fallen Soviet soldiers in Murska Sobota testifies to the successful staging of the new ideology, by means of public monuments erected in central town locations. In communist