RED PERISTILE: BETWEEN SOCIAL PROVOCATION, ARTISTIC ACT, URBAN MYTH, AND SPLIT’S JEALOUSY

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This article analyses the action of painting Split’s Peristile in red color, which happened in January 1968. The Peristile is in the central square of the well known Roman Diocletian’s Palace, around which the modern town of Split has formed. In the first part of the article, authors theoretically discuss the influence of culture, nation and ideology on social and spiritual reality. As far as culture is concerned, two components are emphasized. The first one consists of norms, values, customs, beliefs and behaviors, and the second one refers to the individual in interaction with traditional elements of culture. When speaking about nation, authors stress the influence of politics, because any theoretical definition of the nation legitimizes one sort of political demand, and de-legitimizes others. The notion of ideology and its historical development in the West is more extensively discussed, with emphasis on Mannheim’s differentiation of particular and total notion of ideology. Having in mind the town in general, authors discuss it as a place of co-existence of architecture, habits and people. Cultural-civilizational characteristics of modern cities as well as the state of mind in Split in 1968 are elaborated. After a theoretical introduction, and on the basis of a great number of resources, the process of Peristile painting is presented in detail. The manner in which this artistic performance was carried out is extensively described. This part of the article is supplemented with biographies of artists who directly or indirectly participated in the mentioned performance. Among other things, it turned out that protagonists still cannot agree as to who constituted a group called “The Red Peristile Group”. There are also disagreements about the motifs for painting the Peristile red. Some of them considered it was a pure artistic act and others – an ideological and political action. References are made to the sharply opposed reactions of artist, politicians, and intellectuals towards the shocking act. Some of them have qualified it as an act of vandalism, a joke of political officials, youth folly, and even an occult act under the influence of drugs. Conclusion can be drawn that the action “The Red Peristile” was an important artistic performance which has disturbed a lethargical state of mind in Split of that time.

AN ALTERNATIVE TO SCHOOLING

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THE FUNCTION OF THE INITIATION

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EROTICISM AND SEXUALITY IN MASS-CULTURE

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PSYCHOANALYSIS AND LITERARY CRITICISM IN FRANCE

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ESTHETICAL COMPREHENSIONS OF SVETOZAR MARKOVIĆ

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CULTURAL PLURALISM AND NATIONAL IDENTITY

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GRISELDA POLLOCK – A PROJECT OF FEMINIST RE-EVALUATION OF ART HISTORY

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This paper deals with some of the key concepts in the work of Griselda Pollock, one of the most prominent feminist art historians. Since the 1970s, G. Pollock has been one of the most influential scholars of feminist studies in the visual arts. In her texts, she implements the analysis of dominant methodological and theoretical approaches in art history and criticizes ways in which the achievements of women artists have been valuated and recorded i.e. ignored, excluded or underestimated in the institutionally dominant art history. The importance of her works lies in the fact that she has also pointed out the problems of the feminist approach in art history. The concept of feminist interventions in the histories of art, which she has introduced and promoted in her texts and which is seen as a central concept of her work, significantly contributed to the articulation of gender issues in art history. One of the objectives of this paper is to describe these tendencies in a broader context, including also significant changes in the society and the emergence of other interpretative methods in art history during this period, as well as to describe the reception of her theories in Serbia.

KNOWLEDGE AND VALUES

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