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Kaleidoscope : Site-specific video installation and graphic folio – rendering motifs in new and traditional media (Umjetnički paviljon and Galerija Josip Račić, NMMU, Zagreb)
No full textDvije temom povezane izložbe: „Kaleidoskop” – specifično prostorna videoinstalacija koja je
održana 2018. godine u Umjetničkom paviljonu u Zagrebu i izložba „Kaleidoskop – grafička
mapa” koja je realizirana i održana 2021. u Galeriji Josip Račić, Nacionalnog muzeja moderne
umjetnosti u Zagrebu, čine okosnicu ovog doktorskog rada temeljenog na umjetničkom dostignuću.
Obje su medijski različite ali istog naslova jer su bazirane na ideji koja se bavi interpretacijom javnog
prostora koji nas okružuje i subjektivnoj reinterpretaciji doživljaja. Motivi kreirani iz obrađene
prostorno specifične videoinstalacije, njih 14 odabranih iz dokumentarnog materijala od jedne godine
koji imaju polazišnu točku u predstavljanju okruženja Umjetničkog paviljona u Zagrebu, novi oblik
rada dobiven je njihovom obradom i prenošenjem u cjelinu tehnikom umjetničke grafike.
Kaleidoskop se kao dječja igračka simbolično povezuje uz vizualnu igru elemenata stakla, šarenih,
svjetlucavih dok stvaraju asocijativne i promjenjive oblike. Taj termin ukazuje na spoznajni proces
koji naglašava dvoznačnost između subjektivnih i doživljenih faktora u slici te da nevidljiva struktura
podsvjesnog uvelike utječe na ono što percipiramo.
Kod ova dva umjetnička rada sadržaj ukazuje na kompleksnost motiva koji je prvo realiziran u
elektronskom mediju, a poslije u tradicionalnoj umjetničkoj grafici u obliku grafičke mape nastale u
dvije tehnike, ofsetu i sitotisku. Umjetnička ideja ostvarena je na način da je vanjsko okruženje
zaposjelo unutrašnji prostor građevine negirajući zidove te istovremeno gradeći spoznaju o
urbanističkom i povijesnom sadržaju mjesta. Slike javnog prostora u izložbenom prostoru bile su
projekcije onoga što se nalazi u vanjskom okruženju. U oba izložena djela naglašena je prostornovremenska
struktura; i to u realnom i dvodimenzionalnom obliku, obuhvaćajući različito polazište
percepcije – kao djelo u kojem promatrač/gledatelj aktivno sudjeluje i kao trenutni doživljaj slike.
Niz priloga dokumentira i prikazuje nastajanje i izvedbu obje izložbe te njihove reference u društvu.Two exhibitions with the same theme – Kaleidoscope, a site-specific video installation shown in
2018 at the Art Pavilion in Zagreb and Kaleidoscope – Graphic Folio, on view in 2021 at the Josip
Račić Gallery, National Museum of Modern Art in Zagreb – are the subject of this doctoral thesis
based on artistic achievement.
In different media, the two exhibitions are nevertheless eponymous, as they are based on a single
idea, to interpret the surrounding public space and a provide a subjective reinterpretation of
experience. Motifs are created from the site-specific video installation – 14 were selected from
documentary material collected over the course of one year, with a starting point in the presentation of
Zagreb’s Art Pavilion surroundings. A new form of the work emerged from processing and
transferring these into an ensemble, using a graphic arts technique.
As a children’s toy, the kaleidoscope is symbolically linked to the visual play of glass elements,
colourful and flickering as they create associative and changing forms. It indicates a cognitive
process that points up the ambiguity of subjective and experienced factors in the image and the fact
that the invisible structure of the subconscious greatly influences what we perceive.
In these two works of art the content indicates the complexity of the motif that was first rendered in
an electronic medium and later in traditional art graphics, in the form of a graphic folio made in two
techniques, offset and screen printing. The artistic idea was rendered in such a way that the exterior
occupied the interior of the building, negating the walls and at the same time producing knowledge
about the urban and historical content of the place. Images of public space at the exhibition were
projections of what was in the surroundings. In both exhibited works, the spatio- temporal structure
was emphasized; in a realistic and a two-dimensional form, bringing together different starting points
of perception – as a w ork o f art i n w hich the observer/viewer takes on an active role and as a
momentary experience of the image. A series of documents traces how the two exhibitions were set
up, along with their references in the community
Spatial Mental Collage - A Story Without an End
No full textU ovom radu prikazujem rezultat svoje (intrapersonalne) komunikacije u vremenu od dvije godine. Vodeći se postupkom izrade mentalne mape, stvorila sam vlastitu prostornu mentalnu mapu; malu prostoriju s tri zida u kojoj sam izraţavala svoje i tuĎe misli, emocije i asocijacije na tri odabrana pojma (vrijeme, broj i glazba) koristeći se različitim vizualnim sredstvima i medijima. Prostorno mentalni kolaž – priča bez kraja ambijentalna je instalacija u kojoj se isprepliću crteţi, skulpture, ispisane misli i zvučni zapisiIn this paper, I will present the results of my (intrapersonal) communications over a period of two years. Following the procedure of creating a mind map, I created my own spatial mental map; a small room with three walls in which I expressed my own and others' thoughts, emotions and associations in response to the concepts of time, numbers, and music, using various visual means and media. Spatial Mental Collage - A Story Without an End - is an ambient installation in which drawings, sculptures, writings, and sound recordings intertwin
Galapagos: Homunkul
No full textRad se bavi tematikom žalovanja, specifično osobnim iskustvom žalovanja queer osobe za queer osobom. Žalovanje stavljam u kontekst inspiriran estetikom kršćanstva i srednjovjekovnog pučkog kazališta, s naglaskom na spajanje inherentne teatralnosti kršćanstva i svojevrsnog amaterizma pučkog kazališta. Sastoji se od scenografije, kostimografije i performansa koji zajedno pružaju uvid u imaginarni svijet u kojem obitava Homunkul, lik koji utjelovljuje žalovanje
Metodika nastave likovne kulture: Autentičnost osobe i kreativno izražavanje
No full textSvrha ovog diplomskog rada bila je istražiti povezanost odgoja i životne okolnosti učenika s kreativnim osobinama koje posjeduje. Socijalna kognitivna teorija naglašava da se osobnosti formiraju na temelju društvenih konteksta, kada ljudi promatraju ponašanje drugih. Stoga se može zaključiti da veliki utjecaj na razvoj djeteta ima ponašanje njegovih roditelja. S time je povezana mogućnost razvoja kreativnog izražavanja i autentičnosti, ako je ono već dijelom predodređeno našim odgojem. Prema tome, ovo istraživanje bavilo se utjecajem odgoja na kreativno izražavanje i autentičnost osobe što je ujedno i polazni problem. U nastavi likovne kulture, sve su češći slučajevi kopiranja tuđih radova i korištenja već poznatih šablona i uzoraka. Manjak kreativnosti primjećuje se u površnim idejama i interesima učenika, ali ono se očituje i u međusobnim odnosima, komunikaciji i samozastupanju. Cilj ovog istraživanja bio je odgovoriti na pitanje koji čimbenici u odgoju utječu na kreativno izražavanje i autentičnost učenika u nastavi likovne kulture te nalaženje novog načina provođenja nastave koji će potaknuti kreativnost učenika. Rezultatima diplomskog istraživanja odgovorilo se na sljedeća istraživačka pitanja: Kakav je utjecaj roditelja na likovno izražavanje učenika? Koliko su učenici samostalni u likovnom izražavanju na nastavi likovne kulture? Postoji li povezanost pristupa roditelja prema likovnom izražavanju učenika s njihovom spremnošću na slobodno likovno izražavanje? Istraživanje je bilo provedeno kvalitativno, akcijskim pristupom u tri koraka. Od instrumenata istraživanja korišteni su analiza literature, upitnik, zadaci za učenike, nestrukturirani i polu-strukturirani intervjui, analiza likovnih radova, bilješke i opažanja. Prema rezultatima istraživanja uočeni su problemi pri samom odabiru motiva kao odraz ne poimanja vlastite autentičnosti te korištenje već postojećih šablonskih prikaza. Također, otkrivena je značajna poveznica između roditeljskog odgoja i razvitka kreativnog izražavanja kod djeteta kao i to da se umjetnička tendencija roditelja reflektira na umjetničku tendenciju i kreativnost djeteta.The main objective of this thesis research was to investigate the connection between education and life circumstances of students with their creative qualities. Social cognitive theory emphasizes that personalities are formed based on social contexts, when people observe the behavior of others. Therefore, it can be concluded that the behavior of the parents has a great influence on the child's development. We come to the problem of the possibility of developing creative expression and authenticity if it is already partially predetermined by our upbringing. Therefore, this research deals with the influence of education on the creative expression and authenticity of a person, which is also the initial problem. In art classes, cases of copying other people's works and using already known templates and samples are becoming more and more common. The lack of creativity is noticeable in the students' superficial ideas and interests, but it is also manifested in mutual relations, communication and self-representation. The goal of this research is to answer the question of which educational factors influence the creative expression and authenticity of students in art classes, and to find a new way of teaching that will stimulate students' creativity. The results of the graduate research answered the following research questions: What is the influence of parents on students' artistic expression? How independent are students in artistic expression in art classes? Is the parents' approach to students' artistic expression related to their readiness for free artistic expression? The research was conducted qualitatively, using a three-step action approach. The research instruments used were literature analysis, questionnaire, assignments for students, unstructured and semi-structured interviews, analysis of art works, notes and observations. According to the results of the research, problems were observed when choosing motifs as a reflection of a lack of understanding of one's own authenticity and the use of pre-existing template representations. Also, it was discovered that there is a great link between parental upbringing and the development of creative expression in the child and that the artistic tendency of the parents is reflected on the artistic tendency and creativity of the child
Metodika nastave likovne kulture: Održivi razvoj i nastav likovne kulture
No full textSvrha ovog diplomskog istraživanja bila je ukazati na pozitivne učinke prakticiranja održivog načina življenja te potaknuti učenike/ce da stečena znanja i iskustva iz područja održivog razvoja primjene u svom kreativnom procesu u nastavi likovne kulture te u svakodnevnom životu. Uočeni problem je pogrešno predstavljen pojam „održivi razvoj“ koji učenici/e često šablonski krivo tumače kao dosadan stil života koji podrazumijeva mnogo odricanja. Međutim, potrebno je s učenicima/ama dublje pristupiti proučavanju pozitivnih aspekata održivog načina življenja. Održivi razvoj podrazumijeva pronalaženje rješenja za postojeće probleme s kojima se čovječanstvo suočava u 21. stoljeću: globalno zatopljenje, visoka stopa siromaštva, problem nejednakog obrazovanja, nejednakosti u pogledu dostupnosti kvalitetne zdravstvene skrbi, nedostupnost pitke vode itd. Rješavanju svakog navedenog problema možemo pristupiti kao i rješavanju likovnog zadatka. Ciljana skupina bili su učenici/e 5. razreda osnovnih škola. Sudionici diplomskog istraživanja su kroz edukativnu društvenu igru rješavali zadatke pomoću kojih su razvijali svoju kreativnost te usvojili ili ponovili znanje o održivom razvoju. Cilj diplomskog rada bio je potaknuti učenike/ce na promišljanje, improvizaciju i pronalaženje novih, kreativnih rješenja kojima će možda i oni sami riješiti neke bitne probleme na osobnoj razini, u životu zajednice ili na globalnoj razini. Također je bio naglasak na kreativnom izražavanju u nastavi likovne kulture gdje su učenici/e mogli predložiti korištenje resursa iz prirode. Istraživačka pitanja na koja se nastojalo odgovoriti rezultatima ovog istraživanja su: 1) Utječe li način prezentacije teme održivog razvoja na atraktivnost teme i prihvaćanje kod učenika/ca? 2) Može li usvajanje navika održivog načina života potaknuti kreativnost i sposobnost improvizacije? Pretpostavilo se da će učenici/e po završetku istraživanja shvatiti važnost zalaganja svakog pojedinca prema održivom ponašanju, održivom likovnom izražavanju i održivom razvoju općenito. Učenici/e će, kroz edukativnu društvenu igru, spoznati važnost kreativnog procesa u svakodnevnom životu te koliko svojim postupcima mogu značajno doprinijeti kvaliteti življenja u vlastitoj zajednici i šire. Rezultatima istraživanja potvrđeno je da predstavljanje edukativnog sadržaja teme održivog razvoja u obliku društvene igre na ploči uvelike potiče motivaciju za učenjem. Zbog kratkog trajanja istraživanja nije bilo moguće ostvariti veliki napredak u usvajanju održivog načina života kod učenika/ca. Unatoč kratkom razdoblju od dva školska sata, na učeničkim je radovima vidljivo kako se većina učenika/ca uspjela odvojiti od stereotipnog i površnog shvaćanja održivog razvoja te su primijenili udaljenije asocijacije i nesvakidašnja rješenja.The purpose of this thesis was to point out the positive effects of practicing a sustainable way of life and to encourage students to apply the acquired knowledge and experience in the field of sustainable development in their creative process in art classes and everyday life. The perceived problem is the misrepresented term "sustainable development", which students often stereotype and misinterpret as a boring lifestyle that implies a lot of sacrifices. However, it is necessary to approach the study of the positive aspects of a sustainable way of life more deeply with the students. Sustainable development implies finding solutions to the existing problems that humanity is facing in the 21st century: global warming, high poverty rate, the problem of unequal education, inequalities regarding the availability of quality health care, unavailability of drinking water, etc. We can approach the solution of each of the mentioned problems as well as solving an art task. The target group was 5th grade elementary school students. The participants of the graduate research solved tasks through an educational board game, through which they exercised their creativity, and adopted or repeated their knowledge about sustainable development. The graduate thesis aimed to encourage students/participants to reflect, improvise, and find new, creative solutions that may solve some important problems on a personal level, in the life of the community, or on a global level. There was also an emphasis on creative expression in art classes where students could suggest using resources from nature. The research questions that were tried to be answered by the results of this research are: 1) Does the way of presentation of the topic of sustainable development affect the attractiveness of the topic and its acceptance among students? 2) Can the adoption of sustainable lifestyle habits encourage creativity and the ability to improvise? It was assumed that upon completion, research participants/students would understand the importance of each individual's commitment to sustainable behavior, sustainable artistic expression and sustainable development in general. Students, through an educational board game, will learn the importance of the creative process in everyday life and how much their actions can significantly contribute to the quality of life in their community and beyond. The results of the research confirmed that the presentation of educational content on the topic of sustainable development in the form of a board game greatly encourages motivation to learn. Due to the short duration of the research, it was not possible to achieve much progress in the adoption of a sustainable lifestyle among students. Despite the short period of two school hours, the students' works show how the majority of students managed to separate themselves from the stereotypical and superficial understanding of sustainable development and applied more distant associations and unusual solutions
Portreti
No full textU današnje vrijeme ali i daleko u povijesti postoji povezanost između umjetnosti i medicine, odnosno psihijatrije. Ispreplitanje umjetnosti i medicine nalazimo u ilustracijama medicinske literature. Koristeći se različitim granama umjetnosti kao što su glazba, slikarstvo i film u terapijske svrhe u psihijatriji umjetnost je korištena još od antičkog vremena, a danas je zastupljena u okviru terapije. U edukaciji medicinskih profesionalaca na području problema mentalnog zdravlja korištenje umjetnosti poprima sve veću važnost. Tema diplomskog rada su duševno oboljeli umjetnici od kojih je većina boravila u mentalnim ustanovama. Na njihovim radovima je vidljiva njihova patnja tijekom bolesti. Kroz rad navedenih umjetnika čija sam umjetnička djela proučavala se prožima nerazrješivo pitanje: da li bi njihova umjetnost bila tako prepoznata i uspješna bez prisutne bolesti? Tehnike koje sam koristila tijekom izrade njihovih portreta su akvarel na papiru i keramičke boje na staklu. Dvije u potpunosti različite tehnike koje su mi pomogle u umjetničkom prikazu njihovog problema i prikazivanju njihove patnje kroz napredak bolesti. Prolazeći kroz bogatu povijest ovih tehnika, proces rada i gotovog produkta upoznajemo način rada s ovim tehnikama, posebice sa staklom te zašto je odabir se sveo na ova dva medija, također njihova srodnost je jako bitna te povezanost i prikazivanje krajnjeg produkta zasebno ali i kao cjelinu
Bodily perception in the experience of sculpture
No full textUloga tjelesne percepcije u doživljavanju djela u kiparstvu tema je ovog umjetničkog istraživanja utemeljenog na praksi, u kojem autorica prepoznaje tjelesnu interakciju kao važan segment vlastitog stvaralaštva te istražuje radove drugih umjetnika koji pokazuju izrazito bogat i inventivan raspon tjelesnog iskustva u doživljaju umjetničkih radova. Tjelesna uključenost posjetiteljima omogućuje bolje povezivanje i cjelovitiji doživljaj, što potvrđuju rezultati dvaju kvalitativnih istraživanja provedenih metodom fokusnih grupa s posjetiteljima izložbi „Introverti“ i „Sam/a sa sobom“. Rezultati pokazuju da tjelesna interakcija mijenja i širi doživljaj, stvara osjećaj sudjelovanja i sukreiranja rada te omogućuje bolje razumijevanje djela. Navedene spoznaje potkrijepljene su Gardnerovom teorijom višestrukih inteligencija te teorijom o stilovima učenja Neila Fleminga (VARK model). Obje teorije iz područja psihologije edukacije tjelesnu percepciju ravnopravno uključuju u razmatranja o našim sposobnostima i o načinima na koje primamo, obrađujemo i iskazujemo znanje. Pokazuju na koje su načine naše tjelesne sposobnosti uključene u stvaranje i doživljavanje umjetničkih djela te kako je kinestetički modalitet (razmišljanje kroz djelovanje) važan u kreativnom procesu i u komunikaciji s publikom. Razumijevanje uloge tjelesne percepcije u doživljaju kiparskih djela prošireno je tijekom istraživanja od direktne tjelesne interakcije prema svijesti o vlastitom tijelu (propriocepciji), zapamćenom tjelesnom iskustvu (kinestetičkoj i taktilnoj memoriji) te doživljaju u tijelu (tjelesnoj empatiji). U praktičnom dijelu istraživanja autorica stvara procesom tipičnim za kinestetički modalitet, oslanjajući se na iskustvo i „razgovor“ s materijalom, uzimajući pritom u obzir rezultate istraživanja fokusnim grupama. Završno djelo poziva na interakciju i omogućuje slojevito tjelesno iskustvo afirmirajući tjelesnu percepciju koja je nedovoljno prepoznata u kontekstu stvaranja, doživljavanja i izlaganja kiparskih djela.This practice-based artistic research focuses on the role of bodily perception in experiencing sculpture. The topic stemmed from an analysis of the author’s previous artistic work, in which the active role of visitors exposed to artworks was recognized as an important segment in experiencing the works. As sculptures are usually experienced only visually, this segment of experience has raised many questions about the possibilities and significance of touch and bodily perception in sculpting. The research into the work of artists who focus on bodily perception has shown that this approach is a rich source of inspiration and possibilities, thus the thesis presents artworks that entail active physical participation on the part of the viewer in order to be fully experienced. This includes artworks that require completion through participation and imagination of visitors (Morris, Walther), artworks that use materials and objects as catalysts for interaction between visitors (Clark), artworks that instruct visitors to establish active relationships with exhibited items and objects (Wurm, Žanić), artworks based on constructions and installations (Gormley, Höller, Neto, Oiticica, Soto), and artworks that stimulate the viewers with their visual properties (Kapoor) or offer them an enhanced perceptual experience and a total immersion into the ambience of the exhibition (Eliasson). Physical involvement allows visitors to connect with a work more intensely and gain a more profound experience, which is confirmed by the results of two qualitative studies conducted using the focus group method, with visitors of the artist's exhibitions “Introverts” and “Encounter with Ourselves”. The results show that physical interaction enhances the interest of visitors, broadens and changes the experience, gives a sense of participation in the creation of the work, and enables a better understanding of the work. These findings are supported by Gardner's theory of multiple intelligences and Neil Fleming's theory of learning styles (VARK model). Both theories include bodily perception in considerations about the ways in which we gain, process and express knowledge. They show how our bodily aptitudes are involved in creating and experiencing the works of art, and how kinesthetic modality (one of the four VARK modalities, associated with physics and reality, focusing on practical research and our own experience) is important in the creative process and communication with the audience.
In an analysis of ways in which bodily perception is present in experiencing the work of art, this research has demonstrated that bodily perception plays an important role both in artworks that allow direct physical contact, and in artworks that we experience only by looking. Beside haptic touch and physical interactivity, the author has shown that many artworks and traditional expressive means rely on bodily perception through memorized bodily experience (body memory) and awareness of one's own body (proprioception). This includes tactility, expressiveness of materials, the size of the work, the placement of the work in space, and the representation of position and movement (stability and instability) in figurative and abstract forms. Gardner also mentions the internal mimics as an important segment of physical intelligence in experiencing the works of art. Freedberg and Gallese describe it as bodily empathy, an internal bodily simulation that we experience thanks to a system of mirror neurons and related empathic feelings. We feel bodily empathy when we look at real or depicted movements and actions, but also when we look at traces of actions shaping the surface of sculptures and supporting the visual characteristics of the artworks, indirectly including bodily perception. In the practical part of the research, the author creates a process typical of kinesthetic modality, conducting a “conversation” with the material, relying on her bodily experience and inner bodily sensation, as well as on the results of the research based on the focus group method. The resulting work promotes interaction and offers a layered physical experience through haptic perception, proprioception and bodily empathy. In this manner, it affirms bodily perception which has so far been insufficiently acknowledged in the context of creating, experiencing and exhibiting sculpture
Mural as a means of enhancement in an urban context
No full textUlična umjetnost ili street art inačica je javne umjetnosti, dolazi u obliku svojih najčešćih podvrsta murala i grafita. To je umjetnost koja nastaje u okviru zajednice i njome smatramo sve vidove umjetnosti koja nastaje u javnom urbanom prostoru, a koja pri tome ne nastaje po diktatu vlasti. Iako to ne znači da nije odobrena jer su je vladajuće strukture ponekad čak i poticale zbog dokazanih dobrobiti za specifičnu zajednicu. Ipak, uz street art uvijek dolazi i izvjestan oblik buntovništva, želje za promjenom, pa čak, u krajnjim slučajevima, i vandalizma. Mural, umjetnička disciplina izrade velikih slika na zidovima grada koji su vidljivi cijeloj zajednici, smatra se posebno moćnim alatom društvene promjene. Pokazalo se da može utjecati na razvijanje osjećaja vrijednosti, ponosa pa čak i stvaranje identiteta cijele zajednice. U zadnjih stotinjak godina, naročito od uspjeha Meksičke revolucije, moć murala počela je koristiti i sama zajednica kao vrlo potentan alat u borbi za ostvarenje svojih ciljeva. Zbog toga se nakon Meksičke revolucije mural dokazao u američkom new dealu, black poweru i chicano pokretu te sukobima u Sjevernoj Irskoj. U Hrvatskoj se moć javne umjetnosti mogla vidjeti samo u agresorskom rušenju pokazatelja našega identiteta i kulture. No kao alat borbe ni jedan vid javne umjetnosti nije uspješno i sustavno korišten. Nažalost, dobar je dio Hrvatske stradao u ratnim razaranjima te su na tim mjestima i danas izrazito vidljive posljedice. Ratom pogođeni dijelovi Hrvatske i danas su najslabije razvijeni, a grad Petrinja dobar je primjer za sve navedeno. Obnovom je napravljeno puno pogrešaka, a jedna od njih je i sustavno identificiranje tih prostora isključivo s ratom. Skoro svi spomenici i kulturno-umjetnički artefakti nastali od kraja rata do danas, posvećeni su isključivo ratu i stradanjima, a ne ostalim vrijednostima i potrebama zajednice. Nije se prepoznala moć kulture i umjetnosti u stvaranju novoga i prosperitetnoga identiteta zajednice. U ovom radu predstavlja se projekt izrade murala koji će služiti kao sredstva oplemenjivanja urbanoga prostora u poslijeratnom urbanom kontekstu grada Petrinje. Oni će služiti kao poticaj stvaranju pozitivnih vrijednosti cijele zajednice koja živi ili gravitira području grada Petrinje. Nizom murala, tj. prijedlozima za izradu murala, utječe na osjećaj ponosa, slave, podsjeća na stoljetnu tradiciju i kulturu te na zajedničke vrijednosti koje mogu postati nosioci bolje i prosperitetnije budućnosti.This work presents the project of creating murals which will serve as a means of urban space refinement in the post-war context of Petrinja town. These murals will act as incentives to forming positive values of the entire community that lives or gravitates towards Petrinja. The series of murals, i.e. propositions to create murals aim to influence the sense of pride and glory and act as a reminder of a centuries-old tradition and culture, as well as common values that can become the bearers of a better and more prosperous future. The art project encompasses two basic parts of work. The first part, i.e. theoretical research, regards examining the problem contexts of the studied phenomenon and thereupon the success of artistic intervention with regard to the set research goal and hypotheses. The second part is creating the artwork itself, with all its technical and creative questions and solutions. Street art is a form of public art, with murals and graffiti as its most common types. It is art created in the community, that is, it encompasses all aspects of art created in the public urban space and, accordingly, not created upon government rule. Although, this does not mean that it is not authorised because sometimes, it is even initiated by the government due to its proven benefits for the community. However, along street art always comes a breath of rebellion, desire for change and in extreme cases, even vandalism. The mural, artistic discipline of creating large paintings on city walls, visible to entire communities, is considered an especially powerful means of social change. Previous experience shows it can develop a sense of worth and pride and even influence the creation of overall communal identity. Over the last hundred years, especially since the success of the Mexican Revolution, communities themselves have started to utilise the power of murals as a very special agent in fighting for the fulfilment of their goals. After the Mexican Revolution, mural has proven itself in the New Deal, Black Power, Chicano Movement and the conflicts in Northern Ireland. The first major muralist movement in the world, Mexican Muralism, started in the beginning of the 20th century, after the Mexican Revolution. Postrevolutionary Mexican government 7 funded the project that brought together a group of prominent national artists, headed by the so-called „Three Greats“: David Alfaro Siqueiros, José Clemente Orozco and Diego Rivera. They were meant to create a “new” social identity based on tradition, togetherness and social rights, but also on the promotion of new industrialisation. The mural was chosen as the best medium for communicating the message because the language of visual art was easily understandable, available to all and particularly efficient, especially when considering that most Mexican population were illiterate at the time. Mexican muralism used this kind of art as a mighty social and educative aid, and even political weapon. At the time of the Great Depression, the American government, led by president Franklin D. Roosevelt, implemented a series of comprehensive changes under the name New Deal to recover the American economy. One of the enacted programs was the Federal Art Project, an art project spanning from 1935 to 1943. It employed over ten thousand artists and generated an enormous amount of art works, wherein many were murals created on walls of public buildings such as administrative buildings, hospitals, post offices and schools. It was necessary to enrich the multitude of newly-created urban spaces, express the government’s intentions via the murals and empower the idea of the „American Dream“, i.e. of America not only as a land of plenty, possibility, freedom, progress and place where dreams come true, but also as a country leading the Free World. Motivated by the success and social meaning of the Mexican Muralism and Federal Art Project, during 1960s in America, wider social movements started that used precisely murals as the main means of communication. These movements had a goal to raise awareness about the values of so-called minority groups, such as African Americans, Hispanic Americans and others fighting for their rights and acknowledgement, but also against oppression imposed by white people in, at the time, unequal America. The most renowned movements in America during that time were the so-called Black Power and Chicano Movement. The first mural movement in Europe happened in the course of a thirty-year-long conflict in Northern Ireland. This conflict caused the creation of probably the best-known murals on European soil. Both sides in the conflict created these murals, which mediated mostly political and ideological messages and glorified cultural and historical persons important to each side 8 of the struggle. During these years, more than two thousand murals were created, the majority in Belfast and Derry, and they are a tourist attraction even nowadays. Today's mural painting is not so much in service of political goals as it is an expression of a certain community's folklore. However, the critical side of street art and murals has survived, although now global issues are more present than problems of individual communities. Hence, in these works artists frequently deal with issues such as ecology and sexual orientation or criticise consumer society, racial or religious intolerance and alike. The same as public art in general, murals use the city for existence and expression. The city is a large, constantly and densely populated place with administratively defined borders, where most of the population deal in non-agricultural professions. However, cities are also spaces of common living, encounters and life's drama, that is, environments placing people in relationships. In the conceptual sense, the city has become a kind of „organism“ where people live, work, identify with each other, fight, rest and idle. Urban space and urban way of life can physically spread outside city limits and even invade the countryside, which then becomes a place of rest and relaxation. The city or any other part of the urban whole cannot be separated from the stories therein created, whether through history or by legends, or originating from some other source. Precisely these narrative layers are factors that mould a city's foundation and identity. One part of the world has put effort into creating these narrative layers in a way that would be of the greatest use. In Croatia, no form of public art has ever been successfully or systematically used as a means of struggle. It is visible that destruction of public cultural and religious heritage is directly linked with ethnical cleansing. In the war, we erased almost every culture, art and tradition that had been developing over centuries in areas caught in the war whirlwind. Despite the fact Croatia was able to fight off the aggressor and liberate occupied territories, it seems that all its heritage loss severely changed the community. Now it is of essence to deal with meaningful reparations and further construction of the destroyed, but also to create a legacy for future generations. 9 Sadly, a large part of Croatia was devastated by war destruction, so the consequences in these places are expressly visible even today. These war-stricken parts of Croatia are least developed yet today, with Petrinja being an obvious example of the aforementioned. The reconstruction entailed many mistakes, one of which was systematic identification of these spaces exclusively with war. Almost all monuments and cultural-art artefacts that have been created since the end of war are entirely dedicated to war and suffering, not other values and needs of the community. The power of culture and art in the creation of new and prosperous community's identity was not recognised. There are two systematically different views about art written on by philosophers of ancient Greece, Plato and Aristotle. Plato's idea places intellectual elite in the role of light-bearers who are supposed to disseminate the light of knowledge and lead others toward a greater goal. Accordingly, he felt that the work of art in itself is not enough, but it has to encompass an idea, that is, the aim for which it is created. For Aristotle, the goals and values of society start from social base and are shaped in order to be implemented by the enlightened elite. He considers artistic rapture and creative satisfaction reasons enough for artistic creation. This project is inclined to Plato's recommendation designating that the work of art, i.e. intervention is created out of a conscious goal, intent and desire for positive change, but at the same time it comes from in-depth research, and that future work also has the power to affect wider social image. In this case, it can be said that values such as forming common identity, education and positive change of social conditions are ideas transferred from the artistic and academic world onto a mundane and „ordinary“ human. This work was conceptualised as a series of paintings in the manner of figurative painting, which act to remind us of certain parts of Petrinja and hold importance for the community living there. The paintings entail scenes of places relevant for Petrinja, but in a way that preserves the buildings' integrity and therein does not negate their architectonic shape, i.e. colour. The paintings are to be integrated into the whole, with the walls, buildings and ambiance. The base of every painting in this art project is a certain tone which simulates the colour of some building's facade. This tone changes at times with regard to the possibilities that may 10 occur in the difference of colour from one building's facade to the next. The tonal palette is limited to two or three tones chosen in order to harmonise with the existing background. The accent is only on the tonal contrast and the summation of visual components into plane and mass, without distracting the eye with excessive details. Most facades come in gentle grey or brown hues, a quality shared with old, faded and yellowed postcards, so in such a way the chosen tonalities gain a two-fold role. Old postcards are artefacts of the past with strong emotional charge, connecting several generations of either known or unknown people with urban space. They also witness the changes in urban space brought on either by human or natural acts. The chosen colours aim to allude to old postcards and intend to procure the same emotional charge, awaken a desire to rebuild and come together, and show the community has something worth remembering and being proud of. By painting the surfaces that mark the enlightened parts on the portrayed motive, what is actually painted is “empty space“. Such “empty spaces” are referred to as “negative spaces“ in the literature. There is no visually suggested matter in these places, but solely space that in the artistic sense is at least equally important, if not more important than the illusion of matter. Positive space of the motives remains in this part as untouched background surface, i.e. a building's facade on which a mural would eventually be painted. In such a way, it would be possible to retain the basic character of a building, fill it and make it a part of the image. There is no intention to negate the building or its previous destiny. In such a way, its history would continue to „speak“ through the painting. After the paintings are realised as a kind of preparatory work for murals, a computer-aided technique is used for applying them onto photographs of buildings on which murals are to be created according to this proposition. Computer-aided simulations represent illustrations of their imagined appearance in reality, and the locations in which the suggested murals would be made are also suggested. The chosen locations are very close to each other, they belong to Petrinja's very centre and in a way overflow one into the other, thus making a common whole. Murals arranged in such a way would surely create a kind of cultural and touristic route