Irfan Hošić
Irfan Hošić completed his PhD thesis at the Department of Art History at the Faculty of Humanities and Social Sciences, University of Zagreb. His scope of research is modern and contemporary arts, fashion and architecture. He was a co-curator of the Pavilion of Bosnia and Herzegovina at the 55th Venice Biennale (2013). Hošić is an assistant professor at the Textile Department at the University of Bihać, where he teaches Art History and Modern Art and Design. In academic year 2019/2020 Hošić was visiting researcher at the College for Creative Studies and Wayne State University in Detroit. He also works as an art critic and a free lance curator.
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Herzegovina can be established by looking at its institutions of cultural and artistic significance. The term “institutions” in this context means public institutions, but also private initiatives whose activities have left a signi'cant mark in the artistic context of Bosnia and Herzegovina. However, it is impossible to discuss the institutional and noninstitutional culture in the country, without references to the cultural crisis, which has been articulated primarily around and within the seven cultural institutions of national importance.
“image of crisis”. An integral geographical and chronological framework for the research was defined according to a particular situation in which the Republic’s capital found itself after the dissolution of Yugoslavia. Exposed to artillery and sniper attacks, the city witnessed the shaping of a survival struggle. As part of the struggle, “Sarajevo’s cultural resistance”
was born out of a pervading atmosphere of crisis and it marked a
series of attempts to bring the everyday life back to normal. This particular kind of resistance imposed itself as a significant factor indicative of a specific set of circumstances that facilitated the development
of different cultural practices, art and design-based initiatives as well
as other survival protocols.
Herzegovinian art", written for the Yugoslav Documenta ’87
exhibition, the art historian and critic Aleksandar Adamović put
forth several claims whose interpretation can, even today, almost
thirty years later, be used as a basis for the following questions:
Is there something particularly "Bosnian and Herzegovinian"
in the currently produced art, referred to as contemporary, in the
present territory of Bosnia and Herzegovina, and if there is, what
is it all about? The text contains Adamović’s claims that the term
contemporary Bosnian and Herzegovinian art "is not grounded
in an aesthetic reality" and that "it plays the card of its own
rhetorical importance". In one place in the text, the author even
writes about denotation – it is a "sign that develops its own
parasitic system". Turbulent and brimming with intriguing
claims, Adamović’s text on the one hand raises the question of
the social, political and cultural context of the period in which
it originated. On the other hand, it can lend itself as a motive
for addressing similar issues and for understanding the extent of
their present meanings.
razdoblja na prostoru grada Bihaća i time dinamičnu privrednu prošlost učiniti predmetom interdisciplinarnih analiza s ciljem rasvjetljenja ekonomske, političke i kulturne klime u užem i širem okruženju. Rad pokušava svijest o dizajnu i dizajnersku produkciju na primjeru Bihaća smjestiti u šire socio-kulturne kontekste SR Bosne i Hercegovine, SFR Jugoslavije, pa i šire, i time rekonstruirati svojevrsnu sliku minulog vremena. Fokusirajući se na konkretne primjere iz vodećih bihaćkih
poduzeća, i ukazujući na vodeća imena na polju likovnog oblikovanja unutar njih, ovaj rad teži objedinjavanju podataka te može poslužiti kao polazište za vrednovanje i usporedbu uopćenih zaključaka o slici o dizajnu na prostoru grada Bihaća. Zbog materijalne devastacije navedenih
poduzeća, uzrokovane loše provedenom tranzicijom iz socijalističkog u kapitalistički sustav, ali jednim dijelom i ratnim okolnostima, ovaj rad ostao je ograničen ponuditi dublji i jasniji uvid u konkretne primjere likovnog oblikovanja i time, u konačnici, valorizirati dizajnerski opus navedenog područja.
„Zvono“ iz osamdesetih godina, ukazala se i potreba za pokušajem rekonstrukcije
umjetničke klime koja joj je prethodila. Ovdje se prije svega misli na umjetnički
kontekst vlastite kulturne sredine koja je bez dvojbe imala svoje prethodnike u
bosanskohercegovačkoj umjetnosti, te ne predstavlja odjek ili kopiju negdje drugdje
začetih zbivanja. Zbog osobenosti umjetničkog djelovanja grupe „Zvono“ izraženog karakterom kolektiva tj. grupe, u razmatranju su se našli isključivo srodni
prethodnici.
oprečnim relacijama kao što su Istok-Zapad, bogatisiromašni, moćni-potlačeni, razvijeni-nerazvijeni, itd. U takvom ambijentu stiče se dojam i afirmira se spoznaja da moda u globalnom socio-ekonomskom kontekstu
nedvojbeno posjeduje snagu imperijalističke moći sa kojom operiraju bogati i moćni.
Herzegovina can be established by looking at its institutions of cultural and artistic significance. The term “institutions” in this context means public institutions, but also private initiatives whose activities have left a signi'cant mark in the artistic context of Bosnia and Herzegovina. However, it is impossible to discuss the institutional and noninstitutional culture in the country, without references to the cultural crisis, which has been articulated primarily around and within the seven cultural institutions of national importance.
“image of crisis”. An integral geographical and chronological framework for the research was defined according to a particular situation in which the Republic’s capital found itself after the dissolution of Yugoslavia. Exposed to artillery and sniper attacks, the city witnessed the shaping of a survival struggle. As part of the struggle, “Sarajevo’s cultural resistance”
was born out of a pervading atmosphere of crisis and it marked a
series of attempts to bring the everyday life back to normal. This particular kind of resistance imposed itself as a significant factor indicative of a specific set of circumstances that facilitated the development
of different cultural practices, art and design-based initiatives as well
as other survival protocols.
Herzegovinian art", written for the Yugoslav Documenta ’87
exhibition, the art historian and critic Aleksandar Adamović put
forth several claims whose interpretation can, even today, almost
thirty years later, be used as a basis for the following questions:
Is there something particularly "Bosnian and Herzegovinian"
in the currently produced art, referred to as contemporary, in the
present territory of Bosnia and Herzegovina, and if there is, what
is it all about? The text contains Adamović’s claims that the term
contemporary Bosnian and Herzegovinian art "is not grounded
in an aesthetic reality" and that "it plays the card of its own
rhetorical importance". In one place in the text, the author even
writes about denotation – it is a "sign that develops its own
parasitic system". Turbulent and brimming with intriguing
claims, Adamović’s text on the one hand raises the question of
the social, political and cultural context of the period in which
it originated. On the other hand, it can lend itself as a motive
for addressing similar issues and for understanding the extent of
their present meanings.
razdoblja na prostoru grada Bihaća i time dinamičnu privrednu prošlost učiniti predmetom interdisciplinarnih analiza s ciljem rasvjetljenja ekonomske, političke i kulturne klime u užem i širem okruženju. Rad pokušava svijest o dizajnu i dizajnersku produkciju na primjeru Bihaća smjestiti u šire socio-kulturne kontekste SR Bosne i Hercegovine, SFR Jugoslavije, pa i šire, i time rekonstruirati svojevrsnu sliku minulog vremena. Fokusirajući se na konkretne primjere iz vodećih bihaćkih
poduzeća, i ukazujući na vodeća imena na polju likovnog oblikovanja unutar njih, ovaj rad teži objedinjavanju podataka te može poslužiti kao polazište za vrednovanje i usporedbu uopćenih zaključaka o slici o dizajnu na prostoru grada Bihaća. Zbog materijalne devastacije navedenih
poduzeća, uzrokovane loše provedenom tranzicijom iz socijalističkog u kapitalistički sustav, ali jednim dijelom i ratnim okolnostima, ovaj rad ostao je ograničen ponuditi dublji i jasniji uvid u konkretne primjere likovnog oblikovanja i time, u konačnici, valorizirati dizajnerski opus navedenog područja.
„Zvono“ iz osamdesetih godina, ukazala se i potreba za pokušajem rekonstrukcije
umjetničke klime koja joj je prethodila. Ovdje se prije svega misli na umjetnički
kontekst vlastite kulturne sredine koja je bez dvojbe imala svoje prethodnike u
bosanskohercegovačkoj umjetnosti, te ne predstavlja odjek ili kopiju negdje drugdje
začetih zbivanja. Zbog osobenosti umjetničkog djelovanja grupe „Zvono“ izraženog karakterom kolektiva tj. grupe, u razmatranju su se našli isključivo srodni
prethodnici.
oprečnim relacijama kao što su Istok-Zapad, bogatisiromašni, moćni-potlačeni, razvijeni-nerazvijeni, itd. U takvom ambijentu stiče se dojam i afirmira se spoznaja da moda u globalnom socio-ekonomskom kontekstu
nedvojbeno posjeduje snagu imperijalističke moći sa kojom operiraju bogati i moćni.
///
Retrography of Design is the experimental intervention in the closed factory of flexible packaging “Polietilenka” in Bihać, that in form of the five-day art action in July 2015 took place in one of the factories organizational
unit Atelier – the former department for design and reproduction photography. Penetration to the devastated areas of this department had a multidisciplinary character in order to create new social value with research and documentary approach between social theory and artistic production.
On the track of a strategy of contemporary curatorial practice and artistic activities that involve alternative, urgent, direct and site specific reflection, as well as involvement of social community, Retrography of Design
in the end developed into a multimedia event of strong interaction with the former employees and interested public through a wide specter of local media.