{"id":17178,"date":"2019-11-06T15:58:57","date_gmt":"2019-11-06T15:58:57","guid":{"rendered":"http:\/\/historiografija.hr\/?p=17178"},"modified":"2019-11-06T15:58:57","modified_gmt":"2019-11-06T15:58:57","slug":"fierce-women-predavanje-leonide-kovac-o-nasti-rojc","status":"publish","type":"post","link":"https:\/\/historiografija.hr\/?p=17178","title":{"rendered":"Fierce Women: Predavanje Leonide Kova\u010d o Nasti Rojc"},"content":{"rendered":"<p><strong>Nasta Rojc<\/strong> jedna je od najva\u017enijih hrvatskih slikarica, a njezin se opus primarno sastoji od portreta, autoportreta i pejza\u017ea. Porijeklom iz dobrostoje\u0107e obitelji, nakon iscrpljuju\u0107ih pregovora s ocem zapo\u010dinje slikarsko obrazovanje u privatnoj \u0161koli Otona Ivekovi\u0107a gdje upoznaje bliskog prijatelja i slikara Branka \u0160enou \u2013 s kojim \u0107e desetak godina poslije, tako\u0111er zbog nagodbe s ocem, sklopiti formalni brak. Studij slikarstva nastavila je u Be\u010du na <em>Kunstschule f\u00fcr Frauen und M\u00e4dchen<\/em>, te potom u Muenchenu gdje u Heimannovoj \u0161koli studira s Miroslavom Kraljevi\u0107em. Imala je brojne samostalne i grupne izlo\u017ebe u Hrvatskoj i inozemstvu od kojih je posebno uspje\u0161na bila ona u Londonu 1925. Osniva\u010dica je Kluba likovnih umjetnica u Zagrebu, 1927.<\/p>\n<p>\u017divot i djelo Naste Rojc od velikog su zna\u010daja i za hrvatsku queer povijest. Po zavr\u0161etku Prvog svjetskog rata upoznaje svoju \u017eivotnu partnericu <strong>Alexandrinu Onslow<\/strong>, \u010dlanicu \u2018Scottish Women\u2019s Hospitals for Foreign Services\u2019, te poznatu britansku sufra\u017eetkinju <strong>Veru Holme<\/strong>, s kojima 1925. i 1926. boravi u Engleskoj i \u0160kotskoj. Po povratku u Hrvatsku dvije iznimne \u017eene, Nasta Rojc i Alexandrina Onslow, me\u0111u prvima otvoreno \u017eive u istospolnoj izvanbra\u010dnoj zajednici u Zagrebu. Zbog pomaganja NOB-u obje, ve\u0107 u godinama i bolesne, zavr\u0161avaju u usta\u0161kom zatvoru 1943. Oduzetu imovinu ni nakon Drugog svjetskog rata nisu u potpunosti dobile natrag pa Nasta Rojc u siroma\u0161tvu umire na svoj ro\u0111endan 1964., petnaest godina nakon Onslow, pored koje je pokopana na zagreba\u010dkom Mirogoju. Sve navedeno svjedo\u010di o Rojc kao umjetnici i stra\u0161noj \u017eeni \u010diji je turbulentni \u017eivot daleko nadilazio zadane vremenske okvire, obilje\u017een pomicanjem granica tada\u0161njih ustaljenih normi i gra\u0111anskih pravila na svim podru\u010djima.<\/p>\n<p><strong>Leonida Kova\u010d<\/strong> je povjesni\u010darka i teoreti\u010darka umjetnosti, kustosica, te profesorica na Akademiji likovnih umjetnosti Sveu\u010dili\u0161ta u Zagrebu. Od sredine 1980-ih intenzivno se bavi feministi\u010dkom dekonstrukcijom heteronormativnih diskursa, s fokusom na re\u017eime reprezentacije, odnosno strukturalno nasilje u diskursu (o) umjetnosti i u vizualnoj kulturi. Koncipirala je i realizirala tridesetak autorskih izlo\u017ebi, me\u0111u kojima su osobito va\u017ene izlo\u017ebe Nan Hoover, Dube Sambolec, Katarzyne Kozyra, Orshi Drozdik, Dorothy Cross, Rite Duffy, Naste Rojc i Edite Schubert.\u00a0 Bila je povjerenica i kustosica hrvatskog paviljona na Bijenalu suvremene umjetnosti u S\u00e3o Paulu (2002.) i na Bijenalu u Veneciji (2003.) gdje je izlo\u017ebom \u2018<em>Uzorci vidljivosti\u2019<\/em> predstavila serije autoportreta Ane Opali\u0107. Od 2002. \u2013 2005. bila je izabrana potpredsjednica Me\u0111unarodne udruge kriti\u010dara umjetnosti \u2013 AICA.<\/p>\n<p><strong>Srijeda, 06.11.2019. <\/strong><strong>YIHR.hub (\u0110or\u0111i\u0107eva 8a\/II, Zagreb)<\/strong><strong> 18:00<\/strong><\/p>\n<p>&nbsp;<\/p>\n<p><a href=\"https:\/\/voxfeminae.net\/festival\/unseen\/fierce-women-predavanje-leonide-kovac-o-nasti-rojc\/\">https:\/\/voxfeminae.net\/festival\/unseen\/fierce-women-predavanje-leonide-kovac-o-nasti-rojc\/<\/a><\/p>\n<p>&nbsp;<\/p>\n<p><strong>Wednesday, November 6th, 6:00PM<\/strong><\/p>\n<p><strong>Fierce Women: Leonida Kova\u010d speaks about Nasta Rojc | lecture<\/strong><\/p>\n<p><strong>Nasta Rojc<\/strong> is one of the most important female Croatian painters, whose oeuvre is primarily composed of portraits, self-portraits and landscapes. Rojc comes from a prosperous background, but she had to persevere in spite of her father in order to start her education as a painter at Oton Ivekovi\u0107\u2019s private school. There she befriended another painter, Branko \u0160enoa, with whom she would, due to an agreement with her father, conduct a formal marriage a decade later. She continued her studies as a painter, first at <em>Vienna\u2019s Kunstschulef\u00fcr Frauen und M\u00e4dchen<\/em> and later in Munich where she attended Heimann\u2019s school together with Miroslav Kraljevi\u0107. She set up numerous solo and group exhibitions in Croatia and abroad, with the 1925 exhibition in London being a notable success. She also founded the all-female Artist club in 1927. in Zagreb.<\/p>\n<p>The life and work of Nasta Rojc is also of great importance for Croatian queer history. After World War I, Rojc met her partner <strong>Alexandrina Onslow<\/strong>, a member of <em>Scottish Women\u2019s Hospitals for Foreign Services<\/em>, as well as the famous British suffragette <strong>Vera Holme<\/strong>, two women with whom she stayed in Scotland and England over the course of 1925 and 1926. Upon her return to Croatia, Rojc and Onslow, two exceptional women, were among the first to live openly in a same-sex partnership in Zagreb. Because of their contribution to the <em>National Liberation Movement<\/em>, both of them were imprisoned in 1943. The assets that had been taken from them were not restored even after the end of World War II, so Nasta Rojc died in poverty on her birthday in 1964, fifteen years after Onslow, next to whom she was buried at the Mirogoj cemetery in Zagreb. All of this is a testament to Rojc as an artist and a fierce woman whose turbulent life was well beyond the idea of a woman\u2019s life at the time, marked by pushing the envelope, subverting norms and expectations in all segments of her life.<\/p>\n<p><strong>Leonida Kova\u010d<\/strong> is an art historian and theorist, a curator and an associate professor at the Zagreb Academy of Fine Arts. Since the mid-1980s she has been intensely devoted to the feminist deconstruction of heteronormative discourses with a focus on representation regimes, more specifically, the structural violence in the discourse of (and about) art and visual culture. She has created and displayed about thirty exhibitions, with notable highlights being exhibitions on Nan Hoover, Duba Sambolec, Katarzyna Kozyra, Orshi Drozdik, Dorothy Cross, Rita Duffy, Nasta Rojc and Edita Schubert. She was a confidante and curator of the Croatian pavilion at the Sao Paolo Biennale (2002) and the Venice Biennale (2003), where she presented a series of self-portraits by Ana Opali\u0107 in the exhibition \u2018The Cause of Visibility\u2019. Kova\u010d was elected vice-president of the International<em> Association of Art Critics<\/em> from 2002 to 2005.<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":2,"featured_media":17179,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[3],"tags":[],"class_list":["post-17178","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-novosti"],"acf":{"facebook_opis":""},"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/historiografija.hr\/wp-content\/uploads\/2019\/11\/nasta-rojc.jpg?fit=1180%2C700&ssl=1","jetpack_sharing_enabled":true,"jetpack-related-posts":[{"id":52990,"url":"https:\/\/historiografija.hr\/?p=52990","url_meta":{"origin":17178,"position":0},"title":"Kliofest prvi put u Pore\u010du","author":"Filip \u0160imunjak","date":"8. svibnja 2026.","format":false,"excerpt":"U sklopu XIII. Festivala povijesti Kliofest, Pore\u010d je po prvi put bio doma\u0107in regionalnih zbivanja. Program se odr\u017eao u Srednjoj \u0161koli Mate Balote, gdje su stru\u010dnjaci, arhivisti, muzealci i profesori kroz niz predavanja u\u010denicima i javnosti pribli\u017eili istarsku povijest \u2013 od arhivske gra\u0111e i mati\u010dnih knjiga do uloge \u017eena, glagolja\u0161ke\u2026","rel":"","context":"U &quot;Novosti&quot;","block_context":{"text":"Novosti","link":"https:\/\/historiografija.hr\/?cat=3"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/historiografija.hr\/wp-content\/uploads\/2026\/05\/Foto_Zvonimir_Guzic.jpg?fit=730%2C487&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/historiografija.hr\/wp-content\/uploads\/2026\/05\/Foto_Zvonimir_Guzic.jpg?fit=730%2C487&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/historiografija.hr\/wp-content\/uploads\/2026\/05\/Foto_Zvonimir_Guzic.jpg?fit=730%2C487&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/historiografija.hr\/wp-content\/uploads\/2026\/05\/Foto_Zvonimir_Guzic.jpg?fit=730%2C487&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":54081,"url":"https:\/\/historiografija.hr\/?p=54081","url_meta":{"origin":17178,"position":1},"title":"Promocija knjige Ankice \u010cakardi\u0107 &#8220;Dionizijski socijalizam Praksis \u0161kole&#8221;","author":"Branimir Jankovi\u0107","date":"15. lipnja 2026.","format":false,"excerpt":"Utorak, 16. lipnja 2026. u 19:00 sati Knji\u017eara Fraktura (Ulica kneza Mislava 17, Zagreb) Sudjeluju: Ankica \u010cakardi\u0107, Nade\u017eda \u010ca\u010dinovi\u010d, Ana Maskalan Moderira: Roman Simi\u0107 Studija Dionizijski socijalizam Praksis \u0161kole Ankice \u010cakardi\u0107 po mnogo\u010demu je pionirski pothvat \u2013 prva detaljna rekonstrukcija jednoga od najuzbudljivijih poglavlja intelektualne povijesti socijalizma. No istinski novum\u2026","rel":"","context":"U &quot;Novosti&quot;","block_context":{"text":"Novosti","link":"https:\/\/historiografija.hr\/?cat=3"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/historiografija.hr\/wp-content\/uploads\/2026\/06\/dionizijski-socijalizam-praksis-skole-ankica-cakardic.jpg?fit=768%2C662&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/historiografija.hr\/wp-content\/uploads\/2026\/06\/dionizijski-socijalizam-praksis-skole-ankica-cakardic.jpg?fit=768%2C662&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/historiografija.hr\/wp-content\/uploads\/2026\/06\/dionizijski-socijalizam-praksis-skole-ankica-cakardic.jpg?fit=768%2C662&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/historiografija.hr\/wp-content\/uploads\/2026\/06\/dionizijski-socijalizam-praksis-skole-ankica-cakardic.jpg?fit=768%2C662&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":54227,"url":"https:\/\/historiografija.hr\/?p=54227","url_meta":{"origin":17178,"position":2},"title":"Izlo\u017eba &#8220;Vera barunica Nikoli\u0107 Podrinska (1886. \u2013 1972.)&#8221;","author":"Branimir Jankovi\u0107","date":"19. lipnja 2026.","format":false,"excerpt":"Vera barunica Nikoli\u0107 Podrinska (1886. \u2013 1972.)Izlo\u017eba u povodu 140-e obljetnice ro\u0111enja slikarice16. lipnja \u2013 14. srpnja 2026., Pala\u010da Demeter-Corvin, Pavla Radi\u0107a 24, ZagrebNacionalni muzej moderne umjetnosti u suradnji s Galerijom KonturaKustosica izlo\u017ebe: dr. sc. Ivana Ron\u010devi\u0107 Elezovi\u0107, muzejska savjetnica NMMU Vera barunica Nikoli\u0107 Podrinska (8. studenoga 1886. \u2013 28.\u2026","rel":"","context":"U &quot;Izlo\u017ebe&quot;","block_context":{"text":"Izlo\u017ebe","link":"https:\/\/historiografija.hr\/?cat=10"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/historiografija.hr\/wp-content\/uploads\/2026\/06\/Vera-Nikolic-slikarica.jpg?fit=768%2C417&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/historiografija.hr\/wp-content\/uploads\/2026\/06\/Vera-Nikolic-slikarica.jpg?fit=768%2C417&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/historiografija.hr\/wp-content\/uploads\/2026\/06\/Vera-Nikolic-slikarica.jpg?fit=768%2C417&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/historiografija.hr\/wp-content\/uploads\/2026\/06\/Vera-Nikolic-slikarica.jpg?fit=768%2C417&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":53406,"url":"https:\/\/historiografija.hr\/?p=53406","url_meta":{"origin":17178,"position":3},"title":"INPUT: Digitalna historija (podcast) \u2013 Ep. 1, AI u historiografiji","author":"Filip \u0160imunjak","date":"22. svibnja 2026.","format":false,"excerpt":"Prva epizoda novog podcasta INPUT: Digitalna historija, portala Historiografija.hr, donosi razgovor o veoma aktualnoj i sveprisutnoj temi koja neizbje\u017eno utje\u010de i na povjesni\u010dare \u2013 kako historiografski (posebno istra\u017eiva\u010dki) koristiti umjetnu inteligenciju? \u0160to pojava AI-a zna\u010di dugoro\u010dno za razvoj historiografije i je li sa sobom donijela vi\u0161e pozitivnih pomaka (ali i\u2026","rel":"","context":"U &quot;Istaknuto&quot;","block_context":{"text":"Istaknuto","link":"https:\/\/historiografija.hr\/?cat=48"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/historiografija.hr\/wp-content\/uploads\/2026\/05\/INPUT-Ep.-1.-AI-u-historiografiji.webp?fit=1200%2C675&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/historiografija.hr\/wp-content\/uploads\/2026\/05\/INPUT-Ep.-1.-AI-u-historiografiji.webp?fit=1200%2C675&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/historiografija.hr\/wp-content\/uploads\/2026\/05\/INPUT-Ep.-1.-AI-u-historiografiji.webp?fit=1200%2C675&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/historiografija.hr\/wp-content\/uploads\/2026\/05\/INPUT-Ep.-1.-AI-u-historiografiji.webp?fit=1200%2C675&ssl=1&resize=700%2C400 2x, https:\/\/i0.wp.com\/historiografija.hr\/wp-content\/uploads\/2026\/05\/INPUT-Ep.-1.-AI-u-historiografiji.webp?fit=1200%2C675&ssl=1&resize=1050%2C600 3x"},"classes":[]},{"id":53378,"url":"https:\/\/historiografija.hr\/?p=53378","url_meta":{"origin":17178,"position":4},"title":"&#8220;Kali Sara&#8221;: Poziv za sudjelovanje u 5. ljetnoj \u0161koli suo\u010davanja s pro\u0161lo\u0161\u0107u","author":"Branimir Jankovi\u0107","date":"15. svibnja 2026.","format":false,"excerpt":"Savez Roma u Republici Hrvatskoj \u201cKALI SARA\u201d poziva na sudjelovanje u 5. ljetnoj \u0161koli suo\u010davanja s pro\u0161lo\u0161\u0107u koja se odr\u017eava u sklopu me\u0111unarodnog projekta \"Osna\u017eivanje mladih kroz povijest\", usmjerenog na dublje razumijevanje triju mra\u010dnih doga\u0111aja 20. stolje\u0107a: Holokausta, ratnog genocida nad Romima (Samudaripena) i genocida u Srebrenici. Ljetna \u0161kola -\u2026","rel":"","context":"U &quot;Novosti&quot;","block_context":{"text":"Novosti","link":"https:\/\/historiografija.hr\/?cat=3"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/historiografija.hr\/wp-content\/uploads\/2026\/05\/Tribina-NDH.jpg?fit=784%2C540&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/historiografija.hr\/wp-content\/uploads\/2026\/05\/Tribina-NDH.jpg?fit=784%2C540&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/historiografija.hr\/wp-content\/uploads\/2026\/05\/Tribina-NDH.jpg?fit=784%2C540&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/historiografija.hr\/wp-content\/uploads\/2026\/05\/Tribina-NDH.jpg?fit=784%2C540&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":53103,"url":"https:\/\/historiografija.hr\/?p=53103","url_meta":{"origin":17178,"position":5},"title":"Hrvoje Petri\u0107, \u201eNikola VII. Zrinski \u010cakove\u010dki (1620. \u2013 1664.) &#8211; snovi prekinuti u lovu na vepra\u201c","author":"Filip \u0160imunjak","date":"15. svibnja 2026.","format":false,"excerpt":"Ban Nikola VII. Zrinski (\u010cakovec, 3. svibnja 1620. \u2013 \u0161uma Otok pokraj Kur\u0161anca\/Kur\u0161ane\u010dki lug, 18. studenoga 1664.) bez dvojbe je jedna od najistaknutijih figura hrvatske i ugarske povijesti 17. stolje\u0107a, za \u017eivota smatran \u201eherojem kojem je providnost povjerila u ruke sudbinu Europe\u201c, a odmah nakon smrti nazvan je \u201eocem domovine\u201c\u2026","rel":"","context":"U &quot;Knjige&quot;","block_context":{"text":"Knjige","link":"https:\/\/historiografija.hr\/?cat=8"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/historiografija.hr\/wp-content\/uploads\/2026\/05\/Nikola-VII.-Zrinski-Petric.jpg?fit=1200%2C800&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/historiografija.hr\/wp-content\/uploads\/2026\/05\/Nikola-VII.-Zrinski-Petric.jpg?fit=1200%2C800&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/historiografija.hr\/wp-content\/uploads\/2026\/05\/Nikola-VII.-Zrinski-Petric.jpg?fit=1200%2C800&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/historiografija.hr\/wp-content\/uploads\/2026\/05\/Nikola-VII.-Zrinski-Petric.jpg?fit=1200%2C800&ssl=1&resize=700%2C400 2x, https:\/\/i0.wp.com\/historiografija.hr\/wp-content\/uploads\/2026\/05\/Nikola-VII.-Zrinski-Petric.jpg?fit=1200%2C800&ssl=1&resize=1050%2C600 3x"},"classes":[]}],"_links":{"self":[{"href":"https:\/\/historiografija.hr\/index.php?rest_route=\/wp\/v2\/posts\/17178","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/historiografija.hr\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/historiografija.hr\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/historiografija.hr\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/historiografija.hr\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=17178"}],"version-history":[{"count":1,"href":"https:\/\/historiografija.hr\/index.php?rest_route=\/wp\/v2\/posts\/17178\/revisions"}],"predecessor-version":[{"id":17180,"href":"https:\/\/historiografija.hr\/index.php?rest_route=\/wp\/v2\/posts\/17178\/revisions\/17180"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/historiografija.hr\/index.php?rest_route=\/wp\/v2\/media\/17179"}],"wp:attachment":[{"href":"https:\/\/historiografija.hr\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=17178"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/historiografija.hr\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=17178"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/historiografija.hr\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=17178"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}