Video and audio installation / 15: 40min / 2019
narrative text by order / MA Dragana Radoja, Conservator and Restorer, Museum of the Republic of Srpska / Slavka Mirosavljević, Art History and Museum Advisor, RS Museum / Nadezda Lazarević Kovacevic, granddaughter of Nada Lazarevic granddaughter
narrator / Gordana Prtina, RTRS; camera / Milan Bajic; music / Sinisa Tamamovic; video editing / Borjana Mrdja
The dress of Ms Nada Lazarevic, wife of Mr Todor Lazarevic – ban of the Vrbas Banovina, was sewn in 1929. The dress was tailored by Ms Ravijojla (Ravka) Jovetic. A ceremonial pink silk dress was the first dress Ms Nada Lazarevic had ordered after she became a mother. The dress was donated to the Museum of the Republic of Srpska in Banja Luka by Ms Nadezda Lazarevic Kovacevic, the only granddaughter of Ms Nada Lazarević. The dress represents “golden” burgeois period between two world wars and transition to European values.
The conservation and restoration of the item was performed by Ms Dragana Radoja, MA, a conservator and restorer, who is employed with the Museum as a senior conservator for textiles and leather. Art historian and museum adviser of the Museum of the Republic of Srpska, Ms Slavka Mirosavljevic, documented and described the historical and social context of the ceremonial dress throughout its existence
The video material consists of many large-size recorded frames of the ceremonial pink dress. The dress is disassembled through the recording process in order for primary visibility of micro details and all changes on the surface of the fabric to be achieved, as well as all the seams of restoration. The dress is not shown in its entirety. The three narratives serve the purpose of shaping the entire surface of the dress as well as of connecting specific matri-lines in relation to the universal surface of the perception of the ‘female’. The narratives were created by interviewing the three women who directly participated in the process of preserving this dress. The two experts, Ms Dragana Radoja and Ms Slavka Mirosavljević, are institutionally committed to the responsible process of preserving the dress by virtue of various aspects of their professional life and the current context of the dress
The narration of Nadezda Lazarevic Kovacevic provides the key to shaping and preserving the dress – as the only granddaughter of the Ms Nada Lazarević, who is intimately bonded to the dress and has memories of its life before it became a museum showpiece.
Video i audio instalacija / 15:40min / 2019
narativni tekst po redoslijedu / MA Dragana Radoja, konzervator i restaurator, Muzej RS / Slavka Mirosavljević, istoričar umjetnosti i muzejski savjernik, Muzej RS / Nadežda Lazarević Kovačević, unuka banice Nade Lazarević
narator / Gordana Prtina, RTRS; kamera / Milan Bajić; muzika / Siniša Tamamović; montaža / Borjana Mrđa
Haljina banice Nade Lazarević, supruge bana Vrbaske banovine Todora Lazarevića, sašivena je 1929. godine. Haljinu je sašila Ravijojla (Ravka) Jovetić. Svečana roza haljina od svile je bila prva sašivena haljina banice Nade Lazarević nakon što je postala majka. Haljinu je Muzeju RS u Banjoj Luci poklonila Nadežda Lazarević Kovačević, jedina unuka banice Nade Lazarević. Haljina obilježava „zlatno“ građansko doba između dva svjetska rata i tranziciju tradicionalnih u evropske vrijednosti.
Konzervaciju i restauraciju predmeta obavila je Dragana Radoja, MA konzervator i restaurator, koja u Muzeju radi kao viši konzervator za tekstil i kožu. Istoričar umjetnosti i muzejski savjetnik u Muzeju RS, Slavka Mirosavljević, je dokumentovala i opisala istorijski i društveni kontekst u kome je svečana haljina nastala i postojala.
Video rad se sastoji od više krupno snimanih kadrova svečane roze haljine. Haljina je procesom snimanja razobličena (tako da se ne vidi haljina u cjelini tokom trajanja videa) u cilju primarne vidljiviosti mikro detalja i svih promjena na površini tkanine kao i šavova restauracije. Haljina nije prikazana u cjelini. Tri narativa imaju svojstvo oblikovanja cjelovite površine haljine kao i povlačenju konkretnih matri-linija u odnosu na univerzalnu površinu percepcije «ženskog». Narativi su nastali intervjuisanjem tri žene koje direktno učestvuju u procesu čuvanja ove haljine. Dvije su stručna lica, Dragana Radoja i Slavka Mirosavljević, i institucionalno su obavezane odgovornim procesom čuvanja haljine u različitim formama svoje stručne prakse i konteksta u kome haljina sada postoji.
Naracija Nadežde Lazarević Kovačević daje ključ za uobličavanje i čuvanje haljine – kao jedina unuke banice Nade Lazarević, koja je intimno vezana za haljinu i posjeduje sjećanja na njen život prije nego što je postala muzejski eksponat.
Borjana Mrdja 