Jani Pirnat
Jani Pirnat (1974), art historian and curator, a founding member of the Domestic Research Society, a curatorial and art group established in year 2004 with artists Alenka Pirman and Damijan Kracina. As a curator and organizer of art events, he was employed by the SCCA – Centre for Contemporary Art Ljubljana (2003–2004), the National Museum of Slovenia (2007), Škuc Gallery Ljubljana (2010–2012), Celje Centre for Contemporary Art (2012–2013) and collaborated with Ljudmila Digital Art Laboratory. He used to live and work in Osaka, Japan between 2013 and 2015. Focusing on contentious heritage research under the Domestic Research Society, he was part of a consortium partnership for the HORIZON 2020 project TRACES, researching death masks phenomena. He currently holds the position of senior curator at the Museum and Galleries of Ljubljana (MGML), curates the contemporary art program at the Match Gallery, and is a member of the art and organisation board of the Indigo Festival Ljubljana.
The military liked to use the stories of animal heroism performed by man’s best friend to set an example for the soldiers.
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The article focuses on examples of also using animals for war propaganda. Photography served to justify animal drafting, to keep up the military morale, and to show how cruel the enemy was. The animal ‘heroes’ of the newspapers– horses, dogs and pigeons – illustrate the attitude of humankind toward animalkind in the first industrial and technological war that showed the vulnerability and the nonsense of using animals on the fronts.
- Keywords: animals in war, First World War, photography, propaganda images of animals, representation of animals, surveillance