Łódź as an Archive: “FILLin project – artistic activities (soundwalks, performances, knees-up, ‘Food for the story’) in Księży Młyn.”

Author(s): Marta Ostajewska / Language(s): Issue: 12/2015

City lives, breathes with human stories, soaks with memories. According to the object-oriented ontology and psychogeography it is not just a stage or scenography for our existence, it is an active partner with whom we enter into a dialogue every day. Artistic activities are a special type of such a dialogue. Above all, the site-specific activities assume real cooperation with the space. This is a kind of 'relational art', consisting of the delicate interaction with the place, playing on emotions and saturating the area with additional meanings. In my paper I focus on Ksiezy Mlyn in Lodz, the postindustrial district that inspires artists to create site-specific artistic implementations. A place full of stories and emotions, which is a living archive of the factory workers’ memory, an industrial history of Lodz, but above all individual and moving human stories. In the text I present some of the artistic activities that were carried out on the Ksiezy Mlyn in 2013 and 2014, with special emphasis on soundwalks Shoulder – stories of the trampled and the project FILLin. I refer to the contemporary oral histories and archival memories of the inhabitants from the sixties and seventies of the twentieth century, which are the starting point for the creation of these actions. keywords: site-specific, participation, soundwalks, ubran art, oral history, anthropological archive studies, live archive, psychogeography, object-ontology.

"A legjobb, amit tehetek, ha nem mondok semmit"

Interjú Dima Levickij ukrán dramaturggal

Author(s): Panna Adorjáni / Language(s): Hungarian Issue: 3/2017

Panna Adorjáni spoke to Ukrainian dramaturg and theatre creator Dima Levickij about his site-specific audio-walks on Kiev’s Maidan and in Pripjaty, as well as other theatrical projects. They also talk about the financing of independent Ukrainian theatre as well as about the ways and means that enable the use of theatre as a form in order to communicate with people.

"A po co mnie malujecie?". Wystąpienie na Kongresie Kultury 12 grudnia 1980 roku

Author(s): Tadeusz Kantor / Language(s): Polish Issue: 1-2/2015

"A szabadság felelőssége"

A Nemzeti Színház 1955-ös Tragédia előadása

Author(s): Zoltán Imre / Language(s): Hungarian Issue: 11/2009

The scholarly analysis of a natioanl play performed in The National Theatre in Hungary one year before the '56 revolution in the country.

"A színház művészetét is, nemcsak a színház adta kalandot"

Ariane Mnouchkine a Napszínház kezdeteiről

Author(s): Ariane Mnouchkine / Language(s): Hungarian Issue: 5/2008

Ariane Mnouchkine on the start

"Adzio". Przyjaciel kompozytorów, niestrudzony inspirator

Author(s): Ryszard Gabryś / Language(s): Polish Issue: 3/2015

The text is a very personal reflection on the person of the great scientist, prof. Adolf Dygacz. The author presents a vivid reminiscence from the perspective of their long-term artistic and professional collaboration, and friendly relations with the Professor. The numerous examples of their joined artistic activities demonstrated in the text point out to a very close relationship and cordiality, and the author’s great respect for the talent of prof. Dygacz. A philosophical reflection on the fact of passing permeates the text.

"And they all lived happily ever after": The Failure of a Happy Ending in The Piano (1993) and Barbe Bleue (2009)

Author(s): Yidan Hu / Language(s): English Issue: 12/2022

Jane Campion’s The Piano (1993) and Catherine Breillat’s Barbe Bleue (2009) are film adaptations of the tale Bluebeard, both of which have a seemingly bright closure — “and they all lived happily ever after”. “They”, as the female, are in the becoming process since “one is not born, but rather becomes, a woman” (de Beauvoir 1956: 273), which changes the nature of the film denouement. By looking at the female protagonists Ada McGrath in The Piano and Marie-Catherine in Barbe Bleue, this research aims to deal with how female “decisions” in attempting to accomplish themselves in the face of a crisis affect the understanding of the film’s ending. First, female characterisation and plot development are investigated with the construction of women’s feelings and perceptions at a given moment, influencing the subsequent outcomes. Second, the significance of narrative techniques is expounded with audience’s affective interaction with characters. The conclusion reached is that in both films, repressed female temperament allows women to make judgements and choices that predetermine the tragic core of the happy ending. The significance of this study is to draw attention to the plight of women in the undercurrent, to make it possible for the silent cries behind the beautiful fantasies to be heard.

"Andere" kreative Produktion in Osteuropa

Author(s): Author Not Specified / Language(s): German Issue: 11-Archiv/1972

Kunst in Osteuropa ist Sozialistischer Realismus! Das ist die gewöhnliche Vorstellungskombination, wenn man spontan osteuropäische Kunstprodukte in eine Kunstkategorie einordnen müßte. Viele Produkte osteuropäischer Künstler, die man auf den Biennalen in Ljubljana, Krakau oder Paris sehen konnte, bekräftigten diese Vorstellung. Inwieweit repräsentieren nun aber diese internationalen institutionalisierten Kunstschauen wirklich die kreative Produktion eines Landes?

"Anything goes?" Semmiképp!

Beszélgetés Erika Fischer-Lichtével.

Author(s): Ádám Czirák,Gabriella Kiss / Language(s): Hungarian Issue: 3/2011

Interview with Erika Fischer-Lichte, tehatre scholar.

"Arhajski mentalitet" moderne umjetnosti

Author(s): Branka Vujanović / Language(s): Bosnian Issue: 3-4/2006

Neka zapažanja o modernoj umjetnosti XX stoljeća.

"Ars Antiqua" wobec "Ars Nova" muzyki francuskiej XX wieku – Jean Françaix oraz Jaques Ibert w tle przemian modernizmu scjentycznego

Author(s): Jolanta Szulakowska-Kulawik / Language(s): Polish Issue: 1/2014

The article concentrates on two figures of the French Neoclassicism, namely jacques Ibert and Jean Francçaix, composers who were presented in the light of a broad panorama of a cultural and music life in the first half of the 20th century, historical and artistic changes, as well as the French philosophy. Because of the fact that there is no Polish specialist literature, the paper was based almost exclusively on the French bibliography and constitutes the first thematic work of this type in Poland. Commonly-known orientations of Modernism and post-war Avant-garde, preferred in many descriptions of musicography experts, pushes numerous and largely diversified circle of classicizing and traditionalist authors, or those deriving from an impressionist trend into the background. The very text is devoted to them, and generally ponders over their output. The profiles of the above-mentioned artists, though little-recognized even among Polish musicologists, were presented with their most important works. The picture is completed with works and characteristics of two Galician authors, also from the circle of a famous avant-garde of the 1950s and 1960s, important at a later time, namely Maurice’a Ohany and recently late Henriego Dutilleux (1916–2013). Besides, the article presents the profiles of other composers, such as among others Albert Roussel, André Caplet, postimpressionists and representatives of the so called French „organic school” , as well as several artistic groups of the 1930s and 1940s. A leading theme of the theses presented was showing many composers that were less present in a music life, but also accentuating varieties of creative workshops taking place, their stormy evolutions or the lack of homogeneity in a music life of France at that time. The phenomena described and their authors constitute a counterbalance to dominating and most opinion-forming experimental trends of the period in question.

"Artyści" – serial przełomu: tekst w kontekście produkcyjnym.

Author(s): Artur Majer / Language(s): Polish Publication Year: 0

The article discusses factors determining the production process of the TV series "Artists" by Monika Strzępka and Paweł Demirski. Using production culture methodology, the author of the article demonstrates how the production background can be used to understand the message of the series. The article showsthat numerous factors influence this outcome message, including decisions within the production team, structural and organizational changes in Telewizja Polska, financial limitations, artistic compromises or even political changes in the country.

"Bach never lacked violinists, so Peter never lacks puppeteers" – interview with the Bread and Puppet Theater

Author(s): Ioana Petcu / Language(s): English Issue: 24/2017

The American Bread and Puppet Theater, funded and coordinated by Peter Schumann, answered the International Theater Festival for the Young Public’s invitation at its 10th edition. This event was a Prologue, according to the organizers, and took place on the 30th of September. I arrived at theater during their rehearsal for the show presented - "basic byebye cantastoria extravaganza". It was a great opportunity for me to see the actors patiently adapting their voices to the new stage condition. During a break I talked with three of them – this is how I met young artists Esteli Kitchen, Joe Therrien and Josh Krugman, relaxed, full of energy, and easily immersing themselves into our dialogue, in which I carefully inserted some anarchic ideas and a dash of humor.

"Barbora umarła…", czyli o zabytkach folkloru hutniczego w archiwaliach Adolfa Dygacza

Author(s): Adam Okun / Language(s): Polish Issue: 3/2015

The author presents the research of Professor Adolf Dygacz into the musical culture of glassworks workers. It primarily consists of the songs of foundry workers, their musical and content analysis, customs and vocabulary. The text comprises the description of glass musical instruments considered as a collection of glassworks products, and the examples of musical note manuscripts of Dygacz. The author denotes that up to now the foundry folklore has not lived to see its own popularization and scientific monographic study. The sources of the rich collections of the songs and customs of glassworks, numerous materials from field studies are still kept in the home archives of the Professor.

"Batory" Matejki w Paryżu w roku 1874.

Author(s): Marek Zgórniak / Language(s): Polish Issue: 3/2016

The article focuses on the exhibiting of Jan Matejko’s painting Báthory at the Salon in Paris in 1874. It was already the fourth time Matejko had exhibited in Paris since his debut in 1865, and the second time (after the Salon of 1870), where he entered “hors concours”, having already been awarded medals. In 1873 the presentation of eleven of his paintings at the Vienna World Exhibition proved to be a huge success. Báthory was also well-received in Paris, although it was Matejko’s last indisputable success there—in the following years, despite obtaining the medal of honour at the World Exhibition of 1878, he began to receive mainly negative reviews. This article outlines the context of the 1874 Salon and highlights the political issues relating to history paintings. The assessment of Matejko’s painting is based on the reviews of approximately twenty-five authors. Báthory received a great deal of acclaim for being one of the best historical paintings at the Salon at a time when this genre was undergoing change and visitors were less and less interested in it. Matejko was most frequently compared to Puvis de Chavannes, whose decorative compositions were synthetic and symbolist in nature. Due to the tendency towards historical reconstruction’ Matejko was classified as an ‘archaeologist’ alongside Alma-Tadema and J.-P. Laurens. However, on the whole, the general public tended to prefer the historical genre paintings of the type produced by Gérôme, and the subject matter of Báthory was not received positively: the French were either indifferent to it, or they did not understand it. Lengthy articles of several reviewers (e.g. G. Lafenestre, L. Gonse, P. de Saint-Victor) did little to help.

"Błazny" i zagadnienie teodycei

Author(s): Agnieszka Woźniakowska / Language(s): Polish Publication Year: 0

The article attempts an analysis of Here Come the Clowns, a play written by an American playwright, Philip Barry, through the lens of the notion of theodicy. The question of the reason for and the meaning of suffering, understood as something evil, is often connected with the feelings of distress, helplessness and a sense of the imminent “end of times,” as well as with the experience of death, including the death of a loved one. Barry’s inspiration for the play is deeply rooted in his own experiences; the protagonist of the play searches for God in order to ask him about the meaning of human suffering. The question becomes not only an attempt at explaining or finding justification for the experience of suffering, but also an accusation towards God, who allows for the suffering to continue. God, however, becomes freed of all responsibility—in his dying breath, the protagonist reaches anepiphany that everything is dependent on man and his free will.

"Bogowie wielbią delikatny szkic"

Author(s): Roman Gajewski / Language(s): Polish Issue: 2 (11)/2010

D elicate drawing is described in details in the context of drawing technique; GajGajGajewski concentrates on the fact, that drawing is a unique and eternal medium. Drawing, however, is not closely connected with certain trends in modern art. Because of the fact, that drawing is rather a traditional medium, some artists like it and are inspired by its uniqueness, and others feel discouraged from searching for new venues within the medium.

"ce este Iconoclash? sau există o lume dincolo de războiul imaginilor?"

Author(s): Bruno Latour / Language(s): Romanian Issue: 26/2003

The article reviews the "typical iconoclash", examples of exhibitions, idols and icons, Religion, Science and Art - three ways of image production, contemporary art and a classification of iconoclastic gestures.

"CHILDHOOD-YOUTHHOOD" AS SPECIAL PSYCHOCULTURAL CATEGORY AND ITS SPECIAL MISSION IN CULTURE AND ARTS OF THE XX CENTURY

Author(s): Olena Khil / Language(s): English Issue: 4/2017

Purpose of the research is to consider the image of childhood in the national music of XX century within the scope of symbolization of respective sense in artistic sphere in whole, in applied art. Methodology of the research consists of intonation approach of Asafiev’s School taking into account the spiritual grounds of the concept of intonation in signing practice of Christian churches. Position of stylistic comparativeness described in the Asafiev’s work "Symphonic Etudes" dated 1910, is of special importance. Contemporary performance approach in his actual intonation orientation is considered basing on the works of N. Korykhalova, A. Sokol, E. Markova, and P. Muliar. Scientific novelty of the work is seen in originality of theoretical idea of reflection and symbols of childhood in artistic self-sufficient and applied spheres. Consideration of the link with neo-rococo of XX century with the line of childishness in the art of the past century is considered innovative. Conclusions. Multi-aspect link of childish-adolescent is reflected in religious, scientific-philosophical ideas, imaginative tasks of artistic composisions and distribution of systemic approaches in professional education, universally including the consciousness in its logical quality of adult individium, but leaving a special place for extremely early profilization, including in music until now.

"Chodziłem za nim wszędzie"

Author(s): Jan Michalski / Language(s): Polish Issue: 622/2007