CIĘCIE NOŻEM KUCHENNYM DADA PRZEZ OSTATNIĄ WEIMARSKĄ, SPASIONĄ PIWEM EPOKĘ KULTURALNĄ NIEMIEC

Author(s): Agata Grzych / Language(s): Polish Issue: 2 (21)/2016

Is art a kind of childish game? Hanna Höch produced an artistic photomontage. She concentrated on new artistic methods by female artists used in Germany during and shortly after WWI. As the background, there is a socio-mental situation in Germany, which shaped the perception of art by a woman outside traditionalistic, bourgeois environment. Hannah Höch belonged to the Dadaist group in Berlin. The group included the whole array of artists who later gained recognition. Grzych described the Dadaist movement in the context of their origin and philosophy as well as their decline in the forthcoming years. Also, she described the rise of the trends which later destroyed freedom and resulted in national socialism. Is the dying of carefree movements associated with stiffening and brutalization of thinking about politics? The answer to this question is left to the reader, as well as the commentary to that period in art history.

THESES TO THE FUSS ABOUT PRINCIPLES

Author(s): Andrzej P. Bator / Language(s): English Issue: 2 (21)/2016

Fictional discussion on the condition of contemporary art is based on the so called poetic prose. The feature which dominated culture for several decades were analyzed in the context of the confusion of conventions, ideological liability, artistic freedom, non-linear elements, and – on the other hand – in the context of resignation from the role of art as tools to satisfy the sense of aesthetic shock and moral endangerment.

KONFLIKT POKOLENIOWY JAKO ZWIERCIADŁO SPORU IDEOLOGICZNEGO

Author(s): Anna Miller-Klejsa / Language(s): Polish Issue: 2 (21)/2016

The concept of anni di piombo – literally meaning ‘years of lead’ – in Italian culture used to determine the 1970s, and hence decade, whose political face was dominated by numerous acts of terror (both radical left and neofascist). Miller-Klejsa analyzes the Italian films dealing with this phenomenon,completed in the late 1970s and 1980s. She concentrates on three embodiments in which the father-son relationship (Dear Dad by Dino Risi, The tragedy of the funny small man byBernardo Bertolucci, Strike at the heart by Gianni Amelio). An interesting feature in the movies is the use of the motives from then popular psychoanalysis:among others, Freud’s thesis about the desire to ‘kill fathers’, which frequently was shown in historical context (e.g. the assassination of former Prime Minister Aldo Moro).

DE PARASITES SOCIAUX AU FAMEUX SAPEUR

Author(s): Leszek Brogowski / Language(s): French Issue: 2 (21)/2016

FROM ‘SOCIAL PARASITE’ TO ‘FAMOUS SAPPER’.THE ART OF CIVIL DISOBEDIENCE. In the essay, there are two planes which collide: one concerning artistic practice of recent years considered as ‘parasitic’ in art (see: the symposium in Amiens in 2006), the second – de-alienating function of art as interpreted by Laurent Marissal, whose book (‘Pinxit: Painting from 1997 to 2003’Rennes, Éditions Incertain Sens, 2005) is under consideration here. Their aim is to link the issues which emerge from the clash with political and intellectual history in order to better grasp their meaning and relevance.In the first part of the essay, the notion of parasitism is interpreted through the prism of sinister, sometimes murderous consequences of ‘socialparasite’ – the ideas by the Nazis and the Soviets. It is confronted with references to parasitism in political economy (Adam Smith, Karl Marx,Pierre-Joseph Proudhon, Stanislav Andreski). It turns out then that ‘socialparasite’ is not a idea, but an inconsistent set of contradictory meanings,which depend on the ideological point of view.In the second part, starting from the socio-economic context of the artist’s work, as well as the political implications of the use of the term ‘parasite’ in the context of art, the analysis of the artistic practice by Laurent Marissal leads to the historical reconstruction of the concept of alien-ationand ways of philosophical understanding of art as de-alienating experience. The reconstruction combines several philosophical traditions,including the following traditions: the writers of the Enlightenment (DenisDiderot, Jean-Jacques Rousseau, Maxime de Robespierre, Friedrich Schiller),the philosophers of anarchism (Max Stirner, Pierre-Joseph Proudhon,Mikhail Bakounine, Leo Tolstoy), but also in a bit more surprising way, KarlMarx and Umberto Eco, whose theory of open work is in fact the answer to the question of alienation in the sense de-fined by Marx.Issues emerging from these analyzes combine both aesthetic and political consequences: civil disobedience (when freedom of speech leads artists to the edge of legality: Krzysztof Wodiczko, Alfredo Jaar, Francis Alÿs, Gianni Motti, Pierre Huyghe, clido Mereiles, etc.), de-alienation of the functionof art (aesthetic education by Schiller and/or political action – including in art – according to Marx’s theory?), the concept of time in the experience of alienation, especially in the case of artists whose paid work does not coincide with artistic activities (Witold Gombrowicz and other writer wrote about this problem), and finally the theory of property (based on the use or the possession ?, not-be-alienated property based on the right of the artist or to the unlimited right to own?). French term ‘jouissance’, having both the sense of the legal and existential, meaning both ‘right to use’ and ‘pleasure’ and even ‘orgasm’, is the subject of a fascinating analysis byDiderot in ‘Encyclopedia’.In 1997, Laurent Marissal was employed as a staff member to watch the collection of paintings at the Museum of Gustav Moreau; a situation typical for young artists, because Marissal just graduated from the Academy of Fine Arts in Paris. It is in this context he developed his idea and practice of art as a way of recovering the time sold to his employer, and he used unions as the instrument of that practice. In 2003, he resigned, and in 2005, he publishes ‘Pinxit: Paintings from 1997 to 2003’, as the document– story and expression of artistic experience, where art and work merge with life.

FROM ICONIC VACANCY TO SOCIAL IMAGINATION

Author(s): MARION HOHLFELDT / Language(s): English Issue: 2 (21)/2016

From 1973 to 1975, Jochen Gerz referred to the Decalogue’s prohibition against idolatry in order to produce a subtle disillusion about the role of image. This iconic vacancy is at work in many of his pieces, especially in his counter-monuments in which the public himself produces the necessary imagination to visualize what is, eventually, meant to be the future of possible remembrance. In his secret marking of the cobblestones, taken out of the pavement of the central place of Saarbrucken, with the names of Jewish cemeteries in Germany by 1933, this iconic vacancy reminds us of this very first, Judaeo-Christian iconic interdiction that also strongly marked Lanzman’s film Shoah. The conference retraces some aspects of the construction of future remembrance in the work of Jochen Gerz. Marion Hohlfeldt is senior lecturer in art history at the Rennes 2 University. Having been working on art and public space for the last fifteen years, she is head of the research program entitled PACT (Pratiques Artistiques,Contextes et Territoires, with Denis Briand) and of MAPS MasterArt & Public Space (under construction). She was scientific director of the international conference entitled ‘Faire la Cité. Création et Gouvernancedes imaginaires urbain’ (2016), and participated in the European program entitled ‘Expeditions’, 2013–2014. Several articles, communications, and books on public art, public authorship and participation, amongst themJochen Gerz. Res publica—The Public Works 1968–1999, 1999, (with Andreas Hapkemeyer), Parasite(s) – Une stratégie de création, 2010, (with PascaleBorrel), and Mouvement, lumière, participation. Le GRAV 1960–1968, 2013(with Laurence Imbernon). She is currently preparing the first monographic book on Jochen Gerz œuvre. For further information: http://perso.univrennes2.fr/marion.hohlfeldt

GRUPA DZIAŁANIA I GRUPA 111 (1977– ...) „DZIAŁANIA LUCIMSKIE” – SPÓŹNIONA RECEPCJA

Author(s): Monika Weychert Waluszko / Language(s): Polish Issue: 2 (21)/2016

Artistic activities in Lucim, undertaken in the past and still continued, remainone of the most spectacular as well as the least recognized phenomena in Polish art. In 1977, Bogdan and Witold Chmielewski, Andrzej Maziec, Wiesław Smużny and Stanisław Wasilewski decided to focus in their work on Polish countryside. Together with the people of Lucim, the Grupa Dzialania/Activity Group/ and then Group 111 (without Andrzej Maziec and Stanisław Wasilewski) engaged in actions of a very complex nature: mysticaland ritual, artistic, animating and cultural, social and research-oriented. Without doubt, the long and active presence of the artists in Lucim canbe seen in the context of the interweaving of anthropology and art in the late 20th century. Various activities undertaken by the artists and local people belonged to one of three main trends. The first one – research-oriented, ethnographical and social – became an instrument for defining the needs of the Lucimcommunity, receiving and evaluation the activities. The second one was the New Folk Art, in opposition to state-controlled cultural events in thePeople’s Republic of Poland and work of other artists. This approach was totally different from the search of relics and sources popular at the time,which turned folk art into a phenomenon to be displayed in museums and an object of vivisections and explorations. The Lucim group did their best to create real culture of the countryside consistent with the tastes of local people. And finally, there was the 11-point manifesto of social art, published in 1980. Socially-oriented activities made it possible for the artists to go beyond the field of art – there were numerous such cases: formulating premises for the Centre for Social and Artistic Activities, the erection of the Folk House and collaboration with scientists (rural sociologists from a number of European centers).

BALLADA O POBOŻNYM UBEKU, CZYLI POLSKIE KINO I POLITYKA (1989–2015)

Author(s): Natasza Korczarowska-Różycka / Language(s): Polish Issue: 2 (21)/2016

Korczarowska attempts to analyze selected films produced in Poland after 1989 in the context of relations between cinema and politics. The year of1989 was a significant turning point in the Polish culture. The topics that in the communist period were considered as socio-political taboos, returned to public discourse. The necessity to fill white spots – especially in the area of historical narratives – resulted in producing films which were connected with the tradition of Polish film school. Directors were able to add their voice to shaping the national identity issues of ‘unsettled history’: heterotelia of tragic Warsaw uprising, anti-Semitism (culminating in the tragedy of Jedwabne), the responsibility for PRL (lustration).The films played important role as therapeutic tools. Due to the possibility of treating achievements of native artists as a collective psychoanalytic session, the key concept – which forms a kind of interpretative key – is ‘the policy of returning’ (the equivalent of the Freudian ‘displacement factor’). However, the films very often contributed to interpreting the particular interests of the ruling party and they used cultural texts as a tool in the ‘war of narratives’. In this way the Polish cinema once again revealed its dependence on political factors treating culture as strictly instrumental.

SZTUKA I POLITYKA, POLE DZIKIE

Author(s): Urszula M. Benka / Language(s): Polish Issue: 2 (21)/2016

ART AND POLITICS: WILD FIELD. Urszula Benka describes Russian interference in publishing Polish poetry in the seventeenth century. What are the criteria for censorship? What is work of art from the point of view of a censor? The futility of censorship as a reversal of art-promoting. Distrust of censored culture is connected with promoting myths and with ignorance. If someone considers politics as manifestations of spiritual culture, and if he/she considers its legal and military language in the context of sacral-psychological phenomena, the same person must also consider the process of producing myths in the context of social pathology.

O NIEKTÓRYCH ZAGADNIENIACH REALIZMU SOCJALISTYCZNEGO W SZTUCE

Author(s): Vladimír Šolta / Language(s): Polish Issue: 2 (21)/2016

Vladimír Šolta (1924–1977) – painter, cartoonist and writer. From the1950’s, he held a number of positions in the sector of cultural policy inCzechoslovakia. After 1970, he actively participated in the reform of the Union of Czechoslovak Artists (SČSVU) in the spirit of the so-called "standardization". Solta’s article is considered as one of the most dogmatically formulated analyzes of socialist realism in Czechoslovakia. In the five-year periodof the most strict totalitarianism (1948–1953), Solta was one of the main supporters of renewal of classical national tradition, realism and the maticart. In the campaign against modern art, he used the terminology and argument son aesthetics by Zhdanov and Stalin. At the same time, he used the method which evolved to an absurd and was connected with ‘critical’ analysis of works of art. The method was to detect formalistic relics.[Vladimír Solta, K některým Otázka socialistického realismu ve výtvarnéumění, „Výtvarné umění I”, No. 3, 1950–1951, pp. 108–132.] The text reprinted in an abridged version.(Excerpts from the author’s biography and commentary to the editorialpublished in the original Czech by Jiří Ševčík, Pavlína Morganová, DagmarDušková, České umění 1938–1989 (programs / kritické texty / documents),Praha 2001 Academia, pp. 141–148; biography, p. 494.Translation from the Czech language by Krzysztof Dackiewicz.

XXVII Międzynarodowy Festiwal Muzyki Religijnej im. ks. Stanisława Ormińskiego w Rumi (22-24 października 2015)

Author(s): Krzysztof Niegowski / Language(s): Polish Issue: 3/2016

ПРОБЛЕМЫ ИЗУЧЕНИЯ ФОТОДОКУМЕНТА КАК ОБЪЕКТА АРХИВОВЕДЕНИЯ В РОССИЙСКОЙ ИСТОРИОГРАФИИ (2000-Е ГОДЫ)

Author(s): Ramima Olegovna Abilova / Language(s): Russian Issue: 3/2015

The paper considers the problems of photography for archival science in the Russian historiography: acquisition of the archives of documentary photographs; organization of their accounting, storage, and use. Special attention is paid to the archeographic design of documentary photographs for publication.

МУЗЫКА И ПЕНИЕ КАК ТЕМА ДИАЛОГА ПЕТРАРКИ И ЭПИГРАФА ПИНИТИАНА

Author(s): Inna Ivanovna Devyataykina / Language(s): Russian Issue: 3/2015

The analysis of Petrarch’s dialogue “De dulcedine musica” (“On the Sweetness of Music”) allowed to show that the author’s position is inconsistent: from the rejection of music and singing to the metaphor anthem for the musical harmony of the Universe. Petrarch refers with equal respect to both antique and Christian authors; his examples appeal to persons of the pagan Rome and not Christian Medieval Europe. The realities of that time, such as the widespread passion for music and singing responding to the new needs of the society, especially in urban areas, are distinguished in the judgments of this famous humanist and Renaissance poet. The dialogue addresses various ethical subjects of the Renaissance: importance of education, personal nobility despite social class frameworks, and personal right to the satisfaction of esthetic needs. Pinitian’s epigraph narrows the meanings of the dialogue and “frames” it in everyday life, thereby depriving the text of historical space. At the same time, the epigraph does not distort or modify the dialogue. However, it maximally focuses the reader’s attention on its didactic component.

Die malerische Darstellung der Neumärtyrer der griechisch-orthodoxen Kirche, Kosmas von Ätolien und Georg von Ioannina, von den Malern von Samarina

Author(s): Nikos Papageorgiou / Language(s): Bulgarian,German Issue: 1/2015

Warrior Saints as Protectors of the Byzantine Army in the Palaiologan Period: the Case of the Rock-cut Hermitage in Kolchida (Kilkis prefecture)

Author(s): Melina Paissidou / Language(s): English,Bulgarian Issue: 1/2015

Saints, Eunuchs, and Iconography

Author(s): Emmanuel Mutafov / Language(s): English,Bulgarian Issue: 1/2015

The Cult of Saints Dadas, Gobdelas, and Casdoa in the Greek Provinces and Wallachia (16th – 18th Centuries)

Author(s): Konstantinos Giakoumis / Language(s): English,Bulgarian Issue: 1/2015

Непозната житийна икона на св. Пантелеймон от църквата „Св. Николай“ във Видин

Author(s): Maya Zaharieva / Language(s): English,Bulgarian Issue: 1/2015

The paper deals with an unpublished for the time being hagiographical icon of St Panteleimon from the Metropolitan Church of St Nicholas in Vidin. Such hagiographical icons are a rarity in Bulgarian art, which begs a number of questions. The paper identifies the separate compositions, using for a comparative analysis the just a few extant hagiographical cycles and texts dedicated to the saint healer. The examples refer to a broad historical context, not pretending to be comprehensive, but allowing for tracing the development of certain subjects and the interpretations of the latter by the icon-painters. The icon-painter of the Vidin icon was familiar with the hagiographical text he followed and had interpreted it skilfully. The icon contains both a number of archaising elements, which occur very rarely in the extant hagiographical cycles and new compositions, representing interesting details. The iconographic and stylistic specifics of the partially preserved painting set a staring point for dating it chronologically: probably to the first half of the 18th century.

Славянските просветители Кирил и Методий и късновъзрожденските зографи

Author(s): Elena Genova / Language(s): English,Bulgarian Issue: 1/2015

The church murals of the period of Bulgarian National Revival include inevitably in the tier of the standing saints representations of SS Cyril and Methodius, among the Slavic holy hierarchs. An extraordinary in terms of its scope phenomenon of the age was the mass painting of their images together on icons and murals. Each church either commissioned or was presented with several at times icons of the holy brothers or icon-painters rendered their representations. The shaping of the representations of SS Cyril and Methodius in a joint composition, evincing certain attributes, could be explained not only by the rapid and ubiquitous establishing of a jointly celebrated feast day of the two saints. This composition was predicated on literary sources rather than on repetition and copying of medieval models. It highlighted their isoapostolic contribution to the cause. In the late nineteenth and the early twentieth centuries, a team of icon-painters from Bansko worked in the southwestern parts of Bulgaria: Michalko Uvanov Golev and Dimiter Sirleshtov, who painted 11 churches in the regions of Blagoevgrad and Kyustendil. SS Cyril and Methodius are painted at the churches of The Presentation of the Most Holy Mother of God into the Temple, Blagoevgrad (1882–1889); of St John the Baptist, village of Bistritsa/Dubova Neighbourhood (1882–1883); St Elijah the Prophet, village of Selishte(1888–1889); St Michael the Archangel, village of Leshko (1889); The Holy Ascension, village of Pokrovnik (1891–1901); St Demetrius, village of Drenkovo (1892–1893); St Demetrius, village of Marulevo (1893); St Michael the Archangel, village of Logodash (1896–1898); SS Peter and Paul, village of Palat, region of Blagoevgrad (1909–1910). The representations of SS Cyril and Methodius by Michalko Golev and Dimiter Sirleshtov demonstrate the various types of compositions they have used, including the representations of the holy brother in the altar apse. Moreover, they show also the committed attitude towards the personalities of the holy brothers, typical not only of the two icon-painters, but also of the rest of the icon-painters from the region, who stood for their national identity until 1912.

Зограф Филип

Author(s): Mariela Stoykova / Language(s): English,Bulgarian Issue: 1/2015

In the publications on Bulgarian Revival art the facts about the icon-painter Philip are completely missing. He became well-known in the recent time: in the Winter of 2014, when the Apostles frieze if the Church “Sts Cosmas and Damian” of the monastery in the village Guiguintsi, has been cleaned by the restorer Alexandar Penev. He has discovered the signature of the icon-painter located under the images of Sts Apostles Andrew and Marc. Two of the icons of the Royal doors at the monastery of Guiguintsi are part of the Permanent Exhibition in the Museum for Christian Art in the Crypt. The rest of them are still in the monastery. They are depicted about 1814–1815 after the its renovation. From all the collected materials we can conclude that Philip Zograph was very creative and productive. Nevertheless he stood away from the public interest and knowledge. According to Bulgarian Revival art researchers Philip Zograph is an artist with a very specific manner of expression. This is the reason why he could be very easily identified. The earliest among his preserved ions in Bulgaria is the one with the images of St Virgin Hodegetria from the church “St Petka the Old” in Sofia. This icon has been depicted about 1814. After that Philip Zograph has arrived in just-renovated monastery of the village Guiguintsi where he has been working and creating for more than an year. Then his errands to the churches “The Holy Veil of Virgin Mary”and “St Nicolaus” in Doupnitsa and “St Nicolaus” in the near village Cherven Breg” (1818) have been accomplished. One year later the icon painter fulfills one of his most important and significant errands to the church “Dormition of Mother of God”, Kyustendil. When this task is already over, he comes back again to the region of Breznik. There is a group of icons, preserved in the Museum of History in Pernik from that period (1819 – 1820). These are almost all of the icons of the Royal doors in the church of “St Petka”, Breznik. The only piece of work dated by the artist himself is the icon of Virgin Mary with the Infant with the Holy 40 Martyrs of Sebastia and St Charalampius (1821) kept in the Crypt – Sofia. Two other icons – part of the iconostasis – date from the same period. They are part of the collection in the National Archaeological and National History Museum in Sofia. The last well-known art work of the icon painter – “Ascension” – is one of the icons on the Royal doors in the church “The Nativity of Christ”, Pirot. Philip has been painting it untill the end of the 20s of the 19th century. Based on the collected data and the efforts made to discover stylistic and iconographic parallels to his work I concluded that there is a close relation between his art and the circle of the icon-painters Kraste from Veles and the monk Antonius from the region of Bitolya, although he works very often with the artists Christo Dimitrov and Ioan the Iconpainter. Analizing the relative dating of the earliest and the last icons of Philip Zograph, we can suppose that he was born in the 60s of the 18 century and died around 1830.

Recenzie

Author(s): Katarína Nádaská,Maroš Melichárek,Ondrej Ficeri / Language(s): Slovak Issue: 1/2013

HOFFMANN, Éva – MARTON, Jenő. KASSA : EURÓPA KULTURÁLIS FŐVÁROSA 2013. ŠEDIVÝ, MIROSLAV. KRVAVÁ ODYSSEA: ŘECKÝ BOJ ZA NEZÁVISLOST 1821 – 1832. MATUŠTÍK, RADISLAV – GREGOR, RICHARD – MARHEVSKÁ, GABRIELA. JÁN MATHÉ – HĽADAČ DOBRA.