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The two heroes of this conversation, the painter Francois Pamfil and the author of the article Pavel Susara take the reader through the fascinating world of painting and bring into discussion painters who through their art to approach a trickster's manner to manipulate and construct images.
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In the chapter entitled “Muriel Tramis’ »Méwilo« and »Freedom« as the First Postcolonial Games, Filip Jankowski examines two digital games accomplished by Muriel Tramis, a game designer from Martinique. The games picture the situation of African-Caribbean slaves and their descendants in a pioneering manner in terms of the medium used. “Méwilo” (1987) and “Fredom” (1988) were created under the influence of the philosophical thought in Martinique, shaped by the pioneers of postcolonialism such as Aimé Césaire and Frantz Fanon, as well as their critics impersonated by Édouard Glissant and Patrick Chamoiseau. Both games differ in terms of applied convention. “Méwilo”, which is a thorough documentary game, focuses on questioning the following inhabitants of the city of Saint-Pierre, the day before the devastating eruption of the Montagne Pelée volcano in 1902. The opposition between the black inhabitants of Martinique and their metropolitan torturers, although strongly outlined, is subject to problematization in both games. Among the main characters of the Tramis' works are black anti-heroes who imitate the French in their ambivalent attitude to the African-Caribbean community. Hence, they reflect the phenomenon of mimicry described by Homi Bhabha. All things considered, Jankowski argues both games to feature apparent postcolonial themes.
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Olbrin Joachim csodálatos utazása - Marosvásárhelyi Nemzeti Színház Tompa Miklós Társulat
Review ofTompa Miklós Company's "Olbrin Joachim's wonderful journey" directed by Kinga Mezei, presented atThe National Theatre of Târgu Mureș
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The aim of this paper is to show the functioning and the role of paranoid obsessions in television series Mr. "Robot" (2015) and Thomas Pynchon’s novels. Although it seems that the novels of the American writer and the screenplay havelittle in common, both use a paranoid way of thinking as a creative response tosocietal experience.
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The film by Stanisław Różewicz "On the Hideout" (original title: "Na melinę") was included in the series of television films Day One, Last Day (original title: "Dzień ostatni, dzień pierwszy", 1965). For many reasons, however, it was detained by censorship, although it represented high artistic values. The article is an attempt to examine both the content of the film itself and its literary prototype, as well as the answer to the question why it has not been broadcast for over 15 years.
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The review examines the publication "Ansis Cīrulis" (Riga, 2008) dealing with the versatile Latvian artist Ansis Cīrulis (1883-1942), active in both fine and decorative arts. The format combines the elements of a catalogue and collected essays by several authors, explorings various aspects of his output: ceramics and early career by art historian Rūta Rinka, national and state symbols by historian Modris Esserts, painting and drawing by art historian Dace Lamberga; graphic design and posters by art historian Zaiga Kuple, stylisation in applied arts by art historian Santa Podgaiska.
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This text is a reply to E.A.J. Honigmann and presents another point of view on Shakespeare’s Catholicism. H. Hammerschmidt-Hummel defends her thesis and tries to convince that her book is based on reliable studies and historical sources. She proves that a secret Catholic code in his plays is the most important key to understanding his whole output. Her arguments are based on two evidences: the known or presumed “Catholic sympathies” of the dramatist’s family, friends and patrons and the “Catholic attitudes” embedded in the plays.
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The review examines the monograph "Krampis. Arhitekts Andris Kronbergs" (Riga: Neputns, 2010) by historian of architecture Jānis Lejnieks. The book deals with the contribution of the architect Andris Kronbergs to contemporary architecture of Latvia, including such objects as Riga Airport, private mansions and other aspects.
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An analysis of a series of paintings by Tadeusz Kantor: One Does Not Look into the Window with Impunity, conducted in reference to his last theatrical works. Late paintings by Tadeusz Kantor from the second half of the 1980s constitute an art of borderline situations similarly as the last Cricot 2 Theatre spectacles. All the canvases contain an inscribed undecidability balancing on the border, a game played with presence - absence, perception – non-perception, reality - fiction, life - death, memory – projection, time - timelessness, historical necessity – individual freedom, and catastrophe - hope for salvation and redemption. The pulsating “between the two” is accompanied by the construction of imprisonment, discernible in almost all of Kantor’s late works. It became the key concept of the spectacle: Let the Artists Die (1985), in which Kantor compared the condition of creation to that of a prison. It is also present in an extremely tangible manner in his last production: Today is My Birthday(1991), balancing between reality and illusion.
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The article reports the conference "Germany and Latvia Between the Two World Wars: Contacts in Life and Art" held on 28 May 2008 as a part of the German Cultural Month. Papers presented various aspects of the subject, including expressionist elements in Latvian art, Latvian artists' deeds in the cosmopolitan Berlin of the early 1920s, the impacts of authoritarian and totalitarian regimes upon art life.
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Short article about ULAY's exhibition at AORTA in Chişinau - an ad-hoc photo ansamble.
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In this essay the concept of »new wave« is related to the concept of »crisis«, on the basis of accordance of the main topics that have emerged out of these two different kinds of cultural discourse. The very term »new wave« indicates the period of the beginning of eighties characterized by the specific cultural expressions bounded with the phenomenon of the youth subculture in Yugoslavia. Although initiated by impulses from other cultures (first of all by the phenomenon of anglo-american punk), the »new wave« expression has elaborated the considerable segment of local reality. For example, the concept of »New primitivism« on one hand, and the »Neue Slowenische Kunst« on the other, have developed their symbolic activities playing with a stereotype of the two main cultural identities that »cross« the Yugoslav space: on is »Balkan«, »oriental«, the other is »European«, »western«. Modified in numerous ways, but loosing its stylistic, ironical quality that characterized its sub-cultural elaboration, this stereotype has become the leit motiv of the later explanation, even official, of the political crisis in Yugoslavia. In a similar way, the »new wave« activity, partially leaned on the western formula in creation of music, art, images and life styles, has anticipated the destruction of the myth of originality and uniqueness of our culture. What was then considered to be an »epigone«, a »dishonest imitation of the West«, hardly a decade later has merged into the common desire for »entering Europe«, which has characterized the discourse of crisis.
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The author traces the phenomenon of disco polo music and analyses the video clips of popular musicians from the 90’s (Shazza and Boys), comparing them with modern visual representations (Mig and Niecik), following the idea that what made and still makes this music genre popular is the specific tension between familiarity and wordliness.
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Powyższe przykłady usiłują wypowiedzieć tę prawdę, że bardzo często w akcie kreacji, w owym procesie nowego spojrzenia wspomaga poetę malarz czy fotograf. Zamknięcie ułamka świata w kadrze czy ramach obrazu sprzyja poecie, wyzwalając intensywnie poszukiwane skupienie. Wyostrzenie poetyckiego wzroku szuka równie zaangażowanego w akcie rozpoznawania rzeczywistości, podobnie współpracującego, narzędzia, pędzla, piórka, rylca oraz innych aparatów artykulacji i ekspresji. Chciałem, aby wszystko, na co patrzę, zmieniło się w kompozycję, i zrozumiałem, że stan taki można osiągnąć - powiada taki poeta, intuicyjnie korzystając z udzielonej mu przez malarstwo lekcji widzenia.
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Studying domestic folk art, inaugurated in the 1930s is still in its infancy. This assertion is born out by considering the motif of svastika, studied by Milovan Gavazzi in 1929 and 1930. Gavazzi’s model of scientific study (applied in the analysis of swastika on easter eggs), in thune with the then prevaling cultural history approach, has been reproduced and perpetuated by numerous domestic ethnologists. In the situation in which the history of social sciences recognizes theoretically and methodologically different research trends, Gavazzi’s tenets are necessarily bound to criticism. From the aspect of contemporary science, the strongest argument for disputing former interpretations of folk art is their neglect of the context of folk art manifestations.
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Interjú Kiss Gabriella színháztudóssal
Gabriella Kiss, lecturer at the Károli Gáspár University answered Melinda Kiss’s questions about her pedagogical career the Theatron group and periodical, her activity as a teacher and translator. She voices her conviction that both in education and in translation one should be creative and self-reflexive, as theatre studies does not react only to the most recent theatrical phenomena, but to the newest cultural events as well.
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The purpose of the article is to reveal the principles of conceptual thinking as a phenomenon of artistic consciousness. The methodology of the research consists in using the interpretative semantic analysis of choral performance "Perpetuum mobile" by V. Muzhchyl, with the help of which it is possible to reveal subtext in the piece concealed by the composer and to interpret it creatively. The scientific novelty of the research lies in the substantiating of non-traditional interpretation of "Perpetuum mobile"as quasi-genre. Conclusions. The author formulated the main principals of conceptualism in V. Muzhchil’s creativity, based on the experience of communication the author of the article with his teacher. The trinity of musical semantics was revealed (in ternary form of the piece, three-time occurred thematism of introduction, in the middle section – visualization, vocalization of a symbol and its verbalization).
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This article outlines issues associated with the preservation and conservation of contemporary art and the role that documentation plays in this process. A contemporary artwork, in order to become an object of interest, analysis, purchase, collecting, exhibiting etc. must exist, and its existence must be preserved. Its preservation does not always mean, however, fixing the matter and halting the processes of deterioration such as in the case of traditional art, but it may adopt a totally different form, for example preservation in the form of documentation. The changeable character of ephemeral art, the use of perishable materials or ready-mades, as well as innovative concepts and techniques makes conservation a complex issue. An additional worrying factor is also often improperly conducted activities associated with exhibiting, transportation or storing of the artworks that cause a falsification of the artist’s concept and destruction of an artwork’s structure. The conservator must analyse, identify and preserve the matter in a professional way or, on the contrary, after an appropriate examination, act according to the artist’s intention, and treat it in a way that is adequate to the artwork’s character. This may involve the making of a replica, a reconstruction, an emulation, a re-enactment or preservation through documenting, or it may use entirely different possibilities of modern conservation. One must set a proper strategy of care and protection over the works of art and the proceedings must keep the authenticity of the artwork. The author of this article analyses the notion of authenticity and shows the change in understanding this concept, and the influence which this change had on the form and method of preserving artworks in the past, in contrast with contemporary visual art. She writes about the new role of an artwork’s matter and substance, and the challenges that result from it, and about the new role and relationship between a conservator, an artist and other “stakeholders”. She describes the threats to preservation and the aims and limits of preservation and conservation, pointing out the key role of documentation. She also pays attention to various forms of documentation by illustrating the article with comprehensive examples of good and bad practices associated with documenting contemporary artworks.
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