Around the Bloc: Sarajevo Museum Puts a Fresh Perspective on Traumatic War
New attraction is not so much an exhibition of past ordeals as an evocation of the power of a child’s imagination.
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New attraction is not so much an exhibition of past ordeals as an evocation of the power of a child’s imagination.
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Discussing the history of the Lodz musical culture in the early twentieth century we can not forget about the figure of Matthew, Bensmana. Composer and conductor of Jewish origin has undoubtedly affected the improvement of the quality of musical life Polish Manchester, where he was one of the initiators of, among others, Wheels Opera is a respected educator. Musician engaged in various kinds of cultural undertakings, remains despite extremely interesting biography rich in major artistic achievements, like studing in Milan, winning prestigious awards Verdi or trying to issue an opera at Carnegie Hall in New York, due to a lack of resources or a forgotten figure studies. Discussing the activities of Matthew Bensmana in Lodz is also worth mentioning the popularity he had gained on Polish land, as the creator and promoter of Jewish music.
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American artists coming to Germany after World War I watched the turbulent beginnings of the Weimar Republic. The newcomers from overseas took note of both the communist and right-wing outbursts. Instability in Germany aroused fears of American newcomers about the sustainability of the international order. American artists were delighted with the cosmopolitan atmosphere of the German capital. US citizens also enjoyed a favorable currency exchange. Americans was also fascinated by the German artistic bohemians. But there were reasons why Germany was not a good place to settle. First of all, Americans drew attention to the instability of the political and economic system.
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According to its creator, the piles of fake bills totaling the billion dollars that went missing from local banks is meant to show the scale of the fraud.
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Several ideas of M. Bakhtin’s literary theories can provide better understanding of musicalworks. Using Bakhtin’s concepts of carnival, dialogism and chronotope, this paper tries to analyzecontemporary musical works in the genre of the concerto.
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The overpaintings found on the frescoes from SucevițaMonastery, date from periods that remain uncertain due to the rarity ofwritten documents. Probably they were made because of the degradationsthat occurred in time or because of tastes. These interventions are made inoil technique or tempera, for that reason we can date them around the 19thcentury when there was this tendency of painting Orthodox churches in oil.The overpaintings are placed in key position, on the lunette, facilitatingaccess from exonarthex to the narthex or from narthex to the tomb room.In terms of iconography, the overpaintings covered representations like:Anastasis / the Ressurection; The Holy Trinity of the New Testament andVirgin Mary with the thief represented in heaven (detail from the LastJudgement). The present paper tries to make a comparison among the threesurfaces with overpainting, bringing technical arguments regarding thedifferences between them. At the same time, the paper presents detailsabout the methodology applied to cleanning the overpaintings and ithighlights the original image that can bring nuances in the iconographicinterpretation
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This article proposes an analysis of the issue of spatialrepresentation in Byzantine art. In the first part, we identify the reasonsleading to the elimination of three-dimensionality effects in Byzantineimagery. The idea that Byzantine artists intentionally gave up threedimensionalrepresentation is supported with arguments. Even thoughByzantine art systematically rejected representing the third dimension, wecan definitely discover certain ways of rendering spatiality. These methodsare briefly analysed in the second part of this work
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The paper analyses the re-conceptualization of the intermedialtrope of computer generated images/VFX in recent 3D works/cinemascenes through several examples from art history, which are connectedwith. The obvious connections between art history and images are notconceived primarily as an embodiment of a painting, the introduction ofthe real into the image, but prove the reconstructive tendencies ofcontemporary post-postmodern art. The intellectual, the casual, or theobsessive interaction with art history shown by the new film culture, isalready celebrated trough 3D computer generated art, focused to aconsistently pictorialist cinematography.
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The main purpose of this paper is to study the connections thatcan be established between the modern abstractionism and the abstracttendencies from other historical eras. In the first part I will present threedistinct interpretations: the first direction is based on authors as MirceaEliade and Roger Lipsey, who see modern art through the links still alivebetween art and religion, from a syncretic perspective, or, after Eliade’sexpression, based on a creative hermeneutics. The second direction isrepresented by the work of Adorno, Compagnon, Greenberg, Lyotard, forwhom the modern art is a manifestation of radical discontinuity in relationto the art of the past, and the emergence of abstractionism is due primarilyto a historical necessity (the increasing rupture between form and content,the increased autonomy of the sensible over the intelligible). The thirddirection is represented to Wilhelm Worringer, whose work (Abstraktionund Einfühlung, 1907) predates the emergence of the first abstractpaintings, but relying on the German aesthetic tradition, manages to gobeyond the threshold distinction between figurative and abstract, thusidentifying a type of Einfühlung art and another of abstract type, namelythe predominance of one or the other in different historical contexts andcivilizational patterns. In the second part of the paper I will refer toinstances of the spirit of abstraction in the case of Byzantine sacred art,especially in the footsteps of Plotinian aesthetics and as a result of theiconoclastic crisis. In the last part, I will present the key ideas for threemajor representatives of abstractionism (Kandinsky, Klee, Mondrian) andthe survival of the concepts of sacred art in their works and art theories
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A review of two recent volumes concerning the idea of Central-European avant-garde: Awangarda Środkowej i Wschodniej Europy – Innowacja czy naśladownictwo? Interpretacje, ed. Michalina Kmiecik, Małgorzata Szumna, Wydawnictwo Uniwersytetu Jagiellońskiego, Kraków 2015, 355 pp.; Głuchy brudnopis: Antologia manifestów awangardy Europy Środkowej, ed. Jakub Kornhauser, Kinga Siewior, Wydawnictwo Uniwersytetu Jagiellońskiego, Kraków 2015, 578 pp.
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Good marks for effort, poor to terrible ones for dialogue and drama.
More...Do wybuchu II wojny światowej – część druga
At the time of sound film (to the outbreak of the 2nd World War), Polish historical themes appeared in several German, French, Austrian and American feature films. Especially Germans involved in filmmaking were interested in the issues of Polish history, particularly at the time of the Third Reich, when the cinema was controlled by the government. Temporary thaw in Polish-German relations brought some film productions favourable to the Poles and their fight for freedom. Engineered by the authorities, some were even a co-production as a result of negotiations, ase.g. August der Starke (1936). The analysis of historical Polish themes in the American and European cinema shows close relation between cinema and national literary and artistic tradition of the time. It was a general rule that subsequent transformations of popular themes were appearing, along with changing meansof expression and technical capabilities. In that tradition Polish themes were rare and not many of them could be found in plots of contemporary historical films. Apart from that, common historical memorials” turned the attention of filmmakers to Polish themes, i.e. moments when Polish history crossed with their own historical events. In other cases it could have been some direct incentives from the part of the totalitarian authorities willing to show good relations with Poland or, for instance, to justify the occupation of its territory. In that “nationalized” cinema, which needed legitimisation of its propaganda, a strategy of “factual camouflage” appeared – borrowing of historical props (e.g. the crown of Charles the Great), hiring consultants, etc.
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Zdenek Lhotak is a Czech photographer, artist, and a photographic project organizer. In 1986 he won second place in the Sports category of the World Press Photo contest and holds the Qualified European Photographer title. His work now focuses on black and white and colored self-portrayal of human body. Both beauty and ugliness, the symbolism of both male and female are put in relation in his pictures. In his installations can be found humor, parody, even ironic self-reflection.
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Pavol Breier ( *1952 Bratislava) graduated from the Prague Film Academy of the Performing Arts (FAMU) is a Slovak documentary photographer. Ever since the end of the 70s he has been regularly producing cycles of photographs featuring mountain regions, concentrating thematically on the life of people in the mountains and on mountain landscapes and wildlife (cycles about Orava, the Pamirs, Himalayas, Tibet and other regions). He has often presented his work at group or solo exhibitions in Slovakia and abroad (solo exhibitions in Slovakia, the Czech Republic, France and Belgium), he is the author or co-author of a number of photographic publications (e.g. The Pamirs, The Little and White Carpathians, On the Roof of the World, The world of Tibetan Buddhism, Labrang: The Universe of a Tibetan Monastery, Shepherds). He teaches photography at the Pan European University and at Comenius University in Bratislava, Slovakia.
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S fotografiou sa môj život spája u ž nieko ľko rokov. Aktívnej šie som sa ňou za čala zaobera ť po čas strednej školy, kde som si ju vybrala ako odbor môjho štúdia. Nadobudla som tam mnoho teoretick ých poznatkov, ktoré mi ukázali rôzne mo žnosti jej vyu žitia. Uvedomila som si jej potenciál - moc - ného komunika čného a vyjadrovacie - ho média. Navy še ma v ždy zaujímal dosah tak ýchto médií na spolo čnos ť v šeobecne.
More...Vasile Alecsandri - ein Vergessener? Kann man Kleintheater von Anno 1843-1870 wieder auf die Bühne bringen?
Vasile Alecsandri (1821-1890) is an established personality in the Romanian literature. Unfortunately, a great part of his work has been forgotten by the large public. This holds true also for his comedies and vaudevilles, which were extremely popular in the 19th century. This presentation proves that these comedies are not mere occasions for entertainment, but also documents on the transformations which took place in the society and mentality of Moldavia of the 19th century, especially in the world of the village. In comedies we find elements of modernisation (with its burlesque aspects): getting rid of the old elites, the emancipation of peasants and gipsies, the coming in of some professional minorities from abroad. Like in towns, especially in Iasi, the capital of Moldavia, in villages too a multiethnic and multilingual society was born. This is evident in the intermingled arias and dialogues from Alecsandri's plays. They are written in Romanian, Greek, French, German, Turkish, Russian, Armenian and in Romanes. Making use of these languages or only of fragments written in them proves both their being known partially by the population in the Moldavian villages and also the peaceful cohabitation of Moldavians with the old and new ethnic groups. In his comedies, Alecsandri offered a model of peaceful cohabitation of various ethnic groups in the Moldavian villages, which did not exclude the caricatures proper to the literary species of comedy and to their characteristic personages. In this multilingual society, which was lively and active, in which tolerance is predominant, Alecsandri's plays remain of contemporary relevance.
More...Die Repolitisierung des Theaters. Das Dokumentarische als Erinnerungsstrategie im rumänischen Theater
The analysis focuses on contemporary Romanian political theatre exemplified by two plays: “Tipografic Majuscul” by Gianina Cărbunariu and “Capete infierbântate” by Mihaela Michailov. The two authors and directors make part of a young generation that revitalized the Romanian theatrical landscape in general and political theatre in particular. They work as a collective and critically treat political, social and historical topics. The analysed plays take a look back on events of the recent past that have long been a taboo and which they approach in the form of a political documentary theater. But they do not intend to only document the past, but they seek to play an active part in shaping the present and the future through their plays.
More...Peca Ștefans interaktives Theaterexperiment. Das Theater als Diskussionsforum globaler Fragen
The research-play The Clock Is Ticking. 60 Minutes Older of the Romanian playwright Peca Ștefan, integrated in the so called two-year project „The Art of Age!(i)ng”, ended with its presentation at the 1st European Theatre and Science Festival in Timișoara (16–19 April 2015). The aim of the creative research was to question the ways in which people „age”, but also to underline the importance of the theatre as a forum where essential actual questions are put on stage in form of a debate between plawright, stage director, actors and audience. Peca Ștefan’s intensive investigative research, consisting in interviews with people from two cities, Timișoara and Karlsruhe, both being linked as partner-cities on political, social and cultural level, resulted in an interactive theatrical experiment, interpreted by a mixed cast of two theatres (Teatrul Național Timișoara și Baadisches Staatstheater Karlsruhe) in Romanian, German and English language. A comedy featuring four actors, two German and two Romanian performers, inquire through unexpected dialogue, spoken and sung parts diverse questions. Nine self-contained scenes of the written text wait to be interpreted by the four protagonists, while the audience is asked from the beginning to vote which scene to be played, and thus they generate the flow of the performance. Three questions with three multiple-choice answers determine the structure of the interactive theatrical experiment. Thus the audience becomes a co-participant in the process of consuming 60 minutes of life - a perishable meditation on life, time passing and especially ageing.
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