IRENEUSZ WITOLD DUNAJSKI, FOTOGRAFIA W GDAŃSKU PHOTOGRAPHY IN DANZIG, 1839-1862, GDAŃSK 2013, SS. 247 + 1
Book review: IRENEUSZ WITOLD DUNAJSKI, FOTOGRAFIA W GDAŃSKU PHOTOGRAPHY IN DANZIG, 1839-1862, GDAŃSK 2013, SS. 247, NLB. 1.
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Book review: IRENEUSZ WITOLD DUNAJSKI, FOTOGRAFIA W GDAŃSKU PHOTOGRAPHY IN DANZIG, 1839-1862, GDAŃSK 2013, SS. 247, NLB. 1.
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DANIEL KISS: MODELING POST--SOCIALIST URBANIZATION /THE CASE OF BUDAPEST 2019, Birkhäuser, Basel, 208 p. ISBN: 978-3-0356-1649-1
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ROSTISLAV ŠVÁCHA, MILENA SRŠŇOVÁ, JANA TICHÁEUROAMERICKÉARCHITEKTONICKÉ MYŠLENÍ1936 – 2011 2019, Praha: Zlatý řez. 720 s. ISBN: 978-80-88033-03-5
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EVA BORECKÁ: TRADIČNÁ MODERNA NASLOVENSKU. ARCHITEKTI FRANZWIMMER & ENDRE SZÖNYITRADITIONALISM IN THE MODERNMOVEMENT IN SLOVAKIA.ARCHITECTS FRANZ WIMMER ANDENDRE SZÖNYI 2018, Akademické nakladatelství CERM,Brno, 126. ISBN: 978-80-720498-75
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Romanticism is the name of a freedom war against Westernism and the strict rule of the Academy. The artist, with the broad rights and freedoms promised by the French Revolution, remained in the rhetoric, reacted with great boldness and loud voice. This reaction was against all the solid and ingrained traditions that embraced the bourgeois and the past. The artist has taken on a mission that frees his art from this understanding against prejudices. Romanticism was the understanding of the artist's personal self, the discovery of his inner world, as well as a new tradition of art. Romantic art is considered to be critical, questioning and dreamer. It emerges as a natural product of the artist's view of nature and society. While some of the romantic artists take their reaction as retiring into themselves, others console themselves by exploring the supernatural serenity of nature, which is melancholic, diseased, sometimes capricious. The greatest contribution of romance is that it has broken down the rules of art, which have settled for centuries, bringing a new feeling, reaction, individuality. The most important characteristic is that the first step of the Modern Art movements is formed and the origin of the most crazy art concepts.
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Although there are many ceramic materials obtained from ancient period to the present, information about the production conditions and technologies of these materials is very limited. As a result of the archaeological excavations, some information about ceramic production techniques has begun to be reached, important data about the ceramic workshops and pottery kiln structures used in the kiln have been obtained. However, the information reached to the present day belongs to the deficient or damaged pottery kiln. A completely durable pottery kiln has not yet been found. The kilns uncovered are quite simple and they are all different. In this study; for the purpose of evaluating the production and pottery kiln structures together; General information about the ancient pottery kiln structures is provided. In the application section, the pottery kiln was built in accordance with the structure of the Roman kiln and the firing trials were done. With this work, the information that will be obtained in terms of both archaeological and ceramic production is thought to be helpful in subsequent studies.
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Writing, from past to future, is one of the important communication methods entered to all fields of life with carriers like cave walls to clay tablets, papyruses, parchments, papers, walls and canvasses etc. In a different way, writing is the state of words in the language, thoughts, emotions that transferred to the stone, clay, paper and wood through signs. In the historical process, writing differed according to the needs and different forms of writing were used in various civilizations. Hieroglyph, that is the primitive writing form of the early ages, pioneered the transformation of signs into the indicators and in time, has also led the use of expression language in art. In this study, writing’s, the image state of emotions, thoughts and notions through symbols, briefly historical course, art-writing relation and reflections to modern day ceramic art is addressed with examples from three ceramic artists’ works.
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In this summer’s Russian blockbuster, a rising local boy takes on the combined might of Hollywood and the hidebound state film commissars.
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Lublin, a city that is the seat of the Crown Tribunal, was one of the centers where St. Stanislaus Kostka was especially venerated. The main center of worship was the former Jesuit church of the St. John the Baptist and St. John the Evangelist (the present cathedral), where the miraculous image of the young man was kept.The discovery of the note in the hand-written chronicle of the Romanum Societatis Jesu Archives reminds us of the occasional decoration of the Jesuit church during ceremonies connected with the announcement of the canonization of Stanislaus Kostka in 1715. The expanded multifaceted picture-verbal decoration focused primarily on the facade, main altar and chapel, bringing together the national aspect (Polish king), the papal aspect (Pope Clement XI) and the prophetic sign, for which the coat of arms of the Albani family from which the Pope came. The Polish nobleman-priest was created from the beginning of the cult to become one of the main supporters of the triumphs of the Polish State. The canonization of Stanislaus became a symbolic guarantee of the expected peace and stability of the country. That is why the decoration revealed a great historical message and a mystery given to the Poles through the young Jesuit, raising the importance of Poland in connection with the papacy and Catholic faith.
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The stylish difference of the Rococo in the garden art is still the topic of the researchers’ discussion. The Rococo, which was in opposition to the formal and rhetorical art of the Baroque, brought a new value to the eighteenth-century gardens. This value was expressed primarily in the elements of the composition, asymmetry, irregularity, wavy line, fragmentation of form and ornamentation, as well as in relation to nature and specific mood.France is considered to be the fatherland of the Rococo style, from where this new, light style has spread to other European countries. The dissemination of new ideas was favored by print theoretical dissertations and collections of projects. The works by authors such as L. Liger, J-F. Blondel, J-B-A. le Blond, F. de Cuvilliés, M-A. Laugier, G-L. Le Rouge, W. Chambers, S. Switzer and B. Langley enjoyed particular popularity.Many impressive gardens with Rococo features were created especially in Germany and Poland. Their special flourishing in Poland fell on the times of the Polish-Saxon Union, and especially during the reign of Augusts III in the years 1733-1763.Special attention should be paid to the projects related to the patronage of the first minister H. Brühl. Rococo features can be found in several of his gardens, such as garden at Nowy Świat in Warsaw, garden in Wola, the unfinished garden project for the former Sanguszko palace or a garden in Brody (Pförten). Rococo compositions were also created in the gardens of Prince Adam Poniński at Żyzna street in Warsaw and in Górce. In 1966, the concept of a magnificent royal garden at the Ujazdów Castle was created. Noteworthy is also the arrangement of gardens in Puławy from the times of Zofia and August Czartoryski as well as Flemming in Terespol. The designers of many Polish gardens of that period were Saxon architects, such as: J.D. von Jauch, J.F. Knöbel, C.F. Pöppelmann, E. Schröger or J.Ch. Knöffel. From the 1770s, Rococo creations in Poland began to give way to landscape concepts.
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The aim of this study is to analyze the architecture of residential interiors and furniture making presented at the exhibition in 1912, to indicate the sources of inspiration for designers and to place them in the context of foreign furniture making. The sources of information were the exhibition catalog, press articles, and the archival materials stored in the National Archives in Krakow that had not been used so far, as well as photographs from the collections of the Print Room of the Academy of Fine Arts in Krakow and the Museum of the Jagiellonian University.The interiors and furniture presented by the artists from the society for Polish applied arts (TPSS) at the Krakow exhibition in 1912 perfectly matched the trends prevailing in designing around 1910. How far they were from the curvy-line Art Nouveau. The designers consciously and creatively used their native tradition, especially the furniture making of the Biedermeier period and folk art. On the one hand, Polish artists drew from the architecture of manor interiors, and on the other they were close to the inspiration of an English home. Their projects can be compared with the works of Austrian artists from the circle of the Vienna Workshop and German artists associated with the Deutscher Werkbund. They were a harbinger of simplified, geometrized, folk-inspired, influencing the beauty of the material, Polish furniture of the interwar period. The equipment for the house of a worker and a craftsman being an example of cheap furniture was characterized by solidity, modesty, operating with economical, but noble forms, inspired by folk ornamentation. They were the beginning of attempts by Polish designers to create minimalist, functional, solid and cheap equipment that were continued in the interwar period.
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The publications to date have characterized Henryk Bekker (1886-1942) as a political and self-government activist and President of the Council of the Jewish Religious Community. None of them has yet discussed his activities in the field of construction and architecture. He was born in Białystok as Chaim Beker, presumably in a family of assimilated Jews who often “Polonized” their first and last names. It is probably for that reason that in the later years of his life he was known as Henryk Bekker. From 1906 he studied in Munich at the Königlich Bayerische Technische Hochschule, where he received a degree of Construction Engineer in 1911. Little is known about his life during the next dozen or so years except that he married a Lublin resident Helena Zynger and stayed with her in eastern Ukraine, where their daughter Irena was born in 1918. Somewhere at the beginning of 1922 the Bekker family came to Lublin and took up their residence at Bernardyńska St. no. 24/3. In Lublin H. Bekker worked as a freelance construction engineer. The current state of research makes it possible to connect his architectural and construction work with 27 construction designs, mostly commissioned by Jewish investors. They comprise buildings of different status, size and architectural value. He executed the projects in Lublin and the Lublin region: these included large tenement houses and tenement annexes, schools, ritual bathhouses, shops, craftsmen’s workshops, small industrial plants and waterworks/sewage installations. Among the buildings distinguished by both the size scale and the architectural level, we should mention the constructions in Lublin, including two buildings built for the Jewish Cooperative Housing Association “Spółdom” (at Probostwo St. no. 19 and Wieniawska St. no. 6), tenement houses at Okopowa St. no. 10, Krótka St. no. 4 and Ogrodowa St. no. 19 and the Perec House. Those buildings were associated with the trend of modernism. Their architecture was characterized by simplified building bodies, functional interior solutions, and reduction of decorative detail. Although none of them displayed any special avant-garde forms or avant-garde technical solutions, they all contributed to the modernization of the architecture of interwar Lublin.
More...A reprezentáció tere mint nyitott konstelláció
Imola Csizmadia deals with the significance of (the search for) space in the context of the theatrical performance. She states that the search for space has become a central and crucial question of contemporary art and theatre since performances try to liberate themselves from the institutional theatrical frames, as well as since contemporary art practices have been looking for completely new ways of seeing and showing, manifested in the abolition of previous conventions defined by space. The study analyzes how space can change due to the gesture of artistic “designation”. All this is demonstrated through the example of the Tg-Mureș street-performance Curva periculosa (dir.: Erzsébet B. Fülöp).
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Tünde Kocsis writes a review about the Norwegian drama anthology Jégszivárvány (Rainbow of Ice). The book was published as part of the Drámatájak (Drama Landscapes) series of Napkút publishing house in Budapest, with texts selected by Norway-based Ferenc Kovács Katáng. In the volume there are dramas by Arne Lygre, Tore Vagn Lid, Olaug Nilssen, Maria Tryti Vennerod, Fredrik Brattberg and Johan Harstad, translated to Hungarian by Ferenc Kovács Katáng and László Borka. The dramas report about crisis situations in the family and at school, opening new dimensions with a good sense, according to the reviewer.
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Zsófia Domsa translated six dramas by the contemporary Norwegian playwright Jon Fosse to Hungarian. The title of the book published in the Polar Books series is Valaki jön majd (Someone Is Going To Come). Besides the drama with the same title, the volume also contains the dramas The Name, A Summer’s Day, Winter, Deathvariations, I Am the Wind. The punctuation of the texts is negligible, the characters are mainly universal, such as Woman, Man, Other, Daughter, Mother, Father. The dramas strengthen each other. The reviewer considers that the most poetic text is I Am the Wind. This text, as well as the other ones, orbits around solitude and loss, while in this one it seems as if an already dead soul were looking for the meaning of life.
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Our column is based on an image and the text related to it. The image is that of the author of the text with his daughter, playfully „fighting” in the kitchen. The author’s philosophical/poetic text related to this is about the double nature of theatre/role-play. He expresses his strong option in favour of life instead of theatre.
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The aims of this paper are twofold: first, to identify a sense of ‘popular art’ in which the question, ‘can there be popular art?’ is interesting and the answer to this question is not obvious; second, to propose and defend a challenging but attractive answer to this question: challenging in that it draws some distinctions we might not initially be inclined to draw, and attractive in offering a productive way of thinking about the ontology, epistemology, and axiology of the kinds of artifacts proposed as examples of ‘popular art’. I take the ‘interesting’ question to be whether, given a way of distinguishing artworks from other kinds of artifacts, there can be artworks that meet the conditions set out by Noel Carroll for what he terms ‘mass art’. I sketch a way of thinking about the distinction between artworks and other artifacts—what I term the neo-Goodmanian approach—and then explore the implications of the neo-Goodmanian approach for the existence of ‘popular art’, and vice versa. In so doing, I subsume these issues under a more general problem for the neo-Goodmanian—what I term the problem of ‘fast art’. I argue that, while the neo-Goodmanian can embrace artworks that are ‘popular’ in the sense of being targeted at a wide audience, she should insist that there cannot be artworks that meet all of Carroll’s requirements for being ‘mass art’.
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The Transitions by Siim-Tanel Annus was a major performance art event in 1987, and took place at the height of the liberation movement in Estonia. In this article, the different forms in which the performance has survived will be explored. The analysis will revolve around the notion of ‘trace’ and will argue that the afterlife of the art event is as important as, or even more meaningful than, the original performance. The significance of The Transitions lies in its intertwinement of art and politics, which only happened in retrospect and was not the original intention of the artist. This case also demonstrates how unforeseeable developments around a performance come to dictate its later interpretation.
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The text implicitly compares the principles of the production, especially the theatrical, with the principles of creating a narrative conflict in video games. It explicitly focuses on the processes of video game simulation. It‘s carried out through the optics of two approaches to video game theory. The first is the aspect of professional discourse in which it uses already established professional terminology from theatrical theory and tries to identify aspects of video games that correspond with it. In doing so, the author of the text suggests that there are two basic video-game principles – competitiveness and interactive narration. Those principles oppose each other while focusing on the second. So the author understands the production as a kind of simulation and argues why this storytelling principle also appears in video games. The second principle of thinking about video games is thinking from the perspective of the players. In this context, the author seeks arguments to confirm his thesis. In the unstable terminology of video games, he reveals basic thinking in opposition to competitive playing and role-playing. Ultimately, he describes the relationship between the production and simulation in the context of video games as a narrative medium.
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