Sprawozdanie z konferencji „Czas Zatrzymany... Fotografie w spuściznach uczonych i twórców”, Archiwum Nauki PAN i PAU, Kraków, 19-20. czerwca 2013 r.
Report from the photographic conference in Cracow, Poland.
More...We kindly inform you that, as long as the subject affiliation of our 300.000+ articles is in progress, you might get unsufficient or no results on your third level or second level search. In this case, please broaden your search criteria.
Report from the photographic conference in Cracow, Poland.
More...
O incursiune vizuală în universul începutului de secol XX, care defilează prin fața ochilor imaginea vechiului pod din ora¬șul Mostar (Bosnia Herzegovina), figurile locuitorilor cartierului Pera din Istanbul (Turcia), portretul de grup al unor asceți indieni, imaginea unui lama în straie de ceremonie (China). Aceste fotografii co-lor, alături de multe altele, au fost prezen¬tate în cadrul expoziției Die Welt um 1914. Farbfotografie vor dem Grossen Krieg (Lu¬mea la 1914. Fotografia color înainte de Ma¬rele Război), organizată cu ocazia împlinirii a 100 de ani de la izbucnirea primul război mondial. Realizată de Berliner Festspiele Martin-Gropius-Bau, în colaborare cu LVR-LandesMuseum Bonn, expoziția a fost găz-duită de Martin-Gropius-Bau, unul dintre cele mai renumite spații expoziționale din Germania, putând fi vizitată în perioada 1 august – 2 noiembrie 2014.
More...
A fényképezésrõl, fényképhasználatról beszélni, írni nem túl ritkán vállalt, mégsem könnyû feladat. Mindjárt az elején leszögezném, hogy a fényképezés megannyi területe közül csupán egyet kanyarítok ki, a családi fényképhasználatot. A megközelítések közül is egyet jelölök ki, a (tágan értelmezett) társadalomtudományos igényût, melyre képzettségem (néprajzkutató) és korábbi kutatásaim (a családi fényképhasználatot elemzõ doktori kutatás) talán feljogosítanak.
More...
Magyar Fotográfusok Háza – Mai Manó Ház, Vivian Maier. A kiállítás idõtartama: 2012. szeptember 20. – 2013. január 6
More...
This article provides an overview of selected academic studies of first-person narratives of illness. The review splits between a discussion of literary and visual representations of illness. It presents the causes of growth in the number of illness narratives that are available in the public space. Furthermore, the paper deals with the problems of representing breast cancer in written stories and photos. It analyzes selected problems of illness memoires written by women afflicted with breast cancer and published in Poland, as well as Polish photographic projects which show the Amazons after treatment.
More...
The article addresses the issue of photographic materials as sources of information about the past and draws attention to their storage in the Bulgarian archives. During the Renaissance written records were considered key evidence for the Bulgarian past. In this era national emancipation processes developing in Bulgarian society found expression not only in texts, but also in images. Fine art also became a means of preserving historical memory, and later this trait was transferred to photography too. Photography correctly and accurately reflects reality; photos can be reproduced, printed and distributed. Therefore, photographs became valuable bearers of information about the most prominent Bulgarian revolutionaries, participants in Church – national struggle, writers and enlighteners. After the liberation the range of documents that were considered valuable evidence of the past expanded. Interest in photography appeared. Photos can be found not only in personal funds, but also in institutional archives. Photographing valuable archaeological sites to preserve them for the next generations became common practice. The article looks at some of the specifics of preservation of photographic materials in institutions such as the Scientific Archives of BAS, Bulgarian historical archive at the National Library „St. Cyril and Methodius”, and Central State Archives. Searching, collecting and keeping photographic materials in the biggest Bulgarian repositories is a testament to the fact that society perceives them as a valuable means of preserving historical memory. They, along with the works of historical painting, present our past in images. But unlike the artistic images, photographs due to their accuracy have significantly greater documentary value.
More...
Databases are a form of social performance. This means that their creation is, as Jon McKenzie says, a challenge to the social order – an attempt to stop the changes or to run them. Databases are constructed mainly in order to cognitively and technically control a fragment of reality, to increase the effectiveness of our actions. Thus, although the database seems to be something sedate, dead set of information, its essence lies in the startup of human action, and thus on the transformation of the existing order. This starts with the collection of information and their transformation into the data, with correlation them with each other, seeking within them patterns and trends and in the end, using knowledge for transformation of reality. At each stage of constructing the database we encounter so performance – action that expresses a claim to change reality and that results in starting the activity of individuals, stimulation of various forces. This look at the database promotes their defetishisation as hard reference point for our activity – they are at every stage the effect of overlapping of performative actions.
More...
Photographing workers, peasants, scientists, soldiers, fashion models and children, as well as immortalising what remains of the Ukrainian steppe and post-industrial ruins, Serhiy Bratkov certainly creates an ambiguous picture of Ukraine and Russia.
More...
Nada Pivac is one of our most significant artists who has profoundly influenced the Bosnia and Herzegovina´s art scene – as a painter and as a professor, firstly in Sarajevo, then in Široki Brijeg´s Academy of art. She is one of most responsible for the foundation of both Academies. The artistic style of Nada Pivac is distinctively heterogeneous, and it is impossible to analyse it in continuity since most of her works are in private collection, and her atelier in Sarajevo, in which were the paintings prepared for the retrospective exhibition, was robbed during the war. The paper focuses on this artist´s oeuvre during the seventies of19th century when she turned to abstract art expression – the subjects, landscapes and portraits are reduced to specific abstract forms. Thereby, her paintings represent a certain transcendence of a visible reality expressed through universal abstract language of painting. This paper will also try to redefine the value of Nada Pivac´s unfortunately neglected oeuvre.
More...
Jedan prizor sa ulice: prolaznik se na sekund zaustavlja, podiže mobilni iznad glave i šljocne; pogled drugog namernika nehotice kreće pravcem koji je ruka prvog pokazala, a tamo – ništa, ravnodušno zeva prazno nebo. Sledećeg trenutka, onaj aktivni je već čučnuo, aparat mu je tik iznad asfalta, opet škljoc. Šta je kog đavola našao u komadu najobičnijeg prljavog betona?
More...
In the article, I argue that by means of qualities intrinsic to the medium of the photobook, the renowned Danish photographer Krass Clement (b. 1946) constructs a complex narration, which, on the one hand, seeksmeta-refl ection on the relationships between photography, memory, and the perception of reality, and, on the other, explores the post-GDR condition of Berlin and Germany. Venten på i går. Auf Gestern warten (Danish and German for “Waiting for yesterday”) includes both old and contemporary images, in both colour and black-and-white, but the book is neither (n)ostalgic nor documentary. Rather, I insist that Clement’s project epitomizes memory work and that its guiding principle can be understood through Rosalind Krauss’ concept of the grid. Th e grid is here inseparable from photography’s relation to memory and reality. I explore how the dialectics between remembering and forgetting, inherent to photography, is enacted by the book, and how it foregrounds the opaqueness rather than the transparency of the medium and perception. I also present how the universe constructed by Clement unfolds within the three temporal dimensions suggested in the title of the book: a present (post-ideological) suspension between the future and the past.
More...Zu Leben, Werk und Umfeld des Zeichenlehrers, Malers und Fotografen Theodor Glatz (1818-1871)
Als der Zeichenlehrer und Fotograf Theodor Glatz am 3. April 1871 erst 53-jährig starb, muss die Trauer am evangelischen Gymnasium und auch bei vielen Hermannstädtern groß gewesen sein, denn wer aus den „besseren Kreisen“ hatte sich nicht schon einmal von ihm ablichten lassen? Der „höchst betrübende Verlust“ wird im Jahresbericht der Schule nur knapp, aber mit aufrichtig empfundenem Schmerz vermerkt: „Durch nahezu 28 Jahre hatte der wackere Amtsgenosse mit rastlosem Eifer und erfolgreichem Wirken seine besten Kräfte dem Wohle der Anstalt gewidmet. Tief bewegt betheiligten sich Lehrer und Schüler am 5. April an der Leichenfeier. Einen ergreifenden Nachruf am Grabe des Verstorbenen hielt der scientistische Leiter der Realschule C. Albrich.
More...
In the article, we advance the notion of an affective atmosphere for analyzing the works ofart by two contemporary Latvian photographers—Aija Bley (b. 1967) and Arnis Balčus(b. 1978). The spatial relations of bodies and environments and the photographed sub-jects’ facial expressions and postures negotiate a sense of postsocialist affectivity that wedescribe as forgetful and drowsy. In the selected images, the affective atmospheres enactthe ambiguities of the Soviet legacies, along with the challenges of neoliberal rationalityaffecting today’s Latvian society.
More...
Rodzicielstwo śliskości jako rodzicielstwo na skalę swoich możliwości postulowała kilka miesięcy temu podczas debaty „Więzi” medioznawczyni, a prywatnie mama trójki dzieci, Magdalena Bigaj. Nazwa pochodzi od prześlizgiwania się, aby jakoś przetrwać. Dorzucam od siebie rodzicielstwo lepkości, rodzicielstwo rozsypki i rodzicielstwo zależenia... ba! wręcz zalegania. Jeszcze mniej chlubne, ale może i Czytelnikom bliskie? Nie w ideach, ale w realiach bliższe od rodzicielstwa bliskości?
More...