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.
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Report from the photographic conference in Cracow, Poland.
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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.
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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.
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Magyar Fotográfusok Háza – Mai Manó Ház, Vivian Maier. A kiállítás idõtartama: 2012. szeptember 20. – 2013. január 6
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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.
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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.
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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.
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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.
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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.
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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?
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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.
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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?
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The project Kopia Kollektiva was created in Havadtő/Viforoasa, Romania by young artists from different domainsa s a project dedicated to the possibilities of village people to access contemporary culture. Visual culture (photography and film) is central in the activity of the association, and workshops, exhibitions organized in everyday locations, usually non-cultural spaces, offer new possibilities to enlarge the scope of contemporary culture. Zoltán Balla and Emőke Kerekes, the founders of the association offer a detailed description of their vision in the reportage dedicated to their activity.
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In the second decade of the 21st century, the transition from analog to digital photography was generally finalized. The classic gelatin silver process ultimately departed for the realm of exotic artistic technologies or is applied as a source for the design of digital images. Social networks evolve rapidly, some of them first and foremost publishing photographs. Traditional media create their own online versions; the number of new information sites thrives. Mobile devices equipped with network access and a wide range of software, as well as hardware peripherals - including photo and video - develop without end. Under these conditions, today's access to information is practically unlimited and so everyone can access any digital space from their phone, visit world's galleries and museums and more than that, share photos taken here and now. On that account, what is the stature of festivals, among which is the "PHODAR" contest, in such plethora of images? Does the ever increasing all-presence of photography in the online space has an impact on the specific language of fine art photography, or are these separate antithetical fields of application? Can related trends be detected in the collections of the PHODAR Biennial editions from 2013 to 2021? These are the questions that have prompted the inception of this text. The work traces the authors' focus on issues and events that are both of public interest and at the same time, had been insufficiently brought to light, along with the observed alterations in figurative syntax, the expansion of detail and the evolution in the construction of the narrative structure. Ultimately, it explores the search for new aspects in the unity of form and content.In the second decade of the 21st century, the transition from analog to digital photography was generally finalized. The classic gelatin silver process ultimately departed for the realm of exotic artistic technologies or is applied as a source for the design of digital images. Social networks evolve rapidly, some of them first and foremost publishing photographs. Traditional media create their own online versions; the number of new information sites thrives. Mobile devices equipped with network access and a wide range of software, as well as hardware peripherals - including photo and video -develop without end. Under these conditions, today's access to information is practically unlimited and so everyone can access any digital space from their phone, visit world's galleries and museums and more than that, share photos taken here and now.On that account, what is the stature of festivals, among which is the "PHODAR" contest, in such plethora of images? Does the ever increasing all-presence of photography in the online space has an impact on the specific language of fine art photography, or are these separate antithetical fields of application? Can related trends be detected in the collections of the PHODAR Biennial editions from 2013 to 2021? These are the questions that have prompted the inception of this text. The work traces the authors' focus on issues and events that are both of public interest and at the same time, had been insufficiently brought to light, along with the observed alterations in figurative syntax, the expansion of detail and the evolution in the construction of the narrative structure. Ultimately, it explores the search for new aspects in the unity of form and content.
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The works of Edward Hartwig, an outstanding Polish photographer, show the confrontation of two different photographic strategies. One of them respects obligations towards the outside world and is characteristic of trends that describe reality as it is seen by the human eye. For the second strategy, the aesthetic and structural qualities of the image as such, its primacy in relation to nature and autonomy as an artistic work are important. The paper will analyze the essential features of both extremely different photographic strategies and explain the nature of their apparent contradiction. An analysis of the structural quality of the image will be used, considering the specificity of the traditional photographic technique. The most representative works from Hartwig’s rich oeuvre will be considered.
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– Już nie pamiętam to cicha opowieść o mojej mamie, o tym, co rozpoznawalne i zapomniane. To opowieść o życiu pomimo choroby, która stopniowo degraduje pamięć – mówi o swoim projekcie Marta Wojnarowska.
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The text is a review of the volume Pisanie i czytanie (o) fotografii – odkrywcy, klasycy, obrazoburcy [Writing and Reading (about) Photography: Explorers, Classics, Iconoclasts] (2023) by Piotr Zawojski. The articles collected in this book are devoted to selected texts from the photographologic canon, and concern photography in artistic-theoretical practices. Genre-wise, this is a publication on artistic doctrines and axio- and ontological theories. The author’s subjective choice is representative of narrativism. The interpretations are conducted from a preposterous perspective and (re)present the present time of the engaged author, which fits in with the post-criticality of contemporary humanities and their affectivity. Such meta-historical and meta-theoretical view allows for a post-critical rethinking of established problems of photography and poses a key question: what does reading the canon give us today? And the book’s meta-metareading allows us to unveil the essence of a post-critical “hermeneutics of suspicion” (as defined by Rita Felski), whose aim is a new reading. According to the reviewer, the tool here is scientific essayism, whose anti-systemic, emotionally involved form shows what affective, ergo effective writing/ reading is and what uses it has today.
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