Fotografski albumi u funkciji građenja popularnog mita

Author(s): Dragan Ćalović / Language(s): Croatian Issue: 4/2014

The article analyzes the popular myth production. The popular myth is seen as the result of a popular production that uses the material of metalanguage as a secondary semiological system. Unlike the mytification of the myth (Barthes), or the popular use of myth (in the manner of John Fiske), popular myth develops by popular use of the potentials of metalanguage. Popular myth uses the mechanisms of meaning production, that metalanguage develops, to transform its forms into empty signifiers. In that way, the popular myth neutralize the effects of metalanguage, inaugurating an era in which weakens the potentials of ideological textual production.

Pikselizirana revolucija

Author(s): Marko Stamenković / Language(s): Croatian Issue: 4/2014

The text foregrounds the relationship between three main elements: gaze, image and violence. Framed by the theoretical propositions in the selected texts by Marie-José Mondzain and Jean-Luc Nancy, this relationship is considered in the context of the current socio-political realities in the Middle East (Syria) but also in the broader, global sense. I take contemporary visual practice as my starting point and consider “The Pixelated Revolution” (the project by the Lebanese artist Rabih Mroué) as exemplary in this context in order to engage with the following phenomenon - recording one’s own death in the revolutionary and wartime conditions, at a level that connects several key elements of the debate: the visual character of mobile (phone) technology, image-producing operations, the concept of self-sacrifice, and the mobilization of communities towards radical transformations. The purpose of this text is to encourage future reflections about the role images perform nowadays (in particular those created under the conditions of lethal threat and violence) and about the implications of an external observer in this process, when looking at such images in the exhibition context from a ‘lateral’ (i.e., supposedly safe and neutral) perspective.

Мегаполис в объективе: фотографии в социальных сетях как источник данных о пользовании территорией

Author(s): Daria Alexandrovna Radchenko / Language(s): Russian Issue: 5/2016

The range of amateur photographs in social networks is both a factor, defining the perception of an urban space by certain social groups, and a reflection of it. The analysis of a big array of users’ photos on the net, based on a combination of qualitative and quantitative methods, allows not only describing the typical practices of amateur photography, but also seeing a territory through the eyes of its visitors, revealing its key activities, objects, “blind zones” and barriers for development. The paper describes the methods and approaches to the analysis of such photographs based on the data collected in course of research of digital photography in certain Moscow areas.

Използване на фотометрични източници на светлина при триизмерна визуализация на архитектурни обекти

Author(s): Yavor Zhablyanov / Language(s): Bulgarian Issue: 1/2012

Варианти на корпоративна идентичност при бензиностанциите

Author(s): Sofroni Varbev / Language(s): Bulgarian Issue: 2/2013

MİMARLIK, KÜLTÜR VE SOSYAL TARİHİMİZİN GÖRSEL TANIKLARI; MİMARİ FOTOĞRAF’IN GRAFİK TASARIMDA YERİ VE ÖNEMİ

Author(s): Füsun Banaz / Language(s): Turkish Issue: 16/2017

The history of photography begins with the first image created by Joseph N. Niepce in 1826 where discovery of photography guided photography artists to different areas. The buildings, streets, and cultural items of these areas were photographed and these photographs have survived to this date and have become precious documents of history, which provide information about those days. Architecture is a field that employs many characteristics of a community and nation. Starting out with the idea that each architectural structure bears the traces of a culture and is an important indicator of the era and as it is a requirement to protect the architectural works and cultural and natural richness, which was inherited to us from the past and will be inherited from us to future generations and will provide us information about the era, natural and cultural heritage was researched within the Province of Eskişehir. Under the study, their existence was proven by the art of architectural photography. The importance of architectural photography was emphasized for the owned cultural heritage as a part of the culture and geography they belong to, along with suggestions for the place and significance of photography in graphic design, keeping in mind the critical power of photography and success in expressing and changing social truths.

Международно триенале на сценичния плакат – София (1995–2010…)

Author(s): Nenko Atanasov / Language(s): Bulgarian Issue: 2/2013

Плакат и комуникативен дизайн – нова визуална култура

Author(s): Kalina Hristova / Language(s): Bulgarian Issue: 3/2014

Wall Art and the Presence of Absence

Author(s): Jasmin Habib / Language(s): English Issue: 1/2018

This photoessay takes the reader on a walking tour through Wadi Nisnas, Haifa, Israel, where art appears on walls and where walls become art. Using de Certeau, Jasmin Habib reflects on the way that these pieces represent the political and cultural histories of Palestinian displacement, a politics of belonging as well as their return. The artists’ imaginary of coexistence is set in stark contrast to the nativism that marks the world outside of these walls.

TÜRK HALK GİYİMİNDE KULLANILAN SÜSLEMELERE TİPOLOJİK BİR YAKLAŞIM

Author(s): Fatma Koç,Emine Koca / Language(s): Turkish Issue: 19/2016

Turkish folk costumes also vary with adornment and brode technique alongside fabric, pattern, mold, assembly, and laminating. Turkish folk costumes which comprise of a lot of different piece with plenty of fabric and ornament features consist of jewelries and ornaments, which wear to head, body and foot. Clothes, used in traditional life, shaped and changed with people’s lifestyle and philosophy, traditions with social and geographical feature of region. When the design elements and ornament features were also on the agenda, alongside the functional features of clothes, these clothes used as a communication tool. While Turkish people creating their clothes, they generally gave importance to ornament features than pattern features. As in other branches in traditional arts, ornaments in folk clothes generally were shaped in accordance with emotions, such as; sexuality, fertility, evil eye, hope, longing, fear, love, and beliefs. Therefore, ornaments increase cultural value of clothes. The layering feature of clothing, which is consisted of simple cut costumes that dressed two or four times in a row, is also constituted the ornament forms of the clothes. In Turkish folk clothing and dressing, besides artistic and esthetics values, ornaments have an important role for meanings and the messages. In this work, which is analyzed with typological approach, the real examples of Turkish folk clothes, extended from 19th century to today, was classified into six groups by examining photographs, the features of ornaments and application techniques. This typological classification was explained by giving examples.

Marek Piasecki

Author(s): Author Not Specified / Language(s): Polish Issue: 670/2017

Zajmował się fotografią, grafiką oraz rzeźbą. Tworzył instalacje i asamblaże. Jego twórczość sytuuje się na pograniczu różnych technik i nurtów artystycznych, odnaleźć w niej można związki z przedwojennym surrealizmem i neodadaizmem lat 60. Przez wiele lat dokumentował działalność Teatru na Tarczyńskiej oraz Teatru Osobnego Mirona Białoszewskiego. W latach 50. i 60. związany był ze środowiskami artystycznymi Warszawy i Krakowa, uczestniczył w najważniejszych prezentacjach polskiej sztuki współczesnej. Od 1957 roku należał do II Grupy Krakowskiej.

Galerija Mostarskog proljeća – Dana Matice hrvatske 1999. – 2018.

Author(s): / Language(s): Croatian Issue: 100/2018

"Gallery of Mostarsko proljeće – Dani Matice hrvatske 1999. – 2018."

Художници номади – по света и у нас

Author(s): Nia Tabakova,Mila Stareyshinska-Angelova / Language(s): Bulgarian Issue: 15/2017

The exhibition So Close, So Far is an annual event representing the art of contemporary Bulgarian artists, who live and work abroad. By using examples of their works, which were displayed in the exhibition during a five-year time period, this article aims at highlighting the artistic oeuvre of a specific group of Bulgarian artists, who have chosen to develop their artistic careers beyond the borders of their home country. These are authors that by showing their works back in their homeland draw parallels between global and local and thus provide a platform for intercultural dialogue. In its essence the exhibition presents a panoramic view of the current artistic tendencies in the contemporary art world on a global scale as seen through the prism of the Bulgarian artistic Diaspora. The main themes that reappear in the exhibition – the multilayered notions of detachment and home – will be discussed in relation to the rising movement of the “global nomad“ as a product of the processes of globalization. Through detaching themselves from their local environment and subse¬quently returning to their home with a new and enriched personal and artistic perception of the world, these nomadic artists alter the established status quo, give reasons for the formation of new movements in contemporary Bulgarian art, and disturb the fixed norms of the local cultural identity. They take part in the creation of new artistic communities and spaces, serving as building blocks of our contemporary society.

PRZYCZYNEK DO DZIEJÓW WŁADYSŁAWY SPIŻEWSKIEJ, WYEMANCYPOWANEJ PIONIERKI BYDGOSKIEJ FOTOGRAFII ZAWODOWEJ

Author(s): Katarzyna Gębarowska / Language(s): Polish Issue: 4/2017

In partitioned Poland, as in Western Europe and America, women were involved in photography soon after its invention, although their number in the 19th century was small. At the turn of the twentieth century, women worked mainly in family-owned photographic businesses and only a few established their own studios. Władysława Spiżewska was one such exception. Spiżewska was the first Polish woman who opened her own photographic studio in 1917/1918 in Bydgoszcz, then known to be part of Prussia. The main focus of this article is to tell the story of this heroic woman, whose history and achievements have been utterly forgotten. Even though photography was an emancipated medium, women were seldom chronicled in the traditional canon of art history written by men. This study results from extensive research conducted by the author on Bydgoszcz female photographers before the Second World War. The article presents a brief history of the Margraf family, from which Spiżewska originated. It also describes the peculiarity of the Bydgoszcz market of photographic services during the turbulent years of gaining independence in the 1920s, as well as photographic techniques popular at that time. The author of the article takes the reader through the life of Władysława Spiżewska – from birth, two marriages (including one with her student twenty years her junior), the difficulties related to the running of the studio, through to the closing of her business in Bydgoszcz and emigrating to South America.

Cultural Assets Law, Reproductive Photography, Street Photography: The Eleventh Heidelberg Days of Art Law (XI. Heidelberger Kunstrechtstage: “Kulturgüterrecht, Reproduktionsfotografie, Streetphotography”) Heidelberg, 20-21 October 2017

Author(s): Krzysztof Grzegorczyk / Language(s): English Issue: 2/2017

Every autumn the Institute of Art and Law (Institut für Kunst und Recht) in Heidelberg organizes an international conference concerning the current topics in the area of legal aspects of art. As with every year, the gathering together of some of the most prominent German-speaking scholars specializing in matters related to the law and art attracted over 100 people who deal with these issues on a daily basis – either academically or practically. This year the conference covered a variety of topics connected mainly with the range of the ownership of cultural assets and its limits, especially with respect to those related to photography.

Żywienie urazy. Wielka Wojna, fotografia traumatyczna i efekt traumy

Author(s): Wojciech Szymański / Language(s): Polish Issue: 4/2018

Szymański analyses the photographic representation of trauma in two German photobooks dedicated to the visual traces of the Great War: Ernst Friedrich’s anti-war volume Krieg dem Kriege (1924) and George Soldan’s pro-war Der Weltkrieg im Bild (1926). Having discussed the two books in the context of theory and history of photography (Roland Barthes, Patrizia Di Bello, Georges Didi-Huberman, Susan Sontag), Szymański shows how the medium of photography was used in the period after WWI to produce the effect of trauma.

Život kakav nije, jest

Author(s): Ljiljana Filipović / Language(s): Croatian Issue: 1-2/2018

... Ozbiljno je zurio u ptice u kavezu, mrmljajući nešto sam za sebe. Naposljetku je, poslije dugotrajnog samoispitivanja, izabrao najjaču pticu, zavezao je za zapešće i pripremio smrdljive boje različitih tonova koje je smiješao od mnogih različitih sastojaka. Kad je bio zadovoljan bojom, Lech je počeo okretati pticu i bojiti joj krila, glavu i prsa u svim duginim bojama, sve dok nije postala šarenija i živopisnija od stručka poljskog cvijeća. A onda smo krenuli duboko u šumu... Kad se nad našim glavama prikupio dovoljan broj ptica, Lech mi dade znak da zarobljenicu oslobodim. Vinula se u zrak, sretna i slobodna, kao krpica duge na zaslonu oblaka, a onda zaroni u jato koje ju je očekivalo. Ptice su na trenutak ostale zbunjene. Obojena je ptica kružila s jednog kraja jata na drugi, uzalud pokušavajući uvjeriti svoje srodnike da je jedna od njihovih. Ali one su, zbunjene njezinim sjajnim bojama, neuvjerene, lepršale oko nje. I dok je obojena ptica gorljivo pokušavala ući u redove jata, ono ju je tjeralo sve dalje i dalje. Nedugo zatim vidjeli smo kako se ptice jedna za drugom sunovraćaju u žestoki napad. I ubrzo je višebojni oblik izgubio svoje mjesto na nebu i pao na zemlju. Kad smo napokon pronašli obojenu pticu, bila je obično mrtva.

Jak nie należy pisać prac naukowych i ich wartościować, czyli o nieudanej książce na temat sztuki nowożytnej na Lubelszczyźnie

Author(s): Marcin Fabiański / Language(s): Polish Issue: 14/2014

Könczei Csilla - Ilonka néni

Author(s): Csilla Könczei,Ileana Lăcătuș / Language(s): Hungarian Issue: 4/2018

Found Images: A multiplication of aunt Ilonka’s dream theatre: the photographs of this Gypsy woman were shot during the preparations for Csilla Könczei’s and Radu Afrim’s theatrical and filmic production. The images are surrounded by Csilla Könczei’s commentaries as well as by aunt Ilonka’s recollection and her dream​.

A Photomontage of Memory: The Role of the Visual in Angharad Price’s “The Life of Rebecca Jones”

Author(s): Aleksander Bednarski / Language(s): English Issue: 11/2018

The article examines the visual aspect of the novel The Life of Rebecca Jones by the contemporary Welsh writer Angharad Price. The book is an imaginary autobiography of the eponymous Rebecca Jones, Price’s distant relative, who died of diphtheria in 1916, aged 11. Apart from Rebecca’s family photographs reproduced in the text, ekphrastic descriptions of a photograph, a painting (by a blind artist) and the video recording of a television programme, the novel problematizes the dichotomy between seeing and blindness. The aim of this essay is to demonstrate how these elements in Price’s novel contribute to the production of meaning by generating tension between two different modes of discourse: verbal and visual. Price’s novel is read as an ‘imagetext’ which, by adopting photographic/visual features, creates an illusion of ‘photographic’ verisimilitude (described as a trompe-l’œil effect). This mechanism is interpreted as the manifestation of the narrator’s struggle to assert her authority as a perceiving subject and the text itself as a site where the memory of place and family history can be preserved.