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Jozef Sedlák - A photographer of lively faith

Author(s): Jozef Sedlák / Language(s): English Issue: 1/2019

The interview focuses on opinions of the photographer, lecturer, and Assistant Professor Jozef Sedlák. Last year, on the occasion of his 60th birthday, the photographer organized a recapitulatory author exhibition. The interview discusses the photographer’s creative concepts, his approach to photography as a medium, and it also comprises the function of photography in society. One of the topics he deals with from a long-term perspective is social documentary. However, the photographer deals in parallel with staged figurative photography, later on with the conceptual pictures. Each of his documentary photographs captures an event that articulates anonymous personae connected by momentary chance and situations. The author presents his authorial philosophy and stances to work with the medium of analogue photography. The practical experience and theoretical philosophy of Jozef Sedlák reflect his opinion and ideas regarding theoretical questions, such as the sense of family tradition, allusive warnings on evaluation and societal ladder, the need for lively humanistic tradition, decoding of developing and current tendencies in art, questioning the autonomy of photography, relationship patterns of artists and theoreticians, the necessity of critical thinking development among students and the continuity of an artist’s and creator’s life. The given interview declares the author ́s strong concept of creativity and provides an evaluating perspective of an influential figure in Slovak photography. The interview focuses on the author’s less presented productions. The same as with his other outputs, they have a certain mysterious depth and timelessness. This part of his production may reveal the personality of Jozef Sedlák, as a photographer in a broader context. It will be definitely interesting to have a look together with the author beneath the surface of the medium of photography, but especially, I dare to say, beneath the surface and thus into the depth of the author ́s intentions as a photographer, educationalist and last but not least a truly faithful person.

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CORIOLAN PETRANU – REFERENT AL COMISIEI MONUMENTELOR ISTORICE ȘI EXPERTIZELE SALE ARTISTICE DIN ROMÂNIA INTERBELICĂ. SCRISORI RISIPITE

Author(s): Nicolae Sabău / Language(s): Romanian Issue: 1/2018

Coriolan Petranu – Referee of the Historical Monuments Commission and His Expert Art Reports Written in Romania during the Interwar Period. Scattered Letters. The present study is a welcome and useful completion of the chapter published by the author in the volume entitled Istoria Artei la Universitatea din Cluj [Art History at the University in Cluj] (Nicolae Sabău, Corina Simion, Vlad Țoca. Coordinator Nicolae Sabău). The article focuses on previously unpublished letters on the topic. The teaching activity of Professor Coriolan Petranu, founder of the Art History Department at the University in Cluj, was beneficially completed after 1920 by his contributions in the field of historical monuments protection in Inter-War Romania and his expert reports in the field of fine arts and of the restructuring of the museums in Transylvania according to the modern principles of European museums. Among his numerous expert reports, the documents/letters under analysis record his observations, actual art historical studies, on projects related to town planning, architecture, public monuments, street furniture and technical works, urban systematization plans etc. (the building sites, liturgical furniture and wall paintings of the Orthodox church in Târgu Mureș and of the Orthodox cathedral in Cluj, the fresco of the festive hall of the Academic College in Cluj painted by master Costin Petrescu, 1938-39), the analysis of certain folk art objects from museums and collections in Transylvania, public and institutional monuments (Avram Iancu’s statue in Cluj, the Union Monument in Arad, Pârvan’s bust from the University in Cluj etc.), expert reports on Romanian vernacular monuments, wooden churches (Poiana, Tălgi, Honțișor, Bocșa Română, Roșiori etc.) and masonry churches (Criscior), his correspondence with artists of the Inter-War Period and the exhibitions he organized (Catul Bogdan, Emil Cornea, Atanase Damian, Aurel Ciupe, Aurel Papp etc., the exhibition Collegium Artisticum Transylvanicorum, Cluj, 1921), his expert reports on works of painting, sculpture, graphic arts and European bookmaking. The correspondence of the art historian from Cluj with intellectuals, professors, art historians, museum directors and library directors of upper and general education institutions from Great Romania, from Bessarabia and Bucovina, was impressive (Petre Constantinescu, Oreste Tafrali, Vasile Ciurea, Al. P. Arbore). He also made generous donations of books and photographic materials to these institutions.

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Képhálók

Author(s): Erika Fám / Language(s): Hungarian Issue: 4/2019

The pictures are frequently living in networks. Pictures like to stand by other pictures. In the following study I analyze how the picture-network is realised, which are the connections between the network science (Barabási Albert-László) and the visual studies, how the Gilles Deleuze terms like re-, de-, territorialisation and Rhizom can be reinterpreted in this context and how the picture-hubs are formed.

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Черно-белые воспоминания о Старой Сербии: К информативной ценности архивных фотографий начала XX века

Author(s): Alena Alekseevna Mikhaylova / Language(s): Russian Issue: 1 (27)/2020

The article presents itself the way of looking for a strategy which would allow to actualize, analyze and interpret archival photographs. In a focus there are images of medieval temple architecture from the territory on which the civilizations of East and West are converged. As the main source a collection of photographs from the Kosovo and Bitola vilayets of the Ottoman Empire is taken. It was acquired in 1914 by the famous linguist E. A. Volter (1856–1941) in Skopje for the Department of Ethnography of the Russian Museum of His Imperial Majesty Alexander III. Comparing images with each other and with other similar photographic artifacts of the early 20th century the author noted their common subject referred to the heritage of the Serbian dynasty Nemanichi ruled in the 14th century. The photographs thus visualize the phenomenon of Old Serbia, defined as a folklore-ideological construct which has become a part of the national program of the Kingdom of Serbia in the 19th century. Using the example of three photographic scenes, the historical fate of this heritage, its phenomenology and semantics are traced, as well as its role and significance for the modern Serbian society is revealed. Based on this, the conclusion about the deep connection between the temple heritage and the national myth, Serbian identity and its representation is drawn. The problem of interethnic contradictions is touched upon. Interpretation of photographs is carried out by their correlation with folklore and narrative sources within the framework of an integrated approach. The results of the analysis allow to conclude that the materials of the collection significantly contribute to the comprehension of a number of historical and ethnological issues, including global problems of our time, such as the problem of preserving the world cultural heritage.

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Photographic image as a communicative resource in contemporary Russian drama

Author(s): Natalia Maliutina / Language(s): English Issue: 34/2020

The article analyses photographic discourse in contemporary Russian dramatic texts as a specific way of perceiving and constructing the reality, as a means of communication, and as a metalanguage. The conceptualization of photographic images in the dramatic text enabled the scrutiny of specific artistic ploys and photographic techniques applied. The article reveals the nature of correlation between the visual perception of a photograph incorporated in the dramatic text, the characters’ utterances and the author’s remarks. The photographic image fosters the rejection or the “appropriation” (recognition in oneself) of the Other by the characters. It also allows for the implementation of the communicative mechanisms used to create the hyperreality of the photo universum. The performative potential of the photographic discourse of the dramatic text materializes itself in such a hyperreality.

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Photographs as “Cultural Property” under Italian and European Union Law: A Complex Picture

Author(s): Eliana Romanelli / Language(s): English Issue: 2/2019

Photography has only recently come to be considered, besides being a creative work protected under copyright law, also as a possible element of “cultural heritage”. Even in Italy, with its traditionally pervasive regulation of cultural property, while the issue was raised in the 1970s it only entered the legal framework on cultural heritage in the 1990s. During the same period, photographs began to be considered as “cultural goods” under the European legal framework, albeit with mixed attitudes. This article provides a summary of this legal evolution, including an analysis of possible effects of the 2017 reform of Italian cultural property export law on this specific area, and discussing the impact of current regulation on the photography market.

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Teaching Photography via Photography

Author(s): Ben McDonnell / Language(s): English Issue: 3/2020

This reflective paper draws on an evaluation of current online pedagogy but also the authors practice as an artist that revolves around forming a relationship between image and sound. As such ‘Listening’ and ‘Looking’ are used as a broad structure for six short essays that draw on experiences of moving to online delivery to consider the virtual classroom as an amorphous, fluid space that can be both problematic but also present opportunities for innovative teaching and learning. In addition to the six reflective essays; Latency, Volume, Spaces to Speak, Lebenswelt, Screenshare and The Thingness of Making, The Thingness of Teaching the article draws on an anonymous survey of second and third (final) year undergraduate students and an online conversation group initiated with colleagues that teach at undergraduate and post graduate level at both Manchester School of Art and the Royal College of Art. Rather than propose a definite set of conclusions the article suggests that the online platform is inherently a visual one, but using listening as a way of understanding it could open up the possibility of creating a teaching space that is concurrently difficult to grasp but potentially easily accessible and less hierarchical.

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Photographic Portrait in the 19th Century – Uses and Functions in the Construction of Celebrities. The Case of Émile Zola

Author(s): Célia Vieira,Inês Santos / Language(s): English Issue: 2/2020

The main goal of this study is to establish a relationship between the use of the portrait and the concept of celebrity, at the end of the 19th century, taking as a corpus of analysis a set of requests for photographs sent by letter to Zola, from correspondents located in different parts of the world. It is intended, through a qualitative analysis of this collection, to identify the functionalities and contexts within this set of correspondents requested in these images, in order to understand the role that photography has taken in the symbolic construction process of this figure as a celebrity.

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Неизвестна фотография от църквата „Св. Георги Мали“ в Несебър

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Неизвестна фотография от църквата „Св. Георги Мали“ в Несебър

Author(s): Ivan Vanev / Language(s): English,Bulgarian Issue: 1/2019

The present study is dedicated to a hitherto unpublished photo from the Mavrodinov family archives, which is part of the mural programme of an unknown church. The upper end of the plate featured an inscription ‘St Spiridion’ on the emulsion. There are three pencil inscriptions on the reverse of the photo: „St Spiridon“?“, „Where?“, „Melnik?“ However, in the course of the present study, it emerged that the photo in question corresponds to the information left by André Grabar and Asen Vasiliev about the St George the Lesser church in Nessebar. It is a small, single-aisled structure with one apse and a prothesis and diakonikon niche at the eastern wall. On the basis of the hitherto known photos, the preserved murals and the published plan, researchers conditionally date the construction of the church in the Ottoman period. The research of Ivanka Gergova, Emanuel Moutafov and Georgi Gerov date the murals in the very beginning of the 17th century. Most of the murals were detached in 1946 and today are part of the funds of the National Institute of Archaeology and Museum of the Bulgarian Academy of Sciences. The church was demolished the same year. We owe most of the information about the mural paintings’ distribution in the church to the research of André Grabar, who visited Nessebar in 1920, and to Asen Vasiliev, who studied St George the Lesser in 1946. However, their information does not overlap completely. The photo is even more valuable because today we know of only small fragments of the murals in the altar that have been preserved. One discerns from the photo that the upper register on the north wall in the altar ended with the scene of Pentecost. The Vision of St Peter of Alexandria is below. The scene „Manifestation of Christ before the Myrrh-bearing women“ was depicted on the east wall, above the prothesis niche. According to the photo, Christ in the Tomb was represented in the prothesis niche. Between that niche and the apse St Archdeacon Stephen was featured.

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Historia środowiskowa Holokaustu. (Oksiążce Jacka Małczyńskiego Krajobrazy Zagłady. Perspektywa historii środowiskowej)

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Historia środowiskowa Holokaustu. (Oksiążce Jacka Małczyńskiego Krajobrazy Zagłady. Perspektywa historii środowiskowej)

Author(s): Marta Tomczok / Language(s): Polish Issue: 1/2020

Review: Jacek Małczyński, Krajobrazy Zagłady: Perspektywa historii środowiskowej [Landscapes of the Holocaust: The Perspective of Environmental History], Wydawnictwo Instytutu Badań Literackich PAN, Warsaw 2018. In her review Tomczok highlights the innovative nature of Jacek Małczyński’s monograph, the implementation of environmental concepts and theories from cultural studies in the Polish context, and especially the material that he presents to portray the Holocaust from different perspectives. One key strength of his book is the refreshing take on the remains of extermination camps and works of art that refer to them, especially art that has an ecological dimension. Małczyński also reflects on the meaning of disanthropisation (dehumanising) the history of the Holocaust and the consequences that result from it. The book allows us to sense that the author does not only write but he conducts interviews, goes on walks, takes photographs, analyses works of art, runs an archive, and thus – working on a variety of material, he uses methods from different academic disciplines. Still, the symbolical dimension of genocide and ecocide that emerges from his project does not forcibly impose ideological conclusions. It remains an invitation to engage in a participative project that is assumed to be work in progress.

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Opór pamięci i fotografie kultury historycznej. Nekropolie Armii Czerwonej

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Opór pamięci i fotografie kultury historycznej. Nekropolie Armii Czerwonej

Author(s): Patrycja Cembrzyńska / Language(s): Polish Issue: 4/2020

Polish laws prohibiting the promotion of communism (Dz. U. Journal of Laws 2016 no. 744, as well as 2017 nos 1389 and 2495) reawakened controversies on Red Army monuments and memorials on Polish territory and their belonging to the nation’s cultural heritage. To explore this troublesome heritage Cembrzyńska uses the Red Army’s military cemeteries as an example. She examines their role in communist propaganda and outlines the post-1989 debates concerning memorial sites dedicated to Soviet soldiers. She concludes by exploring Wojciech Wilczyk’s photographs of Red Army cemeteries in his series “Architektura symetryczna” [Symmetrical Architecture], focusing on architectural and sculptural elements that articulate an intention of ideological persuasion.

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KRIJIMTARIA LETRARE DHE ARTISTIKE E TË BURGOSURVE POLITIKË SHQIPTARË NË JUGOSLLAVI

Author(s): Fikrie Berisha / Language(s): Albanian Issue: 1-2/2020

The creativity of political prisoners in various fields such as: poetry, prose, painting, then correspondences, sketches, photographs, etc. in Yugoslav prisons, over time it has also acquired the value of archival records. This material documents the concern, ideal, and sacrifice of patriotic people who suffered political imprisonment because of the national ideals they held. The exposure and recording of this documentation is an important contribution to national history, as it takes on the weight of a valuable archival material for future generations and our historiography. This material is quite special, due to the circumstances and specificities in which it was created, thus it carries with it what is called the “seal of time”. A part of this archival property has already became part of the fonds of our State Archives, On the other hand, some of them have been made public through articles in various magazines and newspapers, mainly poetry and short prose, while the rest have been published as thematic books and memories from prison time, etc. These documents, together, meet the criteria of archival records and material, which should be arranged and treated as a special collection/fonds important for the national political memory. Recording, collection, preservation and reflection of this creativity for the public, among others, for future generations will be a very important archival material, as evidence of a time and period of our history towards the struggle for freedom.

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PREGLED FOTOGRAFA I FOTOGRAFSKIH ATELJEA NA TERITORIJI BOSNE I HERCEGOVINE KROZ FOTOGRAFSKU GRAĐU ZAOSTAVŠTINE MARICE VOJNOVIĆ U ZAVIČAJNOM MUZEJU U VISOKOM

Author(s): Habiba Efendira-Čehić,Dženana Arnautović / Language(s): Bosnian Issue: 19/2020

The photographic material from the legacy of Marica Vojnović from Visoko (1892-1982) has been part of the holdings of the Regional Museum in Visoko since 1981. The material is dated to the period from the end of the 19th century to the seventies of the 20th century. It contributes to the study of the development of photography, emphasizes the importance of photography as a medium and points to the emergence of photographic studios in Bosnia and Herzegovina. Based on the division of photographic material from the legacy of Marica Vojnović, the paper provides an insight into the names of 23 photographers and photographic studios that operated in Bosnia and Herzegovina: Sarajevo, Višegrad, Visoko, Nevesinje and Zavidovići, and whose photographs are represented in the legacy. Among them are the names of the first Sarajevo studios, but also those less known to the public, such as the names of photographers Grimberg, Seraphine Sperling, Cabinet Portrait and Visit Portrait who came to Bosnia and Herzegovina as traveling photographers after 1876. The paper draws attention to the first academic photographers on domestic soil, their participation in foreign exhibitions as pioneers in documentary, reportage, art and film photography. The photographic material from the legacy of Marica Vojnović is an inseparable part of the history of Bosnia and Herzegovina’s photographic heritage and its significance is manifold.

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Paradoxes of expert approaches to the study of cultural infrastructure: the Ukrainian case

Author(s): Svitlana Ovcharenko,Svitlana OVCHARENKO / Language(s): English Issue: 4/2020

The article reveals the imperfection of ways to use existing approaches to the study of the cultural infrastructure in Ukraine, in particular when we apply methods offered by the UN and the EU as well. The research evidences that both foreign and Ukrainian experts are taking the first steps to ascertain the condition of cultural infrastructure in Ukraine and currently there is no objective complete database. Positive characteristics of different ways of measuring the state of cultural infrastructure are proposed to unite and Ukraine should be considered as the base country for testing scientific research methods, which will facilitate the establishment of scientific cooperation in the field of cultural policy and the coordination of joint decisions for cross-border partnership. One of the additional important parameters for the study of cultural infrastructure is its relevance to the overall political plans for the development of culture in the European community.

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THE SUBVERSIVE ICON OF PREGNANCY IN OPPOSITION TO THE CULTURE OF FEAR: VISUAL PRACTICES IN A LOCAL CONTEXT

Author(s): Suzana Marjanić / Language(s): English Issue: 1/2020

This paper problematizes the subversive icon of pregnancy and offers a linear overview of its various iterations in juxtaposition to the culture of fear, starting with Vlasta Delimar, whose installation Pregnancy (Trudnoća, 1987), inscribes her in the feminist and women’s art history of the Yugoslav/Croatian context as the first domestic artist who employed photo-documentation, or photo-performance, to document her own pregnancy. She performed her pregnancy in the manner of a goddess, sexualizing it by means of the Baubo pose. Next, the paper addresses the interpretations of the subversion achieved by the pregnant belly in Sanja Iveković’s work Lady Rosa of Luxembourg (2001). The sequence is further contextualized by the distressing confessional of Martina Križanić, a younger generation artist, who visualized the subversive representation of motherhood (Changing Booths, installation, 2017) from her own perspective and without fear, in the first local exhibition about pregnancy Woman – Pregnant Woman – Mother: Green Spheres and Necropolitics (Žena – trudnica – majka: zelene sfere i nekropolitike, Vladimir Bužančić Gallery, Zagreb 2017, curated by Anita Zlomislić).

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REKLAM VE FOTOĞRAFIN TARİHİ SÜREÇ İÇERİSİNDEKİ İŞBİRLİĞİ VE ÖRNEK BİR UYGULAMA

Author(s): Cihan Aybay,Birsen Çeken / Language(s): Turkish Issue: 79/2021

The Increasing information and developing technology have caused many fields to enter a rapid change process. These changes gained momentum with the Industrial Revolution (1760-1840), in which mechanization began in almost every field, so the fields of art and design were also affected by this process. The work on photography started and gained momentum with the Industrial Revolution. The aim of this research is to reveal the collaboration process they have gone through since the day advertising and photography came together in this developing process and the importance of this process with literature scanning techniques. Work; It is important to reveal the importance of photography as a visual element for advertising and the place and importance of photography in graphic design.

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„Dusza moja czuje się tutaj jak w domu”. Poszukiwania badawcze prowadzone przez Muzeum Miejskie w Wadowicach

Author(s): Joanna Pytlowska-Bajak / Language(s): Polish Issue: 22/2019

Report from the research project carried out by the Town Museum in Wadowice in 2017-2019 as part of the „Folk and traditional culture” program with the financial support of the Ministry of Culture and National Heritage.

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The Belarus book

Author(s): Kasia Syramalot,Anastasiia Starchenko / Language(s): English Issue: 05 (48)/2021

An interview with Kasia Syramalot, author of The Belarus Book – a visual story of Belarus over the past decade. Interviewer: Anastasia Starchenko

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Чари і пекло Мароко. Українсько-мароканський діалог поколінь у польській рецепції

Author(s): Walentyna Sobol / Language(s): Ukrainian Issue: 6/2019

The author of the article, Walentyna Sobol, analyzes documentary and literary books from Morocco and two émigré writers about Morocco. These are “Spells of Morocco” – the Ukrainian forgotten author Sofia Jabłońska (1907–1971) and “Moon in Tears” – contemporary writer Morocco Ouard Saillo, born in Morocco in 1974. Ouardy Saillo’s book, decorated with photos of the Saillo family, was written in German. For the first time is published in Polish translated by Barbara Otwinowska (published in 2005 in Warsaw). In 2018, in Kiev were published 107 photographs of Sofia Jabłońska from her times of work and travel around the world, including Morocco. The goal of the article is to reveal the phenomenon of persistence and bravery of both writers, different, but sometimes very similar intertextuality . The narrative of the documents is examined using a methodological approach, especially in terms of: “intertextuality is a study of the memory of literature” (Tadeusz Sławek). Using modern research in anthropology, including the lexicon of the culture of memory “Modi memorandi”, the author of the article investigates the phenomenon of intertextuality in the narratives of Jabłońska and Saillo. This comparative study of the autobiographical works of Ukrainian and Moroccan writers in Poland not only reveals the conclusions, but also opens wide research perspectives.

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Komiks jako przykład kultury fanowskiej

Author(s): Marcelina N. Zdenkowska / Language(s): Polish Issue: 04/2019

In this article I analyze the chosen examples of fan comics. In the first part of the article I describe the history of comics, how and by whom they were created. Then I show the comic’s role as part of Transmedia Storytelling. In the second part I introduce the term fan fiction and I describe the circumstances of the creation of this specific form of fan art. Moreover I write about the most important fan fiction theories. In the last part of the article I analyze 3 selected authors of comics who publish their works on social media platform Deviant Art. Also I describe their style, inspirations and references to original works. Fan comics are a very specific phenomenon. However the many possibilities given by this art is not used by the fans. There are no experiments with a form contrary to the fan fiction literature. On the other hand the selected comics are an exception. Maybe the authors are not very innovative. But the interesting thing is that they use humor and autobiographical themes in an unusual way.

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