DOKUMENTACJA FOTOGRAFICZNA ARCHIWÓW KOŚCIELNYCH JAKO MATERIAŁ ILUSTRACYJNY SŁOWNIKA BIOGRAFICZNEGO KSIĘŻY DIECEZJI SANDOMIERSKIEJ XIX-XX WIEKU

Author(s): Piotr Tylec / Language(s): Polish Issue: 117/2021

This article discusses the use of photographic documentation of the church archives of Biographical dictionary of priests from the Diocese of Sandomierz of the 19th-20th centuries. The lexicon was published in years 2014-2019. It contains 1901 biographical notes of the Sandomierz clergy. More than half of them were supplemented with photo reproductions presenting the images of individual priests. Most of them were found during searches in the Archives of the Diocese of Sandomierz and the Library of the Theological Seminary in Sandomierz. The author analyzes individual source documents that contained photographic objects. Additionally, the method of selecting illustrations and research perspectives were presented. The article may become a guide for authors who will create similar biographical dictionaries.

Transience of All Things

Author(s): Petra Cepková / Language(s): English Issue: 1/2022

Within the horizontal level of perception of the world (the sphere of intellect) and the vertical sphere of the heart, the study is an analytical examination and questioning of the photographical medium essence across various views from areas of philosophy, theology, semiology, and visual culture. At the same time, it is, however, also a view from inside, i.e., the author’s note based on personal experience with this medium. The objective of the study is to decode seeing as an autonomous, actively performed, and purposeful activity of body and soul, but also as universally valid principles of looking; but mostly, it is an attempt on defining the essence of this particular action. Thus, what comes to the fore is the mental image that proposes various questions about desire to own the world, which is simultaneously an image of awakening within the being through photography. Within the context of human temporality, it forms an ontological basis illustrated by documentary photography with its devoted duty to see the world in the complexity of being; and the relationships arising in such way, breaking the reality, are connected to the sphere of the heart animating the work of art. Here, art as an expectation of the truth is being depicted by profane situations of searching for infinity, which talk about an apparent triumph of human spirit over the transience of all things. The study is based on the thoughts of Maurice Merleau-Ponty, Roland Barthes, and Marián Gavenda. Photography supported by the “fluidity” of modern thinking allows us to better see the signs of lost paradise; brings us from the non-being to being; is Breton’s “catalyst of human desire”. It is also about a constant - Cézanne´s expansion and overflow of objects’ boundaries in a picture, where we cannot but state that photographer’s relationship to the world is a relationship full of ambiguities but also immense closeness.

The Principles of American Photorealism: From Photographs to Paintings

Author(s): Katarína Ihringová / Language(s): English Issue: 1/2022

American photorealism was an art movement born in the late 1960s in the USA, from where it travelled to the European continent over the following decades. Drawing inspiration from pop-art iconography, it resolutely stood in opposition to abstract expressionism, conceptualism and minimalism. Its uniqueness was rooted in a new medium, which it began to employ in the creation of its paintings: photography, which in this way established new relationships with painting and brought several crucial issues for the theory of art of the period to deal with. This study focuses on two of them: the issue of the truth of the photographic medium and the reproducibility of a work of photorealism.

Workers in an ethnographic archive: On the strategies of (re-)constructing the past

Author(s): Grażyna Ewa Karpińska / Language(s): English Issue: 1/2022

The article describes a collection of 9,000 photographs with captions – entries to a worker-oriented photographic contest – and the paths by which they came from private albums through the contest and museum exhibitions, until they found a place in the ethnographic archive of the Łódź University and in a digital repository. Having left household archives, they became a part of a public heritage rooted in, and dependent on, various historical contexts. Each procedure in some way determined the fortunes of the collection and constituted a choice that imparted a certain shape and meaning to the photographs.

Szalona czy obłąkana? Świadectwa wizualne Ofelii Heleny Modrzejewskiej

Author(s): Alicja Kędziora / Language(s): Polish Issue: 3/2014

This article is devoted to the visual evidences of Ophelia, one of Shakespeare's greatest roles of the great Polish actress Helena Modjeska (1840-1909). All hitherto found iconographic materials – atelier photographs, engravings, paintings – documenting this remarkable, evolving over the years role of the actress are presented. The analysis included three major creations of Ophelia – Cracow, Warsaw, and American, documented respectively by photographers such as: Walery Rzewuski, Jan Mieczkowski, Napoleon Sarony and Benjamin Falk. Reflections were placed in the context of the contemporary debate on the place of the images in the history of theater studies.

Capturing Bolshevism: SS Photographs of Soviet POWs at Concentration Camps

Author(s): Lukas Meissel / Language(s): English Issue: 1/2022

The article examines photographs taken by SS men at the Mauthausen concentration camp. The focus is on pictures of Soviet POWs from October 1941. A negative strip serves as a case study to highlight the importance of a critical method-driven approach for interpretations of visual sources, specifically perpetrator pictures. The images are analysed according to an adapted version of Ulrike Pilarczyk’s and Ulrike Mietzner’s serial-iconographic photo analysis to differentiate between description and interpretation. The aim is to contextualise the photos and link them to ideological meanings of the pictures for those who took or commissioned them.

Творчеството на Ларс фон Триер и Томас Винтерберг – български медиен онлайн спектър

Author(s): Elitsa Mateeva / Language(s): Bulgarian Issue: 11/2022

This article aims to present how the Bulgarian online media interprets the work of Danish directors Lars von Trier and Thomas Vinterberg - creators of the 'Dogme 95' manifesto. The empirical basis is Bulgarian online spaces, whichreflect the biographies of the directors, the essence of 'Dogme 95', analyze theirfilms or describe their performances related to participation in international film festivals, receiving nominations and awards for certain cinematic works.

Медузата като муза (за „Живописта като непрекъснат сценарий“. Изложба на Богдан Александров в НХГ)

Author(s): Ventsislav Dimov / Language(s): Bulgarian Issue: 11/2022

Review of Bogdan Alexandrov's latest exhibition at the National Art Gallery, Sofia, called ‚Painting as a Continuous Script‘ (April-June 2022). Painter and conceptualist, artist and researcher, Bogdan Alexandrov presents his latest oil paintings, painted in 2022, in the series ‚Painting as a Continuous Script (Protocols for an Idea)‘. The exhibition, according to curator Diana Draganova-Shtir, includes some of Alexandrov's most significant works and highlights his place in contemporary Bulgarian art. Part of it has an anthological nature - earlier works from the period 2010-2021 are also included (the cycles Purgatorium, Palimpsest, Pareidolia – Staged portraits, Vertigo: Portraits without diagnosis, Continuous Writing, etc.), subordinated to the artist's main concept - research into the liminal human condition through his own method, which the artist calls ‚visual noise‘.

Kolekcije fotografija, dopisnih karti i razglednica iz Fototeke Zavičajnog muzeja Visoko - Prilog proučavanju porodice Vojnović iz Visokog

Author(s): Habiba Efendira-Čehić,Dženana Arnautović / Language(s): Bosnian Issue: 2/2022

Marica Vojnović's legacy has been part of the rich holdings of the Regional Museum in Visoko since 1981. The most valuable part is the photographic material held in two different collections of the muse um: Collection of the photographic material (artwork] from the legacy of M. Vojnović and Collection of the photographic material recorded before the World War II. The Collection of museum photographs and postacards has a value of an anthropological document. Their visual context - photography - reveals a wealth of information on a metaphorical and objective level. The nature of photography is dual because photography itself dwells on the border of subjective and objective perception, i.e. between an artistic and photo-documentary record with characteristics of cultural and historic value. The connection between a family photo and a postcard is that they both act in their own way, in service of both individual and society as a whole. This photographic material represents a family photo album created by exchange of photographies and correspondence between members of the family Vojnović, their relatives and friends from the late 19th to the 1970's of 20th century. The photographic material from M. Vojnović's legacy is valuable as a record the life, culture and customs of one of the Visoko's Orthodox families from the late 19th and early 20th century. By analyzing the photographic material, using historical sources and talking to people who had been in contact with the family Vojnović we were able to produce a remake this story. M. Vojnović (1892-1982] was born in Lika, Croatia. Her uncle, Petar Vojnović (1858 -1930], was a member of the Austro-Hungarian gendarmerie in Visoko, what was the main reason why the family decided to move to Bosnia and Herzegovina in the late 19th or early 20th century. He was married to Ana (-1921 ]. The cousin Milka (-1917 ] also arrived with them. Their immediate family members were the married couple Danilo (1887 -1960] and Natalija (1895 -1979 ] Vojnović who lived in Sarajevo with their children Vojo and Rajka. While she lived in Visoko, M. Vojnović was a member of the Serbian Choral Society "Milutinović" as one of the lead five vocalist of the group and also a member of one of the Visoko's drama groups. It is in evitable to mention that she even sang for the Emperor Francis Joseph I of Austria during his visit to Visoko in 1910. She died in 1982 in the former Retirement Home in Nedžarići, Sarajevo. Unfortunately, to this day we have no information about where M. Vojnović was buried. By describing, analyzing and looking at these photographs we were able to portrey a small part of the M. Vojnović's world. It is a world in which we explore history art, culture, customs, family tree, different family, friendly and business relations, friendly and family gatherings. This is exactly what reveals the power of photography. By preserving the photographic material we also treasure the memories of M. Vojnović.

Opowiedzieć o katastrofie. Twórcy wobec wojny

Author(s): Piotr Kosiewski / Language(s): Polish Issue: 688/2022

Ukraińskie artystki i artyści bardzo wiele powiedzieli o wojnie rozpoczętej przez Rosję w 2014 r. Ich prace zapowiadały nieuchronną katastrofę. Ich dzieła były silnie obecne nie tylko w ukraińskim, ale też międzynarodowym obiegu artystycznym. Dlaczego widziano te prace, lecz w rzeczywistości ich nie zobaczono?

„Zbadane, ujawnione i wyjaśnione”: o metodzie śledczej w badaniach fotografii Holokaustu

Author(s): Roma Sendyka / Language(s): Polish Issue: 17/2021

Review of: Roma Sendyka - Wendy Lower, The Ravine: A Family, a Photograph, a Holocaust Massacre Revealed, London: Head of Zeus, 2021, 256 s.

Kapitalizam i depresija, razgovor: Finkielkraut, Houellebecq, Sloterdijk i Weibel

Author(s): / Language(s): Croatian Issue: 07+08/2003

Načinimo čovjeka, (Knjiga postanka 1.26), Načinimo čovjeka, Konstrukcija humanoga, Razgovori o čovjeku novoga doba. Prvi razgovor: Alain Finkielkraut, Michel Houellebecq, Peter Sloterdijk i Peter Weibel

Kronika kulturnih događanja u Mostaru, travanj - kolovoz 2022.

Author(s): Mira Pehar / Language(s): Croatian Issue: 125-126/2022

4. 4. U Kosači održan koncert Vlatka Stefanovskog i skupine Trio V3, a publika je uživala u kombinacijama instrumentalnog rocka, etnojazza, bluesa i jazz fusiona, koji su stvorili zanimljive i prelijepe zvučne pejzaže. Vlatko Stefanovski jedan je od najznačajnijih jazzrock gitarista ovog dijela Europe, a svjetski je poznat po svojim izvedbama na gitarama.

Fotografie

Author(s): Wojciech Parfianowicz,Karolina Pawłowska,Katarzyna Matejek / Language(s): Polish Issue: 10/2022

Journeys to Parallel Worlds

Author(s): Robo Kočan / Language(s): English Issue: 2/2022

The portfolio of the visual artist and photographer Robo Kočan, who is based in Poprad, Slovakia, presents a selection of his artwork. He belongs to the prominent representatives of the second new wave of Slovak photographers, who in the 1990s intervened strongly not only in the Slovak but also in the Central European art space, especially through their multimedia approach to photography and new techniques in staged photography. His body of work is focused on mixed-media (issues of identity, family history and racial unity) and staged photography (luminography, scenography, additional painting into the image). Topics of night, fairy-tale fantasies, pre-staged compositions, large scale images and limited editions of prints brought this artist international recognition with many opportunities for artists-in-residence and other creative programs. In his work Robo Kočan combines a variety of aesthetic approaches in a rare ratio; the systematic method with an unceasing need to discover the novel, technical excellence with poetry, and an entertaining playfulness in combination with dark journeys into our unconscious. His photographic series reflect both his need and ability to employ reality as a backdrop for the creation of his fantasies. Through his art Kočan doesn’t aim to escape from reality but to broaden the perception and deepen the awareness of elements hidden beneath the surface of everyday life. His artistic work is characterised by a systematic review of photography as a medium and an exploration of the possibilities of its extension. Robo Kočan has the ability to “see the anticipated”. The anticipated and wanted, buried deeply in the subconsciousness, which transports us through the “lines of light”" of his photographs by means of an inconsiderate – ironic, but also poetic, to a childish playful view of the world. Robo Kočan connects parallel worlds. He balances the noise of the city with the silence of nature, he casts doubt on reality through fiction, and draws light into darkness. He often travels, travelling around for meditation and the diversity of other countries and cultures, in order to add perceptions and emotions into his photographic images. For him, photography has never been an authoritative documentary tool, but a storyteller, a medium that can reveal the imperceptible layers of everyday life, his reality, which, for a moment, can also be ours.

Ten Years of Flowing Reality

Author(s): Monika Stacho / Language(s): English Issue: 2/2022

Podnoszenie miasta z ruin (zestaw fotografii centrum Nysy z lat 40. i 50. XX w.). Krytyczne opracowanie materiału ikonograficznego. Część druga (Odbudowa, rozbiórka i nowa zabudowa)

Author(s): Ewa Dawidejt-Drobek / Language(s): Polish Issue: 4/2019

In this study (parts I and II), 81 photographs, mainly from the collections of Poviat (district) Museum in Nysa (68 pictures) and St. Jacob’s parish in Nysa (12 pictures), are published and critically analyzed. The photographs depict the state of buildings in the city center of Nysa from May 1945, when Polish state administration took over the town, until the turn of 1950s and 1960s, when – despite opposition from the Historic Preservation Officer’s Office – a conception of reconstruction of the historical city center in a “modern”way was implemented. The photographs are presented in two parts: I. Survived in the midst of ruins and rubble (34 pictures); II. Reconstruction, demolition and new buildings (47 pictures). During several decades after the war, the destruction of the historical buildings in the city center of Nysa was described en bloc as “war damage”. Such narration was strengthened by captions under illustrations in publications from the period of Polish People’s Republic (PRL). A critical analysis of photographs from 1940s and 1950s sheds a new light on this issue. Referring to documents of different types and urbanistic and architectural context of the time allowed for establishing exact location where and date when each photograph was taken. On that basis, the author formulates a conclusion that in a landscape mutilated by war, actions both resulting in further destruction as well asaimed at preserving or rebuilding damaged buildings took place; however, the decision on demolition or reconstruction of individual objects was based not only on the state of their preservation.

Podnoszenie miasta z ruin (zestaw fotografii centrum Nysy z lat 40. i 50. XX w.). Krytyczne opracowanie materiału ikonograficznego. Wprowadzenie i część pierwsza (Ocalałe wśród ruin i zgliszcz)

Author(s): Ewa Dawidejt-Drobek / Language(s): Polish Issue: 3/2019

In this study (parts I and II), 81 photographs, mainly from the collections of Poviat (district) Museum in Nysa (68 pictures) and St. Jacob’s parish in Nysa (12 pictures), are published and critically analyzed. The photographs depict the state of buildings in the city center of Nysa from May 1945, when Polish state administration took over the town, until the turn of 1950s and 1960s, when – despite opposition from the Historic Preservation Officer’s Office – a conception of reconstruction of the historical city center in a “modern” way was implemented. The photographs are presented in two parts: I. Survived in the midst of ruins and rubble (34 pictures); II. Reconstruction, demolition and new buildings (47 pictures). During several decades after the war, the destruction of the historical buildings in the city center of Nysa was described en bloc as “war damage”. Such narration was strengthened by captions under illustrations in publications from the period of Polish People’s Republic (PRL). A critical analysis of photographs from 1940s and 1950s sheds a new light on this issue. Referring to documents of different types and urbanistic and architectural context of the time allowed for establishing exact location where and date when each photograph was taken. On that basis, the author formulates a conclusion that in a landscape mutilated by war, actions both resulting in further destruction as well as aimed at preserving or rebuilding damaged buildings took place; however, the decision on demolition or reconstruction of individual objects was based not only on the state of their preservation.

O historii nyskich fotografów zawodowych od 1839 do 1939 r. W związku z publikacją: Zygmunt Wielowiejski, Historia fotografii w Nysie w latach 1839–1939, Opole: Wydawnictwo MS, 2018, ss. 111, ill.

Author(s): Krzysztof Pawlik / Language(s): Polish Issue: 3/2019

-

Bogusław Szybkowski, Historia fotografii w Brzegu 1843–1944, Opole: Wydawnictwo MS, 2014, ss. 80, ill.

Author(s): Marcin Dziedzic / Language(s): Polish Issue: 1/2019

-