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Three-dimensional Aspect of the Town and Fortress on the Example of Zamość

Author(s): Natalia Bursiewicz / Language(s): English Issue: 4/2018

The aim of the article is to look at Zamość as a three-dimensional spatial construct, which may be compared to an architectural and sculptural work of art. Analysing the external image of the town, its form, characteristic features, and dominant height one may broaden the interpretation by adding figurative, emotive or metaphysical aspects. The text constitutes the development of the thought of Stanisław Herbst, according to which Zamość was designed as a three-dimensional shape, not as a plan. The subject matter was examined using the sources of historical cartography and iconography along with modern aerial photographs. The text also includes the review of scientific publications concerning the subject matter. The observation of the town also played a major role.

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Triunghi. Sculptură-arhitectură-agricultură. Un centru pentru arte și viață

Author(s): Andrei Tache,Alexandra Mihailciuc / Language(s): Romanian Issue: 9/2020

At the Art Farm we are building together with sculptors Marian and Victoria Zidaru, the project Triangle architecture-sculpture-agriculture, a set of houses, modular art galleries, conference rooms, workshops and concerts, in a concept of cultural and human ecology. We hope to make in the area a place for people, arts and crafts, with training experiences, increasingly necessary in the landscape of contemporary life. Keywords: Triangle: architecture-sculpture-agriculture, a new rurality, transmission and permanent learning, restoration in the broadest sense, architecture as a pretext, cultural and human ecology, art farm, rural specific, eco-economy, heritage and manual labour for all, education through arts and architecture.

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Играта и изкуството

Author(s): Marina Aleksandrova / Language(s): Bulgarian Issue: 2/2021

The article presents a short study on the theoretical, historical, philosophical, aesthetic and essential connection between play and visual art. The connections established between them are based on some fundamental trends in the field of gamification. The article gives examples of successful gamification in the field of art as well as systematized information on some functions, factors, tools and materials that teach effective gamification on the field of visual arts in the context of modernity.

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Self-presentation as a Component of Personal Identity in Cyberspace

Author(s): Norbert Vrabec,Juliána Odziomková / Language(s): English Issue: 1/2021

Personal identity in cyberspace is a complex concept based on an intuitive or deliberate communication effort that mediates the intra-personal and inter-personal contexts of one's own digital living space. The idea of self-presentation directly affects the construction of identity and immediacy in interpersonal relationships and at the same time, enables the creation and maintenance of self-concept and self-image in the online environment. This study aims to identify the extent and directions of the use of the self-presentation in the context of virtual personal communication strategy. The visual, audiovisual and textual form of online interactions with the outside world is an integral part of human discourse and social interaction. A personal reputation strategy influences the structural and content aspects of self-presentation in cyberspace. The management of individual presentation is associated with various limitations and reputational risks, which we try to clarify using methods of logical and hermeneutic analysis. This study explores Personal Reputation Management's conceptual structure, which includes a range of strategies and tools for shaping a positive self-image in cyberspace.

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Socialist Realism in the Context of Existentialism: D. Tatarka and his Novel The Birthday Cake

Author(s): Marcela Antošová / Language(s): English Issue: 1/2021

This study is a free continuation of our monograph Dominik Tatarka in the context of existentialism, the aim of which was to grasp the central work of D. Tatarka through the perspective of existentialism. Within the interpretive analyzes, however, we did not deal with the writer’s key works of the so-called socialist realism in the mentioned publication, which means the works The First and Second Strike, The Years of Companionship and The Birthday Cake, because they required a separate approach due to their specificity and their relation to the communist regime. We gradually began to compensate the mentioned deficit, the elimination of which will enable a more comprehensive grasp of the existentialism issue in the author’s work, in the form of partial studies. In them, through the view of existentialism, we deal with the works The First and Second Strike and The Years of Companionship. The presented study solves the mentioned problem in the last novel from this line, meaning in the novel The Birthday Cake, and in this direction closes the question of existentialism in Tatarka’s key works of socialist realism.

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LIETUVA, TU MUMS ŠVENTA! ANTITARYBINIS ROKAS IR PATRIOTINIS HIPHOPAS

Author(s): Austė Nakienė / Language(s): Lithuanian Issue: 32/2006

According to researchers, the Lithuanian rock of the 1970s and 1980s was a hybrid of the Western alternative culture, the Soviet proletarian culture and the Lithuanian dissidentism. Instead of turning into a part of show business as it did in the Western Europe, the Lithuanian rock-music always stayed illegal and prosecuted. Among the most bitter rock groups was Antis, which satirized the Soviet bureaucracy and the official kitschy art. The soloist of the group Algirdas Kaušpėdas was one of the leaders of the Lithuanian movement for freedom. All the power of the national independence movement gave vent in the “Singing Revolution” in 1989. The process of liberation was like a rite, which for many people turned into an unforgettable personal and historical experience. The demonstrators gathered in squares like in churches. Folk, rock and pop-songs performed at that time were regarded as sacred; and this attitude towards them did not change much until nowadays. Political demonstrations of Lithuanian people could be characterized by numerous traits typical to the religious festivals: not responding to force by violence, experiencing brotherhood and sisterhood, praying to Providence and hoping for a miracle. In the song by Algirdas Kaušpėdas Coast of Our Dreams, some biblical images could be noted: “We are a strange young armless troop stepping onto a bright surface of water. Let’s walk ahead, no hesitations, or we’ll forget the destination!” New wave of patriotic songs surged up before another important achievement in the history of Lithuania, i.e. joining the European Union in 2004. Hopes and feelings of the new members of the community were heartily expressed by the Lithuanian rappers. Lithuanian hip-hop of that time was incredibly romantic and patriotic. Listening to the famous album Concrete Tales one could hear: “Our native Vilnius, we’ve been conceived in your underground; that’s where we’ve learned to spell the word and portion it out in doses. <…>

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Remembering Mark Verlan. The artist who bridged poetry and apocalyptic jest

Author(s): Giovanna Di Mauro / Language(s): English Issue: 03 (46)/2021

Talk to anyone who met Mark Verlan and they will have a story to tell. Like that time when the famous Swiss curator, Harald Szeemann, travelled to Chișinău just to meet him and offer him the opportunity to exhibit his work in BLUT & HONIG (Blood and Honey), a retrospective hosted by the Vienna Essl Collection. During the time that Szeemann spent in Chișinău, Verlan was nowhere to be found, but 25 of his paintings (more than any artist’s present at the exhibition) made it to the retrospective. His friend and fellow artist Pavel Brăila recalls that, at the same exhibition, someone asked Verlan why he did not speak English and the artist sarcastically replied: “It was already difficult for me to learn Russian.”

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Sõpruskond, kunst ja suhted keset kulmineeruvat kriisi – kihhotism üleminekuaja Eestis 1985–1992

Author(s): Hanno Soans / Language(s): Estonian Issue: 01+02/2021

The article is based on the need to provide societal background for concrete artistic phenomena. Here I cover the coming together of a group of people, at first in the form of a circle of bohemian friends and later as an artistic group called Quixotists, and interpret the artistic actions that had direct impacts on their world view. This circle of friends which formed over about five years starting in 1985 consisted of the artist Jaan Toomik (b. 1961), his poet younger brother Tõnu Toomik (1965–1992), the poet and artist Jaan Paavle (1940–2010), the writer Tarmo Teder (b. 1958), the entrepreneur Jaan Jaanisoo (b. 1958), who was also involved in painting, performance art and installations, and the painter Vano Allsalu (b. 1967). As time went on, the role of performative arts became more important in their circle and in their collective identity. Their different attitudes towards performance art in the end also formed one of the causes of polarisation and the falling apart of the group. In the local art history, Quixotists as a group were important as modernisers and transformers of a cult of irrationality indirectly stemming from surrealism. Their appearances in performances turned out to be historical through the manifesting of personal truths, but remained relevant only for a brief period, therefore acting as a breaking point, a redefinition of reality which was previously determined by earlier conventions typical of the Soviet environment.

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The ontology of resistance between power and knowledge

Author(s): Hanan Muneer Al Sheikh / Language(s): English Issue: 1/2021

The ontology of human resistance accentuates its existence through several expressive means with the most important being Art; as art transforms the question of resistance into a self-practice that starts with the artists and transfers between the inside and the outside in a continuous, creative and effective mutual relationship in order to emphasise the battle of existence conflict, ideology and Epistemology within the general framework of power. This philosophic analysis is based on the hypotheses of having a multilateral factor that continues with the past legacy on the one hand and interprets the present while overpassing it on the other, in order to create a state of creativity that represents the intellectual, emotional, cognitive and historical inventory, while posing a situation of continuous wondering among individuals and groups. This artistic state unifies the indicators of symbolisations and makes resistance represented in a contemporary visual discourse that rejects dominance, accentuates the identity and transforms the theoretical intellectual question into a practiced anthological act that is featured of permanent activity as a perpetual act towards liberation and reproducing self-existence.

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FEMİNİST SANAT BAĞLAMINDA FRİDA KAHLO

Author(s): Sema Öcal / Language(s): Turkish Issue: 70/2020

Mexican artist Magdalena Carmen Frida Kahlo y Calderón, or known as Frida Kahlo (1907-1954), is an important artist who produces works on identity, gender, class and race issues. It was defined as Marxist, Nationalist, Feminist. However, these are words that describe not only political beliefs, but also Frida Kahlo's works of art. Although there is no exact record of her birthplace, it is believed that she was born in the place known as Caza Azul (Blue House). She is known for his portraits showing the intensity of physical and emotional pain that continues throughout her short-lived life. Her physical pains started with a poliomyelitis attack that reduced the use of her right leg at the age of about six years. She also brought to the fore both physical and emotional pain in her paintings due to the serious injury she experienced in a bus accident on September 17, 1925. Through her paintings, she focuses on showing what the self is to draw attention to what is internally and physically hidden in the individual. Kahlo has covered the issue of women many times in her works. It questioned traditional gender, power, sexual identity, and the strict social traditions of women in Mexico. However, it is controversial whether the works will be evaluated within the framework of feminist art. The scope of the research will examine the extent to which Kahlo's works cover feminist art. To do this, first, a general assessment of the artist's understanding of art will be made, and then background information will be given through examples to discuss the relationship of Kahlo's works with the feminist framework.

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BİR EL SANATLARI ÜRÜNÜ OLARAK KARAGÖZ TASVİRLERİNİN YAPIMI VE HAYALİ ŞİNASİ ÇELİKKOL’UN İCRA GELENEĞİNDEKİ YERİ

Author(s): Yasemin Eken,Melda Özdemir / Language(s): Turkish Issue: 74/2020

Karagoz is a shadow play based on the fact that two-dimensional depictions made of two-dimensionally made transparent leather and based on mutual talk, are played with the help of rods and reflected on the white screen with the light given from the back. In the history of Turkish culture, karagöz is a show of art that reflects the creativity, attitude and understanding of the people, a product of folk humor and various social and political problems of the society. Shadow play karagöz is the first and only example of transformation of Turkish handicrafts into performing arts in the world. In addition, Karagöz depictions, which are closely related to the Turkish folk culture, are not only decorative depictions or paintings but also an important symbol representing the cultural humor, entertainment and literature that reflects the character of the Turkish people. The Turkish shadow game Karagöz, which is part of the 'Performing Arts' clause of the Unsolicited Convention for the Protection of Intangible Cultural Heritage, accepted by Unesco, has an important place among shadow play examples in the world. The purpose of this study is to examine and introduce the life and art of Hayali R. Şinasi Çelikkol, one of the most important masters of Karagoz, who is living today in the Turkish Shadow Game. Karagoz history will be informed about the tools used in the making of the depictions, the making of the depictions and the contributions of Hayali R. Şinasi Çelikkol to the life, art and shadow play.

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PABLO PICASSO, PETER VOULKOS VE SERGEI ISUPOV’UN SERAMİK ESERLERİNDE BEDEN VE CİNSİYET İLİŞKİSİ

Author(s): Şirin Koçak Özeskici / Language(s): Turkish Issue: 76/2020

The notions of body and gender have been one of the artistic means of expression of all societies. This is due to the body being a part of humanity’s own existence and individuality. As for gender, this is a concept that puts forth the constructs based on society and the identity of society itself. The aim of the research is to investigate why the artists in question applied the concept of body in ceramic works. To reveal the differences by giving examples of the usage of ceramic materials in traditional and contemporary terms.In the findings obtained in the study, it was determined that ceramics can have different applications, both functional and artistic. From this point of view, it is the other purpose of the research to examine and reveal how and why these two different situations are applied. In this research, the sociological investigation of the body has been carried out by including the first examples of the notions of body and gender in the Prehistoric era. The scope and limitations of the research were determined as the samples of Ancient Age ceramics and the works of Pablo Picasso, Peter Voulkos and Sergei Isupov. The reason for choosing these examples; to identify what are the changes and developments in the traditional and modern process of ceramics. Thus, it is considered that the changes and developments in ceramic as both a material and an idea will be noticed. The scope of the research carries importance as part of understanding the traditional and contemporary distinctions of body and gender concepts in ceramics. In this context, it is thought that the concepts of idea, concept, body and gender will be discussed frequently in contemporary ceramic art.

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WILLIAM KENTRIDGE’İN BASKIRESİMLERİNİN BELLEK KAVRAMI ÜZERİNDEN İNCELENMESİ

Author(s): Gökçe Aysun Kiliç / Language(s): Turkish Issue: 78/2021

This research aims to review the prints by South African artist William Kentridge created with reference to historical events resulting from the destructive impacts of colonialism and totalitarianism in terms of the concept of memory. Kentridge shows the social dynamics of the era by blending various disciplines from drawings and opera to films and printmaking together in his production process. As transforming the geography and the era in which he lived into creativity through his inherent perspective, Kentridge also offers the viewer an aspect on the recent history. In the research, it will be analyzed the distinctive interpretations that Kentridge brings to printmaking techniques, as well as his characteristic nature and the social and personal touches left by the era he lived in. In this context, many events recorded or not recorded by the history will be interpreted with an artistic perspective in the artworks that the artist created on the basis of the concept of memory.

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POİNTİLİST BAKIŞ AÇISININ TEMELLERİ VE GÜNÜMÜZ SANATINA YANSIMALARI

Author(s): Ezgi Tokdil / Language(s): Turkish Issue: 79/2021

In the research, first of all, the foundations of the understanding of pointillism as a formative understanding in the early 20th century, the reasons of the orientation, the reflections of the concept of shaping on the art of the period, the studies on color and light in the process starting with the Impressionists, the bridge between art and science through color and light (color knowledge), It is studied with examples from science (visual forms of the eye and time-space relation), psychology (gestalt theory) and philosophy (phenomenological approach). Then, by establishing a relationship between the working principle of computers and the shaping method of art, the mutual relationship between the formation of color through the combination of dots and the emergence of image and action through the combination of codes is analyzed. The bridge between art and science is evaluated within the scope of modern and postmodern art, and the working principle and aesthetic discourse of new media arts are interpreted from the Pointilist perspective. In this context, the sample of the research consists of the examples in which the Pointilist approach is used directly (using the dots to create the color) and the indirect use of the Pointilist approach (the combination of parts to form the form). As a result of, there is a continuous relationship between art, science and philosophy, the boundaries of this relationship have increased in some historical periods while examining in others, the pointillist understanding, which is a form of expression of the modernist approach, changes meaning, purpose and form and is at the basis of new media arts in today's technology age, but again It is seen that objective reality is positioned on the same basis in the subjective transformation (reflection on the work). However, when the pointillist approaches in today's art are examined, it is seen that in parallel with the development of technological possibilities, wider subjectivities have emerged, and new art fields are created in the agenda of software technical limits, as well as the creation of both color and form.

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RESİM SANATINDA SU VE BULUT TEMASINA SÜRREALİST YAKLAŞIMLAR

Author(s): Hüseyin Elmas,Kemal Macar / Language(s): Turkish Issue: 80/2021

When the connection between art society is examined in many ways, it is seen that the works produced reflect the characteristics of that period. While the destructions brought about by the first and second world wars changed many social events after the war, it also changed the existing position of art. Surrealism, which stands out with the task of questioning the human and the subconscious in the history of painting, is the formation and product of a crisis in world history after its interaction with the Dadaist movement.In the research, the expressions of the artists who used the theme of water and cloud in Western and Turkish painting art in line with surrealist understandings were discussed. These works of art, created without being caught in the bondage of the mind, bring the benefits of the iner or outer world as a result of an enviromental interaction; it is the result of a request to explain with an irrationallogic in micro and macro systems.

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ERKEN CUMHURİYET DÖNEMİ MİLLİ MUSİKİ POLİTİKALARININ TÜRKİYE’DE MÜZİK SOSYOLOJİSİ DÜŞÜNCESİNİN ORTAYA ÇIKMA SÜREÇLERİNE ETKİLERİ

Author(s): Tuncay Yildirim / Language(s): Turkish Issue: 33/2021

In this study, the Early Republican period national music policies is analyzed impacts to processes emergence the idea of sociology of music in Turkey. The aim of the research, the applied national music policies is put fort impacts processes the emergence the idea of sociology of music in Turkey. Research datas, by using the literature scanning technique and content analysis methods is put together from articles of their wrote about the national music policies between 1923-1944 of some musicologists expressing opinion in this context and sociologist of the period. In this context, the articles of Ziya Gökalp, İsmail Hakkı Baltacıoğlu, Nurettin Şazi Kösemihal, Rauf Yekta Bey, Mahmut Ragıp Gazimihal and Halil Bedii Yönetken are analyzed. As a result of the research the Republican period applied national music policies, by initiating discussions on the sociology of music among musicologists and sociologist of the period, has been seen contributed a positive on the emergence the idea of sociology of music in Turkey.

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Are Public Libraries a Commonplace? Users from Disadvantaged Groups, Their Cultural Participation Models and an Impact of Libraries

Author(s): Magdalena Paul / Language(s): English Issue: 3/2019

In the article, I presented the results of the study of the social impact of Mazovian public libraries, focusing on groups of users coming from disadvantaged backgrounds – older people, people in the worse financial situation and residents of villages and small towns. Surveys were carried out in 2017 on 1098 users of 38 Mazovian public libraries (rural and urban). Based on the data I concluded that there are some differences both in the models of public libraries’ use in the analyzed groups, as well as in the range of the benefits of contact with libraries.

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EĞİTİM AMAÇLI BİR MÜZE OLARAK IMOGA: EYLEM ARAŞTIRMASI

Author(s): Esra Yıldırım,Handan Müjde Ayan / Language(s): Turkish Issue: 47/2020

In this study, it is aimed to deal with IMOGA in the context of museums with a non-workshop learning environment in the Printmaking application of the Graphic Design course of the students of the painting department of Fine Arts High Schools. It is aimed to make learning through interdisciplinary active life by increasing students' awareness of Printmaking. The action research pattern was used in the research and the research was planned as ten weeks. The study group of the research is the students who studied in the 11th grade painting department of Rize Türk Telekom Fine Arts High School and teachers who entered the Graphic Design course in 2018-2019 academic year. In the research, 3D museum tour activity evaluation form, self-evaluation form and Graphic Design course teacher (Painting / Visual Arts) evaluation form were used. As a result of the research, it is understood that the works in Istanbul Museum of Graphic Arts can be used as educational material, virtual museum visit provides positive development for students and the results of the evaluation of the 3D museum tour activity are very good with an average of 4.30. The average is 4.27 after the self-evaluation, where the students evaluate the artistic outputs they produce based on their chosen work, and this ratio is very good. As a result of the semi-structured interviews made after the museum visit, the event seems to be beneficial. It is concluded that the students who evaluate the Graphic Design course teacher (42.85%) see them as leaders, guiding and inspiring.

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BİR SANAT HAREKETİ OLAN MİNİMALİZMDE İZLEYİCİ-ESER ETKİLEŞİMİNİN ALGISAL BOYUTLARI

Author(s): Mehmet Susuz,Ahmet Türe,Ömer Tayfur Öztürk / Language(s): Turkish Issue: 50/2020

One of the breaking points of the change that art has undergone in terms of both form and content is Minimalism. There are processes that affect the existence of every art movement. The sociocultural structure that emerged after the World Wars has had influence in the field of art, as in many other fields. The Abstract Expressionism movement that emerged in this period, aimed at rejecting the familiar structure of painting, detached objects from their real-world forms / characteristic structures and included unusual artistic forms in the process. Despite this hard-to-perceive automatism-based complex structuring put forward by the Abstract Expressionism movement in art, it is a common belief that Minimalism, which aims at plain and simple forms based on logic in painting and sculpture, is "a reaction against Abstract Expressionism". Despite the "subjective" based complex formalism that Abstract Expressionists have created with the intensity of emotion, Minimalists have revealed their understanding of art with the "objective" based forms they have created as a result of a planned effort. However, the simplicity of the forms in Minimalism should not bring to mind the idea that the intellectual dimension in the essence of the works can be easily perceived. The existence of conceptual values should be taken into consideration in the formation of minimal forms. Although minimal art is shaped with an "objective" approach, it is important to reveal the sociocultural motivations that affect the formation of the works in the essence of the audience's ability to perceive the works. Minimalism, which centers the interaction of "industry, object and art", opens a critical space for the audience, who are the receptors of art, regarding the state of art. On the basis of this criticism, beyond its plain style, Minimal art's complex conceptual (intellectual) structure can be manifested. Purpose of this research, To reveal the intellectual foundations that affect the formation of Minimal art and to touch on the perceptual dimensions of the minimal artworks and audience interaction. In this research conducted within the framework of the title of "Perceptual Dimensions of Audience-Work Interaction in Minimalism Art Movement", scanning method has been used to obtain information and documents. The obtained information and documents have been used in a way that provides integrity for the purpose of the research.

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Editorial:

Author(s): Veronika Zangl,Sruti Bala / Language(s): English Issue: 2/3/2015

This special issue of EJHR results from the proceedings of an exploratory workshop that took place in September 2013 at the Netherlands Institute for Advanced Studies (NIAS) titled “Humorous Approaches to Art and Activism in Conflict”.1 While not all contributors to the workshop are part of this issue, and not all contributors to this issue were part of the workshop, the exploratory gathering of scholars, artists, and activists served as a point of departure for an ongoing research project, the initial findings of which are presented in this volume. Interestingly, none of the contributors would strictly classify themselves as “humour researchers”, and the disciplinary divergences between the essays certainly do not end there. Yet it seemed fitting to position these varying interpretations of humour in relation to art and activism, particularly in sites of conflict, in a journal dedicated to the study of a field that already boasts of several decades of research.

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