A kultúra közjó

Author(s): Virág Buka,Kristóf Nagy / Language(s): Hungarian / Issue: 27/2020

This article focuses on the emergence of the paradigm of solidarity economy and of the commons in the field of professional cultural production. We unfold the possible mutual cooperation of cultural producers and commoning social movements by examining the case studies of the Resonate music streaming co-op and of the Dutch Stad in de Maak housing-initiative. The case of the Resonate exemplifies how cultural producers can reorganize their industry in a cooperative way to hinder capitalist value extraction. Another type of encounter takes place between culture and commons when cultural producers utilize their knowledge and skills in various solidarity economy projects. We demonstrate this possibility through the case of the Rotterdam-based Stad in the Maak, where the artist-architect founders launched a long-term community housing initiative.

A láthatatlan Rimini

Author(s): Éva Patkó / Language(s): Hungarian / Issue: 3/2017

Éva Patkó’s essay presents the latest performance by Rimini Protokoll while analysing how an audio-walk in a museum may become theatre. The theme of Top Secret International is watching, being watched and observation: it is a mobile sound play, a new form of documentary theatre, which creates a web of „invisible threads” in the halls of the museum.

A model for conceptualizing drawing as a teaching-learning activity in biology education

Author(s): Eliza Rybska / Language(s): English / Issue: 1/2016

The purpose of presented article is to propose a way of dividing a graphical activity of a student in accordance to his/her mental involvement. Presented proposition is not strictly limited to school situations. The three dimensions of drawing would include: 1) schemes – when students draws what they see, 2) drawings – where students draws what they understand, and 3) sketches – when basing on their knowledge and skills and understanding of the presented issue they can solve a biological problems, may create representations new for them as a result of creative problem solving. It seems like usually at the biological lessons the first type of drawing is used (if ever). Such situation may lead to limiting a creativity development among polish students. The additional claim of the presented article is to show and encourage everyone who is dealing with teaching to invite all three dimensions of drawing into regular practice. Especially that drawing used as a method might help and support learning progression in science education.

A MODERNIST APPROACH TO THE POSTMODERN PERIOD IN TURKISH AND WESTERN PAINTING

Author(s): Oğuz Yurttadur / Language(s): English / Issue: 16/2015

Postmodern thought allows us to continuously question modernism. Postmodernism is being prodigiously fed by all the resources of globalism and is also perceived as being in opposition to itself. Art in the present day is both a form of production, making use of the advanced technology developed in the past forty or fifty years. It includes many factions coming to terms with the perception of the universe created by modernism. This account-squaring investigates universalism, uniqueness, originality and belonging issues in modernism and establishes the micro-discourses and policies along with a pluralist perception of the world that internalize the differences between the species, which are all postponed by the center. As it did in the world at large, the postmodern approach has made it possible to re-interrogate many issues in Turkish painting, from the multidimensional use of materials to opinions, values and judgments accepted as taboos. Postmodern thought brought new and different conceptual and institutional approaches to Turkish painting and Turkish painters. Accordingly, Turkish artists began to spend more time on thought, merged rapidly with foreign art and transcended the borders of painting, place and materials in the postmodern period.

A Monument for Future Memory: The Ringelblum Archive as a Classical Archive

Author(s): Ernst van Alphen / Language(s): English / Issue: 20/2018

The author analyzes the Ringelblum archive as a counter force that challenges other historical narratives, especially the dominant ones. Ringelblum's archive is read as a model for cultural resistance, successfully creating the conditions for a productive memorialization of Polish Jewry, based on their own sources. The author faces the following questions: What is it in this archive that enables it to function as resistance? The fact that Jewish instead of German sources were collected by Ringelblum does not seem to be a guarantee. Because it is not only what is being stored in the archive that matters, but also how that archive is being organized. In other words, what is it in this archive that enables us in the present to have memories of the Holocaust past that differ, and are in that sense counter-, from the prevalent narratives about that past?

A Painter Prince in Paris: The Munkácsy Myth

Author(s): Katalin Sinkó / Language(s): English / Issue: 01/1991

Béla Lázár’s A Munkácsy-kérdés (The Munkácsy Question), published in 1936, provided a controversial overview of the literature on Munkácsy. The author expresses himself at times with a passion that indicates that he connected the problem of the proper evaluation of Munkácsy's painting with the international recognition of Hungarian art as such, and its ranking in Europe. His book is an example of a tradition which has survived in some form in Hungarian art history right up to the present; it can best be described as the teleological^ view. And despite the many monographs and studies on the subject since the publication of Lázár’s book, the Munkácsy question has remained open to this day. Most of the authors were concerned primarily with whether, or to what extent, Munkácsy had fulfilled the cluster of expectations that goes under the name of ‘national art’.

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.

A PRELIMINARY STUDY OF HARMONIZATION IN MAQAM MUSIC

Author(s): Amer Didi / Language(s): English / Issue: 1/2020

This brief study offers a cursory examination of the purely technical and theoretical aspects of a potential harmony stricto sensu, rather than an exhaustive study of the mainly twentieth-centuryefforts to elaborate a harmonic texture that might be calledMaqamal Harmony. This initial survey of the triads in the maqam, lacks any prejudicetowards‘conservatism or modernism’, or bias regarding the results found here. It is a cautious examination of what has so far been for some a taboo, for others a ‘magic potion’ to ‘evolve’ maqam music. Of the potential triads in three-quarter-tone scales, only one chord has a neutral perfect sonority, while the remaining six chords possess a degree of dissonance that renders their sonority peculiar.

A Queer Approach to the Classical Myth of Phaedra in Music

Author(s): Federica Marsico / Language(s): English / Issue: 3/2017

Three musical adaptations of the myth of Phaedra, in which the wife of King Theseus of Athens desperately falls in love with her stepson Hippolytus, were composed in the second half of the twentieth century by three homosexual composers: the dramatic cantata Phaedra for mezzosoprano and small orchestra (1976) by Benjamin Britten (1913-1976) after a text by the American poet Robert Lowell, the opera Le Racine: pianobar pour Phèdre (1980) by Sylvano Bussotti (1931-) after a libretto drafted by the composer himself and consisting of a prologue, three acts, and an intermezzo, and, last but not least, the two-act concert opera Phaedra (2007) by Hans Werner Henze (1926-2012) after a libretto by the German poet Christian Lehnert. The aim of this paper is to prove that the three homosexual composers chose a myth about an incestuous—and thus censored—love in order to represent homoerotic desire, labelled as deviant by the coeval heteronormative society and hence condemned by it. The study sheds light on the aspects of the most famous literary elaborations that affect gay sensibility, and on how the three composers experienced their homosexuality and gave utterance to it in their other works. The analysis of the three works at issue demonstrates that the discourse about gayness takes shape through the interplay of numerous aspects. The elaboration of the literary sources, the organization of the libretto, the characters’ definition, and the mise-en-scène, together with the music, put the myth into that perspective.

A Report on the 6th Symposium of the ICTM Study Group on Multipart Music 23–27 September 2019, Sarajevo, Bosnia and Herzegovina

Author(s): Ardian Ahmedaja,Jasmina Talam / Language(s): English / Issue: 2/2019

The 6th Symposium of the ictm Study Group on Multipart Music was organised in cooperation with the National Committee of Bosnia and Herzegovina in the ictm and the Academy of Music at the University of Sarajevo. The symposium was enriching in several ways. First, the responses to the symposium’s themes (“Emotion and aesthetic experience during the performance act”, “Acapella singing” as well as “New Research”) were very inspiring in terms of both the presentations and the discussions. On behalf of the Study Group Board I would like to thank all of the participants who made this possible.

A Soros Alapítvány képzőművészeti támogatásai Magyarországon: A nyolcvanas évek második felének tendenciái

Author(s): Kristóf Nagy / Language(s): Hungarian / Issue: 21/2014

The following paper examines the influence of the Soros Foundation over the internal and external relations of the Hungarian art field form 1984 to 1989. More specifically, it investigates the forms and directions of fine art subsidization and their political and ideological contexts. The activities performed by the Soros Foundation in the second half of the 1980s can be seen as part of a regime change within the artistic scene. In their struggle for cultural hegemony various actors related to the Foundation were able to strengthen their counter-hegemonic artistic practices. Opposing the late socialist artistic hegemony of the Kádár regime, this also was the period when „contemporary” art appeared in Hungary for the first time. As a result, Hungarian art had been put into context with the Western art world: new dependencies were formed, within which Hungarian and Eastern European art found itself in a peripheral position. An important consequence of this was that Eastern European artists became forced to continually demonstrate their Europeanness both internally and externally.

A study of amateur groups’ re-interpretation of traditional dances in Ghana: Role on continuity and safeguarding

Author(s): Eric Baffour Awuah / Language(s): English / Issue: 1/2015

The amateur dance category in Ghana has been a vibrant force in the performance of traditional Ghanaian dancing for over 20 years. Fluid in ideologies, they have been able to affect the paradigms of traditional dancing in Ghana so much that their activities cannot be overlooked. Even though they are mostly taunted as the ‘destroyers’ of traditional forms by some schools of thought, this category’s input is especially important as they have a direct influence on dance structures in Ghana through their re-interpretations of traditional dance forms. This paper seeks to identify some distinctive re-interpretative styles/patterns this category exerts on traditional dances and their effects on preservation of traditional dances in Ghana.

A Study of Islamic Leaders’ Strategic Role in Islamic Architectures

Author(s): Hamid Reza Shojaifard,Zahra Sajadi / Language(s): English / Issue: 3/2019

The architecture issue is one of the important factors in Islamic civilization that Muslims have considered a lot in religious leaders' teachings. The applied purposes of this article are based on the religious Imams' statements including scientific and practical approaches to the Islamic architectural harmonization, urban structures and elimination factors that destroy urban civilizations. Religious leaders have commented on Islamic architecture leading to civilized societies. These comments include urbanization, making green spaces, building structures facing Qibla, building horizontal-oriented houses and avoiding some special manifestations in architecture such as statues. As one of the dimensions of art is architecture, Muslims have paid attention to the constuction of mosques and monasteries, which are quite present in Islamic architecture. It is a descriptive and analytical article; and it refers to architectural modeling features that religious leaders have introduced in their speeches.

A STUDY ON THE IMPACT OF PLASTIC ARTS CLASS UPON THE PLASTIC SKILLS OF PRE-SCHOOLERS

Author(s): Venera-Mihaela Cojocariu,Noemi NĂSTURAŞ / Language(s): English / Issue: 2/2014

Preparing the child for adult life and socio-professional integration involves the complementary achievement of the desiderata of intellectual, socio-moral, technological, psycho-physical education and, in close connection with these, aesthetic education. The major objectives of aesthetic education at the preschool age imply both the creation of the premises for building aesthetic attitude and the identification and enhancement of the children’s creative skills in all the domains of art, from the literary to the musical, plastic, choreographic and theatrical. Through the experimental study, conducted during the 2013-2014 school year, we have tried to highlight a non-formal way of exploiting the plastic skills of 5-6 years old preschoolers (the Plastic Arts class) as well as its widely formative impact. Besides the results presented in the study, there was also found a series of collateral effects such as the enhancement of artistic sensitivity, improving relationships with classmates, the pre-school teacher and parents, relevant contributions to the socio-moral and intellectual formation.

A Symphony from Remnants

Author(s): Marta Madejska / Language(s): English / Issue: 20/2018

A Synoptic View Of The Issue Of The Valuation Of Modern Art. With Reference To The Collection Of The Muzeum Sztuki (Museum Of Art) In Lodz

Author(s): Joanna Kiliszek / Language(s): Polish / Issue: 17/2017

A SYNOPTIC VIEW OF THE ISSUE OF THE VALUATION OF MODERN ART. WITH REFERENCE TO THE COLLECTION OF THE MUSEUM OF ART IN ŁÓDŹ This text analyses three unprecedented and complex groups of ‘artistic collections’ of the collection of the Museum of Art in Łódź. There are: the unique International Collection of the group "revolutionary artists" (the ‘a.r. group’), which was displayed in the Museum in Łódź in 1931 and then took the form of the well-known ‘Neoplastic Room’, a gallery specially created in 1948 to house the International Collection. The second major group of works is the gift of over 800 works by Joseph Beuys, called ‘Polentransport 1981’. The third group of items discussed here is a collection of interdisciplinary works and installations by Tadeusz Kantor - partly in the collection of the museum, and partly in private ownership. They may serve as model collections for understanding the identity of this Museum. They clearly show the artistic values of the collection, chronological changes, differences in the motives behind their creation, and the context in which they were collected. Superimposed on the variety of material, ideological and artistic factors that influence our assessment of the works, there is another dimension - the relativity of assessments and methods of their evaluation, which result from the natural process of emerging new trends in art.These reflections revolve around a series of questions. What values in heritage protection are important for us today and for the future? What processes in museum practice, both curatorial and conservative, influence the formation of these values? What is the reason for the need to constantly update the evaluation of individual works and the artistic, historical and social dimension of creativity within contemporary art? This process develops due to the constant need to update views on the latest visual arts and the forms of their protection, and involving the active participation of artists, consumers, conservators, curators but also takes into account the analysis of the changes within art and its forms. The final question therefore concerns how this process will affect the reading of the present for our times and for the future.The main result of the investigation and interpretation of the history of artistic preservation of the collection at the Museum of Art in Łódź presented above is the discovery of how the values of these collections influenced the changing views on the duties of the conservator and the curator. On the one hand this concerns the protection of the material values of the avant-garde heritage by preserving it as a 'product' (documentation-maintenance-restoration) that is presented to the public. On the other hand it involves, preservation as a ‘process’ implied in the transformation of these collections into works in their own right. Resulting from this is the need to show both the material and non-material values based on artistic and historical context. These activities are supported by the institution's awareness of the importance of the necessity to preserve the artistic integrity of the work and also the artistic collection as a work.These activities of the museum are part of a broad range of conservation procedures to preserve cultural property and are of immense importance for exhibition, educational and promotional practice. As a result, the museum has acquired notable holdings of works and collections, which are its showpiece and which are of great importance to constituting its attractiveness to visitors.

A színház és az arról való írás elsősorban vállalkozás

Interjú Alistair Smithszel, a The Stage brit színházi hetilap szerkesztőjével

Author(s): Panna Adorjáni / Language(s): Hungarian / Issue: 2/2016

Alistair Smith, the editor of the British theatrical weekly, The Stage, in an interview with Panna Adorjáni, speaks about the position of theatre criticism in British theatre. British theatrical press can be identified more as a business, and the interview presents this theatrical culture that is sligthly alien from the continental European tradition. Smith also speaks about the difference between the so-called blogosphere and traditional criticism, as well as about the rather restricted circle of (British) theatre-goers.

A szobrász Kolozsvári-Szeszák Ferenc

Author(s): Jenő Murádin / Language(s): Hungarian / Issue: IV/2017

The artist Ferenc Kolozsvári-Szeszák (1881–1919) from Cluj was one of the most instructed Transylvanian sculptors at the beginning of the 20th century. His parents, wealthy craftsmen, didn’t prevent him from building an artistic career, so he could study at the Academy of Applied Arts from Budapest (Iparművészeti Iskola), and after one year of studies in Paris, he became for fi ve years (between 1903 and 1907) the disciple of Alajos Stróbl, a well-known sculptor and pedagogue from Budapest. In his short creative career he worked mostly in Budapest, where he attended many sculptural contests, but he had orders from his native town, Cluj, too. At Budapest he modelled two statues which ornamented the front of the National Theatre of Kolozsvár, the fi gures of Transylvanian Maecenas Miklós Wesselényi and writer Miklós Jósika, creations which “disappeared” in the year of 1919. On the top of the two towers of the theatre one can see the two triumphal chariots pulled by three lions, sculpted by him with the help of three other colleagues from the workshop of Stróbl. In the year of 1906 he made the statue of Hungarian poet János Arany at Szalonta. The statue of Jesus Christ in art nouveau style was erected in the town Kanjiža, in Vojvodina (Serbia). He came back definitively to Cluj when the director of the National Museum of Transylvania, dr. Béla Pósta offered him the position of the restorer of the museum, and warranted a flat and a workshop in the building of the institute. Here he modelled the Guardian of Carpathians, a wooden statue placed in the central square of the town in 1915, which “disappeared”, too, after 1919. He sculpted some beautiful funeral monuments that can be visited in the famous Házsongárd cemetery in Kolozsvár (those of Farkas Gyalui’s wife, Gyula Dietrich’s, composer Ödön Farkas’s etc.) Sculptor Ferenc Kolozsvári-Szeszák died prematurely of t.b. in 1919.

A tekintet visszafordítása: téged néznek, patriarchátus!

Author(s): Adele Dittrich Frydetzki / Language(s): Hungarian / Issue: 1/2016

In the essay Reversing the gaze: They are looking at you, patriarchy!, the author, Adele Dittrich Frydetzki presents the possibilities of German feminist theatre through two important creative communities. The author begins with a short theoretical and historical survey, in which she sketches the current state of contemporary German theatre and the status of women in it. In the analysis of performances of She She Pop and Christians//Schwenk, she demonstrates the theatrical tools and aesthetics that the above-mentioned creators apply.

A THEORETICAL APPROACH TO THE RELATIONSHIP BETWEEN ART AND WELL-BEING

Author(s): Anna Mundet-Bolos,Nuria Fuentes-Pelaez,Crescencia Pastor / Language(s): English / Issue: 56/2016

The aim of this review was to explore, through a systematic search of the literature, the relationship between art and well-being and the key elements involved. A relevant conclusion drawn from our findings is that participation in an artistic activity encourages personal well-being because it permits a direct and sincere connection with the individual’s emotions. Such a process implies a threedimensional strengthening: social (I am in a relationship); emotional (I am well); and cognitive (positive thinking). Another conclusion is that whilst many of the studies are relatively recent, the positive relationship between art and well-being is well supported by the literature. Further research is required, however, to provide greater validity to our findings.