Autenticita a dokumentarizmus v slovenskom vizuálnom umení po roku 1990
AUTHENTICITY AND DOCUMENTARISM IN POST-1990 SLOVAK VISUAL ARTS

Summary/Abstract: The revival of documentary film at the turn of the millennia, caused by the influence of available digital technology and the advent of the young generation, has also been reflected in visual arts – in their need to provide testimonies about private, personal, family, and partner situations or stereotypes (Gabika Binderová, Pavlína Fichta Čierna, Anton Čierny), which sometimes overreach into public, socio-political affairs and phenomena (Ľubomír Ďurček, Peter Rónai, Elena Pätoprstá, Pavlína Fichta Čierna, Ilona Németh, Anna Daučíková, Kristián Németh, Mária Štefančíková, Katarína Karafová). Several authorial strategies, for example, journal entries, reality staging, observational, participational, performative, and reflexive approaches to processing reality, inspired by world trends and by theory, touch upon topical and universal themes – personal and collective memory (recording and erasing), memory places, the political and social body, gender stereotypes, etc. Despite common points of departure, motivations, used means (long static shots, dedramatized plot), or anti- -audience “artsiness”, visual arts and documentary film preserve their own rules of game and specific manners of re/presentation.

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