"Ecce Homo” на Кирил Цонев – нови изследвания върху творчеството на художника в Мюнхен

Author(s): Valery Lalov / Language(s): Bulgarian / Issue: 4/2011

Kiril Tzonev in Munich – this is an infinite subject of artistic research. New research on the creative work of Tzonev led to discoveries concerning his paintings as well as archive materials. The great number of new aspects, elaborated on the basis of this material opened up new perspectives for analysis of the creative personality of Tzonev. The present study does not aim to generalize all these aspects but to underline the need of an indepth view in the details of each one of them, inspired by the portrait of Vladimir Dimitrov maistora by Kiril Tzonev. During the study of these well known facts and on the basis of the newly discovered information the analysis logically starts off with the detailed description which points out the key points of this research. The description of the components of the painting shows not only the wonderful skills of the artist Kiril Tzonev but also, comparing it with other works of the same artist, numerous stylistic characteristics. an additional contribution in widening the possibilities for interpretation of the portrait of Vladimir Dimitrov maistora were offered when comparison with the artistic works of other authors were made. The subject of the portrait is compared with images of ancient philosophers and propor- tions. Biographical data supplement the analysis of the painting. Subject of study are the close friendship, spiritual ties and fruitful exchange of ideas between maistora and Tzonev. The comprehensive description made of the painting’s details present an unknown up to now inscription on the canvas: Ecce Homo. This inscription allows for a much more complex interpretation. In order to understand it one has to make an iconographic review of Ecce Homo as a motive in art. This analysis offers a possibility for a comprehensive interpretation of a re- markable portrait painted by Tzonev. It is enriched with a mighty message but also proves the creative genius and intellectual might of the artist – a merited chairman of the News.

"En la forêt de Longue Attente"… ou six promenades dans les bois des Nabis et d’ailleurs

Author(s): Andreea Apostu / Language(s): French / Issue: 1/2012

This paper aims to retrace the manifold, often contradictory meanings underlying the works of the Nabis – an almost esoteric group of French artists which emerged near the end of the 19th century. Their primary sources of inspiration were, following in Baudelaire’s footsteps, remote in both space (Japanese art) and time (Medieval art). I shall attempt to analyse the manner in which several artists of this group use the medieval ambivalence of the forest in their paintings, as well as try to determine whether any major semantic shifts ensue in their treatment of this widespread imaginary topos. The paper’s main thesis is that this ambivalence is adapted to the intrinsic modernist tension between a feeling of despair, coupled with the anxiety of being faced with the positivist, essentially rationalistic explanation of existence, and an enormous desire to transform the world, so that it no longer opposes the Self.

"Hiszen itt vöröslök"

Beszélgetés Takács Katival.

Author(s): Berta Tóth / Language(s): Hungarian / Issue: 2/2016

An interview with Kati takács, actor.

"imaginea are un impact mult mai puternic decât cuvântul scris"

Author(s): Editorial Office ARThoc / Language(s): Romanian / Issue: 24/2003

Interview with Dana Altman, curator at Westwood Gallery din New-York.

"Inspekty" Alicji Karskiej i Aleksandry Went

Author(s): Bozena Kowalska / Language(s): Polish / Issue: 47 (3)/2005

"Karm stiil" nõukogude uuringute kontekstis

Author(s): Kädi Talvoja / Language(s): Estonian / Issue: 01+02/2012

Artiklis käsitletakse probleeme, mis kerkivad "karmi stiili" kunstiajaloolise tähenduse ja rolli mõtestamisel Eesti kontekstis. 1950. aastate lõpul olulist kunstiuuendust tähistanud, kuid tagantjärele Hruštšovi ametliku kunsti staatuse saanud nähtus toob esile vajaduse dünaamilisemate analüüsimudelite järele, kui seda pakub ametliku ja mitteametliku kultuuri vastandus. Vaadeldes "karmi stiili" nõukogude uuringute distsipliini laiemas kontekstis, tõstatatakse kunstnike agentsuse küsimus. Toetudes hilissotsialismi uurija Alexei Yurchaki pakutud teoreetilisele skeemile, kirjeldatakse Leili Muuga maali "Kahtlejad" (1957) näitel "karmi stiili" asendit ja rolli nõukogude diskursuse muutustes.

"Koralina" Neila Gaimana w realizacjach teatru lalek w Polsce

Author(s): Maria Janus / Language(s): Polish / Publication Year: 0

Maria Janus focuses on theatrical adaptations of Neil Gaiman’s "Coraline" in Polish puppet theatre. The analysed performances were directed by Włodzimierz Fełenczak in Teatr Miniatura in Gdańsk with a stage design by Mikołaj Malesza (opening 2009) and in the Białostocki Teatr Lalek with a stage design by Joanna Braun (opening 2011) and directed by Karolina Maciejaszek in Teatr Pinokio in Łódź with a stage design by Anna Chadaj (opening 2013). In addition, the Author discusses the performance of Rozalinda, written and directed by Krystyna Jakóbczyk in the Teatr Dzieci Zagłębia in Będzin (opening 2012), which was inspired by Gaiman’s novel. Janus presents this performance in the context of copyrights and difficulties of obtaining licenses for use of texts written by popular authors (especially from the Anglo-Saxon region). The author compares the adaptations of Neil Gaiman’s novel written by Fełenczak, Maciejaszek and the translation of the novel’s narration by Jakóbczyk (theatrical situations and visual narration vs. the narration performed live on-stage). Maria Janus also highlights theatrical references from the novel considering meta-theatrical elements that enhance the performance. Janus compares theatrical media used in performances from Gdańsk, Białystok and Łódź with special consideration to the stage design and puppetry techniques. In the second part, the author focuses on the popularity of Neil Gaiman’s Coraline among theatrical directors despite little interest in horror fiction. Puppet theatres in Poland do not produce performances based on modern epic literature, especially those nbased on fantasy. Classical fairy-tales and modern dramaturgy containing fairy-tale motives are still more popular. Furthermore, Janus reflects on the possibility of a change of the herein discussed situation. She further refers to the arguments of Bruno Bettelheim, Stanisław Grzelecki and Katarzyna Slany considering young spectator benefits from the contact with theatrical representation of youth horror literature.

"La buona figliuola" Carla Goldoniego a "Czekina albo cnotliwa panienka" Wojciecha Bogusławskiego

Author(s): Edyta Grzywaczewska / Language(s): Polish / Issue: 2/2015

„La buona figliuola” („The Accomplish’d Maid”) is an opera buffa in three acts by Niccolò Piccinni and Carlo Goldoni. The librettist based his text on Samuel Richardson’s novel „Pamela, or Virtue Rewarded”. It was performed for the first time at the Teatro delle Dame, Rome on 6th February 1760 with an all male cast. It was a big success and „La buona figliuola” took Europe by storm. Every European opera house had this opera in its repertoire. The performances were in: Barcelona, Prague, Vien, Dresden, London, Berlin, Mannheim and Paris. This opera was probably performed even in Beijing by Jesuits in 1778. „La buona figliuola” was so popular in Europe that Stanisław August Poniatowski, the King of Poland, wished it for his coronation ceremony. The performance took place at the National Theatre on 7th August 1765, just five years after the world premiere. This opera was also very popular in Warsaw. People loved the story of a simple and good maid Cecchina. Seventeen years later, Wojciech Bogusławski, the director of the National Theater, translated and adapted Goldoni’s opera and named it „Czekina albo cnotliwa panienka” („Czekina or a Virtuous Maid”). He performed it in 1782 with big success. First of all, the article describes the historical context of the creation of libretto – the Carlo Goldoni’s biography. Next, it presents the story of maid Cecchina and the phenomenon of the description of the Polish theories of translation from the 18th century, the Polish version of the opera – „Czekina or a Virtuous Maid”, is presented. Finally, two versions of the libretto – the Goldoni’s and the Bogusławski’s, are compared.

"Lünka täites". Katse analüüsida Sten Karlingi kunstiteoreetilisi vaateid

Author(s): Krista Kodres / Language(s): Estonian / Issue: 03/2008

The article focuses on the history of Estonian art history writing, examining the older written scholarly heritage of Sten Karling. The author analyses the art theoretical ideas that influenced Karling's research, and discusses Karling's texts and activities as the basis for art history studies in Soviet Estonia.

"Mă consider un scamator" (fragment de discuţie)

Author(s): Pavel Susara / Language(s): Romanian / Issue: 09/2002

The two heroes of this conversation, the painter Francois Pamfil and the author of the article Pavel Susara take the reader through the fascinating world of painting and bring into discussion painters who through their art to approach a trickster's manner to manipulate and construct images.

"Maszerują chłopcy, maszerują... a śmierć im pod stopy się miota". Wybór recenzji i opisów spektaklu "Wielopole, Wielopole". 1983-84

Author(s): Author Not Specified / Language(s): Polish / Issue: 1-2/2015

"Méwilo" i "Freedom" Muriel Tramis jako pierwsze gry postkolonialne

Author(s): Filip Jankowski / Language(s): Polish / Publication Year: 0

In the chapter entitled “Muriel Tramis’ »Méwilo« and »Freedom« as the First Postcolonial Games, Filip Jankowski examines two digital games accomplished by Muriel Tramis, a game designer from Martinique. The games picture the situation of African-Caribbean slaves and their descendants in a pioneering manner in terms of the medium used. “Méwilo” (1987) and “Fredom” (1988) were created under the influence of the philosophical thought in Martinique, shaped by the pioneers of postcolonialism such as Aimé Césaire and Frantz Fanon, as well as their critics impersonated by Édouard Glissant and Patrick Chamoiseau. Both games differ in terms of applied convention. “Méwilo”, which is a thorough documentary game, focuses on questioning the following inhabitants of the city of Saint-Pierre, the day before the devastating eruption of the Montagne Pelée volcano in 1902. The opposition between the black inhabitants of Martinique and their metropolitan torturers, although strongly outlined, is subject to problematization in both games. Among the main characters of the Tramis' works are black anti-heroes who imitate the French in their ambivalent attitude to the African-Caribbean community. Hence, they reflect the phenomenon of mimicry described by Homi Bhabha. All things considered, Jankowski argues both games to feature apparent postcolonial themes.

"Mit nevezel életnek?"

Olbrin Joachim csodálatos utazása - Marosvásárhelyi Nemzeti Színház Tompa Miklós Társulat

Author(s): Kata Köllo / Language(s): Hungarian / Issue: 12/2016

Review ofTompa Miklós Company's "Olbrin Joachim's wonderful journey" directed by Kinga Mezei, presented atThe National Theatre of Târgu Mureș

"Nacionālais dekoratīvisms". Latviešu valodā tulkojis Ansis Cīrulis

Author(s): Ilze Martinsone / Language(s): Latvian / Issue: 12/2009

The review examines the publication "Ansis Cīrulis" (Riga, 2008) dealing with the versatile Latvian artist Ansis Cīrulis (1883-1942), active in both fine and decorative arts. The format combines the elements of a catalogue and collected essays by several authors, explorings various aspects of his output: ceramics and early career by art historian Rūta Rinka, national and state symbols by historian Modris Esserts, painting and drawing by art historian Dace Lamberga; graphic design and posters by art historian Zaiga Kuple, stylisation in applied arts by art historian Santa Podgaiska.

"Najistotniejsza kwestia, jaka może być”. Odpowiedź na artykuł E.A.J. Honigmanna (przełożyła Karolina Kowalska)

Author(s): Hildegard Hammerschmidt-Hummel / Language(s): Polish / Issue: 16/2011

This text is a reply to E.A.J. Honigmann and presents another point of view on Shakespeare’s Catholicism. H. Hammerschmidt-Hummel defends her thesis and tries to convince that her book is based on reliable studies and historical sources. She proves that a secret Catholic code in his plays is the most important key to understanding his whole output. Her arguments are based on two evidences: the known or presumed “Catholic sympathies” of the dramatist’s family, friends and patrons and the “Catholic attitudes” embedded in the plays.

"Nav viegli portretēt dzīvi kanonizētu klasiķi"

Author(s): Liene Zemite / Language(s): Latvian / Issue: 16/2013

The review examines the monograph "Krampis. Arhitekts Andris Kronbergs" (Riga: Neputns, 2010) by historian of architecture Jānis Lejnieks. The book deals with the contribution of the architect Andris Kronbergs to contemporary architecture of Latvia, including such objects as Riga Airport, private mansions and other aspects.

"Nem ugyanaz a levél esik le a fáról"

Author(s): Miklós Hernádi,László Fehér / Language(s): Hungarian / Issue: 1/1996

interview by Miklós Hernádi with painter László Fehér

"Nie zagląda się bezkarnie przez okno". Późna twórczość malarska i teatralna Tadeusza Kantora

Author(s): Malgorzata Paluch-Cybulska / Language(s): Polish / Issue: 1-2/2015

An analysis of a series of paintings by Tadeusz Kantor: One Does Not Look into the Window with Impunity, conducted in reference to his last theatrical works. Late paintings by Tadeusz Kantor from the second half of the 1980s constitute an art of borderline situations similarly as the last Cricot 2 Theatre spectacles. All the canvases contain an inscribed undecidability balancing on the border, a game played with presence - absence, perception – non-perception, reality - fiction, life - death, memory – projection, time - timelessness, historical necessity – individual freedom, and catastrophe - hope for salvation and redemption. The pulsating “between the two” is accompanied by the construction of imprisonment, discernible in almost all of Kantor’s late works. It became the key concept of the spectacle: Let the Artists Die (1985), in which Kantor compared the condition of creation to that of a prison. It is also present in an extremely tangible manner in his last production: Today is My Birthday(1991), balancing between reality and illusion.

"Nikns suns" un 20. gadsimta mākslas sakaru vēsture

Author(s): Kristiana Abele / Language(s): Latvian / Issue: 10/2008

The article reports the conference "Germany and Latvia Between the Two World Wars: Contacts in Life and Art" held on 28 May 2008 as a part of the German Cultural Month. Papers presented various aspects of the subject, including expressionist elements in Latvian art, Latvian artists' deeds in the cosmopolitan Berlin of the early 1920s, the impacts of authoritarian and totalitarian regimes upon art life.

"noi", femeile Chişinăului

Author(s): Iulian Robu / Language(s): Romanian / Issue: 26/2003

Short article about ULAY's exhibition at AORTA in Chişinau - an ad-hoc photo ansamble.