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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.
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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.
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Short article about ULAY's exhibition at AORTA in Chişinau - an ad-hoc photo ansamble.
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In this essay the concept of »new wave« is related to the concept of »crisis«, on the basis of accordance of the main topics that have emerged out of these two different kinds of cultural discourse. The very term »new wave« indicates the period of the beginning of eighties characterized by the specific cultural expressions bounded with the phenomenon of the youth subculture in Yugoslavia. Although initiated by impulses from other cultures (first of all by the phenomenon of anglo-american punk), the »new wave« expression has elaborated the considerable segment of local reality. For example, the concept of »New primitivism« on one hand, and the »Neue Slowenische Kunst« on the other, have developed their symbolic activities playing with a stereotype of the two main cultural identities that »cross« the Yugoslav space: on is »Balkan«, »oriental«, the other is »European«, »western«. Modified in numerous ways, but loosing its stylistic, ironical quality that characterized its sub-cultural elaboration, this stereotype has become the leit motiv of the later explanation, even official, of the political crisis in Yugoslavia. In a similar way, the »new wave« activity, partially leaned on the western formula in creation of music, art, images and life styles, has anticipated the destruction of the myth of originality and uniqueness of our culture. What was then considered to be an »epigone«, a »dishonest imitation of the West«, hardly a decade later has merged into the common desire for »entering Europe«, which has characterized the discourse of crisis.
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The author traces the phenomenon of disco polo music and analyses the video clips of popular musicians from the 90’s (Shazza and Boys), comparing them with modern visual representations (Mig and Niecik), following the idea that what made and still makes this music genre popular is the specific tension between familiarity and wordliness.
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Powyższe przykłady usiłują wypowiedzieć tę prawdę, że bardzo często w akcie kreacji, w owym procesie nowego spojrzenia wspomaga poetę malarz czy fotograf. Zamknięcie ułamka świata w kadrze czy ramach obrazu sprzyja poecie, wyzwalając intensywnie poszukiwane skupienie. Wyostrzenie poetyckiego wzroku szuka równie zaangażowanego w akcie rozpoznawania rzeczywistości, podobnie współpracującego, narzędzia, pędzla, piórka, rylca oraz innych aparatów artykulacji i ekspresji. Chciałem, aby wszystko, na co patrzę, zmieniło się w kompozycję, i zrozumiałem, że stan taki można osiągnąć - powiada taki poeta, intuicyjnie korzystając z udzielonej mu przez malarstwo lekcji widzenia.
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Studying domestic folk art, inaugurated in the 1930s is still in its infancy. This assertion is born out by considering the motif of svastika, studied by Milovan Gavazzi in 1929 and 1930. Gavazzi’s model of scientific study (applied in the analysis of swastika on easter eggs), in thune with the then prevaling cultural history approach, has been reproduced and perpetuated by numerous domestic ethnologists. In the situation in which the history of social sciences recognizes theoretically and methodologically different research trends, Gavazzi’s tenets are necessarily bound to criticism. From the aspect of contemporary science, the strongest argument for disputing former interpretations of folk art is their neglect of the context of folk art manifestations.
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Interjú Kiss Gabriella színháztudóssal
Gabriella Kiss, lecturer at the Károli Gáspár University answered Melinda Kiss’s questions about her pedagogical career the Theatron group and periodical, her activity as a teacher and translator. She voices her conviction that both in education and in translation one should be creative and self-reflexive, as theatre studies does not react only to the most recent theatrical phenomena, but to the newest cultural events as well.
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The purpose of the article is to reveal the principles of conceptual thinking as a phenomenon of artistic consciousness. The methodology of the research consists in using the interpretative semantic analysis of choral performance "Perpetuum mobile" by V. Muzhchyl, with the help of which it is possible to reveal subtext in the piece concealed by the composer and to interpret it creatively. The scientific novelty of the research lies in the substantiating of non-traditional interpretation of "Perpetuum mobile"as quasi-genre. Conclusions. The author formulated the main principals of conceptualism in V. Muzhchil’s creativity, based on the experience of communication the author of the article with his teacher. The trinity of musical semantics was revealed (in ternary form of the piece, three-time occurred thematism of introduction, in the middle section – visualization, vocalization of a symbol and its verbalization).
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This article outlines issues associated with the preservation and conservation of contemporary art and the role that documentation plays in this process. A contemporary artwork, in order to become an object of interest, analysis, purchase, collecting, exhibiting etc. must exist, and its existence must be preserved. Its preservation does not always mean, however, fixing the matter and halting the processes of deterioration such as in the case of traditional art, but it may adopt a totally different form, for example preservation in the form of documentation. The changeable character of ephemeral art, the use of perishable materials or ready-mades, as well as innovative concepts and techniques makes conservation a complex issue. An additional worrying factor is also often improperly conducted activities associated with exhibiting, transportation or storing of the artworks that cause a falsification of the artist’s concept and destruction of an artwork’s structure. The conservator must analyse, identify and preserve the matter in a professional way or, on the contrary, after an appropriate examination, act according to the artist’s intention, and treat it in a way that is adequate to the artwork’s character. This may involve the making of a replica, a reconstruction, an emulation, a re-enactment or preservation through documenting, or it may use entirely different possibilities of modern conservation. One must set a proper strategy of care and protection over the works of art and the proceedings must keep the authenticity of the artwork. The author of this article analyses the notion of authenticity and shows the change in understanding this concept, and the influence which this change had on the form and method of preserving artworks in the past, in contrast with contemporary visual art. She writes about the new role of an artwork’s matter and substance, and the challenges that result from it, and about the new role and relationship between a conservator, an artist and other “stakeholders”. She describes the threats to preservation and the aims and limits of preservation and conservation, pointing out the key role of documentation. She also pays attention to various forms of documentation by illustrating the article with comprehensive examples of good and bad practices associated with documenting contemporary artworks.
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The article shows how the postmodern cinema uses the tradition of a genre in order to construct the discourse of contemporary America. The author hypothesized that “True Grit” by Coen brothers, a western entangled in a web of intertextual references (both literary as an adaptation of the novel by Ch. Portis and film based, as a remake of H. Hathaway’s film), has the potential of creating representations not based on text. The present article is a polemic against the most common research stand, which negates the possibility of generating by the postmodern aesthetic meanings beyond the text. The author defends the thesis that the film by Coen brothers is a text which lends itself well to interpretation as a reflection of social attitudes, anxieties and desires. The author also discusses the question of demythologization and polemics of the Western tradition and the matter of approaching the western as a source of historical meanings.
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The paper concentrates on two feature films based upon Henryk Sienkiewicz’s novel about ancient Rome – "Quo Vadis?" (dir. Enrico Guazzoni [1913]) and "Quo Vadis?" (dir. Gabriellino D’Annunzio, Georg Jacoby [1925]). Both films belong to the peplum genre, popular during the era of silent cinema. The paper reconstructs production circumstances of both films as well as their historical reception. It is argued that both films can be seen through the prism of socio-political contexts, including the colonial ambitions of the Italian state.
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Një trashëgimi e pasur kombëtare që ka bërë historinë e kinemasë europiane dhe botërore, dhe një shirit i grisur 35 milimetërsh që rrëshqet nën mëngë, ky është identiteti kinematografik i regjisorit italian, Paolo Sorrentino
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The author of this article analyzes the poetry of Bogusław Kierc, a poet from Wrocław, pointing to the separateness and originality of this artist. Originality is revealed in risky and bold themes and a form that is a combination of something avant-garde with something very traditional. The language used by the poet, concerning ultimate and mystical problems, captivates with harmonious, musical finesse. Pictures in this poetry are seen, heard and experienced. The hero of these poems sees in his somatic and erotic experiences the source of potential mysticism, the possibility of approaching transcendence.
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Education is a personal process in the infinite, it is the place where one can experiment, create new methods and technologies of teaching. One of the main accentuation is that universities are turning into laboratories, in which students study, make experiments and create art. Any modern university institution builds a local cultural centers, art galleries, creative areas and festivals in support of student creativity.
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Polish genre cinema in the time of Polish People’s Republic was in stagnation due to the sociopolitical situation. Limited access to the thriving foreign film industry suppressed a natural evolution within the genre cinema. However, the liberalization of stagnant and overly politicized rules in the communist film industry brought change in the 1980s.The government used to saw movies as a way to sell propaganda in the country. This cultural revolution was marked by the appearance of a new generation of directors, similar in some ways to American New Hollywood; rise of a VCR market and laxity of political restrictions.One of the best representatives of this progression is the Mr. Kleks movie trilogy. Adaptations of Jan Brzechwa’s cult book series: Academy of Mr. Kleks (1983), The Travels of Mr. Kleks (1985), Mr. Kleks in Space (1988). All of theme were directed by Krzysztof Gradowski. The series is a perfect example of a genre-melting pot. Something unprecedented in the Polish cinema.Although there are many radically different conventions in the story, the narrative is very coherent. The release of the first installment clearly marks the beginning of the transformation in the Polish film industry.In the article, I will present the ways in which the film genres are functioning in the Mr. Kleks movies and analyze how these highly original productions were part of a turbulent period of transformational change in communist Poland.
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