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A particular feature which distinguished modern Russian art from the parallel western developments was its attachment to organic aesthetic. The organic interests of artists such as Kandinsky and Tatlin became obvious in the 1920s, but these were only the later surfacings of a structure that deeply informed very early modernist theory and that was as applicable to poetry as it was to visual arts. In its organic, evolutionary vision of the world the Russian avant-garde drew on a great variety of sources: Goethe’s morphological theories, Romantic philosophy of nature, bergsonian vitalism, Lamarck’s transformationism, and the dissemination of Darwin’s theory of evolution. As the author argues, the vision of a world in continuous evolution was responsible for the rejection of conventional representation and for a shift in the focus in art from the end result – a completed picture of a static object – to the object in flux and the very process of making the work of art.
More...Картината на съвременния театър – между отворени и затворени общности
Using two recent productions which were stopped for alledged racism and misrepresentation of a culture, the notion of representation, cultural appropriation, colonial/postcolonial/decolonial, political correctness are examined, in order to find out if they allow an objective analysis of what can and may be represented on a stage today.
More...Дълго пътуване в търсене на корейската идентичност
As artistic director of the National Theatre Company of Korea, I organized the Korean Diaspora series in 2017 that revealed significant aspects of contemporary Koreanness, with focus on the five plays by post-modern diaspora dramatists of Korean descent. Interestingly enough, they are found to define Koreanness in their adopted countries not by what they are, but by what they are not.
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Following the social changes of the late 1980s in this country, both the cohesive community of working people imagined by the ideological doctrines and the circle of spectators identifying themselves with mindsets undermining the social status quo, but being a conglomerate of value orientations, disintegrated. At the turn of the twenty-first century, new audiences with new values were formed, while dramatic and theatric works projected the oscillation between the two poles of Bulgarian consciousness and global citizens. The traumatic experiences of this dilemma led to closure and self-restriction within the national borders or vice versa, to an escape from any ethno-specificity; to looking for an identity free from any localness or historicity whatsoever. Yet, texts and productions appeared that discovered a multiple identity: local, national and also aware of belonging to wider communal framework such as the European culture and human civilization. Meanwhile, since the 1990s, the dramatic art itself saw essential changes, undergone by both the new dramaturgies and stage practices. Analysing these processes over the last three decades, the study brings to the fore the major phenomena in contemporary Bulgarian drama and stage, which intentionally seek to challenge projections and identifications with one idea or other of community belonging.
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The article deals with Nikola Toromanov, an outstanding figure in Bulgaria’s set design from the generation that began their careers in the 1990s, focusing on his productive cooperation with directors Stoyan Kambarev and Yavor Gardev, bound by strong creative partnerships. A detailed analysis of his visual solutions to a number of productions seeks to find answers to the question of his manner that makes him attractive to directors as a co-author of creative ideas. The attention is focused on his constructive thinking of stage space and experiments with it; his special attention to lighting; creation of a compact visual image that carries sensory knowledge of the semantic layer of a performance; his understanding of scenography as simultaneousness and integrity of the material world and the metaphysical dimension to it.
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Now, in the age of the Internet and satellite TV channels, when people spend more time cell phone in hand than watching TV, a question arises more frequently as to whether polythematic TV is left to wither and die. It should be appropriate to come up with assumptions that would draw our attention to one direction or other without being categorical in our speculations. It is a fact that with the invention of each new communication medium the society is shocked and anxious about whether the new one would not eliminate the previous. It is normal to be sceptical about any new media and perceive it through the prism of the old, but the time shows that none of the new media of mass communication obliterated the older ones. At the outset of television communication was of a one-way nature, but now, with interactivity and feedback communication in place, it is not the case any more. In the post-information age, we witnessed the emergence of the web TV, which is a result of bringing together two technologies (computer and TV), using the same screen instead of two. Is then television self-destroying itself by giving in to the tempting technological progress? Viewers themselves gradually become screens where the TV programmes unfolds. We are witnessing communication that is decreasingly mass and increasingly individual. Media messages, getting segmented and individualised, are conveyed to audiences that are not a passive object, but an interactive subject. Definitely sensing the mighty power of the effect of social networks/media, television, struggling to survive, begins to ‘live’ and directly interact with the social media. The article deals also with the transition of ‘TV viewers’ to ‘ television readers’ and ‘socialised consumers’ and the increasingly used video streaming that would help television not only keep their audiences, but also reach wider audiences. If the ‘Gutenbergian civilization’ and the ‘civilization of images’ were of one-way communication, rather than of interaction, the ‘digital civilization’ is not at all the apex of the development of mass communication media, but rather just a new chapter of the unceasing spiral of the development and technological refinement of the media. The interaction between television and viewers has changed over time, but audiences also changed with the coming of digitalisation. With the options of individual choice, programmes divide viewers rather than connect them. The result was a strict profiling and segmentation of TV audiences. Social networks shall not put an end to television. People will go on watching TV in one form or other, on any screen. Now television accompanies viewers: on a bus, in a park, etc. Consumption of online and mobile contents will exceed that of television. Future belongs to reality TV as viewers identify themselves with the participants in the show. This type of television relies on primary reactions, voyeuristic desire, on the banal, scandalous and challenging. Gradually, the end of the ‘one-way’ television is coming to be replaced with personalised media.
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Within the history of Romanian music, the tradition of the song destined for the children's choir goes forward with the evolution of cult singing. Dan Voiculescu contributes to the configuration of a vast choral repertoire, which offers interesting and instructive melodic and rhythmic problems, favoring the musical education of the children. Throughout his creation, the composer's affinity for polyphonic and is evident. Being a musician anchored in the contemporary world, he will combine elements of Baroque origin with innovative elements, regarding the rhythmic-melodic system, choral texture or timbral emancipation. Dan Voiculescu was constantly concerned with the modernization of children's choral writing, using a theme that coincides with their affective area but also with their vocal possibilities.
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Grafička ostvarenja Ismeta Hadžića, koja večeras imamo pred sobom, moguće je promatrati i valorizirati kao nisku u nizu sjajnih bošnjačkih i bosanskohercegovačkih dosega u grafičkoj likovnosti po kojima su ova zemlja i njeni ljudi u umjetničkom smislu najprepoznatljiviji u regionalnom i širem evropskom kontekstu. U tom smislu, koji je prvenstven za, recimo, historičare umjetnosti, Hadžićevo djelo na prvi pogled odiše eklekticizmom simbola i motiva karakterističnim za prepoznatljiv jezik naše grafike, i s tog aspekta grafike koje večeras autor predstavlja sarajevskoj publici stilski odišu prepoznatljivom i već definiranom likovnom poetikom.
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The reformation process of art education began in the 19th century and achieved its peak in the 1930s. It was manifested in the form of schools with anti-academic spirit – Bauhaus in Europe and Black Mountain College in the United States. The paper is initiated by the main observation that such a strong reformation attempt has never repeated again after the Black Mountain College case. The combination of John Dewey’s educational principles, Josef Albers’ well-thought-out art instruction, as well as the college founders’ idea of essentiality of art education for a contemporary democratic society created the suitable environment for an art education development, which needs to be reconsidered in light of the contemporary situation of teaching humanities, including art education. In spite of more than hundred years of reformation processes, art education still manifests residues of the old, conservative academic spirit and art schools still communicate their own state of exclusivity or even elitism. The main goal of the paper is to emphasise, that the pursuit for a wholesome social position of art was the most striking endeavour of many brilliant thinkers in 19th and 20th century (e.g. Semper, Morris, Lichtwark, Dewey, Albers). Therefore, art educators, as well as art theoreticians of the 21st century must take this into a serious consideration.
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Wizerunek klęczącego górala, modlącego się ze złożonymi dłońmi w letni wieczór na połoninie, trafi ł do pewnego skromnego, mieszczącego się w suterenie mieszkania w latach powojennych. Landszaft, dzieło artysty anonimowego, zawisł na ścianie jedynego (obok kuchni) pomieszczenia, pełniącego funkcję jadalni, sypialni i salonu, w dobrze widocznym – można by powiedzieć honorowym – miejscu nad kredensem, tuż obok fotografi i ślubnej gospodarzy.
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A two-sided icon in the Vlatadon monastery in Thessaloniki, the reverseof which shows the Crucifixion, is distinguished by a remarkablefeature – a small icon of Christ between the archangels, and the Virgin with Childsurrounded by the archangel and John the Baptist, which has beenset in the centre of the obverse, which depicts half-length figures of Christ Pantocrator between the archangels, the apostles Peter and Paul and the saints George,Theodore of Tyre, and Demetrius. In fact, it consists of two paintings, which iswhy it can be included in the rare category of images defined by the German term. Einsatzbild, in which the independent panel is part of the larger composition, alsoacting as its frame. The occurrence of such images in Byzantine art has not attractedthe attention of researchers. Sporadic appearance of this type in icon painting wasnoticed only by Panagiotis L. Vokotopoulos, who was the first scholar to proposethe term Composite icons (Σύνθετες εικόνες) for the category.
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The above considerations, although of a contributing nature, allow the setting of new research perspectives. First, the postponement of Mirys's arrival to Poland from 1730 to 1739 (and hence the postponement of the "adventurous" period in Mirys's life at the turn of the 1830s and 1940s) can serve as an argument in dispelling attributive doubts. We can say, for example, that Mirys's work is neither the Portrait of Jan Fryderyk Sapieha (Regional Museum in Smolensk; dated after 1736 and before 1740), nor the Portrait of Konstancja Poniatowska with her son (National Museum in Warsaw, dated at the end of the 1930s). 18th century). Secondly, Lviv pastel and Hennin's mention of the sujets galantes painted by Mirys give us hope that in the future we will be able to find the artist's next works. This applies primarily to pastels, which as a research field remain to this day terra incognita. Thirdly, the case of Mirys, a "multi-tasking" artist, painting in oil, pastel, fresco technique as well as on fabrics (uncovered curtain of the Białystok theater), creating - depending on the client's wishes - portraits, religious, historical, mythological and galantes scenes tells us a lot about the local art scene. In Mirys's time, only a few artists (like the pastel artist Marteau) decided on a narrow specialization. Those who tried it, like Marcello Bacciarelli, were eventually forced by their patrons to expand their offer with new species and new techniques. Both in Saxon times and during the reign of Stanisław August, a proven "chance of success" was the diversification of services. Therefore, although Mirys did not make his name on the pages of art history as a talented artist, considered in the context of the career paths and strategy of the painters' strategies he appears to be particularly interesting. Mirys, who worked almost exclusively for magnates and created the appearance of being a court artist, was in fact guided by the same laws of demand and customer pressure that his contemporary artists working on the free market dealt with. The fact that he excelled in fashionable techniques (pastel) and genres associated with the urban modus (sujets galantes) suggests that in his case we are dealing with an artist who is consistently trying to instill in Warsaw alternative standards to those applicable in guild environments, or from guilds originating. This is important because there is no evidence to this day that Mirys received academic education. The fact that he consistently tried to "intellectualize" his work, and consistently tried to build his image as a worldman and philosopher shows that academics did not have a monopoly on artistry. Perhaps further research on the artist's biography and work will show that the transformations of the local art scene that took place in the Saxon era went beyond the opposition of "guild painters" - "academic painters" and contained a third, usually marginalized element: energetic self-made men.
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The above considerations, although of a contributing nature, allow the setting of new research perspectives. First, the postponement of Mirys's arrival to Poland from 1730 to 1739 (and hence the postponement of the "adventurous" period in Mirys's life at the turn of the 1830s and 1940s) can serve as an argument in dispelling attributive doubts. We can say, for example, that Mirys's work is neither the Portrait of Jan Fryderyk Sapieha (Regional Museum in Smolensk; dated after 1736 and before 1740), nor the Portrait of Konstancja Poniatowska with her son (National Museum in Warsaw, dated at the end of the 1930s). 18th century). Secondly, Lviv pastel and Hennin's mention of the sujets galantes painted by Mirys give us hope that in the future we will be able to find the artist's next works. This applies primarily to pastels, which as a research field remain to this day terra incognita. Thirdly, the case of Mirys, a "multi-tasking" artist, painting in oil, pastel, fresco technique as well as on fabrics (uncovered curtain of the Białystok theater), creating - depending on the client's wishes - portraits, religious, historical, mythological and galantes scenes tells us a lot about the local art scene. In Mirys's time, only a few artists (like the pastel artist Marteau) decided on a narrow specialization. Those who tried it, like Marcello Bacciarelli, were eventually forced by their patrons to expand their offer with new species and new techniques. Both in Saxon times and during the reign of Stanisław August, a proven "chance of success" was the diversification of services. Therefore, although Mirys did not make his name on the pages of art history as a talented artist, considered in the context of the career paths and strategy of the painters' strategies he appears to be particularly interesting. Mirys, who worked almost exclusively for magnates and created the appearance of being a court artist, was in fact guided by the same laws of demand and customer pressure that his contemporary artists working on the free market dealt with. The fact that he excelled in fashionable techniques (pastel) and genres associated with the urban modus (sujets galantes) suggests that in his case we are dealing with an artist who is consistently trying to instill in Warsaw alternative standards to those applicable in guild environments, or from guilds originating. This is important because there is no evidence to this day that Mirys received academic education. The fact that he consistently tried to "intellectualize" his work, and consistently tried to build his image as a worldman and philosopher shows that academics did not have a monopoly on artistry. Perhaps further research on the artist's biography and work will show that the transformations of the local art scene that took place in the Saxon era went beyond the opposition of "guild painters" - "academic painters" and contained a third, usually marginalized element: energetic self-made men.
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The text aims to show the evolution of the buildings of Lviv municipal industrial plants, from the moment of launching the first complex of this type - gas plant (1858) until the outbreak of World War I. Based on the preserved design documentation, iconographic materials, as well as preserved remains of industrial complex buildings, the materials, constructions and construction techniques used, as well as the architectural forms used in the projects were analyzed. By the end of the 19th century, the municipal government entrusted the implementation of the necessary municipal infrastructure to private investors, in return for which it granted them a monopoly on gas supply and transport services. Complexes created during this period (gas plant, horse tram and electric tram) were of small scale and resulted from the need to reduce construction costs. That is why cheap building materials and techniques as well as modest architectural forms were used. From the end of the 19th century, we can observe a significant change in terms of the scale of the complexes being built (modernization of the gasworks, municipal slaughterhouse in Gabrielówka), the materials and structures used (iron, reinforced concrete) and the increasingly sumptuous architectural forms. This was the result of the municipal authorities undertaking the effort to build these plants and, as a consequence, expressing their aspiration for modernity through their architecture. It was understood as making available to Lviv people products and services on a massive scale, which contributed to the improvement of living conditions in the city. The height of these trends was the development of the Persenówka power plant and the depot at Gabrielówka, which received fancy Art Nouveau facades.
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