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Do kuratorek i kuratorów, krytyczek i krytyków, artystek i artystów, teoretyczek i teoretyków wysłaliśmy zaproszenie do rozmowy o skomplikowanych relacjach między obrazami i protestem. Poniżej publikujemy ich tekstowo-wizualne odpowiedzi. Dziękujemy za Wasze głosy. Mamy wrażenie, że to rozmowa ważna i na czasie
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We asked several curators, critics, theorists, artists to share their thoughts on the intricate relationship between images and protest. Below are their textual-visual responses. We would like to express our sincere gratitude to all of you who accepted our invitation. This is a timely and an important conversation
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In the early 1930s, in the first decade of the founding of the Republic of Turkey among the Bulgarian intellectual and artistic elite, there was a considerable interest in the transformative social processes in the neighboring country, which is reflected in the excursions undertaken for scientific purposes, individual trips , journalistic correspondence, visits, etc., to familiarize with on-the-spot news. The tour of the Cooperative Theater to Istanbul and Ankara in the late autumn of 1931, in which a star is the primа Mimi Balkan, fits into this trend. In the presented text, on the basis of archival documents, memories, periodicals, etc., we follow the one-month tour of the famous metropolitan theater in the neighboring country, the positive public resonance it generates, and the constructive role of the art in bilateral relations, especially when they are historically burdened.
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This paper will try to give an overview of the basic topics, inspiration and perspectives of the Letter to Artists by Pope John Paul II on the occasion of the 20th anniversary of this document. The article examines theological and cultural perspectives by which John Paul II opened the space to restored understanding of the role of art for Christianity, but also deeper understanding of Christianity for the art both in its history and presence. The letter is analyzed through three segments: special artist vocation, history of relations between art and liturgy and mutual knowingness of the Church and artists. Dialog, historical-hermeneutical and philosophy elements that John Paul II used for elaborating creative role of art in the church culture, stand out especially. Along the lines of the Second Vatican Council and Letter to Artists the conclusion answers the question how the Church sees contemporary art and points the elements of the new paradigm which develops dialogue and cooperative relationship of the Church and world of artists.
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The article deals with the reproduction of authoritative visual stereotypes. Despite their explicative specifics, resulting from their inherent interpretative and stylistic originality, visual „readings“ retain their reliable recognition.
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The article deals with the phenomenon of influencer. The etymology of the term is traced. A brief analysis is made of impact that this type of practice has over online audiences. Business-consumer relationships are tracked when a connecting element between the two is a popular personality.
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Is there a natural change of generation at the head of theaters? And at the theater university? And in the director's chair?
More...Dale Wasserman: Kakukkfészek – Radnóti Színház
Review of Dale Wasserman: One Flew Over the Cuckoo's Nest performing in Radnóti Theatre
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