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The article studies the artist's books of some of the most famous writers and painters of our time George Badin and Michel Butor.
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Social documentary photography is one of the key genres that Ukrainian artists use for creating a series of works presented in the form of a photo book or as an independent project. Among the most prominent representatives of this direction, Alexander Chekmenev and the members of Kharkov School of Photography (Boris Mikhailov, Evgeny Pavlov, Mikhail Pedan, etc.) should be singled out. It is notable that despite the fact that their works have common issues, the similar choice of the method and general stylistics, there are a number of significant differences. With the transfer of individual facial features, Aleksander Chekmenov seeks to reveal the psychology of the person being portrayed and elevate a person in the eyes of others, while representatives of the Kharkov school of photography use sharp, satirical language with the active inclusion of various manipulations of the image. On the basis of the art history analysis of a number of well – known projects by Alexander Chekmenev, certain regularities in the strategy of creating a social documentary project in his works have been identified.
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This study examines a brief period in the lives of four artists: František Foltýn and Gejza Schiller, two of the most renowned figures in the Košice Modernist movement, the author Béla Illés, and the main character, the photographer Rosie Ney. Several sources have suggested that the paths of these four individuals crossed in Košice in 1921. The study does not intend to present their lives or work in their full complexity but aims instead to clarify some ambiguities over their fates in the early 1920s. The primary focus of the article is to address the persisting uncertainty over the nature of the relationships between the four individuals and their movements between 1919 and 1923. The research collates and analyses a wide range of fragmented evidence of varying degrees of reliability in an effort to identify possible connections between the lives of the four artists and thereby raise the discussion of the issue to a new level. On the more settled question of the marriage of Rosie Ney and Béla Illés, the study also attempts to identify Rózsi Földy, alias Rosie Ney, within Illés’s autobiographical novel Ég a Tisza and to clarify the timeframe of their marriage and various aspects which can shed light on subsequent events. The key topic is the unresolved question of the relationship between Rosie Ney and František Foltýn. By outlining the sequence of events in the lives of the two artists in the early 1920s, the study offers a new perspective and some interesting findings regarding the nature of their relationship.
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The concept of melancholy is woven throughout the history of Western art and thoughts as an imaginary Ariadne’s thread that links the perceptions and thoughts of ancient Greece with the present day. At the same time, it could be interpreted as a sign that refers to the endless road to human self-knowledge. Over the course of history, this process of cognition has taken many intricate and crooked paths, linking melancholy with a number of different definitions and interpretive viewpoints as well as diverse visual renderings. The paper focuses on presenting the idea of melancholy from an aesthetic-cultural point of view. It sees it as a phenomenon reflecting various cultural and historical aspects, which were subsequently transformed into the visual art of the given time. Although the portrayal of melancholy was typical of historical periods, of which Albrecht Dürer’s depiction of Melancholy is the most famous, 20th-century art also reflected on it, for example, the work of Pablo Picasso or Giorgio de Chirico. In the Slovak visual arts of the 20th century, we can find several interesting depictions of melancholy, for example in the work of L. Mednyánszky, Mikuláš Galanda, or Jozef Pospíšil. However, the paper sufficiently analyses the work of contemporary Veronika Rónaiová, who has returned to portraying the idea of melancholy again.
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The article analyses painter, graphic artist and stage designer Ilmārs Blumbergs’ (1943–2016) artworks in which he thematises the body as his intimate space subject to finality and death. Besides existential and intellectual issues, Blumbergs has always been interested in human physical existence in art. Searches for the meaning of the body and bodily states are an important theme in Blumbergs’ art. The author interprets Blumbergs’ self-portraits as imprints of his individual experience. They embody the transformations of the portrait genre in Latvian art since the 1980s; thus in his case, the traditional boundaries of the genre are significantly expanded. Affect theory as a critical discourse in the social sciences and humanities surged in the mid-1990s. This article deals with affect theory and the possibilities of using it in the interpretation of artworks. The author provides a brief insight into the history of studying affect, the meaning of the terms affectus and affectio in the shaping of two paradigms in this theory: affect as an elementary state and affect as an intensive power. The article emphasises those facets of the theory which relate to the body, bodily reactions as well as aspects of the artwork’s creation and perception. Several theoretical approaches of how to view an artwork through the prism of affect theory have been examined in the article. Focusing on the aspect of the affect’s working and influence, the French philosopher Gilles Deleuze (1925–1995), in collaboration with the philosopher and psychoanalyst Felix Guattari (1939–1992), developed the theoretical trend of affect as an intensive force, and this perspective seems to be the most appropriate for the research of art. According to Deleuze’s and Guattari’s philosophical stance, affect is a result of the clash between organic or inorganic bodies; it is also present in the artwork as a peculiar aesthetics of materials and forms where colouring, surface texture, mass and volume are significant. Considering the mutual connection between affect and body, the article outlines several conceptions of the body identifiable in Blumbergs’ art, including body as a space where the battle for survival takes place, and the performative body as a constituent part of the artwork. The author takes up the interpretation of works titled “Me Myself in Strontium Radiation” (2010–2012) and “My Head in Strontium Radiation”, concluding that Blumbergs’ body in “Strontium” works is real, corporeal and affected by external conditions, while at the same time being abstract too. Material and abstract features are united in the context of affect studies. In other words, the body depicted in the artwork and related to the affect can be viewed as an indivisible unity embracing both spiritual and material substances. From the perspective of Deleuze’s affect theory defining affect as an intensive force, the idea of active matter comes to the fore. Strontium radiation depicted in Blumbergs’ paintings is a representation of “expressive” matter. The author invites viewers to spot connotations of affect and bodily reactions in several of Blumbergs’ works. In the performance “The Drawings are in the Box” (2003), the artist has used his body as a part of the artwork. Equipped with sheets of paper, charcoal sticks and loose charcoal, the artist drew lines and scratches with his naked body, leaving traces on the plane of the paper. Creating a soundtrack was important for this performance. Alongside other associations, emotions and reflection possibly caused by this artwork, the viewer (listener) could have quite an affective reaction of goosebumps caused by such a sound. In the series of photographic portraits “House-Keeping” (2002) Blumbergs has captured himself and his closest associates, emphasising the process of aging. In these photographic works he stresses the biological nature of the human body, its inescapable finality that is the main bodily limitation experienced by everyone. Body and ash as a metaphor or tangible matter is revealed in ten large-sized photographs, portraying a man’s body and skin that was part of the multi-media exposition in the exhibition “A Prayer for Seeing” in the Riga Gallery in 2004. The motif of ashes has a special place in Blumbergs’ art as a connection with his friend Imants Tilbergs (1939–2023) who was Blumbergs’ model or alter ego in most photographs as well as in the short films “Man” (2004), “Room” (2007) and “Ashes” (2010). In the film “Man”, Blumbergs created a peculiar human portrait in the interior. Blumbergs himself and Tilbergs are doing performative actions but the shabby room with dusty furniture and a rundown sofa serve as a static background for naked male figures, briefly entering the shot in a disorderly and unexpected manner. The film lasts no more than a few minutes but its viewing demands concentration from the spectator who is confronted with a rapid change of shots and a sudden noise able to cause anxiety by the means of image and sound. Therefore, besides the thematisation of the body, one can speak about yet another point of intersection between affect and art in the context of this video – the artwork’s ability to cause not only certain emotional states but also to affect the viewer directly. The author concludes the article with at least three conceptions of the body emerging in Blumbergs’ art. Firstly, this is the body as an inner, closed space where the ongoing processes are captured. Secondly, representation of the body as it interacts and connects with other bodies, with space and the outer world. Thirdly, the body as a constituent part of the artwork, meaning its direct involvement in the artwork as a performative act. Discussion about affect in the context of Blumbergs’ art is significant because spiritual and bodily dimensions, the latter unfortunately and inevitably encountering illness, are equally manifested in his art.
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While going through some cultural expressions in texts and images, this article proposes reflections on ways in which the practice of poetics, in the sense of creative making, needs to encounter, address, and overcome difficulty in order to facilitate the contribution of the imagination and the acts of “imaging” it allows, to the figuration of the new. Encounter is the key word, indicating plurality and process. Nothing is fixed; hence, not “identity” as something permanent, but instead, in the encounter, identification with others, other fields, other ideas, other images becomes appealing and possible.In the painstaking attempts to think up new ideas, one encounters difficulty, which needs to be overcome. Only through encounters this becomes thinkable, and that makes imaging something so far unheard of, possible. The ‘poetic’ side of psychopoetics, making through (as traversing) and with (as its material) the reflections emanating from the unconscious as they appear at the edge of consciousness, is what binds together the different disciplines as we know them, in a knot of creativity, imagining, and thinking what we did not know.
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The aim of the article is to present the nature of remuneration due to film co-authors and performers on the basis of Art. 70(2)(1) of the Act of February 4, 1994 on copyright and related rights (CRRA). The current wording of the provision does not take into account the realities of the contemporary audiovisual industry and changing habits of audience who give up cinema screenings in favor of VoD. The streaming services also replace usage of films stored on DVD or other carriers. According to Article 18 of Directive (EU) 2019/790 of the European Parliament and of the Council of 17 April 2019 on copyright and related rights in the digital single market, the Member Stated shall ensure that where authors and performers license or transfer their exclusive rights for the exploitation of their works or other subject matter, they are entitled to receive appropriate and proportionate remuneration. According to the author of this article, the said article, with respect to coauthors of an audiovisual work should be implemented by extending the scope of Art. 70(2)(1) of the CRRA by introducing an inalienable right to appropriate remuneration for making the work publicly available in such a manner that anyone could access it at a place and time individually selected by them.
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In 1929 Karol Lanckoroński (1848–1933) donated his collection of scientific photographs to the Polish Academy of Arts and Sciences. Among the photographs of works of art and archeological relics in that collection we can also find prints of ethnographic nature, including photographs by Alfred Silkiewicz, a photographer with connections in Ternopil. On 6 July 1887 the heir to the throne Archduke Rudolph visited Ternopil and saw an ethnographic exhibition designed specially for his visit in the municipal garden. The central figures of the exhibition were residents of minor towns of Eastern Galicia brought to Ternopil, dressed in regional costumes. The text focuses on the circumstances of taking those photographs and on their significance as a source for researching the history of Galicia and its residents.
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“The White-Haired Girl“ is the first original Chinese opera. It combines Western music, music from regional Chinese music dramas and Chinese folk music. In this sense, “The White-Haired Girl“ has very high research value. One of the most brilliant vocal performances in the opera is the protagonist's aria “Hate like a mountain, anger like a sea”, which incorporates musical elements from the regional musical theatre of Shanxi province. In this paper, the aria is analyzed in terms of its musical nature, the features of vocal line and emotional expressiveness, the use of elements from Chinese musical theater in operatic arias is explored, and its significance and influence on the creation of opera on local soil is examined.
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The decade of the 1920s was undoubtedly reproductive for Bulgarian fine art in many ways. Having returned from abroad and “immersed” in European culture, many Bulgarian artists bring to their homeland the courage to create new and supranational art. Experiencing the ferocity of the First World War, many of the same artists who had been mobilized to the front line, in the following decade of the 1920s, turned their attention to the “native,” creating a much-needed consolidation of community in times of national disaster. In addition to the transformation of folklore myths and legends, characteristic of the symbolism in Bulgarian art, the study of the “native” also develops in the consideration of traditional folk customs, looking into the life and the celebration of the Bulgarian village, which is increasingly losing its national image – to replace the leotard with a balton and the breeches with trousers and become part of the society of modern Europe. Many artists capture in their paintings the disappearing images of lazarki, the “Butterfly” custom, kukeri, koledari, survakari, weddings and other moments of the Bulgarian ritual calendar.The present work traces both the ethnogenesis of the customs depicted in the paintings, as well as the specifics of their reification, the specifics of the folklore area to which they belong, and their reflections on the idea of “native art” both from the 1920s and in the next decade, when the look at folklore-ethnographic imagery pays attention to different accents, but always in search of the national tradition.
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The paper explores the fluidity of (photo)montage in image in the cultural contexts of the times, emphasizing the uniqueness of the medium of photography and its ability to transpose the referent as opposed to reality. The text analyses the dialectic between technical mistakes and creative processes that lead to the emergence of new artistic categories and practices. It provokes a discussion on how photography challenges the image. Meanwhile, the processes of spontaneous errors are being examined, including double exposure or accidentally botched photographs for example, that contribute to new forms of artistic interpretation and experimentation. The topic of the imaginative is present throughout the article, from Husserl’s phenomenology to Dadaism and Surrealism, with an emphasis on the transformation of dream images and their interpretation. The component of authenticity in montage and photomontage is emphasized, including how these techniques create new visual identities. The text uses theoretical takes of major thinkers such as Roland Barthes to open up a broader discussion on the ontology of the image and its interpretation, providing a comprehensive view of the transformation and significance of photography in modern art.
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The visual capture of the world has been an integral part of the formation of ethnology and cultural anthropology since the beginning. It meant not only a source of knowledge of the local community, but especially of the time at which it was created. Sometimes photographs were taken accidentally during research trips as more or less documentary material, which were only superficially analysed and served to visually confirm the investigated state, or were a targeted photo documentation of disappearing phenomena, objects of material culture, ceremonies or genius loci of the researched area. At other times, photographs were created as a result of purposeful research and documentation of selected phenomena. The result of this is an interpretive openness and an effort to find and establish new analytical and interpretive processes that would be able to convey anthropological knowledge more effectively. Is art, or in our specific case artistic photography, usable for research or for interpretation of cultural or anthropological phenomena? We try to find an answer to this question by analysing the collection of photographs of the Creative Creatures project (subtitled Last Survivors) from Papua New Guinea, by art photographer Martin Machaj. We analyse not only its artistic rendering but also the ethnological, anthropological content and message of the work of art.
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Bulletin "Artistic and creative activity" contains information about the artistic and creative activity of the teachers of NATFA in several categories: Realized author's product in the field of arts (film, performance, exhibition, concert, etc.); Leading (independent) creative expression in the field of arts; Realized short author's product in the field of arts; Supporting creative expression or participation in a collective product in the field of arts; Leadership of a master class, studio or workshop in the field of arts; Creative expression in a master class, studio or workshop in the field of arts; Awards in competitions for creativity and performance, given by national professional forums and organizations.
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Bulletin "Artistic and creative activity" contains information about the artistic and creative activity of the teachers of NATFA in several categories: Realized author's product in the field of arts (film, performance, exhibition, concert, etc.); Leading (independent) creative expression in the field of arts; Realized short author's product in the field of arts; Supporting creative expression or participation in a collective product in the field of arts; Leadership of a master class, studio or workshop in the field of arts; Creative expression in a master class, studio or workshop in the field of arts; Awards in competitions for creativity and performance, given by national professional forums and organizations.
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Bulletin "Artistic and creative activity" contains information about the artistic and creative activity of the teachers of NATFA in several categories: Realized author's product in the field of arts (film, performance, exhibition, concert, etc.); Leading (independent) creative expression in the field of arts; Realized short author's product in the field of arts; Supporting creative expression or participation in a collective product in the field of arts; Leadership of a master class, studio or workshop in the field of arts; Creative expression in a master class, studio or workshop in the field of arts; Awards in competitions for creativity and performance, given by national professional forums and organizations.
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Bulletin "Artistic and creative activity" contains information about the artistic and creative activity of the teachers of NATFA in several categories: Realized author's product in the field of arts (film, performance, exhibition, concert, etc.); Leading (independent) creative expression in the field of arts; Realized short author's product in the field of arts; Supporting creative expression or participation in a collective product in the field of arts; Leadership of a master class, studio or workshop in the field of arts; Creative expression in a master class, studio or workshop in the field of arts; Awards in competitions for creativity and performance, given by national professional forums and organizations.
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Bulletin "Artistic and creative activity" contains information about the artistic and creative activity of the teachers of NATFA in several categories: Realized author's product in the field of arts (film, performance, exhibition, concert, etc.); Leading (independent) creative expression in the field of arts; Realized short author's product in the field of arts; Supporting creative expression or participation in a collective product in the field of arts; Leadership of a master class, studio or workshop in the field of arts; Creative expression in a master class, studio or workshop in the field of arts; Awards in competitions for creativity and performance, given by national professional forums and organizations.
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