Przedstawienia Komunii św. Onufrego w zachodnioruskim malarstwie ikonowym

Author(s): Maria Szcześniak / Language(s): Polish Issue: _/2014

The representations of St. Onuphrius’ communion in west Russian icon painting became popular in 17th and 18th century. This subject has its source in life of the saint. The comparison with the other representations of communion in art shows that the representations drew on both: Latin and Greek tradition of painting. St. Onuphrius communion is an excellent example of combination of western and eastern culture – their iconography, spirituality and trends. Borderland is a place where many different influences and inspirations merge and coexist. The representation of St. Onuphrius’ communion is one of the best proofs of this interaction. Il. 1. Komunia św. Onufrego Wielkiego, ikona z cerkwi św. Paraskewy Tyrnowskiej, Zawadka, I ćw. XVIII w., Muzeum Historyczne w Sanoku; R. BISKUPSKI, Ikony w zbiorach polskich, Warszawa 1991, il. 127. Il. 2. Komunia św. Onufrego, cerkiew Ofiarowania Pańskiego, Michniwka, 1717, Wołyńskie Muzeum Krajoznawcze; S. KOT, Volyn Icons XVIth-XVIIIth centuries, Kyiv – Lutsk 1998, il. 27. Il. 3. Św. Onufry, diecezja przemyska, II poł. XVIII w., Muzeum Budownictwa Ludowego w Sanoku Under Your Protection… 15th-18th century icons from the Polish Carpathians, bmw. 2005, s. 98. Il. 4. Komunia św. Onufrego (fragment), ikona ze Stryja, poł. XVIII w., kolekcja ks. Rostysłava Hładiaka, Lwów; Ks. M. JANOCHA, Niektóre aspekty ikonografii unickiej na terenie Rzeczpospolitej, w: R.

Likovni kutak: Naselje; Prazno odijelo; Nepoznato; Prevladavanje; Velovi iluzije

Author(s): Nadja Jovanović / Language(s): Croatian Issue: 2/2015

Ключарят на вятъра или една толкова стара, стара приказка

Author(s): Atanas Dafinov / Language(s): Bulgarian Issue: 1-2/2016

Студентите от Югозападен университет в изложбата на осмия Национален студентски фестивал по изкуствата: поглед на един от тях

Author(s): Lalka Todorova / Language(s): Bulgarian Issue: 1-2/2016

THE EARTH, MATTER AND SYMBOL IN CONTEMPORARY VISUAL ARTS

Author(s): Marcel Bunea / Language(s): English Issue: 1/2013

Earth as a means of expression is a being used in various form: sand, cliffs, mud, etc. beginning with the second half of the sixties. Earth Art and Land Art are two ways of expressing the matter of using natural materials in the artistic process. Art emerges from the non sites (gallery) in natural locations (lang site)

JEAN – PIERRE RAYNAUD OR THE NEED FOR EMPTINESS

Author(s): Cristian Sida / Language(s): English Issue: 1/2013

Most likely, Jean Pierre Raynaud is the French artist who both influenced and intrigued me, contributing decisively to my “split” with myartistic practice of the past seven years.

NATURE – FORM OF THE SACRED, ICON, SYMBOL

Author(s): Dacian Andoni / Language(s): English Issue: 1/2013

Man, in order to perceive the sacred, differentiates the environment according to his needs, preferring those places which facilitate survival or protection, endowing them with a supernaturallegitimacy, and rigorously circumscribing them. As far as the iconsare concerned, apart from the face or the story represented, adistinct role is played by nature itself. It first appears as a given andas a problem in the horizon of the European religious thoughtwithin the sources of Christian faith. The spiritual world in which man has become God’s temple is revealed to us with the help of colours, shapes and lines and of the symbolic realism - a language which is, in its own way, unique. The order and inner peace referred to by the Holy Fathers are conveyed through the peace and outer harmony of the icon, where everything is unified and driventowards supreme harmony.

Абстрактното анимационно кино и компютърната 3D анимация

Author(s): Sevina Ivanova / Language(s): Bulgarian Issue: 1/2012

With the appearance of digital technologies, new ways of artistic expression were opened for the world of animation, a world filled with pulsating colors and abstract shapes. This text discusses the interrelation between the work of the masters of abstract and experimental animation and their “heirs” in the computer era. The experimental films by Norman McLaren and Len Lai serve as the starting point in this journey through modern computer animation.

Живописната геоиконика – артистична наука за Земята

Author(s): Yonko Stoyanov / Language(s): Bulgarian Issue: 1/2014

The article presents a new, hybrid approach to the artistic and scientific creative work, called “painting geoiconics”. It is a sort of informal practice in art, claimed by the contemporary artist as a model for putting ahead an actual research problem and at the same time being a bridge to the art about nature. “The painting geoiconics” was presented by the author for the first time in 2004 in Canada. Yonko Stoyanov defines it as a painting science about the earth – geological scientific knowledge recreated by means of painting. The article gives a comment on today’s artistic practices from different points of view – of aesthetics, philosophy and cultural studies – and emphasizes on the necessity of new approaches towards development of visions, stimulating the advancement of thought. It renders a cognitive model in the form of a complex artistic and scientific project entitled “Geological pulse”. The results of the investigation within the project display the important meaning of the changing natural peculiarities for the cultures on the world map. In his artistic practice the author demonstrates and expresses the scientific assertion of the influence of natural phenomena upon the modulation of creative processes.

„Le Four à la Pérelle, kwiecień-sierpień 2011”

Author(s): Agata Jakubowska / Language(s): Polish Issue: 06/2013

Reading Andrzej Turowski’s manifesto, the author wonders why an art historian would write an artistic manifesto (and not a manifesto for art historians), which ought to concern art, and not art history; on behalf of what artists is he writing, because no artist is mentioned in it or has signed it. The author refers to Turowski’s participation with Anna Baumgart in an artistic project entitled Locomotive of History. This gave them the experience of operating on the border between the actions of a researcher and an artist, historian and writer.

Sztuka – wbrew czy ku demokracji?

Author(s): Tomasz Kitliński,Paweł Leszkowicz / Language(s): Polish Issue: 06/2013

The authors pose the thesis that the subversive potential of contemporary art has been almost completely disarmed by its own institutions, that is, the art market, art galleries, museums and art academies. Art is now the domain of the intellectual and financial elite, which fully oversee its distribution to a wider audience. The main threat to art is undemocratically managed institutions in big cities and world capitals; an invisible inner censorship works within them that does not permit the display of truly subversive art. The authors see a realm of freedom for art in the margins, which include not only geographical margins, but also personal ones.

Czy rebelia jest jeszcze możliwa?

Author(s): Izabela Kowalczyk / Language(s): Polish Issue: 06/2013

The author argues that Andrzej Turowski’s "Manifesto" is a critical response to Artur Zmijewski’s manifesto "Applied Social Art". Art, as Turowski indicates, brings chaos, discord, conflict and anarchy, and cannot directly give in to politics because this deprives it of doubt, ambiguity and uncertainty. Kowalczyk also draws attention to the postulate of art’s critical distance to the market. The author sees the danger of all forms of rebellion being absorbed by the market and asks whether contemporary artists can still rebel.

„Czesanie” Andrzeja Turowskiego: z włosem i pod włos

Author(s): Marta Smolińska / Language(s): Polish Issue: 06/2013

Andrzej Turowski defines the role of art as active participation in uncertainty. According to the author of the text, Turowski redefines the task of the vanguard as aiming at originality in a move toward critical participation and the creation of disobedient art. Turowski’s Manifesto, on the one hand, distinguishes difference between active participation in democracy and the role of the artist, which requires active and continuous reformulation. On the other hand, there is still doubt as to where the exact boundary lies between these two attitudes, and if it is actually possible to clearly navigate it.

Książki rysowane

Author(s): Marta Koronkiewicz / Language(s): Polish Issue: 01/2014

The author analyzes Alison Bechdel’s graphic novel "Are You My Mother?", paying particular attention to the ways in which the act of reading is expressed in the novel. The essay reflects on the comic book as a medium in which the act of reading does not lose its critical, intertextual nature, while at the same time, its assumes – as an element of the story being presented – an everyday, practical, fabular dimension. The author examines the use of quotes in the book, reflecting on their inter-media character – in accordance with the thesis that in comics one draws words rather than writes them.

Piotr Uklański i sztuka zawłaszczania

Author(s): Marek Wasilewski / Language(s): Polish Issue: 02/2014

The article analyzes the art of Piotr Uklański in the context of so-called ‘Appropriation Art’. The author describes the artist’s most famous works, identifying their precursors and analyzing the qualitative and contextual differences between them. The text also refers to the wave of indignation among Polish artists Uklański triggered when he showed reproductions of works by Polish avant-garde artists from the 1970s at several exhibitions without obtaining their permission and presented them as his own work.

Z niepokoju rodzi się bunt

Author(s): Adam Mazur / Language(s): Polish Issue: 02/2014

Interview with Andrzej Turowski, Polish art critic.

Éva Ujfalusi: wycofanie jako manifest

Author(s): Waldemar Kuligowski / Language(s): Polish Issue: 03/2014

The introduction and the presentation of Hungarian artist Éva Ujfalusi's works.

Paradoks kłamcy i totalitarna prawda

Author(s): Magdalena Radomska / Language(s): Polish Issue: 03/2014

The text analyses contemporary subversive Hungarian art and its critical view of the government. Key processes framing the meaning of interpretive work in this context include, on the one hand, the financial crisis that hit Hungary in a particularly acute way; on the other, the attempt by Fidesz and Viktor Orbán to symbolically annex the semantic field of transformation. The text provides a chronology of resistance and artistic events, such as the series of exhibitions, lectures and discussions organized by a WHW collective (What, How & For Whom) and the Centre for Monitoring Right-wing Extremism and Anti-democratic Tendencies, "Art Under a Dangerous Star – The Responsibility of Art", Szabolc KissPál’s website – NEMMA, the emergence of the group of Free Artists (Shabad Művészek), the occupation of the Museum Ludwig, the actions in defense of the independence of Műcsarnok undertaken by the Outer Space Projects and the series of exhibitions "Private Nationalisms".

Concerning Matila C. Ghyka and Visual Beauty (IV)

Author(s): Georgeta Merişor Dominte / Language(s): English Issue: 2/2015

Selected from a more extensive research paper (“Matila C. Ghyka and Visual Beauty”), this study includes a few details about Matila C. Ghyka (b.13.09.1881, Jassy – d. 14.07.1965, London) and visual beauty, considered as a whole as an expression of the golden number (phi=1,618...) and of harmonious characteristics, both in his aesthetic vision and in general. This section contains a series of references to conceptual antecedents and enduring significances of compositional harmony that converge when considering beauty from a mathematical perspective. By its very abstract system, the scientific approach certifies for Matila C. Ghyka the permanence and the plurality of harmony in the visual medium, within which the golden number has an essential and invariable function as a constitutive factor, both for natural and artistic beauty.

Imre Ámos, Painter of the Apocalypse

Author(s): Katalin Petényi / Language(s): English Issue: 03/2016

The exhibition of Imre Ámos, Painter of the Apocalypse opened at the Gallery of the Hungarian Academy in Rome on 11 February 2016, under the anspices of the Balassi Institute of Budapest. The occasion inaugurated Hungary’s assumption of the rotating annual presidency of the International Holocaust Remembrance Alliance (IHRA). Culled by Katalin Petényi from the collections held by the Hungarian National Gallery and the Ferenczy Museum in Szentendre, the exhibition presented Ámos’s oeuvre through 52 works including early lyrical paintings, forcefully symbolic oil canvases, ink drawings, the harrowing Apocalypse series and, representing the epitaph of the painter’s work, some of the most important pieces in the Szolnok Sketchbook. The curators were Katalin Petényi and Pál Németh. The purport of the exhibition is underlined by the fact that this was the first time the painter’s work had ever been shown outside Hungary.