Around the Bloc: Serbia Calls on Steven Seagal
Martial arts master, Hollywood action hero and self-described Russian Mongol asked to train Serbian special police.
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Martial arts master, Hollywood action hero and self-described Russian Mongol asked to train Serbian special police.
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Art Collage exhibition unveiled on 27 September 2013 at the hall of the Society of Bulgarian Artists, Plovdiv was a variegated symbiosis between contemporary readings of art as a subjective reality. Sixty artists from across Bulgaria representing various generations, evinced distinctive artistic manners. The concept of the show was focusing on the reflection of the past, present and the future on the innermost, personal labyrinth of each of the authors as represented through contemporary collage techniques. The paper covers this variegation. It seeks to present the captured emotions, the wide range of devices, the interlacing of pictorial techniques and the communication of matters of various types in a common mental field. In this way the issue of time finds its identity in the ‘embedding’ of today and tomorrow into the opulent options afforded by the new collage techniques. With some of the authors, conclusions are drawn on the basis of a direct study of the artists’ ideas (B. Vuleva, L. Dimitrova, M. Beleva), while with others, the analysis has been made by the researcher under the immediate influence of the pieces themselves, but in both cases, the relation between the title and the vision, reality and imaginativeness and the specifics of the used collage techniques are the benchmarks set by the article. In view of the variegated gamut of representative interpretations and image relations, the text shapes an actual highlight of contemporary Bulgarian art in the light of collage overlay.
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In 1986, Vladimir Ivanov initiated the forming of the Group of Seven at the studios in the former Vulkan plant in Varna. In this way, the idea of innovation in the field of visual arts was given publicity, which it lacked until that time. The earliest objects, installations and happenings emerged on Varna’s art scene. The works by Varna-based artists Agop Gemidjian, Vasil Vasilev and Angel Angelov of the mid- and the end-1980s are dealt with and interpreted in the article. Angel Angelov was working hard too, but was not part of the group (he joined the Var/t/na Club in 1996). The paper elucidates the prerequisites for the emergence of new art practices and traces out the earliest experiments of these artists towards conceptual art. It was their endeavours that turned Plovdiv into a hub of Bulgaria’s contemporary art.
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The paper discusses the concept of faktura in the early stages of Russian Cubo-Futurism by focusing on the representation of faktura in painting and sculpture as defined by Voldemar Matvey (Vladimir Markov) and Nikolai Burlyuk in 1912-1913, and in poetry as envisaged by Alexey Kruchenykh and Velimir Khlebnikov. Based on Kruchenykh’s and Khlebnikov’s manifesto Word as Such (1913), the paper shows how their declarative insistence on facture in poetry transforms into creativity in Kruchenykh’s collection of poetry Vzorval’ (Explodity).
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The article provides concrete data and observations for a more reliable identification of King Simeon's anonymous seals by applying accurate iconographic paremeters for dating the image of Christ Pantokrator on the one side of the examined seals and it attempts to establish the characteristics of the portrayal of Bulgarian ruler, represented half-length on the other side of these seals. Three other anonymous seals are also included in the analysis. The author adduces arguments in support of the assumption that they were the seals of Prince Boris-Mihail (864-889) and of King Petur (927-969). This attribution is hypothetical but at this stage of sphragistic investigation it supports the identification of the anonymous seals under review as seals of the Bulgarian King Simeon.
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Nada Pivac is one of our most significant artists who has profoundly influenced the Bosnia and Herzegovina´s art scene – as a painter and as a professor, firstly in Sarajevo, then in Široki Brijeg´s Academy of art. She is one of most responsible for the foundation of both Academies. The artistic style of Nada Pivac is distinctively heterogeneous, and it is impossible to analyse it in continuity since most of her works are in private collection, and her atelier in Sarajevo, in which were the paintings prepared for the retrospective exhibition, was robbed during the war. The paper focuses on this artist´s oeuvre during the seventies of19th century when she turned to abstract art expression – the subjects, landscapes and portraits are reduced to specific abstract forms. Thereby, her paintings represent a certain transcendence of a visible reality expressed through universal abstract language of painting. This paper will also try to redefine the value of Nada Pivac´s unfortunately neglected oeuvre.
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Stalak za sliku bio je postavljen na žalu, pred morem i nebeskim svodom, preko kojega su klizili vazdušasti oblaci. Platno slikara pejzaža stavljeno je na njega, ali se jedva primećuje, to jest, raspoznaje se samo zahvaijujući nekolikim čavlima koji se vide na ivicama slike: ono se utapa u prirodu, a priroda u njega, i u tom uzajamnom utapanju ne može se uočiti nikakav prekid. Tako izgleda jedna od verzija Magritove Ljudske sudbine (Gvaš, 1948).
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U dubrovačkoj Umjetničkoj galeriji nedavno je održana, a u sarajevskom Collegium artisticumu se upravo održava velika izložba »Novi oblici figuracije«. Organizaciju izložbe je ostvarila dubrovačka galerija i to je do sada svakako najambiciozniji projekt sagledavanja figurativnog slikarstva u nas. Zapravo, u nekoliko navrata je već obrađivana ova problematika, a odredišne tačke mogu se pronaći u izložbama »Obnova slike« Dragoša Kalajića u Beogradu 1974. godine, »Neoromantizam kao umetnost nespokoja«, koju je koncipirao i u Novom Sadu postavio Đorđe Kadijević 1976. i u nekoliko sekcija posvećenih figuraciji (Kretanja ka ekspresionističkoj figuraciji, Pomeranja unutar figuracije poetsko-fantastičnog smera, Kretanja u okvirima nove figuracije, Od sentimentalnog i nostalgičnog ka racionalnom izrazu i Ka radikalnom realizmu — naslove svih ovih teza navodimo zbog toga što su svaka za sebe, brojem eksponata i izla- gača i priloženim tekstovima, predstavljale koherentne izložbe- ne celine) na Petom beogradskom trijenalu likovnih umetnosti u Beogradu 1977. godine.
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The popular event draws crowds and again amazes with installations around the Czech capital.
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The article addresses the representation of art in Second Life. There is an interesting dichotomy between collective memory and colloquial aesthetic experience in virtual reality. The article consists of two main parts: the first pertains to decontextualisation as a paradigm in art; the second refers to the features of daily aesthetic experience. The main hypothesis of this paper is: digitalized images of paintings reveal changes in thinking about art in a world dominated by new media (and thus also by Second Life). This hypothesis confi rms the presumption that collective memory nowadays is dominated by colloquial thinking about art, aesthetic and beauty.
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In the article, I argue that by means of qualities intrinsic to the medium of the photobook, the renowned Danish photographer Krass Clement (b. 1946) constructs a complex narration, which, on the one hand, seeksmeta-refl ection on the relationships between photography, memory, and the perception of reality, and, on the other, explores the post-GDR condition of Berlin and Germany. Venten på i går. Auf Gestern warten (Danish and German for “Waiting for yesterday”) includes both old and contemporary images, in both colour and black-and-white, but the book is neither (n)ostalgic nor documentary. Rather, I insist that Clement’s project epitomizes memory work and that its guiding principle can be understood through Rosalind Krauss’ concept of the grid. Th e grid is here inseparable from photography’s relation to memory and reality. I explore how the dialectics between remembering and forgetting, inherent to photography, is enacted by the book, and how it foregrounds the opaqueness rather than the transparency of the medium and perception. I also present how the universe constructed by Clement unfolds within the three temporal dimensions suggested in the title of the book: a present (post-ideological) suspension between the future and the past.
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The article is about the role of found footage in shaping the consciousness of the modern spectator in relation to historical cinematographic creations. The meaning and signifi cance of interpretation, as well as the aesthetics of experimental movies, shatter myths about classical narration and the understanding of film in its social normative role. Chosen films by Bill Morrison, Fabio Scacchioli and Peter Tscherkassky are analyzed in order to outline this issue.
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The study focuses on the architectural projects proposed by the creators of Camerimage festival for Łódź – which is struggling to maintain its position as a “film-friendly” city. A so-called “David Lynch studio” and “Frank Gehry congress center” were preliminarily commissioned by the city, but soon both projects were subjected to heavy criticism from the city council. The author presents the dynamics of the debate and stresses the need for taking into account discussions of the concepts of the “creative class” and the “creative city”.
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This contribution is devoted to an interpretation of the artwork, from a gender point of view, Metamorphosis of Narcissus by Salvador Dalí. Dalí’s painting is compared with the Narcissus stories to be found in antiquity, particularly in Ovid’s Metamorphoses, with his stress on the beauty of a young boy, and the commensurate concepts of seeing and mirroring. The gender associations of narcissism and their changes are well-documented in the history of art (Caravaggio, Edward Burne-Jones) and in different concepts of narcissism (Sigmund Freud, Gaston Bachelard, Lou Andreas-Salomé, Julia Kristeva). The author focuses on the gender aspects of surrealism, keying in especially to the concept of Anima and Animus (Carl Gustav Jung). Dalí’s work is analyzed in terms of associating Narcissus not merely with seeing and mirroring but also with touching and metamorphosis, emphasizing his remarkable skill at transgressing gender divisions in his visionary leap towards androgyny.
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the article deals with sculptural metaphors presented in leiris’s Aurora in re-lation to eroticism. aurora is the name of the the surrealist novel’s central fe-male figure, who appears in the stories of all the different male characters. All of the men ‒ the narrator and subsequent characters ‒ are searching for a point of stabilisation of their own subjectivities, which are losing their integrity and cohesion. The phantasm of Aurora, a Medusa‑like woman, is the only entity that guarantees petrification, and therefore can stabilise subjectivity.Eroticism connected to sculptural forms and Aurora’s ability to be at once a petrifying Medusa and an animating force of nature shows the paradoxical condition of the language and the illusory nature of any male charac-ter’s hopes for constructing stable subjectivity.
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Artykuł stanowi próbę wykazania podobieństw między teorią ornamentu Pawła Florenskiego a teoriami sztuki abstrakcyjnej Wassilya Kandinsky’ego oraz Kazimierza Malewicza. Podstawą rozważań jest nietłumaczona dotąd na język polski książka Florenskiego pt. Анализ пространственности и времени в художественно--изобразительных произведениях (Analiza przestrzenności i czasu w dziełach sztuk plastycznych) oraz publikacje wymienionych artystów. W rozumieniu Florenskiego ornament nie stanowi jedynie elementu zdobniczego, ale jest przedstawieniem rytmu i struktury życia. Według rosyjskiego filozofa była to niezrozumiana przez jemu współczesnych i dlatego niedoceniana forma sztuki, odrzucana również przez abstrakcjonistów. Przybliżenie tez Florenskiego dotyczących ornamentu znajduje się w centrum poniższych rozważań. Zamierzam zrekonstruować jego rozumienie tak zwanych motywów dekoracyjnych oraz zastanowić się nad możliwością uznania ich za przypadki sztuki nieprzedstawiającej, którą Kandinsky – jako jej twórca – określił mianem realnej.
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W artykule podejmuję problem roli zmysłów w doświadczaniu krajobrazu. Proponuję odejście od klasycznej wykładni i estetyki the picturesque, która ujmuje krajobraz w doświadczeniu wizualnym jako obraz, by sprawdzić, jak zmienia się rozumienie i postrzeganie krajobrazu, gdy kategorią go definiującą będzie „wzniosłość”. Redefinicja wzniosłości, przeprowadzona przez Theodora W. Adorna i Arnolda Berleanta, pozwala przywrócić jej wymiar antropologiczny i powiązać ją z ideą przetrwania. W tym zakresie wzniosłość odnosi się do takiego rozumienia krajobrazu, które opiera się na idei uczestnictwa, „bycia w krajobrazie”. Uczestnictwo wymaga zaangażowania zmysłów, które otwierają się na wielość krajobrazów: dźwiękowy, zapachów, haptyczny. Doświadczenie wielozmysłowe w krajobrazie – synestezja zmysłów – otwiera się na zupełnie nowe odczuwanie, w którym przybliżony obraz staje się przestrzenią doznań zmysłowych.
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Przedmiotem niniejszego szkicu są dwa sposoby rozumienia natury światła, wydobyte i poddane krytycznej interpretacji przez Pawła Florenskiego w jego rozległym i „gęstym” eseju Ikonostas (jednym z najbardziej znaczących dla filozofii sztuki dzieł tego autora). Florenski odnosi się do sztuki ikonograficznej, do właściwego jej rozumienia światła jako symbolu, podstawy i osi, trzonu świętych wizerunków, bez którego ikona utraciłaby swoją wartość również jako część liturgii. Ponadto, Florenski odnosi się do dzieł malarskich Rembrandta i immanentnego im odczuwania i rozumienia światła jako fosforescencji.Prezentowany materiał ma na celu krótkie zarysowanie fragmentu znacznie głębszej i wielowątkowej myśli Florenskiego, ujmującej problematykę światła w odniesieniu do dzieł sztuk plastycznych.
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