Transitions Online_Around the Bloc - 25 September
TOL’s regional news roundup: Pashinyan in LA; Thomas Cook in Bulgaria; street art in South Ossetia; and Udmurtia’s identity crisis.
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TOL’s regional news roundup: Pashinyan in LA; Thomas Cook in Bulgaria; street art in South Ossetia; and Udmurtia’s identity crisis.
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Goldschmiedearbeiten aus Reformierten Kirchengemeinden Deva und Hatszeg (16–18. Jahrhundert). Die Goldschmiedearbeiten die in dieser Artikel verarbeitet sind auch heute Eigentümer der gemeinden aus Reformierten Kirchenkreis Hunyad–Zaránd. Ich versuchte alle mögliche Informationen versammeln und so ein Überblick von die künstliche Richtungen der reformierte Patronen dieses Gebietes in 16–18 Jahrhunderten machen. Leider in vorigem Zeit hat man sehr wenig mit diese Theme beschaeftigt. Unsere Analyse will neben der fachmaessige Beschreibung auch ein Spiegel für die alltaegliche Leben, Gebrauche und Fachniveau der vorigen Jahrhundertes sein. Die verarbeitete Goldschmiedearbeiten kommen aus 8 verschiedene Kirchengemeinden und sie sind heute in Deva und Hatszeg. Sie sind so ornamental, wie förmlich sehr heterogen: Werke von unbekannten Meistern aus dem 15–16 Jahrhundert, Objekte der Meister aus Kronstad, Hermanstadt und Klausenburg. Neben dem spaetgotischem Kelch finden wir ein renessantischer Pokal, auch barockzeitliche und klassische Objekte.
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The two chosen congregations can be found in towns of the historical Hunyad-Zarand region. Among the characteristics of this Transylvanian area is that it lost a major Hungarian population during the last centuries. Reformatted congregations died out so many historical and cultural monuments and objects were also lost in time. The congregations of Deva and Hatszeg have a specific character. In the last century many objects were moved here, on purpose to save them, from the surrounding churches, where no reformatted lived anymore. Unfortunately only a few textiles survived till our days: at Deva – two pieces, at Hatszeg – three pieces. One of them was donated to Deva, and one to Hatszeg, as we can read from the inscriptions on the textiles, telling us also by whom and when they became property of the congregation. From earlier documents can we localize another in scripted (the name of the donator and date) piece to Nagypesteny, now found at Hatszeg. But in case of two textiles we have no information about their origin. All five textiles, having a white cross fabric material of flax or cotton, were embroidered with colored silk and metallic threads, showing mostly floral patterns. The present study / article presents in detail these embroideries which are specific artifacts of the 18th century Transylvania.
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Tiziano Adógaras című képe a saját erejéből, a maga puszta evilági emberségében megmaradni akaró embert és az abból őt megváltó istenember Krisztust ábrázolja. A témáról Rembrandt is készített egy rézkarcot ifjabb korára jellemző barokkosan mozgalmas megfogalmazásban. Tiziano egy évszázaddal korábbi műve azonban a reneszánsz méltóságának megfelelő látásmódban készült.
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Diese kunstgeschichtliche Studie analysiert das Bild von Lajos Szalay und beweist, wie ein Kunstwerk die einheitliche Weltanschauung eines Künstlers widerspiegeln kann. Diese Einheit, wenn auch noch in Entfaltung, war schon auch in seinen frühen Werken zu finden. Er konnte mit seinen Arbeiten immer betonen, dass der Zuschauer nicht die Realität, sondern nur eine Zeichnung zu sehen bekommt. Aber seine Zeichnungen werden eben dadurch zur Wirklichkeit: zur gemachten künstlichen Kopie der Wirklichkeit. Das heisst, dass seine Zeichnungen eine Idee darstellen. Jedes Bild von ihm ist die Darstellung eines Gedankens.
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Pferdebad. Von diesem Thema wurden besonders zwei siebenbürgische Maler inspiriert: Imre Nagy von Csíkzsögöd und János Maszelka von Székelyudvarhely. Die Komposition von Imre Nagy (1893–1976) ist ein Ölbild (720x780) aus dem Jahre 1932. Das Bild widerspiegelt die Freude des in der Natur lebenden Menschen, jene Freude, die für unsere heutige öde Welt schon exotisch zu sein scheint. Man würde denken, dass nach der Arbeit von Imre Nagy über dieses Thema nichts Neues zu sagen wäre. Aber János Maszelka konnte es auch in seinen Bildkompositionen und auch in seinen Farben tun. (Pferdebad 48x67 cm, 1962). Er hielt die Natur für seinen Lehrmeister. Landschaft und deren Leute lebten in seiner Seele. Auch von diesem Bild strahlt Frohsinn, der für sein ganzes Leben und Lebenswerk charakteristisch ist.
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This paper presents an artistic research developed in 2018 starting from the Deleuzian concept of space-whatever as a nonmathematical, emotional space. The space-whatever can be encountered in the modern cinematography of Antonioni be it the deserted, abstract space, the so called space of the void, or be it the emotional, noncartezian space, the so called space of the colour, in the films of Godard. The present research extended the use of the concept to the large sphere of contemporary visual art (performance, installation art, video art). Two groups of students (one from the National University of Arts, Bucharest the other a mix from the University of Bucharest and the National University of Theatre and Film „I.L. Caragiale”) were involved in the concrete construction of a series of such emotional spaces of fear, passion, joy or contemplation.
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Contemporary scenography is in the process of reconfiguration, using technology as the main instrument of artistic creation. Means of the new visual artistic language are: movement, immersion, interaction, testing of perception. Digital worlds tend to unite arts in a single means of communication. Web culture is a new aesthetics and digital technology leads to the emergence of hybrid fusion in the performing arts. The main feature is the mix of real elements and virtual elements, and the dissipation of boundaries between them. Digital scenography is associated with digital imaging and the use of techniques 3D modeling, scenography from light, interactive screens, video mapping projection, animation techniques, virtual reality, augmented reality, virtual sets, or holographic illusions.
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The article illustrates the way in which it is necessary to use technology in exhibitions from art museums. I shall analyze the means through which the institution, respectively the public is mediating the artistic act through digitalization, virtual medium and social media. When the public is emotionally involved and is distributing information regarding the works of art in the online medium, the showcase of the cultural object is done efficiently and rapidly, but out of the museum’s control. In order to reach this goal, I shall be taking three exponential parts into consideration. Firstly, I shall present the types of art museum collections existing internationally and nationally, which already are using technology in their curatorial style. The preliminary conclusion shall investigate whether this approach was able to bring an improvement to the museum experience or to the level of participation. In the second argument I shall focus on the impact that the new manner of museum exhibition has towards fulfilling its basic functions, stipulated in the legislative act that institutionally authorizes it. The art museums that already make use of technological ways of distributing information shall be taken into consideration. The preliminary conclusion shall encase a hypothesis regarding the long-term advantages existing for the art museums that are going to utilize information technology in the future. Lastly, I shall argument the necessity of this approach in the visual art’s museum exhibition, for maintaining the institution at contemporary expectation standards. Finally, I shall conclude with deciding upon the attractiveness criteria that a museum acquires when using new media of broadcasting information.
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„Into myPlanet” is a multimedia conceptual performance created by the Romanian Association of Women in Art, Inter-Art ansamble and Augmented Space Agency in partnership with Cinetic and it embodies virtual scenography, dance, film and electronic music. As a whole, this complex opus by composer Mihaela Vosganian is inspired by Kabbalistic Annual Planetary Cycle, Hindu and Hellenistic phylosophies, and mythologies combined with real frequencies of planets and stars recorded by NASA.„Into myPlanet” has evolved on stage as multimedia show, during the contemporary music festival Meridian 2017 in Bucharest, Romania, as well as experimental film proposed by the Romanian Cultural Institute to be projected in the Planetarium of Beograd, Serbia. This ongoing development may result in different products such as multimedia theatre dance show, experimental film series, planetarium show and VR content.At the moment, the creators have finalised four of the seven moment of the entire Planetary Cycle – HelioSun, Lunar, Mercurian and Jupiterian, which are analyzed in this article. These are to be continued with Mars, Venusian and Saturnian, as the Annual Planetary Cycle is formed out of seven figures: Sun, Moon, Venus, Mars, Mercury, Jupiter and Saturn. The creation of the video art was inspired by the music and its history which has been a guide through the process from the beginning until the end. This article will explain, from the point of view of a filmmaker, the process of the artists when combining myths and archetypal rituals with the possibilities of tehnology today.
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Since 1967 the Prague Quadrennial is framing performance design through its scenographic pavilions,large hall exhibitions, performances and urban interventions. This approach to theatre through the dramaturgy of space creates an opportunity for professionals, students and audiences to experience the making of contemporary theatre culture. During the last fifty years, displaying theatre at the Prague Quadrennial defined a new path in the life of a performance, generating further knowledge and attitudes. Just like a painting needs a frame that enhances its presence in the exhibition space, theatre is searching for a way to channel its quests and achievements towards different contemporary contexts of reception. Exhibiting theatre is thus a process that cannot avoid the understanding of the art frame as a mean of communication. Painters like Peale, Whistler, Van Gogh and Degas to Hockney, Hodgkin and Rothko have designed frames for their own works in an attempt to better relate the medium of their art to the viewer’s environment, engaging the latter in a focused state of appreciation. But what defines a frame and what makes it so necessary? This makes the subject of this article.
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The museum presents itself as a series of stories, a chain of universal scenes that transcend linguistic boundaries. The exhibition is strictly related to the perception of space, and the term space is most often used from the perspective of the architectural definition. But from a philosophical point of view, space is related to experience. This understanding of space is perceived only through human direction and sensory interpretation. And scenography plays a decisive role in the way we read these stories.
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The study introduces unique research results on the topic of artistically gifted and talented children and young people, and their interactions with the environment and exhibitions of Slovak galleries. Artistically gifted teenagers (N = 32) from different regions of Slovakia participated in the research. Based on the research results, we consider the gallery environment stimulating for artistic talent of a person in a specific way. The authors of the study confirmed that in the observed group of artistically gifted teenagers, their artistic talent was positively impacted. Progress was captured in specific components of artistic expression (imagination, fantasy and creativity), which was identified as direct influence of visiting galleries.
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Jarvis Liam writes in his volume Immersive Embodiment, published at the end of 2019, about the concept of immersion, especially from the point of view of VR creations and theatrical performances. The book analyses those possible processes, which take place inside the participant/spectator during this kind of perception, providing at the same time a multidisciplinary approach for their interpretation.
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