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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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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Review of the exhibition: “Als Ich Can”, 10 July - 6 January 2020, Kunstkammer, Kunsthistorisches Museum, Viena
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The conversation between Réka Biró and Anikó Varga deals with two performances based on the theme of burnout: The Great B – Cabaret about Burnout (Marele B – un cabaret despre burnout) was on stage at ZUG in Cluj, Julien Fournier’s Burning at Trafó in Budapest. The discussion tackles the two theatrical productions while focusing on the relationship between theme and genre selection, as well as on the framing of the theme.
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Chris Salter writes in his study about the more and more important roles that sense and presence play in arts. Salters analyses the ways in which the technological perception of the environment influences the phenomenon of immersion, while pointing out that our sensorial processes are culturally determined, and therefore they may be different.
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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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The picture in our Found Image column was made by Zsuzsa Ozsvát after the performance A lány, aki hozott lélekből dolgozott. The picture presents an empty scene with two chairs. Ozsváth’s miniessay related to this photo is a monologue of a lonely character, who is wondering about his fate.
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About the the exhibition of Tamás Király, a fashion king of former eastern bloc
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The aim of the article is to introduce the problem of plants’ representations in the contemporary artistic projects based on medical imaging. The author analyses the problem in the perspective of posthumanistic philosophy, especially in reference to the theories of animal studies (Wolfe, Bakoff, Waldau). She also introduces the concept of Michael Marder, who builds his argument around the question of whether people are the only ones who have political, social and ethical rights. The second part of the article concerns strategies and method of plants’ bodies parametrization used in the selected artistic project. The author presents a few of them to show how artists investigate the problem of identity, autonomy and agency of non-human beings, with special regard to plants. The projects are analyzed in reference to various theories of connections between human and non-human beings, as well as to biopolitics’ strategies.
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After almost 20 years of a succesful run of superhero films it seems that we are now entering into the fully-developed format of this kind of cinema. Through films like “Avengers: Infinity War”, “Logan” or “Spider-Man: Into the Spider-verse” the general audience all over the world is becoming familiar with strictly comics-based forms and ideas like retcon, crossover or the multiverse paradigm (that serves as a model for ‘infinite’ superhero narratives and limitless iterations of characters). Despite the fact that popular cinema had already introduced some of these elements before – like the crossover aesthetic in Universal Studios’ horrors from the 1930s and 1940s – modern superhero cinematic universes can be seen as much more demanding productions for the viewers in terms of following strongly comic books-based modes of the ‘multiverse-centric’ perception. As a result we can right now observe an emerging process of turning even the non-superheroic popular cinematic features into very ‘comic book-y’ narrative patterns. In this article I’m interested in analyzing the most recent cases of superhero cinema by looking at some specific titles as a way of introducing the narrative systems and tools from superhero comics into cinema.
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The article discusses the impact of place on the traveller’s eye. The author uses Hippolyte Taine’s Venetian episode in Voyage en Italie [Journey to Italy] to illustrate how Venice’s landscape transforms and rejuvenates Taine’s eye, modeling his emotions. It turns out that the traveller sees affectively. This way of seeing is no different from the aesthetic eye which, according to Taine’s theory, “uncovers” what is “conspicuous”. The Italian sketches demonstrate as a result that his “philosophy of art” is permeated by geopoetic thinking about the place agency.
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Taking its cue from the presence of the Lamb of God in the Moldavian iconography, this paper analyses it alongside other iconographies from the late 15th century and the first half of the 16th century that bring together the Ancient of Days, Christ Pantokrator and the Hetoimasia. Pioneered in the area of Ochrid, at the beginning of the 15th century, these obvious Trinitarian arrangements assert the interest of the Moldavian milieu for representing the Trinity and its familiarization with profoundly theological imagery. To this interest there must also be added a hybrid iconography of Western influence, commonly labelled as The Neotestamentary Trinity (or, in recent scholarship, as the Synthronoi). Over the last decade its relationship with the Post-Byzantine art of Russia and of the Balkans was broadly addressed. These images might be evaluated as “visual polemical quotations,” a concept coined by Ágnes Kriza that refers to Western images adopted in Byzantine iconography with slight alterations, which underpin their apologetic function.
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It has been written so far very little about the antique embroideries of Norbertines from Żukowo in the professional literature. And they belong to the group of the most interesting examples of this kind of artistic craft in the area of the former Royal Prussia. There was only one major article about them written by Barbara Kaźmierska-Latzke. Unfortunately it was not so well known as it was published in the niche and issued for a short time bulletin of Łódź „Central Museum of Textiles.” Other studies which have mainly ethnographic and popular science character mention the works of art from church in Żukowo but only on the sidelines of deliberations on Kashubian embroidery. Their authors are trying to prove the influence of folk art on monastic embroidery thankfully less and less, but they still marginalize the role of nuns in the formation of the Kashubian ornament. In this situation a reliable publication of embroideries made by the Norbertines seems necessary, especially that their state of preservation is still getting worse and many of them we know today only from the archival photos.
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Authors studying the works of the greatest painter of the history of Poland Jan Matejko have long failed to do systematic research on numerous references to specific historical matters in his work, ignoring the aspect to which the artist attached such great importance. In the case of Skarga’s Sermon, one of his most iconic works, the situation has changed due to Jarosław Krawczyk’s book Matejko i historia, even though the author focused on one theme only: the conflict between the nobility and king Sigismund III. The study published here shows that equally important were the problems of Poland’s religious union and its submission to Russia in the early 16th century. Such broader interpretation is based on the assessment of the knowledge of such matters which was available to the artist. Undoubtedly, the fact that Matejko was inspired by his friend Józef Szujski, who back then had published a volume of his work Dzieje Polski concerning that part of the history of Poland, is particularly significant. The issues of the period discussed in the book and shown in the painting reveal far-reaching consistency, and the essence of Skarga’s Sermon is the subject of a great historical opportunity which Poles had lost(also know from Matejko’s other works). Poland had wasted its chance to take control of Moscow and to civilize it, which led to the rise of an empire – Poland’s future oppressor in the partition period.
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Review of: Anna Makarczyk - Mistrz Dalí powraca: Julian Beecroft, Salvador Dalí. Mistrz sztuki nowoczesnej, red. Bożena Mierzejewska, Wydawnictwo Arkady, Warszawa 2017, ss. 192
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Review of: Jakub Pieczara - Sławomir Filipek, Obraz Matki Bożej Śnieżnej w Tokarni: studium nad ikonografią „Salus Populi Romani”, Wydawnictwo Muzeum Archidiecezjalne Kardynała Karola Wojtyły w Krakowie, Kraków 2017, ss. 135
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