„Chodź, proszę, pójdziemy tam razem...”. Fotograficzne sygnatury pamięci w projekcie Miłosz. Tutejszy Wojciecha Prażmowskiego

Author(s): Milena ROSIAK-KŁĘBIK / Language(s): Polish Issue: 10/2013

The aim of this article is to present Wojciech PraĪmowski’s photographic project through the prism of contemporary discourses – “the poetics of trace” (B. Skarga), “the theory of a photo-text” (M. Michałowska) and “the concept of migratory figures” (J. Ślósarska, M. de Certeau). The analysis encompasses the compositional structure of scenes – in reference to the methodology of punctum and studium, and the operator, the spectator and the spectrum of R. Barthes – as well as the contents associated with the off-scene space which concerns travelling along Czesław Miłosz’s tracks and the role a photographer / in which a wanderer plays. The article is also devoted to the issue of semiophores that fill the texture of memory in Prażmowski’s narration. Celem artykułu jest ukazanie fotograficznego projektu Wojciecha Prażmowskiego na tle współczesnych dyskursów – poetyki Śladu (B. Skarga), teorii foto-tekstu (M. Michałowska) czy konceptu figur wędrownych (J. Ślósarska, M. de Certeau). Analizie zostaje poddana rama kompozycyjna kadrów – w nawiązaniu do metodologii punctum i studium oraz operatora, spectatora i spectrum R. Barthes’a – ale i treści związane z przestrzenią pozakadrową, która dotyczy podróży śladami Czesława Miłosza i roli, jaką pełni w niej fotograf/wędrowiec. Porusza takie zagadnienie semioforów wypełniających teksturę pamięci w narracji Prażmowskiego.

Pokaż mi swoje ciało, a powiem ci, kim jesteś: interPREtacja trzech dzieł pędzla Johna Everetta Millaisa i Gabriela Rossettiego

Author(s): Małgorzata Wronka / Language(s): Polish Issue: 13/2016

The aim of this study is to represent the complexity of the human body analysing works of Pre-Raphaelite painters. The author starts with delineation of the beauty canon which has been ruling throughout the centuries and exemplifies how feminist movements moulded societal attitudes towards corporality, to finally focusing the reader’s attention towards three canvas painted by Millais and Rossetti Christ in the House of His Parents, Lady Lilith, and Venus Verticordia. Although realism plays the role of linking all the aforementioned paintings, there exist two extreme models among them. The first concerns the work of Millais, which represents the humiliated, obnoxious and execrable body. The controversy is intensified by the fact that the artist depicts the bodies of the Saint’s Family members, who until this time were identified with purity, good and beauty. The second model appears in the works of Rossetti, who creates a portrayal of the seductive, attractive and self-aware woman. What becomes noticeable is a dependency between objectiveness and subjectivity, which merges to have an influence on the coherent creation of the female figure. Disparate perception of Millais’ and Rossetti’s works allows for a comparative analysis and the investigation of whether corporality is able to reflect the human mental condition.

THE MENTAL RESOURCES OF THE ACTOR - A BRIDGE BETWEEN REALITY AND FICTION

Author(s): Mădălina Eugenia Ciucu (Răsniceanu) / Language(s): Romanian Issue: 35/2023

Under the empire of imagination, the actor has the opportunity to re-create reality under a new appearance, in this way he offers to the viewer another aspect of already known phenomena. Beyond what he experiences consciously, in the situation of everyday reality, the actor also activates some kind of springs belonging to the subconscious, which lead to the appearance of certain forms of expression, necessary for the construction of the literary character addressed. Thanks to the actor's art, these forms of expression are intended to improve the message encoded in the literary text and transmit it, without altering it, to the viewer, exactly as it was conceived by the author of the text. In carrying out his creative effort, the man-actor needs that the empathy, observation of the world to which he belongs and of the surrounding phenomena and the attention given to the senses, to connect him to reality, the final goal being his dedication to give life to the representations and ideas formed. With the help of self-focusing, he becomes his own sculptor of his affective universe and desired behaviors, and the character displayed gets to "live" through his being, to reveal his feeling, to show himself through free manifestations, illustrated truthfully. ,,Mirror-neurons” have a decisive role in the artistic process of the human-creator: he demonstrates his ability to reproduce memorized images, lived events or to animate feelings and attitudes, having as a starting point those feelings description, a situation in which emotional intelligence is like a trigger engine. Once the message of the literary text has been accurately decoded and fully understood, the actor's permanent concern in the presentation of his character is to assume responsibility for everything he will interpret, without drawing limits between his real persona and the fictitious one he has created.

K PODOBĚ ZNAKŮ S MORAVSKOU A SE SVATOVÁCLAVSKOU ORLICÍ

Author(s): Helena Sedláčková / Language(s): Czech Issue: 1/2019

Unprecedented discoveries or patient work with archival sources often bring ground-breaking information that help to precise or explain some of vaguely defined hypotheses. One of such discoveries is a finding of a marvellous coat of arms gallery in Gozzoburg in Krems in 1990s, depicting, among others, also the oldest co-loured Moravian eagle from 1260s. Thanks to this, older opinions on appearance of the eagle, used by the Bohemian ruler or his acknowledged successor since Přemysl Otakar I, can be corrected. That the eagle was black on a silver filed, there has been no doubt, however, it was not certain whether the eagle was flaming since the very beginning. The seals, the only preserved official source from the period of Přemyslid rulers, bear this charge since 1192, yet they do not depict the flaming element, similarly, on the seals till the time of John of Luxemburg, there is no chequy on the Moravian eagle, although its existence is proven by the aforementioned fresco gallery. The reason was the small size and also the fact that the flaming was considered a tincture and, therefore, not depicted on the seals even if the technical means permitted it. A thorough exploitation of the archival sources by František Pícha helped to ex-plain inconsistencies in an appearance of Moravian Legion flag of Archduke Charles from 1800. A comparison with the similar flag for the Bohemian Legions shows the illogicality of the Moravian since it had gold-red chequy Moravian eagle on the white filed on avers and the Imperial coat of arms on reverse, while the Bohemian one had properly the Imperial coat of arms on avers and the Bohemian lion on reverse. The document found by F. Pícha proves that by order of Presidium of Land Committee, the original silver-red chequy on Moravian Legion flags was purposefully painted to gold-red chequy in 1848 so that the flag could be used for the National Guard, and during the sewing together after the painting, the averse and reverse were swapped.

Slujire și creație în arta Ceramicii de Horezu. Mărturii și portrete de olari

Author(s): Corina Mihăescu / Language(s): Romanian Issue: 23/2023

The traditional ceramics of Horezu, an identity mark of the Romanian heritage, has been included, starting with December 2012, on the UNESCO Representative List of Intangible Cultural Heritage of Humanity. The art of the ceramics produced in the area reached a special development during the reign of the Holy Martyr Voivode Constantin Brâncoveanu (1654-1714), knowing an orientation towards new ways of artistic expression and assuming a different path in the evolution from common-use ceramics to the refinement of Brâncoveanu style, present in architecture, painting, sculpture, metal art, embroidery and tapestry art or miniature manuscripts of the era. Today we witness a happy symbiosis of the traditional, embodied in ancient technology, of discernible tools and symbols, and of the genius that marked the existence of generations of people who made their living from the land and who grounded, animated by devotion and imbued with the creative act, the treasure that we contemplate, integrate into our lives and try to decipher in all its hidden secrets, of work, imagination, faith and artistic sense. The following pages are composed of testimonies of people I met during my research, who became my dear friends, people who found fulfilment in serving their fellow men through their creation that speaks of the soul of the artist, constituting themselves in a true book of teachings.

DISNEY MOVIES ENCANTO AND FROZEN. AN REBT AND CINEMATHERAPY PERSPECTIVE

Author(s): Sebastian Vaida / Language(s): English Issue: 2/2023

If you are a parent, then you must have seen those two cartoons (Encanto and Frozen) a dozen times. And if you are not a parent, then you certainly heard of them, because they are some of Disney’s best and largest projects, and not just in terms of box office income, which was huge (close to 3 billion dollars, combined). Financial aspects aside, the two productions are amazing because of their powerful educational messages. In this article, we analyse the educational messages and behaviours anchored in the Rational Emotive Behaviour Theory, a form of psychotherapy that focuses on helping individuals identify and change irrational beliefs that lead to negative emotions and self-defeating behaviours. We also analyse the two movies from a cinematherapy perspective. We conclude and recommend that the two movies can and should be used by parents, educators, and counsellors all over the world to educate their children about some rational attitudes (unconditional self-acceptance, unconditional other-acceptance and life acceptance, self-awareness), as well as important values (family, friendship, honesty, courage) and also as therapeutic instruments from a cinematherapy perspective.

Sfântul Ilie. Reprezentări iconografice din patrimoniul Muzeului Naţional al Ţăranului Român

Author(s): Letiţia-Mirela Cristea / Language(s): Romanian Issue: 23/2023

An important figure of the Old Testament, Saint Elijah is one of the most commonly found characters in the peasants’ homes, being seen as their protector against torrential rains and hails. Although he is much loved by the villagers, the information about his life comes only from the Bible, that later has been taken into “Hermenia” and illustrated in church paintings, thus becoming part of the peasantry’s iconography. Regardless of whether these iconographic painters are anonymous or well-known, they translate, into clumsy or complex images, the person known in the village world as the one who fights against devils while driving his chariot with horses of fire and flogs the devils. The result of the craftsmen’s work were images that combine elements from the saint's life and adapts them to the economic and social reality of the painter’s period. This way, the icon becomes not only a holy object but also a testimony of the society in a given era.

АРТемида

Author(s): Keti Bozukova / Language(s): Bulgarian Issue: 10/2023

Beyond the Grey Zone: The Production of Space in Eastern European Neo-Avantgarde

Author(s): Mădălina Brașoveanu / Language(s): English Issue: 2/2023

The spatial metaphor that dominates the historical overviews dedicated to neo-avantgarde art of Eastern Europe from the last decades of state socialism is the “grey zone”—a metaphor deeply rooted in the dichotomies of Cold War discourses, which understood the “socialist space” as being roughly split between an “official” and an “unofficial”/underground/hidden space of dissent. However, the grey zone metaphor fails to account for the diverse, complex, and nuanced ways in which unconventional art practices from the region engaged with a wide range of spaces, from the institutional (and official) ones to spaces of everyday life, delocalized spaces of a likeminded artistic community, and to the space of the image understood outside of the confined territory of traditional practices. By engaging a theoretical perspective drawn from the so-called “spatial turn” in the post-colonial discourse, I will try to argue that the “species of spaces” (Kemp-Welch) defining the neo-avantgarde art practices in the region were not conquering but were producing cultural and socially relevant spaces while blurring/widening the conventional boundaries of art’s territory, and that this complexity cannot be understood by relying on the binary terminology of the geopolitical discourses of the Cold War.

"Art in Urban Space: Reflections on City Culture in Europe and North-America," edited by Tamás Juhász

Author(s): Krisztina Kitti Tóth / Language(s): English Issue: 2/2023

Juhász, T. (eds) (2021) Art in urban space: Reflections on city culture in Europe and NorthAmerica. Károli Gáspár University of the Reformed Church in Hungary, L’Harmattan.

Bojová zástava Štefana I. Koháryho

Author(s): Ivan Kiko / Language(s): Slovak Issue: 2/2023

Uhorský kráľ Gejza I. v roku 1075 postavil vo Sv. Beňadiku (v dnešnom Hronskom Be-ňadiku) trojloďový kostol sv. Benedikta opáta pre rehoľu benediktínov. Po tristo rokoch ich plodného účinkovania kláštorný kostol rozobrali, rozšírili a prestavali v rokoch 1370 – 1375. Kostol vo svojej histórii prechádzal viacerými stavebnými úpravami, až do obdobia veľkého požiaru v roku 1881, kedy prešiel poslednou väčšou rekonštrukciou. V kláštornom kostole, ktorý synonymom nazývame aj „perlou Pohronia“, je uchovávaná, okrem iných vzácností, aj vyše tristo rokov starobylá bojová zástava protitureckého bojovníka Štefana I. Koháryho.

Art objects and practices – from historicizing and interpretation to the invention of market value. Reflections on higher education in the internet epoch

Author(s): Irina Genova / Language(s): English Issue: 2/2023

The contribution discusses examples of changes that have occurred in art education in the 21st century. The main claim is that the significant “shifts” in terms of art objects and practices are due to a metamorphosis of interest from the humanities to the art market. The dynamics of the situation is amplified by the internet and, nowadays – by artificial intelligence. The specificity of the Bulgarian situation is that, due to the small milieu and the lack of public resources, the much-needed profiled education (for university professors, museum specialists and researchers, as well as for connoisseurs of art objects from different epochs and types, or auctioneers) is not offered.

Трансформацията на българската сценография след 1968 г.

Author(s): Albena Tagareva / Language(s): Bulgarian Issue: 2/2023

The main aim of this article is to outline some of the directions that Bulgarian scenography took after the bloody suppression of the Prague Spring. Above all, it is the greater institutionalisation of theatre life in general, through the transformation of the Union of the Bulgarian Actors from a trade union into an artistic organisation, and the establishment of the Section of Stage Design, which have taken a leading role in these processes. On the other hand, in spite of the significantly increased control over creative processes, scenography increasingly began to reject the overlaps of the previous decades.

Метаморфозите на „Нос“ от Гогол към филма на Андрей Хржановски „Носът или заговорът на отцепниците“

Author(s): Petia Alexandrova / Language(s): Bulgarian Issue: 2/2023

The film “The Nose or the Conspiracy of Mavericks”, dir. Andrei Khrzhanovsky, eschews any particular genre, approaches the Russian avant-garde and surrealism and intervenes in the loose dramaturgical framework of three dreams, inhomogeneous in duration and plot and yet amazingly connected through figures and associations. With many different animation and film techniques, Khrzhanovsky achieves the objectlessness of music, but speaks of the artist and his art in the clutches of totalitarian power in Russia. It can also be seen as an entertaining guide to the history of the Russian avant-garde and art – using the means of the avant-garde itself.

Фотография на художествени репродукции (дигитални репродукции)

Author(s): Iosif Astrukov / Language(s): Bulgarian Issue: 2/2023

The article follows the contemporary digital methods of photographing reproductions of art – paintings, used widely today in institutions and art projects. They all follow one and the same principle – in order to achieve very high resolutions, instead of one single photo, a panoramic software stitching is created from numerous photo shoots. Like every method, it has good sides and potential problems, analyzed in the following material.

Aspects of metamorphosis in the surrealistic collage animated films of Stacey Steers

Author(s): Velislava Gospodinova / Language(s): English Issue: 2/2023

Collage art is inherently connected with the process of transformation and metamorpho-sis, remodeling the perception of space, time, form and meaning. Surrealism used collage as a key tool to transfigure our awareness of reality through the employment of juxtaposed heterogeneous elements, torn from their original context to create a whole new bizarre reality. The surrealistic collage animated films of Stacey Steers contain an abundance of metamorphoses with different aspects of meaning. In this research I aim to identify some of those aspects while at the same time emphasize the important role of those films as an appeal for social change.

Изложба: Математиката в арабските ръкописи от фонда на Националната библиотека „Св. св. Кирил и Методий“

Author(s): Not Specified Author / Language(s): Bulgarian Issue: 5/2023

Exhibition: Mathematics in Arabic manuscripts from the collection of the National Library "St. St. Cyril and Methodius"

ВЛАСТИТИ ДЕТАЉИ ВЕЛИКЕ СЛИКЕ СВЕТА

Author(s): Dragana V. Todoreskov / Language(s): Serbian Issue: 544/2023

Review of: Maja Erdeljanin: Dragi dnevniče / Dear Diary (2006–2023), Muzej savremene umetnosti Vojvodine, Novi Sad, 2023.

Etnologické aspekty ve výuce uměleckého zpracování mrožích klů na Čukotce

Author(s): Valeriy Nikolayevich Dolgoarshinnykh / Language(s): Czech Issue: 1/2005

Least ten or fifteen years, the ethnics trends in art are evolved. The artificial carving and processig of morses tusks belongs to typical approvement of introducted art tendention on Čukotka in Russia. In solitude of artificial approvement we can observe two main types of those tendentions. Traditonal one, that let the originál of inner art almost without changes. The second one, that depends on the adaptability of nature cults on changing terms of surrounding world and encrease new quality of esthetic perception.

„Tam i z powrotem”, czyli wobec meta(?)nomadyzmu. Rozważania na przykładzie malarstwa Anny Orbaczewskiej

Author(s): Magdalena Howorus-Czajka / Language(s): Polish Issue: 1/2023

This article analyses the aspects of Anna Orbaczewska’s creative output that are not the classical examples of neonomadism around the world. The approach to the problem of neonomadism in this article is different from that of sociologists, economists, or anthropologists. The analysis presents the issue from the perspective of art history, which, starting from the work of art, sees in the artists’ works a commentary on contemporary society. Since the language of art has expanded the theories of neonomadism, the aspects discussed here are classified as meta-nomadism. The prefix “meta” is used to indicate a higher degree of transformation and to emphasise the succession or variability of processes described as nomadism. The theoretical framework is built on the reflections of Marshall McLuhan, Zygmunt Bauman, Wolfgang Welsch, Ines Kohl, James Clifford, Marc Augé and Rosi Braidotti, Susan Sontag, Jacques Derrida, and Umberto Eco.