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„A RÉGI AZ ÚJBAN”

Author(s): Gábor Zoltán Kiss / Language(s): Hungarian Publication Year: 0

The essay offers an interdisciplinary approach to the analysis of the new medium of computer animation. The concept of old forms being preserved by new media is not a new one. Literary narratives often become film histories, while film integrates the language of "still" images. In the process of intermedial mutations, animation – such as cartoons and the comic medium – becomes a model: it reinterprets the traditional adaptational and distributional notions of film. Intermediality – the filmic employment of the computer generated imagery in this case – at the same time raises the question of transition from one technological register to the other. The significance of computer generated images (CGI) has been obscured by the new mediums' spectacular and financial issues, and the latter are superficial (usually shallow) symptoms of a primary process that may change the role of filmic and literary narratives. On the other hand, the spreading of CGI is just a recent chapter in the history of illusion-generating devices, ranging from perspective and trompe l'oeil to film itself. The paper examines the two basic types of CG animation (real time and prerendered) with a focus on such terms as interactivity, immersion and machinima.

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„Unde nu există tradiție, libertatea este mai mare”

Author(s): Antonia Komlosi,Péter Jecza / Language(s): Romanian Publication Year: 0

Interview with Péter Jecza by Antonia Komlosi.

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За характера на еротичните фрески в крайградските терми на Помпей

Author(s): Ivanka Doncheva / Language(s): English,Bulgarian Publication Year: 0

The Suburban Baths in Pompeii were built around the end of the 1st century BC against the city walls north of the Porta Marina. They served as a public bath house to the residents of Pompeii They were originally discovered in 1958 and have since been excavated and restored. Excavation of the Suburban Baths have given historians a glimpse into an aspect of the social and cultural workings of Roman life in Pompeii. The entrance to the Baths is through a long corridor that leads into the dressing room. Excavation of the Baths revealed only one set of dressing rooms and has led to wonder by archaeologists that both men and women shared this facility. This dressing room (known as the apodyterium) is where archaeologists discovered erotic wall paintings in the 1980s. The dressing room then led to the tepidarium (lukewarm room), followed by the calidarium (hot room). The erotic wall paintings in the Suburban Baths are the only set of such art found in a public Roman bath house. Explicit sex scenes (such as group sex and oral sex) are depicted in these paintings that cannot be easily found in collections of erotic Roman art. The paintings are located in the apodyterium and each scene is located above a letterd. These boxes are thought to have functioned as lockers in which bathers put their clothes. It is speculated that the paintings possibly served as way for the bathers to remember the location of their box (in lieu with the numbering). The presence of these paintings in a public bath house shared by men and women gives some insight into Roman culture and suggests that people would not have found this offensive.

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СИНТЕЗ ИСКУССТВ В РУССКОЙ ЛИТЕРАТУРЕ 1990-х —2010-х гг.

Author(s): Irina Mineralova / Language(s): Russian Publication Year: 0

The phenomenon of “Synthesis of arts” being productive in Europe during the Romantic period bore completely unexpected fruit at the turn of XXth century. As a rule of thumb, periods of crisis and changes are destructive on different levels and “crave” (Vyach. Ivanov) for synthesis. The turn of XXIth age is not an exception. This article defines specific causes and conditions for calling synthesis into life (fictional, interliterary, particularly synthesis of genres, and, furthermore, convergence of journalism, philosophy, sociology and philology). In this sense the synthesis of music and fictional literature is extremely graphic, it can be seen in works of old masters of prose and popular poets who represents “author’s song” (Russian contemporary folk music) or rockmusicians and rock-poets. Also of a great importance are the new flash fiction and poetry of modern age answering on the questions of today. The synthesis of philosophy, sociology, journalism and pictorial art is the most graphic in artistic heritage of Alexander Zinoviev, who has no match in today’s generation. The study of “synthesis of arts” phenomenon and its use in individual style of contemporary authors is not only interesting, but also fresh and meaningful. This will be shown in the analysis of particular literary works of contemporary authors. The synthesis in contemporary Russian culture differs from what it was in the first third of XXth century. The change of “exchanging” and “storing” information format leads to the fictional product that often comes out to be a surrogate pleasing the lowest tastes, without any aesthetic value. The question of value is often about creating “reputation” determining commercial worth of the product and not about artistic evaluation.

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Hakikatın Ağzı Miti Bağlamında Sanatın İnandırıcılığı Ya Da Aldanışı

Author(s): Ayhan Özer / Language(s): Turkish Publication Year: 0

“Mouth of Truth” relief is known as a mythical relief thought to represent the Roman Sea God Oceanus. It is believed that Oceanus bites his hand if the person who puts his hand in his mouth is a liar. This legend has caused the relief to be named "The Mouth of Truth". It has also been suggested for a long time that the statue was used as part of a polygraph test. The statue, thought to have been made in the 1st century BC, is also considered an iconic symbol of Rome. In the post-truth era, reaching the truth is not as easy as in this myth. So much so that the relationship between the truth and the truth rather than its relationship with the lie has become worth questioning. The concepts of reality and truth, as well as being difficult to define, have often been used to refer to information that is "verifiable" or "considered true". In the modern world, on the other hand, truth is often seen as something that can be verified by scientific methods or empirical evidence. However, with the post-modern age, the situations that started to replace reality and truth have created a new definition, and a political and social concept, the concept of post-truth, which has been emphasized a lot in recent years, has begun to be discussed. The relationship between art and reality is already complex by nature. Realities in works of art are fictionalized as artist designs and are subject to the interpretation of the audience. This interpretable aspect of art can lead to opinions about whether the reality or the truth is interpretable in a way. In this respect, the cases of truth and error can be resolved within the framework of the concept of post-truth, especially in the work of the mouth of truth. With this study, Art's Persuasiveness or Deception in the Context of the Mouth of Truth Myth, it is aimed to analyze an ancient work in the context of art and persuasiveness or art and deception.

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Osmanlı Saray Dokumalarında Kullanılan Doğal Boyalar ve Özellikleri

Author(s): Emine Torgan Güzel / Language(s): Turkish Publication Year: 0

Since ancient times, man has been in search of materials to decorate himself and his environment, and coloring materials have always attracted his attention. Mankind first obtained these materials from soil minerals and then used organic dyes obtained from natural products such as plants, animals, mushrooms, etc. As soon as their skills in weaving developed, they developed natural dyes and dyeing techniques. While they used to obtain monochromatic products at first, they later succeeded in using more than one color on a product in harmony. It is known that most dresses and fabrics, from caftans to plain fabrics, from dresses to baizes, which represent splendor and power in Ottoman palace fabrics, were colored using natural dyes. The dyes used by the Ottomans and the dyeing industry were passed from father to son, and continuity was ensured. Even today, the majority of the colors in the Ottoman palace weavings, which are in the museum collections and have great importance, still preserve their vitality. When it comes to natural dyes in Ottoman palace weavings, the first thing that comes to mind was the natural dye sources of animal origin, and these dyes were obtained from animals of female insect origin. The color obtained from insect-sourced dyes is almost the same as each other and formed the ground color, especially in the sultan's and prince's caftans. In addition to dyes of animal origin, Ottoman dyers also used vegetable dyes from which they obtained various colors. Sometimes by combining both vegetable and animal dye sources, they achieved various colors and hues. Here, the effect of Anatolia's rich plant diversity is quite high. In this research, after the natural dyeing process from the past to the Ottomans is briefly discussed, introduction about to Ottoman dyeing and dyeing industry was given. Then, the main plant and animal natural dyes that color the Ottoman palace weavings, their properties, and the agent dyestuffs they contain are examined.

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Maurits Cornelis Escher’in “Gece ve Gündüz” Adlı Eseri Üzerine Bir İnceleme

Author(s): Berna Özlem Özcan,Ayhan Özer / Language(s): Turkish Publication Year: 0

Maurits Cornelis Escher makes a striking impact on the art world with his work "Day and Night". This work is full of complex geometric patterns and optical illusions that reflect Escher's characteristic style. The artist, who questions the perception of reality on a two-dimensional plane, manages to impress the viewer with visual contradictions. In his work "Night and Day", Escher creates a complex relationship between geometric shapes and figures when comparing black and white colors decently. Repeating patterns, endless loops and inverted forms form the main theme of the work. While following order and symmetry, the viewer, on the other hand, is drawn into a contradictory and uncertain world. Escher's ingenuity combined with his ability to create visual illusions. In "Night and Day", the motifs created by the masterful combination of positive and negative areas attract the attention of the audience. This is an example that highlights the artist's optical illusions that distort the perception of reality. At the core of "Night and Day" lies the idea that opposites can come together and exist in harmony. Escher not only presents an aesthetic experience with a visual paradox, but also refers to the complexity of human thought. All in all, "Night and Day" is an impressive work that showcases Maurits Cornelis Escher's artistic genius and extraordinary perspective. More than 600 editions of this painting have been exhibited in many countries. It should be noted that it is an important work that Turkish art audiences must see closely and examine its details.

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Roman Period Glass Unguentariums at the Hacibektas Veli Archeology Museum

Author(s): Barış Emre Sönmez / Language(s): English Publication Year: 0

The aim of this study is to examine the glass unguentariums from the Roman Period in Hacibektas Veli Archeology Museum in terms of technique and form. The glass unguentariums in Hacibektas Veli Archeology Museum are classified as tube, bulbous, conical and candelabra. There are 12 glass unguentariums from the Roman Period in total in the museum. 11 of them were brought to the museum by purchasing; One of them was found around Suluca Karahöyük and brought to the museum. Of the glass unguentarium, 6 are tubular in shape, 1 are candelabra in shape, 3 are bulbous in shape and 2 are conical in shape. The lengths of tubular unguentariums vary between 9.1 cm and 13.4 cm; The length of the candelabra-shaped unguentarium is 13 cm, the length of the bulbous-shaped unguentarium is between 10.3 cm and 17.6 cm, and the length of the conical unguentarium is 9.3 cm. Glass unguentariums consist of dark green, colorless transparent, pale green, light green, light blue-green, blue-green colors. The earliest glass unguentarium belongs to the middle of the 1st century AD, and the latest glass unguentarium is dated to the 3rd century AD.

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Elements of Romanian Folk Architecture: Traditional Houses

Author(s): Cristina-Valentina Dafinoiu / Language(s): English Publication Year: 0

The present material has been intended as a brief chronicle of Romanian folk architecture, based on the concept that individual has in perpetuum inclined toward habitation in accordance with their corresponding socio-economic status and household requirements. It explores aspects such as construction methods, along with the choice of position in terms of a sustainable structure to withstand over time for generations to come, the significance of inhabitation in collective consciousness, the evolution of architectural materials over time, and the harmonious blend of architectural styles including the transformation of the living area from the front room to drawing room (the main home). The facets in relation to the constitutive elements or parts of a provincial establishment, from the foundation to the rooftop (sheathing), have been taken into consideration and analyzed. The purpose of this article is to uncover the rich heritage embodied in these traditional houses and gain valuable insight into their construction, symbolism, and role within the community.

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Образи на св. Кирил и св. Методий през Българското възраждане

Author(s): Dimo Cheshmedzhiev,Totka Grigorova / Language(s): Bulgarian Publication Year: 0

The article reviews all the icons and frescoes with images of Cyril and Methodius known in the historiography. Newly discovered images are published, and included in a classification of the images of the Slavonic enlighteners known in the scholarly literature. An attempt is made to identify some of the texts on the basis of which the icons and frescoes of the two brothers were painted during the Bulgarian Renaissance.

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За най-ранната топография на култа към св. Седмочисленици. Обособяване на култа

Author(s): Evgeni Zashev / Language(s): Bulgarian Publication Year: 0

The current research traces and summarizes the information about the historical persons from the circle of the Seven Saints, paying special attention to the distinction between mention, enumeration and grouping. Various historical evidences are examined as focal memory points of a conjoint cult of the Seven Saints – some of them are literature sources – the Prologue life of St. John Vladimir (1690), the Berat liturgy for Seven Saints (c. 1720) and the Moschopol liturgy for Seven Saints (1742), other sources are artefacts –eight wall paintings, three icons, a carved medallion and three reliquaries. Based on the mentioned sources, the earliest topography of the Seven Saints cult is outlined, and the individual monuments are presented in their geographical, cultural-historical, and architectural context. There is an emphasis on the fact that the historical evidences of the early stage of the propagation of the Seven Saints cult derive from a relatively limited geographical area – the lands of the Berat diocese and its immediate surroundings. The images from Dratcha monastery (1735) and from the church “St. Prophet Elijah” in Siatista (1744) are rather exceptions. As a conclusion, it is noticed that the language of the entire described tradition, including both the three written monuments and the numerous images and artefacts, is Greek. This tradition cannot yet be recognized as a genuine Bulgarian national initiative of the revival type, but rather is a regional post-Byzantine cult that arose in the southwestern regions of the Ochrid Archdiocese in a multi-ethnic environment with a dominant cultural Hellenism. The artefacts preserved to present days, which are probably only a part of those actually created, testify to the inclusion of the Seven Saints in the sacral pantheon of the Ochrid Archdiocese, thereby raising its ecclesiastical authority and supporting its historical pretensions to canonical independence. The tendencies observed in the perspective of the cult development in the second half of the 19th century are the gradual transfer to the east and northeast to the lands of Macedonia, more compactly populated with Bulgarians, and the appearance of images bringing to the fore the creation of the Bulgarian alphabet.

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Slavonska šuma u djelima Huga Conrada von Hötzendorfa i Adolfa Waldingera

Author(s): Jasminka Najcer Sabljak / Language(s): Croatian Publication Year: 0

The Slavonian forests were over the centuries, particularly throughout the 19th century, an inexhaustible source for many artistic and literary works; artists were fascinated by the luminance of the forests and by their natural power. The forest had a special place in the works of Slavonian artists and writers due to the fact that this area was, throughout the 19th century, mostly covered by inaccessible woods representing the unknown and evoking fear; at the same time they were a creative challenge for adventurous spirits. In the mid-19th century art movements such as romanticism and realism emerged; escapism from social norms and established topics became a challenge within them. The forest as an independent and separate entity within landscape painting became the preoccupation of romantic artists who subordinated man to the pantheistic force and the power of forest vegetation and nature, demonstrating how defenceless man is against natural conditions. In contrast to the romanticists, the realists elaborate, with extreme precision, forests and wood motifs and concern themselves with forest vegetation, details of the crowns and branches, observing and researching every single detail of nature with botanical precision. These two approaches in painting forests, i.e. landscapes, are evident in the oeuvres of the most signiﬁcant Slavonian, and also Croatian landscape painters, the leaders of the Osijek School of painters Hugo Conrad von Hötz endorf and Adolf Waldinger. The titles of their numerous works Šuma (The Forest), Slavonska šuma (Slavonian Forests), Šumski krajolik (Woodland area), U mladoj bregovitoj šumi (In the Young Hilly Forests), Unutrašnjost šume (Woodland Interior), Kućica u šumi (The House in the Woods) Šumski put u planini (Forest Path in the Mountain), Slavonski hrastik (Slavonian Oak Forest), Stari hrast (Old Oak), Suhi hrastovi (Withered Oaks), Studije hrasta ili drveća (Oak or Wood Studies), Jasen (Ash), Studija panjeva (Stump Study), Crtež starog hrasta s lišćem (Drawing of an Old Oak with Leaves) speak about the importance of forest motifs in numerous works of these artists which are kept in museum and private collections throughout Croatia.

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What to look for in a black box? an attempt to recapitulate the pandemic experience in gallery management

Author(s): Marika Kupková,Monika Szűcsová / Language(s): English Publication Year: 0

This text is an insight into the life of a city gallery during the turbulent period of the last three years, which have been defined by the pandemic and the ongoing crisis associated with, among other things, the war in Ukraine. This is not a tumultuous period in the organization’s history, as it is not shutting down or severely reducing its operations. At least for the time being. Thanks to its status as a municipal contributory organization, Brno Galerie TIC1 has a relatively stable background. In any case, the crisis has accelerated some of the longer-term trends in the gallery’s management; in addition, novel developments and challenges have emerged. These include an increased awareness of the social responsibility of cultural institutions, the search for and verification of functional ways of communicating with audiences, or the abandonment and return of presentation to the exhibition space. Still, this focus on one particular gallery is not intended to be a case study; our ambition is to capture the contemporary development of the production, distribution and, to some extent, interpretation of visual art in a more general sense.

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The new archivist

Author(s): Jana Horáková,Štěpán Miklánek,Pavel Sikora / Language(s): English Publication Year: 0

The curatorial experiment New Archivist (Nový archivář) is a subversive gesture that addresses the current trends in the use of artificial intelligence in the field of art sciences and visual culture. While it is generally accepted that artificial intelligence has been used in recent years to process online databases of cultural heritage as a logical consequence and the ‘next step’ of large projects aimed at digitizing and making accessible the collections of memory institutions (such as Google Art and Culture or Europeana projects), in our project we work with a small dataset containing about 1000 images. While most projects based on the automatic classification of large datasets are framed by the endeavour to create tools for the accurate study of art and cultural history (Digital Curator, Vasulka Live Archive), our project was devoted to a subjective and artistic reflection on the experience of the Covid-19 pandemic, without the ambition to generate outputs with the general validity of a sociological probe. We emphasized the personal testimonies of the artists involved and experimented with ways of mediating these accounts through different interfaces and media, with a high degree of added value in the form of a personal interpretation of the collected digital traces of artistic existence.

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Web is the key. On the design of black box

Author(s): Alena Mátejová,Oliver Staša / Language(s): English Publication Year: 0

The Black Box / Černá skříňka project was a challenge in terms of the circumstances in which it was created, its thematic focus, and its design. During the Covid-19 pandemic, external circumstances in the form of recurrent and lengthy lockdowns necessitated the usage of the internet environment for communication among the creative team as well as the public presentation of the project’s outputs. It was therefore, clear, from the beginning that the project would be presented on a specially designed website. However, the website’s layout, UX design, and visual conception had not yet been decided.

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2020: was it the end of curating on the web?

Author(s): Marialaura Ghidini / Language(s): English Publication Year: 0

The act of curating exhibitions online was unfamiliar to the most until mid-2020, when the world was in the midst of the first wave of lockdowns in response to the Covid-19 pandemic. Till then, there were a handful of people discussing it — though many were the curators that had operated on the web since the 1990s. And till then, the web was often considered an unusual site for curatorial practice, and web exhibitions a corollary to curatorial work. But after March 2020 this scenario seemed to have undergone a change.

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2020 digital odyssey: online or nothing

Author(s): Gaia Tedone / Language(s): English Publication Year: 0

The spread of COVID-19 at the beginning of the year 2020, put the whole world in a position of forced pause. For a short moment, the global pandemic presented itself as a great equalizer, forcing people across various geographies to reconsider and change their habits and behaviors. However, the social and economic costs of the pandemic did not spread evenly across the globe. Vulnerable people and communities were hit harder, and pre-existing social inequalities were reinforced. In this context, technology played a double role, acting as a social glue among geographically dislocated communities and people, whilst also rendering more palpable the so-called digital divide – a term which is used in the social sciences to refer to the gap between the information ‘haves’ and ‘have-nots’ and, more generally, to uneven access to technology and network infrastructures.

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Networked art practice after digital preservation

Author(s): Sarah Cook,Roddy Hunter / Language(s): English Publication Year: 0

Over the last six decades, networked art practices have evolved in response to and in anticipation of changing material conditions of communications systems, infrastructures, and technologies. Whether pre-internet correspondence art, or born-digital software-based, or net art, the material and, at times, ideological dimensions of networked art challenge existing approaches, methods, and protocols of not only the production of contemporary art but also its conservation, which this text seeks to address. Often tactically amorphous, integrated, and inseparable from conditions and questions of (im)materiality (see Lillemose, 2006), networked art resists conservation efforts to trace its edges and boundaries. Therefore, how and should we develop conservation efforts to offer access to the ‘original’ work in context without undermining its unruly materiality and institutional critique, particularly after the digital? Whether these efforts are called ‘conservation’ by museum curators, or ‘preservation’ by librarians and archivists, they share the same intent: making the work accessible. In the words of Peggy Phelan this “ labour […] to ‘preserve’ [performance] is also a labour that fundamentally alters [it]” (Phelan, 1993, p. 148).

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Conclusion

Author(s): Jana Horáková / Language(s): English Publication Year: 0

This publication is a follow-up publishing project initiated by the online curatorial venture Black Box / Černá skříňka, which combines the search for alternative approaches to fulfilling the social and cultural role of brick-and-mortar exhibition institutions, the experience of transforming curatorial practice at a time of the pandemic, but also an experiment with the use of AI as a non-human curator of the exhibited artworks. These three aspects, which have merged within the Black Box project, are discussed separately in this publication from the broader perspective of international online curatorial practice and the use of artificial intelligence (AI) in various art projects in recent years.

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Zusammenfassung: The Black Box Book Archiv und Zuratorium im Zeitalter des Wandels von Kunstinstitutionen

Author(s): Not Specified Author / Language(s): German Publication Year: 0

Die Publikation stellt einen der ersten Versuche dar, die ganz außergewöhnliche Zeit der globalen Covid-19-Pandemie zu analysieren und zu reflektieren, deren Auswirkungen auf die Kunstwelt mit einem Schock verglichen werden können, der zusätzliche Reflexion als Bedingung für die bewusste Integration dieser Erfahrung zusammen mit einigen Krisenlösungen in die kuratorische Praxis der Post-Pandemie-Ära erfordert. In diesem Buch abbildet und kritisch untersucht das Autorenkollektiv die Erscheinungsformen der Transformation von Ausstellungsstrategien von Gedächtnisinstitutionen und Galerien mit Fokus auf den Zeitraum um 2020, beschleunigt durch die weltweit umgesetzten Anti-Pandemie-Maßnahmen zur Verhinderung der Ausbreitung von Covid-19. In dieser Zeitraum kam es zu einer allgemeinen Verschiebung hin zur Nutzung von Online-Kommunikationsplattformen für die Kunstpräsentation, die in Konvergenz mit dem langfristigen Prozess der Digitalisierung von Kunstsammlungen und der Entwicklung von Kunstpraxis und -kultur unter Verwendung digitaler Medien zur Erprobung neuer kuratorischer Ansätze führte, oft in einer Konfrontation zwischen der Galeriepraxis traditioneller White-Cube-Ausstellungsinstitutionen und den parallelen Online-kuratorischen Projekten, die sich bis dahin in der Entwicklung befanden.

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