STRATÉGIE VEĽKÝCH VÝSTAV A ICH PODIEL NA FORMOVANÍ UMENIA „SORELY“
Strategies of major exhibitions and their impact on forming of the art of 'Sorela'
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The article is dedicated to the problematics of the visual art of the early Socialist Realism in Slovakia, also called 'Sorela', during the fifties of the 20th century, when after the communist takeover in February 1948, Czechoslovak cultural policy started to be formed by the so-called Stalin-Zhdanov doctrine. The author at first determines the cultural-political situation of the period, and then studies formulation and 'translation' of the art program into the definitions and instructions - specific official frameworks, visible in strategies of the major exhibitions. The conclusion tries to answer the most frequent question concerning 'Sorela': How far was it Soviet implantation imported in together with liberation and to what degree was it a consequence of post-war culture? The most intensely implanted was the requirement of the pro-Soviet i.e. Stalinist course of the Socialist Realism, application of the doctrine was influenced by the local factors. It can be literally said that there was such a thing as s Slovak variant. Slovak 'Sorela' existed in permanent triumvirate where following elements competed: previous development of the national visual art, individual understanding of 'Sorela' and the Soviet model. It is important to stress here that the Socialist Realism of the Stalinist type presented a completely different problem in former Czechoslovakia than in Soviet Union. There were different motives for its formation, different conditions and it was created in a completely different time. On this very basis, Slovak 'Sorela' can be understood as something independent even though influenced by foreign ideology.
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