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SUBJECT - OBJECT - GESTURE - INSTRUMENT: FROM DADA TO EARLY VIDEO ART (Przedmiot - obiekt - gest - instrument: od dada do wczesnej sztuki wideo)

100%
Pitrus A.
Kwartalnik Filmowy
|
2011
|
issue 74
50-56
EN
The article deals with the relationship between video art with the dadaist tradition, and shows how some of the principles of the creators of the Great Avant Garde were developed in the period when artists started to reach for electronic media as means of artistic expression. References to the Dada tradition have a heterogeneous character within video art. This is due to the multi faceted use of this medium by various artists - for some it served above all as means of recording performance art, for others it became a matter that replaced more traditional materials used in art. Pitrus refers to many examples, e.g. the work of Bill Viola, Nam June Paik as well as Steina and Woody Vasulka.
2

SÚČASNÉ UMENIE NA CESTE K POST-POST? AKO ANDRÉ STANGUENNEC SPÁJA UMENIE SO SKROMNÝM, TRIVIÁLNYM A NEGRANDIÓZNYM

88%
Karul R.
Filozofia (Philosophy)
|
2016
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vol. 71
|
issue 7
595 – 607
EN
Andre Stanguennec sees something new arising in art: after modernity and postmodernity we witness a period called by him a post-post. The latter is a negation of the previous two, included at the same time into a new synthesis, in which they are not opposites any more. The article offers a reconstruction of several aspects of this synthesis. The new form of art is identified first of all in documentary video-art or in the micro-poietics of everyday life. The video-art is attractive due to its engagement and the critique of social defects, especially on legal and political levels. The small, non-grandiose poietics is related to more personal morals. It represents the ethical metaphysical aspect of the new art.
3
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Michael Fried and Beholding Video Art

75%
Wilder K.
Estetika: The Central European Journal of Aesthetics
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2012
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vol. 49
|
issue 1
5-26
EN
In this article, I consider Michael Fried’s recent contribution to the debate about the experience of video art, made in relation to the work of Douglas Gordon. Fried speculates that issues of antitheatricality may in fact be key to specifying the medium of video installation. While Fried’s position on awork’s to-be-seenness offers a useful way of framing the relation with the beholder in video art, I question his notion of ‘overcoming’ theatricality – preferring to see the theatrical/antitheatrical dichotomy as a dynamic at play within individual works. I welcome what seems to be an explicit acknowledgment from Fried that the position of the spectator is a contributory factor in what he terms empathic projection, but relate this to the notion of a figural presence. I argue that video art, as a spatial practice, offers a distinct mode of reception by problematizing the position of the spectator in relation to two-dimensional figurative space to which she is excluded.
4
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DIVADLO A TEATRALITA V KONTEXTE (SLOVENSKÉHO) VIZUÁLNEHO UMENIA

63%
Filová E.
Slovenské divadlo (Slovak Theatre)
|
2015
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vol. 63
|
issue 3
208 - 220
EN
There has been an overlap between theatre and film since the beginning of cinematography; first film performances were held in theatre buildings and first film theoreticians sought similarities and particularities of film as a new technical or artistic medium in relation to theatre and other art disciplines. Probably the first film made for the purpose of a theatre performance was a short avant-garde film Entr´Acte (1924), screened between acts of a Dadaist ballet. Experimentation with theatre space has developed from kinetic-lighting effects through simultaneous projection screens of the magic lantern to Woody Vasulka’s Theater of Hybrid Automata (1990). If we think of theatre as an intermedia space occupied by film (videos, new media) and modern technologies, the same can be said about film: theatre and theatre aesthetics may serve as a referential framework for film, video art and new media. In the history of cinematography there are a number of directors who drew inspiration from theatre tradition (Ingmar Bergman, Peter Greenaway, Jan Švankmajer and others). The specifics of theatre art or theatre space also appear, to a different extent and in different forms, in Slovak visual arts, for example, in the work of Anna Daučíková, Mira Gáberová, András Cséfalvay and Zuzana Žabková.
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