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1

KONTEXTY VZDELÁVANIA MÚZEA/GALÉRIE A ŠKOLY

100%
Pavlikánová M.
Muzeológia a kultúrne dedičstvo
|
2013
|
vol. 1
|
issue 1
55 – 64
EN
Museums and galleries need visitors. One of the objectives of the cultural institution is making available its collections and education. School groups, from pre- primary to high school are the largest percentage of visitors. There needs to be cooperation between the museum / gallery and the school offers programs. Museums and art galleries therefore need to be involved in the education of children from the earliest age to cultivate in them future visitors and thus art lovers and culturally educated individuals in general.
2
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K SCHOPENHAUEROVEJ TEÓRII GÉNIA A MORÁLKY V KONTEXTE S UČENÍM JAROSLAVA DUŠKA

88%
Haško Š.
ESPES
|
2014
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vol. 3
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issue 1
4 – 10
EN
The aim of the submitted paper is the naming of some (potential) connotations among Schopenhauer’s model of disinterestedness, draught in his aesthetical and ethical theory and predominantly Toltec teaching of Jaroslav Dušek. Schopenhauer’s concept of art or his explanation of purposeless and non-utilitarian production of the genius corresponds with Dušek’s perception (but even practical realization) of so-called synchronicity that satisfies thematic background of the introductory part. I focus my attention on the common reasoning of the reflections of both thinkers in ethical questions in the second part. I put the context of Toltec compliment and persuasion “You are my other I” (“In Lak’ech”) explained by Dušek into the context with Schopenhauer’s arguments for the elimination of the egoism, thus, with the topic of identity of inner essence of all the living.
3

BIEDERMEIER. UMĚNÍ A KULTURA V ČESKÝCH ZEMÍCH 1814 – 1848. OTÁZKA ŠTÝLU

75%
Beňová K.
ARS
|
2009
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vol. 42
|
issue 2
351-354
EN
The article offers information on the exhibition 'Biedermeier. Art and Culture in the Czech countries 1814 - 1848' and the resulting extensive publication (527 pp.), both organized and published in 2008. It presents basic insight according to the logical structure of the publication: Predispositions and Roots, Applied Arts and Life-style, Biedermeier in Fine Arts and Tradition and Modernity and the Catalogue comprised of approximately 700 entries.
4

SPROSTREDKOVANIE VÝTVARNÉHO UMENIA NÁVŠTEVNÍKOM GALÉRIÍ A MÚZEÍ UMENIA ZA POMOCI VYUŽITIA ANIMÁCIE A ARTETERAPIE

75%
Györgyfiová M.
Muzeológia a kultúrne dedičstvo
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2016
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vol. 4
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issue 2
35 – 46
EN
Mediation of visual art using animations and art therapy is one of the processes commonly used in art galleries and museums in Western Europe to increase the public’s engagement with art. This paper discusses these methods and the potential for their application in Slovak galleries with the goal of making these methods more widely known and encourages their adoption in museum and gallery practice. In the first part, we examine the nature of art, its importance and its role in museum and gallery education. The second part of the paper then analyses the concept of gallery animation, its objectives, methods, typology and various ways of its implementation using specific examples. In the final section, the paper turns to the issue of mediation of visual art in art therapy and various ways of implementing the methodology in the conditions of Slovak art galleries and museums.
5

200 JAHRE AKADEMIE DER BILDENDEN KÜNSTE MÜNCHEN. MÜNCHEN UND DIE KUNST IN OSTMITTELEUROPA 1850 - 1914

63%
Hessky O.
ARS
|
2009
|
vol. 42
|
issue 2
346-350
EN
The article offers information on the exhibition The 200 Years of the Fine Arts Academy Munich and the resulting extensive publication (589 pp.), both organized and published in 2008. It concentrates on the role of the academy in pursuing artistic progress in 19th century painting with a specific stress put on contacts with the environment in Eastern Europe (e.g. painters Mihaly Munkacsy, Laszlo Mednaszky).
6
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Performatywny charakter estetyki

45%
Dziamski G.
DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu
|
2018
|
vol. 26
32-50
EN
The performative character of aesthetics Many lecturers of aesthetics feel that the subject of their lectures is not necessarily aesthetics, but history of aesthetics, the aesthetic views of Plato and Aristotle, Kant and Hegel, Hume and Burke, the British philoso- phers of taste and German romanticists. Does that mean that aesthetics feeds on its own past, is nurtured by reinterpretations of its classics, defends concepts and categories that inspire no one and do not open new cognitive perspectives? Does it mean that aesthetics is dead today, like Latin or Sanskrit, while its vision of art and beauty is outdated, invalid and totally useless? Aesthetics is a polysemous concept, which has never been sufficient- ly defined. It can determine a way of perceiving and experiencing the world that is specific for a given community, in other words, taste, yet it can also mean certain countries’ or regions’ contribution to aesthetic thought, to the aesthetic self-knowledge of man. Thus its dimension is practical, cultural and philosophical. Today aesthetics faces new challenges that it has to live up to; its ma- jor tasks include the defence of popular art, polishing the concept of aes- thetic experience, aestheticization of everyday life and de-aestheticiza- tion of art, transcultural aesthetics and its approach to national cultures. In the book “Aesthetics: the Big Questions” (1998) Carolyn Korsmeyer reduces the main issues of contemporary aesthetics to six questions. The first question, old but valid, is a question about the definition of art. What is art? Nowadays everything can be art because art has shed all limita- tions, even the limitations of its own definition, and has gained absolute freedom. It has become absolute, as Boris Groys says. It has become absolute, because it has made anti-art a full-fledged part of art, and it has not been possible either to question or negate art since, as even the negation of 50 Grzegorz Dziamski art is art, legitimized by a more than 100 year long tradition, going back to the first ready-made by Marcel Duchamp in 1913. Today making art can be art and not making art can be art, as well, art is art and anti-art is art. The old question: “What is art?” loses its sense, and so does Nel- son Goodman’s question: “When art?”. When does something become art? These questions are substituted by new ones: “What is art for you?”, “What do you expect from art?”. There can be a lot of answers, because defining art has a performative character. Louise Bourgeois has ex- pressed the performative character of defining art in an even better way: “Art is whatever we believe to be art”. And for some reasons, which we do not fully realize ourselves, we want to make others share our belief. The text in an introduction to a new book on contemporary aesthetics by Grzegorz Dziamski.
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