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SPEKTAKULÁRNA TAKOSŤ PERFORMANCIÍ MILANA ADAMČIAKA

100%
Fujak J.
Slovenské divadlo (Slovak Theatre)
|
2022
|
vol. 70
|
issue 4
390 - 403
EN
This paper is focused on some aspects of the specific and unique concept of Milan Adamčiak’s (1946–2017) performance art, which embodies not only conscious references to the contemporary postmodern avant-garde of (neo-)Fluxus or conceptual art, but also certain spectacularly presented, sui generis dimensions of earthiness, surprising playfulness, and humorous controversy. Besides a selective, model presentation of his solo and collective performances and happenings, the author discusses the specificity of the inter-medial poetics of Adamčiak’s performance art in references to the ideas of Jozef Cseres and Peter Faltin, who specializes in music semiotics (works of art as totems) about shifts in the understanding of the ontological status of postmodern works of art.
2

REPETÍCIA A VARIÁCIA V STROJOPISNEJ KONKRÉTNEJ POÉZII MILANA ADAMČIAKA

80%
Šrank J.
Slovenská literatúra (Slovak Literature)
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2024
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vol. 71
|
issue 1
28 – 45
EN
The contribution deals with the typewritten concrete poetry of the intermedia artist Milan Adamčiak (1946 – 2017), which was created in the second half of the 1960s. It focuses on two characteristic forms of concrete poetry: verbal and sentence constellations. It observes how the principle of seriality is applied to these text-image compositions. Seriality, as a key compositional and meaning-generating principle, is particularly associated with repetition and variation. In the context of verbal constellations, the article emphasizes the function of visual composition in dealing with a word extracted from linguistic syntax. In sentence constellations, it concentrates on the meta-critical function of these forms, specified in the form of a critique of language as a means of communication and an instrument of power. Adamčiak’s repetitive-variation manipulation of linguistic material represents the application of visual techniques to literary creation. The contribution also points out the intermedia character of Adamčiak’s concrete poetry, highlights its parallels and connections with Czech experimental poetry, and selectively considers the socio-political circumstances of the time.
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