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FRÁZA, REPETÍCIA, APATIA: VYBRANÉ MANIFESTÁCIE „BANÁLNEHO“ V UMENÍ

100%
Migašová J.
ESPES
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2016
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vol. 5
|
issue 1
33 – 45
EN
Banality could be perceived as an expressive aesthetic category appealing via visual artwork. The effect of banality emerges as an intention in various artistic realisations of the 20th century visual culture. Basis of the paper is assumption that concept of the banality in modernity acquired contents related to everyday life and mass culture phenomenon. The aim of the paper is a comparison of various attitudes to the concept of banality and differentiation of participation forms of banality in modern and postmodern artistic expression. Interpretation of banality is carried out on the basis of significant conceptions in the fields of art criticism, art theory and aesthetics.
2
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VIZUÁLNE UMENIE A OBRAT K NEUROVEDÁM

100%
Ihringová K.
ESPES
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2015
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vol. 4
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issue 2
4 – 9
EN
The basic problem of the contemporary art theory is a new focus on an image. This emphasis of visuality brings amongst other radical paradigms interdisciplinary impact to the contemporary culture, too. Not only humanity, but also natural scientific disciplines are able to find common fields of his scientific interest. The result is a profiling of new scientific discipline – neuroaesthetics. Its leaders came up with a bold statement that located the beauty centre.
3

STRATÉGIE VEĽKÝCH VÝSTAV A ICH PODIEL NA FORMOVANÍ UMENIA „SORELY“

100%
Kusá A.
ARS
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2007
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vol. 40
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issue 1
67-86
EN
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.
4

VIDEOKLIP: CHARAKTERISTIKA, VÝVOJ, KATAGORIZÁCIA A RECEPCIA

88%
Grich S.
Musicologica Slovaca et Europaea
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2005
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vol. 22
125-131
EN
Video clip has its origins in participation of popular music in the rapid development of video technology and in a specific encounter of the needs and possibilities of pop music and TV broadcasting. Its early history reaches as far as the forties of the twentieth century, the development of video clips in mid-sixties was anticipated by films about popular musical groups. Contemporary video clips are mostly shot on 16 mm or 35 mm film stock, modified by digital technology, by which abstract, technical adapted shots are created. Video clip is made more dynamic by the rapid tempo of the montage. Contemporary video clips create a multidimensional system that includes video clips of popular or classical music, of concerts, as well as seminarrative and narrative video clips. Commercial and artistic aspects must be considered in the production of video clips. The goal, from the psychological point of view, is to 'imprint' the images connected with specific music on the viewer's visual imagination. At present, video clips represent a universal TV device, this is not a specific form by which only popular music is presented on TV.
5

WALTER BENJAMIN AND THE QUESTION OF IMAGE MEDIA IN THE MIDDLE AGES

88%
Gerat I.
Slovak Review. A Review of World Literature Research
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2007
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vol. 16
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issue 1
37-43
EN
The author illuminates some application possibilities of the early Benjamin's observations on language and its mediatorical abilities. He creates a connection between the theory of mediation, which follows from the late work 'The Work of Art in the Age of its Technical Reproduction', and the examination of the Middle Ages fine art. He deals with the questions, which are implied by the theme of mediation in the context of the Middle Ages visual art in general. The central thesis of the contribution is that also in the context of the later Benjamin's media theory some theological motives subside. They build the basis for his early considerations on language, but at the same time they are also the mental fundament of the Middle Ages fine arts expressions in general. The central category, which at the same time expresses an obstacle to a perfect mediation of contents, can be, in concord with Benjamin's occasional formulation within his media theory, viewed as the so-called 'looking away', well-known also from the considerations on mediation in the art of the Middle Ages.
6

ONTOLÓGIA VÝTVARNÉHO DIELA AKO PROCESU

75%
Šedík M.
Filozofia (Philosophy)
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2008
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vol. 63
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issue 7
600-610
EN
The essay outlines a non-substantialist ontological conception of the work of art, which should grasp the process-like nature of the works of visual art. This process-like ontological model of the work of art draws on following conceptions: (a) the conception of the work of art as an experience in J. Dewey; (b) the conception of the virtual and actual existences as developed in informatics; (c) the conception of a semantic gesture of Jan Mukarovsky. In this conception the work of art is seen as a product created by the author/authors together with the viewer/viewers, as an experience, which could be shared inter-subjectively. The whole process is controlled by the semantic gesture, which is unique in each work of art, and which is our guide in actual experience.
7
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VEDERE IL 1968. QUALCHE OSSERVAZIONE IN BASE ALLA MOSTRA OBCY W DOMU – ESTRANGED, MUSEO “POLIN”, VARSAVIA, 9 MARZO-24 SETTEMBRE 2018

75%
QUERCIOLI M. L.
pl.it / rassegna italiana di argomenti polacchi
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2019
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issue 10
93-108
EN
Illustrating the recent exhibition Estranged / Obcy w domu, the author wonders if, and how, contemporary Polish visual art has contributed to integrating the shame of the anti-Semitic campaign into the collective memory of the nation. She focuses in particular on the works of three artists: Krystyna Piotrowska, Erna Rosenstein, and Krzysztof Wodiczko, and on how the exhibition represents some currents in visual studies linked to historical narrative.
8

Poza dialogiem. Kilka uwag a margnesie “kryzysu sztuki”

75%
Kolarzowa R.
Kwartalnik Filozoficzny
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2011
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vol. 39
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issue 3
19-34
EN
The text concerns the evolution of musical practice in the last decades of the twentieth century. The starting point is the observation of excess, which is the result of terror "anew". The requirements of the art world, making the music victim of fashion, imposed the creators and auditors against the inability to reconcile the realm of facts and the realm of interpretation. Facts includes the increasing monotony of artistic trends and the obsessive maintenance of the categorical prohibition of establishing a tradition. In the sphere of interpretation those facts were absent. Interpretation conjures reality as - despite experienced monotony - (long absent) and highlighting the newness and showing anew ways. As Józef Czapski I writes about a new dogmatism then. This concept gives the state jurisdiction not only the visual arts. It is characteristic of the alienation of art - when it loses its traditional function, not gaining a comparatively new material. Alienation of art, in particular the "breaking out" of the anthropological contexts (Ortega), makes the phenomenon of the crisis becomes a permanent condition. In this condition may lead to a triumphant climax of iconolatry, where the "icon" - a sign - it becomes everything that can be considered as marked by the Idea of Beauty. In this orientation primed category works of art - is a precondition parasacral item, regardless of the its kind. At the expense of this new iconolatry and related forms of education is a systematic decrease in the number of recipients. This phenomenon is institutionally sanctioned by the recognition of "high culture" as the phenomenon of "niche".
9
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DIVADLO A TEATRALITA V KONTEXTE (SLOVENSKÉHO) VIZUÁLNEHO UMENIA

63%
Filová E.
Slovenské divadlo (Slovak Theatre)
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2015
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vol. 63
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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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