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Anton Jaszusch : Umělec jako nástroj mocenských vztahů

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Kvočáková L., Kolláthová Z.

Umění (Art)

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2018

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vol. 66

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issue 1-2

43-59

EN

The study of the example of Anton Jaszusch investigates how the artist and his work could become the instrument of power relations in the sense of the Foucault understanding of power. The context of Jaszusch’s work changed several times in the course of time and this also changed its interpretation. This paper analyses in detail the available documents (periodicals, catalogues, specialist articles and publications), in order to highlight these changes and the artist’s position as an instrument of power relations. It begins in the mid-twenties, when the exhibition of Jaszusch’s post-war set of paintings in Bratislava evoked conflict on the ‘Slovak nature’ of his work. The roots of this conflict lay in the new geopolitical situation in which the territory of Slovakia found itself after World War I. With the establishment of Czechoslovakia the status of Slovak citizens changed from one day to the next. Those who claimed Slovak nationality were transformed from one of the Hungarian minorities to become part of a majority state -forming ‘nation’ - the Czechoslovaks. The seeking of ‘Slovak nature’, defining themselves with regard to the Hungarians and Czechs, but also with regard to the rest of Europe, thus became a big theme after 1918, which naturally also applied to art. The study continues with the period of World War II, when Košice belonged to the Kingdom of Hungary and Jaszusch was presented as a ‘Hungarian’ artist. The analysis of texts for exhibitions or newspaper articles showed that in this period there was emphasis on his landscape work and also scenes from village life, to which he devoted his attention in the second half of the thirties. This shift in interest was in keeping with the Hungarian cultural policy, orientated towards totalitarian Italy. The work is culminated by the period of the turn of the fifties and sixties, when the interpretation of Jaszusch’s work in the socialist period focused on seeking themes.

CS

Studie na příkladu Antona Jaszusche zkoumá, jak se umělec a jeho dílo mohou stát nástrojem mocenských vztahů, a to ve smyslu foucaultovského chápání moci. Kontext, v němž Jaszusch tvořil, se během doby několikrát změnil a spolu s ním i interpretace Jaszuschova díla. Na základě podrobné analýzy dostupných dokumentů (periodika, katalogy, odborné články či publikace) práce poukazuje na tyto změny a na umělcovu roli jakožto nástroje mocenských vztahů. Začíná v polovině dvacátých let, kdy výstava Jaszuschova poválečného souboru obrazů v Bratislavě vyvolala spor o "slovenskost" jeho díla. Kořeny tohoto sporu tkvěly v nové geopolitické situaci, v níž se území Slovenska ocitlo po první světové válce. Vznikem Československa se ze dne na den změnilo postavení obyvatel Slovenska. Ti, kdo se hlásili ke slovenské národnosti, se tak z jedné z uherských menšin stali součástí většinového státotvorného "národa" - Čechoslováky. Hledání "slovenskosti", vymezování se vůči Maďarům, Čechům, ale také vůči zbytku Evropy, se po roce 1918 stalo velikým tématem, které samozřejmě neobešlo ani výtvarné umění. V následném období po druhé světové válce, kdy Košice náležely k Maďarskému království, byl Jaszusch prezentován jako umělec "maďarský". Analýza textů k výstavám nebo články z novin ukázaly, že v tomto období se cenila jeho krajinářská tvorba a také výjevy z vesnického života, jímž se věnoval ve druhé polovině třicátých let. Tento posun zájmu byl v souladu s maďarskou kulturní politikou orientovanou na totalitní Itálii. Na přelomu padesátých a šedesátých let za socialismu se pak interpretace Jaszuschova díla zaměřovala na hledání sociálních témat a antiburžoazních postojů.

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Marginální fenomén, nebo oběť orientalistického klišé?

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Čapková H.

Umění (Art)

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2017

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vol. 65

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issue 2

EN

This study focuses on Japanese artists' experiences with Europe and with the Czechoslovak avant-garde in particular, and it describes the context in which Japanese art was viewed by segments of the public interested in modern contemporary Japanese art. It thus offers an introduction of sorts to a broader but to date marginal subject. The journey to Europe as a return to Japanese tradition would seem an unlikely chapter in the history of the early stages of Japanese modernism - unlikely because Japanese artists themselves, while striving to be modern, saw the West and its art as threatening to engulf them and deprive them of their "Japaneseness" if they took Western influences as their model. They thus subscribed to the stereotypes that characterised Orientalism and remain deeply rooted in Czech society to the present day. The paradoxical experience of expecting to plumb the depths of the avant-garde in Europe but instead going back to Japanese art was not uncommon for Japanese artists, and books and journals record testimony of this provided not just by architects Sutemi Horiguchi (1895-1983), Masami Makino (1903-1983), Chikatada Kurata (1895-1966), but also, for example, by textile artist Michiko Yamawaki (1910-2000), who trained at the Bauhaus. The study offers an analysis of these transnational experiences and attempts to capture how they shaped the work of Japanese artists and principles of education in the field of art and design in interwar Japan. As well as examining direct reciprocal influences between individual artists and art groups, the study looks at the wider interpretations of Japanese and Czechoslovak art and at the changes to these interpretations resulting from historical or political developments. Political influence appears to be particularly evident in collecting and exhibition work, an example of this being the work of Jirohachi Satsuma (1901-1976).

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Culture and its Creators – Challenges and Financial Issues

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Kaczmarek S., Posłuszna J.

Zeszyty Naukowe Wyższej Szkoły Finansów i Prawa w Bielsku-Białej

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2018

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issue 2

20-23

EN

Culture and its creators are the driving force of social development. The paper presents the history of financing the culture over the last three hundred years and looks at the cultural policy adopted in Poland. Traditional and modern forms of supporting cultural activities are also discussed therein, also the situation of artists on the labour market in Poland and the possibilities of future change. The fundamental questions asked by the authors are: what is the future of financing cultural activities in Poland?; how important is culture in contemporary society?; will systemic changes be introduced? The aim of the paper is to provide answers to these questions through analysis of sociological sources and reports on the current situation of artists in Poland, and to highlight the dynamics of financing culture and its creators.

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Monumental objects as counter-architecture in non-Western and authoritarian contexts: artists in dialogue with Claes Oldenburg

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Cytlak K.

Umění (Art)

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2024

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vol. 72

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issue 1

2-17

EN

Taking as case studies the development of Pop Architecture and Radical Architecture in Eastern Europe and Latin America during the 1960s and 1970s, this paper questions the possibility of producing a dialogic and horizontal art history that seeks to abandon the colonial and hierarchical Center/Periphery model. By taking as a starting point theoretical formulations by art historians and critics such as Partha Mitter and Piotr Piotrowski, the article focuses on the specificity of projects resulting from Eastern European and Latin American contexts marked by authoritarian rule. The article asks to what extent Oldenburg’s use of enlarged everyday objects in his Proposals for Monuments and Buildings could be associated with formally similar projects produced by East European and Latin American artists — Tadeusz Kantor, Milan Knížák, Luis Pazos, Marta Minujín and Milton Machado. The article discusses in particular the relationship between the formal language of architecture and its ideological, political and social connotations. It focuses especially on artistic production that entered in a critical dialogue with the concept of public monuments taking the form of enlarged everyday objects that conceptually and formally inverted the manipulative practices of the authorities in the Soviet bloc and in Latin America under civil-military dictatorships.

CS

Na příkladu vývoje pop-architektury a radikální architektury ve východní Evropě a Latinské Americe v 60. a 70. letech 20. století si tento článek klade otázku možnosti vytvoření dialogických a horizontálních dějin umění, které se snaží opustit koloniální a hierarchický model ‚centrum-periferie‘. Vycházeje z teoretických formulací historiků umění a kritiků, jako jsou Partha Mitter a Piotr Piotrowski, článek se zaměřuje na specifičnost projektů vzniklých z východoevropského a latinskoamerického kontextu, poznamenaného autoritářskými vládami. Článek si klade otázku, do jaké míry lze Oldenburgovo užití zvětšených předmětů denní potřeby v jeho Návrzích pomníků a budov (Proposals for Monuments and Buildings) spojit s formálně podobnými projekty, které vytvořili východoevropští a latinskoameričtí umělci — Tadeusz Kantor, Milan Knížák, Luis Pazos, Marta Minujín a Milton Machado. Článek se zabývá zejména vztahem mezi formálním jazykem architektury a jejími ideologickými, politickými a sociálními konotacemi. Zaměřuje se především na uměleckou produkci zobrazující zvětšené předměty každodenní potřeby, která vstupovala do kritického dialogu s konceptem skulptur ve veřejném prostoru a tím konceptuálně a formálně nahlodávala manipulativní praktiky úřadů v sovětském bloku a v Latinské Americe v období vlády občansko-vojenských diktatur.

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Artysta - neurobiolog? Malarskie manipulacje procesami widzenia

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Łynnik M.

Z Teorii i Praktyki Dydaktycznej Języka Polskiego

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2020

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vol. 29

57-70

EN

Art and the notion of beauty related thereto are both disciplines and states which are quite unobvious and thereby requiring us to ask the question: Why is it that human beings have in their minds an inherent need to witness the beauty along with - resultant - need to create and receive art? The author of the text - by devising some neurobiological tools - attempts to elicit relative laws of beauty reception, and simultaneously she utilises the instruments of neuroaesthetics, which is a field of science that investigates the impact of art on processes taking place in the human brain. She explores, among other things, mechanisms put to use, consciously or otherwise, by artists in order to make their works a peculiar stimulus. The author describes a series of “tricks” used by visual arts creators who model the particular ways the visual perception processes function.

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Less than Friends, More than Acquaintances: Artists, Markets and Gallery Openings in New York

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Fuller M. G.

International Review of Social Research

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2015

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vol. 5

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issue 2

120-129

EN

This article describes one way that unknown and ‘emerging’ artists with limited exhibition history or reputation take steps towards developing their careers. Artists cannot apply directly for exhibition opportunities, therefore they develop social associations with gallerists that are described as being ‘kind-of-friendly-with’. Using a descriptive ethnographic narrative drawn from a case study of artists as they navigate an evening of commercial gallery openings in New York’s Chelsea district, it is argued that establishing a career in contemporary visual art depends on the ability to render one’s self visible to other participants in an art world. Rather than viewing the symbolic value of artworks as antagonistic with the economic art market, artists seek to establish social associations in which different forms of value are interrelated. In conclusion it is suggested that this is an art world in which the ‘economic world reversed’ is inversed.

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ECONOMIC AND SPATIAL STRATEGIES OF ARTISTS AS CULTURAL ENTREPRENEURS

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Murzyn-Kupisz M., Działek J.

Quaestiones Geographicae

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2019

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vol. 38

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issue 4

EN

The text aims to explore the economic and spatial strategies followed by artists who run micro-firms. The authors analyse results of a qualitative study of independent artist enterprises in Kraków. It reveals that motivations for artistic entrepreneurship are diverse and foremost linked with the need to overcome challenges artists experience in the labour market and in the market for cultural goods and services. Different strategies translate into particular location choices as well as varied visibility of such firms in urban space.

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Being an artist: a profession or a vocation? Socially engaged art by Joanna Rajkowska

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Kulig J.

Zeszyty Naukowe Wyższej Szkoły Finansów i Prawa w Bielsku-Białej

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2018

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issue 2

24-28

EN

The problem of the condition of artists in Poland is rarely addressed in public debate, which is particularly surprising in the world of growing disproportion between rapid development of the art market (the number of galleries, rising prices of auctioning) and still financially unstable and difficult situation of artists. The paper attempts to look at the economic and social status of Polish artists through the analysis of the artistic work of a Polish artist Joanna Rajkowska who tries to find her position in the socio-economic system, without giving up her creative activity. At the end of the paper the author will try to answer the question whether socially engaged art can bring about major changes in the system of financing art.

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Apocalypse Then? Kandinsky and Rachmaninoff

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Vergo P.

Hudební věda (Musicology)

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2017

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vol. 54

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issue 2

201-219

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Studie Petera Verga se zabývá paralelami v tvorbě malíře Vasilije Kandinského a hudebního skladatele Sergeje Rachmaninova. Ty nachází například v tradici pravoslavné víry, nostalgii po starém Rusku a především v zájmu o apokalyktické náměty.

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Artists in the Eyes of Children – Semiotic Analysis of the Meanings about Artists Constructed by Children

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Karczmarzyk M., Szelągowska D.

Kultura i Edukacja

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2018

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issue 2(120)

131-141

EN

The problem around which this study was constructed is the contemporary art and a person, who creates this art – an artist, and their authentic perception by the child. A modern vision of the child too often shows the artist in a distorted, incomplete or reduced way. This kind of children knowledge, based on the patterns and stereotypes, reduces the reflectivity of children, unnecessarily distorts their judgment and closes the road ahead to a full and critical participation in the world. The study is based on the analysis of interviews and children’s drawings centered around the perception of the profile of an artist by children. It results from the analysis of the research material gathered during the study that this is a stereotypical vision, and the artist is still associated with a person who remains beyond the reach of “normal” society. The conducted research shows the diversity of the types of meanings that children aged 5–7 attribute to the term “artist” and “artistry”. The naive ideas on this subject created by children prove to be a collection of beliefs of a partially common and often completely different nature. For a pedagogue, the ultimate purpose of the research is to obtain knowledge which will allow effective changes in education, in this case, in art education. The investigation of meanings which children attribute to concepts concerning the artistic phenomena may allow to create a strategy of transmission of knowledge of art history and to design the creative activities connected with the broadly-understood visual arts.

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Cultural and creative sectors in the COVID-19 pandemic crisis

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Zygierewicz A.

Studia BAS

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2022

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issue 1(69)

123-138

EN

Cultural and creative sectors were among the sectors most affected by the COVID-19 pandemic crisis. Imposed limitations and restrictions caused cancellation of events and activities, constraints on artists’ and creators’ mobility, and others. The European Union and its Member States provide guidelines for recovery of the sectors together with innovative solutions and financial support, they also promote digitalisation of the sector to allow it to reach audiences. The article presents the situation of the cultural and creative sectors affected by the crisis, and efforts, particularly at the level of the EU and the Member States, to support the recovery of the sectors.

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Wskazania dla artystów w przesłaniu św. Jana Pawła II

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Marcinkowska B.

Tarnowskie Studia Teologiczne

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2014

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vol. 33

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issue 2

EN

Through music people can fully express their feelings and emotions, even the ones of religious nature. Therefore, music is an inseparable part of the liturgy in the Christian Church. The music used during religious ceremonies is aimed at praising God and blessing the faithful. This goal will be accomplished only when the rules referring to sacred music are followed. These rules are found in the documents formed by the Church legislation. The Letter to Artists by St. John Paul II plays the vital role among the regulations. It can be treated as a kind of invitation sent to all people of art, so music as well, to join in the dialogue with the Church. The following article presents the tasks given authors and performers of worship music by the Church, in the context of the message conveyed in the Letter to Artists. Pope writes about their responsibility. At the same time he expresses a wish as far as the beauty they create is concerned. Namely, he wants that beauty to evoke admiration among the next generations.

Anton Jaszusch : Umělec jako nástroj mocenských vztahů

Marginální fenomén, nebo oběť orientalistického klišé?

Culture and its Creators – Challenges and Financial Issues

Monumental objects as counter-architecture in non-Western and authoritarian contexts: artists in dialogue with Claes Oldenburg

Artysta - neurobiolog? Malarskie manipulacje procesami widzenia

Less than Friends, More than Acquaintances: Artists, Markets and Gallery Openings in New York

ECONOMIC AND SPATIAL STRATEGIES OF ARTISTS AS CULTURAL ENTREPRENEURS

Being an artist: a profession or a vocation? Socially engaged art by Joanna Rajkowska

Apocalypse Then? Kandinsky and Rachmaninoff

Artists in the Eyes of Children – Semiotic Analysis of the Meanings about Artists Constructed by Children

Cultural and creative sectors in the COVID-19 pandemic crisis

Wskazania dla artystów w przesłaniu św. Jana Pawła II

Środowisko artystyczne w Białej Podlaskiej pod rządami Hieronima Floriana Radziwiłła: malarze i rzeźbiarze

Trójmiejskie życie kulturalne w stanie wojennym i… „powojennym”

Вони змінили історію: 125 вихідців із Південної Бессарабії

Stan wojenny w opowieściach biograficznych polskich artystów emigrantów

Interpretacja sytuacji ekonomicznej artystów współczesnych w Polsce w świetle koncepcji anomii i dewiacji społecznej