DOCSLIB.ORG

CAŁY / Art and Documentation No. 22

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
CAŁY / Art and Documentation No. 22 Redaktor naczelny / Editor in Chief – Łukasz Guzek Sekretarz Redakcji / Managing Editor – Anka Leśniak Redakcja / Editorial Board - Józef Robakowski, Aurelia Mandziuk-Zajączkowska, Adam Klimczak, Adam Kamiński Uczelniana Rada Naukowa – Janina Rudnicka, Grzegorz Klaman, Krzysztof Gliszczyński, Roman Nieczyporowski Rada Naukowa / Board of Scholars – Ryszard W. Kluszczyński, Kristine Stiles, Anna Markowska, Slavka Sverakova, Leszek Brogowski, Bogusław Jasiński, Anna Szyjkowska-Piotrowska, Tomasz Załuski, Tassilo von Blittersdorff, Tomasz Majewski, Wydawca / Publisher Cornelia Lauf, Iwona Szmelter, Hanna B. Hölling, Anne Swartz, Henar Riviere, Jin-Sup Yoon Akademia Sztuk Pięknych w Gdańsku / Academy of Fine Arts in Gdansk Sekcja pod redakcją / Edited Section Make No Mistake! Red. / Edit. by Małgorzata KAŹMIERCZAK Something In Common? Red. / Edit. by Anka LEŚNIAK Galeria im. Andrzeja Pierzgalskiego. Dokumenty Artystów / Andrzej Pierzgalski Gallery. Artists’ Documents / Galerie dédiée à Andrzej Pierzgalski. Documents d’Artistes Siedziba / Office Targ Węglowy 6, 80-836 Gdańsk / Poland Koncepcja i prezentacja / Idea and Form of Presentation / Tel.: +48 791 123 939, e-mail: [email protected] Conception et présentation – Leszek BROGOWSKI http://www.journal.doc.art.pl e.mail: [email protected] Dystrybucja / Distribution Współpraca / Cooperation e-mail: [email protected] Université Rennes 2, Cabinet du livre d'artiste Sans niveau ni mètre. Journal du Cabinet du livre d'artiste Współpraca / Cooperation https://www.sites.univ-rennes2.fr/arts-pratiques-poetiques/ Stowarzyszenie Sztuka i Dokumentacja (SSiD) incertain-sens Art & Documentation Association ul. Wschodnia 29/3, 90-272 Łódź / Poland Druk / Print EUREKA PLUS Agencja Reklamy Ryszard Fedorowicz ul. 3-go Maja 11/10, 35-111 Rzeszów Korekta w języku polskim / Polish proofreading A PROPOS Serwis Wydawniczy Anna Sikorska-Michalak nakład 300 egz. / circulation 300 copies ul. Moraczewskiego 18, 05-070 Sulejówek ISSN 2080-413X http://www.apropos.info.pl, Bogumiła Brogowska e-ISSN 2545-0050 Korekta w języku angielskim / English proofreading Paul Barford, Katarzyna Podpora doi:10.32020/ARTandDOC Projektowanie, skład / Design, typesetting Wydanie pisma Sztuka i Dokumentacja Norbert Trzeciak, http://www.norberttrzeciak.com w wersji papierowej jest wersją pierwotną (referencyjną). Zapraszamy do współpracy wszystkich zainteresowanych. Propozycje tematów i tekstów prosimy nadsyłać na adres siedziby redakcji. Prosimy zapoznać się z założeniami redakcyjnymi i edytorskimi znajdującymi się na stronie internetowej pisma. Wszystkie materiały publikujemy na licencji Creative Commons. Artykuły są recenzowane. Lista recenzentów i zasady recenzowania znajdują się na stronie internetowej pisma. http://www.journal.doc.art.pl All interested in collaboration are welcome. Suggestions of topics and texts should be sent to the e-mail address of the editor. We also kindly ask to read the notes on style that can be found on our journal’s website. All content is publish under the Creative Commons licenses. Articles are peer-reviewed. The list of peers and the peer-review process are available on our website. 2222http://www.journal.doc.art.pl SECTION 1 27-36 VARIA Krzysztof SIATKA, how it works, what it does. Notes on Selected Drawings by 123-139 224-225 Wincenty Dunikowski-Duniko in the Teresa FAZAN, Dorothee von Windheim: Summary / Résumé Context of the Machine Art Tradition an Early Wall Work. Strappo ad Asolo Paweł Petasz. A Biographical Note / doi:10.32020/ARTandDOC/22/2020/6 1973 Revisited in the Conz Archive Paweł Petasz. Esquisse biographique doi:10.32020/ARTandDOC/22/2020/23 doi:10.32020/ARTandDOC/22/2020/15 37-46 Ewa WÓJTOWICZ, The Point of Collapse, 141-150 229-261 or How to Err is Non-human in Post- Ewa KĘDZIORA, Doświadczenie Granic. Faksymile / Facsimile Digitality Izraelska Sztuka Konceptualna Przełomu Ten Theses 2 + transcription doi:10.32020/ARTandDOC/22/2020/7 Lat Sześćdziesiątych i Siedemdziesiątych doi:10.32020/ARTandDOC/22/2020/24 / Experience of Borders. The Israeli 47-55 Conceptual Art at the Turn of Sixties 262-301 Rafał SOLEWSKI, Discovered by and Seventies Leszek BROGOWSKI, Kwadratura Koła Diversity: Error in Art as a Tool of doi:10.32020/ARTandDOC/22/2020/16 Jedynego Polaka: Paweł Petasz (1951–2019) Metaphysical Cognition. Case Studies / La Quadrature du Cercle de l’Unique doi:10.32020/ARTandDOC/22/2020/8 151 Polonais: Pawel Petasz (1951-2019) doi:10.32020/ARTandDOC/22/2020/25 doi:10.32020/ARTandDOC/22/2020/1 Summary doi:10.32020/ARTandDOC/22/2020/17 Sekcja 2 / Section 2 303-305 153-180 Summary SOMETHING IN COMMON? Maksymilian WRONISZEWSKI, Leszek Quadrature of the Circle of a Unique POLISH AND KOREAN Przyjemski: Szaleństwo jako Praktyka Pole: Paweł Petasz (1951-2019) PERFORMANCE ART IN THE Krytyczna / Leszek Przyjemski: Madness doi:10.32020/ARTandDOC/22/2020/26 CONTEXT OF YOUNG DEMOCRACY as a Critical Practice doi:10.32020/ARTandDOC/22/2020/9 308-313 doi:10.32020/ARTandDOC/22/2020/18 Commonpress no. 5 59-61 181 doi:10.32020/ARTandDOC/22/2020/27 INTRODUCTION Summary Edited by Anka LEŚNIAK 315-365 doi:10.32020/ARTandDOC/22/2020/10 doi:10.32020/ARTandDOC/22/2020/19 Viktor KOTUN, A Ghost of Your 63-77 Masterpiece. Correspondence Between Sekcja 1 / Section 1 Pawel Petasz and György Galántai Ah-Young LEE, Korean Avant-garde (1978–2007) Performance Art from the 1960s to the GALERIA im. ANDRZEJA MAKE NO MISTAKE! doi:10.32020/ARTandDOC/22/2020/28 1980s in the Trajectory of the South PIERZGALSKIEGO. REFLECTIONS ON THE BENEFITS Korean Democratization OF ERRING IN POSTCONCEPTUAL 367-376 doi:10.32020/ARTandDOC/22/2020/11 Dokumenty Artystów 5 / ANDRZEJ ART PRACTICE PIERZGALSKI GALLERY. Artists’ Report of “Zoltán Pécsi” + György doi:10.32020/ARTandDOC/22/2020/2 79-87 Documents 5 / GALERIE dédiée à GALÁNTAI, To the Attention of the ANDRZEJ PIERZGALSKI. Documents Readers / Researchers 7 Jin Sup YOON, Avant-Garde-ness and doi:10.32020/ARTandDOC/22/2020/29 Experimentation: Renegades as d’Artistes 5 INTRODUCTION Outliers Red. / Edited by Leszek BROGOWSKI Edited by Małgorzata KAŹMIERCZAK doi:10.32020/ARTandDOC/22/2020/12 doi:10.32020/ARTandDOC/22/2020/20 and Krzysztof Siatka doi:10.32020/ARTandDOC/22/2020/3 89-101 184-195 Łukasz GUZEK, Happenings-Events- Założenia programowe 5 / Programme 9-16 Performances in Poland: Intermingling Assumptions 5 / Hypothèses du Małgorzata KAŹMIERCZAK, Contingency Histories of Art and Politics programme 5 and Improvisation in Performance Art doi:10.32020/ARTandDOC/22/2020/13 doi:10.32020/ARTandDOC/22/2020/21 from the 1970s to the Present doi:10.32020/ARTandDOC/22/2020/4 103-119 197-223 Anka LEŚNIAK, Action Art as a Way of Karina DZIEWECZYŃSKA, Paweł Petasz. Rys 17-26 Emancipation. Women's Performance biograficzny Dora DERADO, Accidents, Artistic Art Practices in the Context of the doi:10.32020/ARTandDOC/22/2020/22 Intent and Error: A Study of (Un) Totalitarian Regime Based On intentionality in post-World War II Communist Ideology and the Young Croatian Art Democracy in Poland doi:10.32020/ARTandDOC/22/2020/5 doi:10.32020/ARTandDOC/22/2020/14 2 Sztuka i Dokumentacja nr 22 (2020) │ Art and Documentation no. 22 (2020) • ISSN 2080-413X • e-ISSN 2545-0050 • doi:10.32020/ARTandDOC Sztuka i Dokumentacja nr 22 (2020) │ Art and Documentation no. 22 (2020) • ISSN 2080-413X • e-ISSN 2545-0050 • doi:10.32020/ARTandDOC 3 SE CTI1 ON doi:10.32020/ARTandDOC/22/2020/2 doi:10.32020/ARTandDOC/22/2020/3 MAKE NO MISTAKE! MAKE NO MISTAKE! REFLECTIONS ON THE BENEFITS OF ERRING IN POSTCONCEPTUAL ART PRACTICE Introduction MAMAMA Edited by Małgorzata KAŹMIERCZAK and Krzysztof SIATKA Any artistic practice which takes place within an alter the course of an action. The essay by Dora arrangement involving such significant entities Derado brings together thoughts on dissonances as an originator (artist), his or her proposition between what artists originally intended and what (object or action), and user (viewer) gives rise audiences saw in Croatian avant-garde art after KEKE to numerous paradoxes inside the system of World War II. Krzysztof Siatka concentrates in KE reciprocal communication between these entities. his essay on a lesser-known chapter of Wincenty The constantly effected divergence between what Dunikowski-Duniko’s activity: drawings of was intended but has not been expressed and complicated, futuristic, and dysfunctional devices what is being expressed unintentionally is as that were produced after the 1970s and which surprising as it is inspiring. Therefore, erroneous display similarities to conceptual propositions NO understanding brings considerable cognitive and the 20th-century tradition of machine art. NONO rewards, and although the artistic benefits of Ewa Wójtowicz discusses and analyzes examples erring seem rather obvious today, the potential of of postinternet art which stem from consideration this subject continues to be noticeable and vivid of grammatical errors in the languages of non- in the discourse of humans and non-humans, human systems. Errors in early and late modern as exemplified by the 2018 edition of the Ars art and in the metaphysical recognition of it are Electronica Festival in Linz, themed ERROR – the substance of Rafał Solewski’s essay, which MISMIS The Art of Imperfection. provides a summary of this collection and MIS The collection of essays following the narrative concludes it. outlined above that is presented to readers in this volume is a result of international academic Krzysztof SIATKA conferences and art exhibitions held in Kraków in December 2016 (Error in Art, Telpod) and in TA Budapest in November 2018 (Make No Mistake!, ACKNOWLEDGMENT on behalf of the TATA FUGA Budapest Centre for Architecture); both Editor of the Section these events were held on the initiative of the This publication is a result a joint effort, therefore Faculty of Art of the Pedagogical University in I would like to thank: Karolina Kolenda, Kraków and in collaboration with the University Krzysztof Siatka and Sebastian Stankiewicz for of Kaposvár. collecting and editing the essays written after Analyzing well-known as well as less the conferences they organized in Kraków and KE salient facts from the rich history of performance Budapest.
Load more

Recommended publications
  • Milko Kelemen: Life and Selected Works for Violoncello
    MILKO KELEMEN: LIFE AND SELECTED WORKS FOR VIOLONCELLO by JOSIP PETRAČ (Under the Direction of David Starkweather) ABSTRACT Milko Kelemen (b. 1924) is one of the most extraordinary Croatian composers of the post-World War II era. He has received numerous prestigious awards for his work, while his compositions are published by major companies, including Schott, Universal, Peters, and Hans Sikorski editions. His music is little studied or known internationally. This paper examines this innovative, avant-garde musician and sheds light both on Kelemen’s life and his compositional technique. The latter is examined in four compositions featuring cello as the main subject: Changeant (1968), Drammatico (1983), Requiem for Sarajevo (1994), and Musica Amorosa (2004). The examination of these compositions is placed in a biographical context which reveals how Kelemen’s keen political and cultural interests influenced his development as a composer. In particular, this document looks at Kelemen’s role as one of the founders, and the first president, of the Zagreb Music Biennale Festival, an event known for its ground-breaking work in bringing together artists and composers from the eastern and western blocs during the Cold War, as well as revitalising Croatia’s old-fashioned and provincial cultural scene. This festival of avant-garde music has been running since 1961. INDEX WORDS: Milko Kelemen, Zagreb Biennale, cello, avant-garde music, Changeant, Drammatico, Requiem for Sarajevo, Musica Amorosa MILKO KELEMEN:LIFE AND SELECTED WORKS FOR CELLO by JOSIP
    [Show full text]
  • 1 Damir Očko Zagreb, 1977
    Damir Očko Zagreb, 1977 EDUCATION AND RESIDENCIES 2011 Temple Bar Gallery & Studios, Dublin, Ireland 2010 Nordic Art Center Dale, Norway Künstlerresidenz Blumen, Leipzig, Germany 2008-2009 Akademie Schloss Solitude, Stuttgart, Germany 2007 HIAP, Helsinki, Finland KulurKontakt, Vienna, Austria Tirana Institute of Contemporary Art, Tirana, Albania 1997-2003 Academy of Fine Arts, Zagreb, Croatia SELECTED SOLO EXHIBITIONS 2015 Photon - Centre for Contemporary Photography. Ljubljana, Slovenia Studies on Shivering, Gallery Kasia Michalski, Warsaw, Poland 2014 Studies on Shivering, Temple Bar Gallery & Studios, Dublin, Ireland Damir Očko: PST, APOTEKA, Vodnjan, Croatia Studies on Shivering, Künstlerhaus Halle für Kunst & Medien, Graz, Austria (cat.) 2013 Kabinett - ArtBasel Miami (with Yvon Lambert), Miami, US Damir Očko: FILMS, Gallery Tiziana di Caro, Salerno, Italy Psst, TRAPEZ, Budapest, Hungary The Body Score, Yvon Lambert Gallery (project space), Paris, France 2012 Damir Ocko: The Kingdom of Glottis, Palais de Tokyo, Paris, France On Ulterior Scale, FIAC (with Gallery Tiziana di Caro), Paris, France On Ulterior Scale, MultiMedia Center Luka, Pula, Croatia Očko/Tadić, Galerie de l’ESAM, Caen, France (With M. Tadić) We saw nothing but the uniform blue of the Sky, Gallery Tiziana di Caro, Salerno, Italy 2011 On Ulterior Scale, Kunsthalle Dusseldorf, Dusseldorf, Germany (cat.) Jedinstvo Hall - Gallery Močvara, 26th Music Biennale, Zagreb, Croatia 2010 Castle & Elephant, Coventry, UK Event Horizon, Kunstverein Leipzig, Leipzig, Germany The Age of Happiness, Tiziana di Caro Gallery, Salerno, Italy Screening Room, Blumen, Leipzig, Germany 2009 The Age of Happiness, Lothringer13 Städtische Kunsthalle München, Munich, Germany (cat.) The Age of Happiness, Akademie Schloss Solitude, Stuttgart, Germany 2007 The End of the World, Miroslav Kraljević Gallery, Zagreb, Croatia Why does Gravity make things fall?, Tirana Institute of Contemporary Art, Tirana, Albania (With N.
    [Show full text]
  • Programska Knjižica
    Prva hrvatska gradiona orgulja, harmonija i glasovira utemeljena 1849. godine Erste Kroatische Orgel-, Harmonien- und Klaviermanufaktur gegründet 1849 The first Croatian builders of organs, harmoniums and pianos established in 1849 Festival 2018. 2 3 PARTNERI FESTIVALA / DIE PARTNER DES FESTIVALS / FESTIVAL PARTNERS VARAŽDINSKE BAROKNE VEČERI Varaždinske barokne večeri zasnovane su 1968. godine na bogatoj tradiciji varaždinske barokne glazbe. Prvi festival održan je 1971. godine. Od tada se u mnoštvu dvoraca i crkava krajem rujna i početkom listopada, razliježe barokna glazba hrvatskih i svjetskih glazbenika i ansambala. Od 1992. taj je državni festival pod pokroviteljstvom predsjednika države, a organizira ga Koncertni ured Varaždin. Die Varaždiner Barockabende wurden 1968 ins Leben gerufen und basieren auf einer reichhaltigen Tradition der in Varaždin gepflegten Barockmusik. Das erste Festival fand 1971 statt. In mehreren Schlössern und Kirchen erklingt seither alljährlich Ende September und Anfang Oktober in dieser Gegend die Barockmusik, interpretiert von namhaften SolistInnen und Ensembles aus Kroatien und aus der ganzen Welt. Ab 1992 genießt dieses staatlich geförderte Festival die Schirmherrschaft des kroatischen Staatsoberhauptes. Organisatorisch wird das Festival vom Konzertbüro Varaždin betreut. Varaždin Baroque Evenings were founded in 1968 on the rich tradition of Varaždin Baroque music. The first festival was held in 1971. Since then, in late September and early October, the music of Croatian and international musicians and ensembles has been heard in many castles and churches. Since 1992, this national festival has been under the patronage of the President of the State, and is organized by Varaždin Concert Office. 4 5 PREGLED KONCERATA | 2. 9. 2018. u 20.30 sati 29.
    [Show full text]
  • Call for the Masterclass for Composers
    CALL FOR THE MASTERCLASS FOR COMPOSERS About the Music Biennale Zagreb The Festival is dedicated to new music of all genres and has become an important part of the European cultural scene ever since it was founded in 1961. This year, from 6-13 April 2019, the Festival will focus on creating and presenting music / sound in relation to the idea of city / space. This way, the Music Biennale Zagreb turns to many more or less related fields, such as multimedia arts, sound engineering and acoustics on the one hand, and urbanism, architecture, philosophy on the other. The idea of city will be musically decomposed in various ways – from transforming the sound of a particular location into a site-specific contemporary composition to the problematization of different layers of socio-urban (sound) structures or the creation of an imaginary surrogate city. Along with top performers such as the London Sinfonietta or Cikada Ensemble, guest composers will include some legendary names such as Heiner Goebbels, Alvin Curran, Rolf Wallin, Vinko Globokar, Eivind Buene and Ivan Fedele. Plan of the course for composers Students will enlarge their creative understanding and hone their composing skills through a one-on- one approach at courses with prominent composers and open rehearsals with the resident ensemble. Mentor composers will select their students based on the applications received (see below for more information). Each composer is mentoring 3-4 students. The program of the masterclass for composers consists of: April 8-10 - Individual classes with the students: 2x2h in which applicable pieces will be discussed (or some of student’s pieces).
    [Show full text]
  • University of Zagreb Faculty of Veterinary Medicine
    UNIVERSITY OF ZAGREB FACULTY OF VETERINARY MEDICINE DETAILED PROPOSAL OF THE STUDY PROGRAMME VETERINARY MEDICINE IN ENGLISH FOR THE 2019-2020 ACADEMIC YEAR TABLE OF CONTENTS GENERAL INFORMATION ABOUT UNIVERSITY OF ZAGREB ......................................................................3 GENERAL FACTS ON FACULTY OF VETERINARY MEDICINE – ZAGREB ......................................................4 GENERAL INFORMATION ABOUT THE PROPOSED STUDY PROGRAM .....................................................6 COURSE CATALOGUE – OBLIGATORY AND ELECTIVE COURSE LIST .......... Error! Bookmark not defined. REGISTRATION AND EXAMINATION REQUIREMENTS SCHEME ................ Error! Bookmark not defined. LIST OF OBLIGATORY SUBJECTS - 1st STUDY YEAR ................................................................................. 19 LIST OF OBLIGATORY SUBJECTS - 2nd STUDY YEAR ................................................................................ 77 LIST OF OBLIGATORY SUBJECTS – 3rd STUDY YEAR .................................... Error! Bookmark not defined. LIST OF ELECTIVE SUBJECTS ................................................................................................................. 222 USEFUL INFORMATION FOR STUDENTS .................................................... Error! Bookmark not defined. GENERAL INFORMATION ABOUT UNIVERSITY OF ZAGREB UNIVERSITY OF ZAGREB Address: University of Zagreb Trg Republike Hrvatske 14, Zagreb Phone: +385 1 4564111 e-mail: [email protected] The University of Zagreb (Universitas Studiorum
    [Show full text]
  • Croatia-10-Preview.Pdf
    ©Lonely Planet Publications Pty Ltd Croatia Zagreb p64 #_ Inland Croatia p98 Kvarner Istria p169 p125 Northern Dalmatia p206 Split & Central Dalmatia p237 Dubrovnik & Southern Dalmatia p289 Peter Dragicevich, Anthony Ham, Jessica Lee PLAN YOUR TRIP ON THE ROAD Welcome to Croatia . 4 ZAGREB . 64 Buzet . 153 Croatia Map . .. 6 Sights . 65 Roč . 156 Hum . 156 Croatia’s Top 17 . 8 Tours . 79 Pazin . 157 Need to Know . 16 Festivals & Events . 81 Sleeping . 83 Svetvinčenat . 159 What’s New . 18 Eating . 85 Labin & Rabac . 160 If You Like . 19 Drinking & Nightlife . 87 Month by Month . 22 Entertainment . 92 KVARNER . 169 Itineraries . 26 Shopping . 93 Rijeka . 171 Outdoor Activities . 36 Around Rijeka . 176 Croatia’s Islands . 44 INLAND CROATIA . 98 Risnjak National Park . 176 Volosko . 177 Travel with Children . 52 Around Zagreb . 99 Samobor . 99 Opatija . 178 Eat & Drink Like a Local . 55 Mt Medvednica . 102 Učka Nature Park . .. 180 Lošinj & Cres Islands . .. 181 Regions at a Glance . 60 Zagorje . 103 Klanjec . 104 Beli . 182 Krapinske Toplice . 104 Cres Town . 183 IASCIC/SHUTTERSTOCK © IASCIC/SHUTTERSTOCK Krapina . 105 Valun . 185 Varaždin . 107 Lubenice . 186 Međimurje . 111 Osor . 186 Slavonia . 112 Nerezine . 187 Ðakovo . 113 Mali Lošinj . 187 Osijek . 114 Veli Lošinj . 190 Baranja . 119 Krk Island . 192 Vukovar . 121 Malinska . 192 Ilok . 123 Krk Town . 193 Punat . 195 KOPAČKI RIT NATURE PARK P119 ISTRIA . 125 Vrbnik . 195 Baška . 196 Istria’s West Coast . 127 East Kvarner Coast . 198 Pula . 127 JUSTIN FOULKES/LONELY PLANET © PLANET FOULKES/LONELY JUSTIN Crikvenica . 198 Brijuni Islands . 134 Senj . 199 Vodnjan . 135 Rab Island . 200 Bale . 136 Rab Town .
    [Show full text]
  • EMC Music and Heritage 2. Druckversion.Indd
    This publication is a European Year of Cultural Heritage follow-up. The European Music Council is supported by: This publication reflects the views of the EMC only and the European Com- mission cannot be held responsible for any use which may be made of the information contained therein. SNAPSHOTS ON MUSIC AND HERITAGE IN EUROPE Edited by the European Music Council The European Music Council (EMC) is a non-profit organisation dedicated to the development and promotion of all genres and types of music in Europe. It advocates access to music for all and for freedom of musical expression across Europe. As part of the International Music Council (IMC), the EMC strategies and actions are based on the 5 IMC Music Rights. The EMC network comprises music organisations involved in the fields of mu- sic education, creation, performance, participation, production and heritage. As a membership organisation, it provides real value to its members through the analysis of policy developments and the formulation of policy statements, capacity building and knowledge exchange as well as networking opportunities within and beyond the music sector on an international platform. IMPRINT © European Music Council, Bonn, Germany All rights reserved. The views expressed in this publication are those of the authors and not necessarily of the publisher or editor. No part of this book may be reprinted or reproduced in any format without permission of the European Music Council. Editor: European Music Council, Haus der Kultur Weberstr. 59a, 53113 Bonn Tel.: +49-228-96699664
    [Show full text]
  • For Several Years Now Enrico Fink Has Been One of the Major Figures in The
    ENRICO FINK For several years now Enrico Fink has been one of the major gures in the Jewish music and theatre scene in Italy, regularly touring Europe and the US with di&erent groups and projects – and invited to hold speeches, seminars and lectures from universities, music schools, Jewish museums and institutions the world over. Enrico was born in Florence, the great-grandson of a Jewish-Russian refugee who served as cantor in many Italian synagogues. After a variety of musical experiences in groups ranging from funk-rock to contemporary music (with pauses to complete a degree in physics) he has devoted himself to new interpretations of the Jewish cultural tradition, nding a path between "radical" and traditional, which uses both music and musical theater as means of expression. He frequently appears in major venues throughout Europe, and with Ensemble Lucidarium is going to have his fth US tour in February 2015, a tour which will include a presentation of his “Shirat hayam” project in New York, with the participation of Frank London. He has created a number of theatrical productions, including "Yonah," "Purimspil" and "Lokshen," and performing in many national productions (also starring as Motl in Italy’s blockbuster production of “Fiddler on the Roof”). As a lecturer, he has held yearly classes as Professor of History of Jewish Music at the Jewish Studies University in Rome, at the Florence Bet haMidrash, at the Scuola di Alto Perfezionamento Musicale di Bertinoro, at the Circolo Gianni Bosio in Rome: and has been an invited lecturer in US universities (Yale, Stanford, Syracuse, UC in Santa Cruz, UW in Madison...), as well as in Jewish institutions and schools throughout Italy, Europe and the US.
    [Show full text]
  • Global Gamelan in a Worldwide Pandemic Edited by Jody Diamond and Linda Hibbs
    COVID COLLECTED REPORTS We Will Survive: Global Gamelan in a Worldwide Pandemic edited by Jody Diamond and Linda Hibbs In March of the year 2020, the spread of the novel coronavirus on for bonding on a regular basis, we launched a series of our planet changed our lives. For those who practice gamelan and YouTube programs to explore theoretical and historical related arts, the restrictions that followed interrupted the very perspectives about Balinese gamelan, something we essence of our music-making: to gather with friends and teachers, rarely have time to dive into during hands-on rehearsals. to react and respond to each other, and to honor both distant [See the report by Pierre Paré-Blais on page 14.] Then roots and local flowers in our ever-evolving global community. came casual Zoom calls between musicians and attempts This issue of BALUNGAN is dedicated to the stories of gamelan at coordinating a virtual kecak, but these only reinforced during COVID, the challenges we faced, and the future that we the fact that for the most part, our heads were elsewhere. now must envision and create together. We express our deep Other immediate consequences of the pandemic were gratitude to all who contributed, and a sincere hope for everyone’s the cancellation of all concerts and activities for the current health, safety, and strength of spirit. artistic season, including I Made Terip’s visit to Montreal —Jody Diamond and Linda Hibbs as guest teacher and composer. This cancellation prompted [Table of groups, countries, and authors on p. 90.] us to rethink our upcoming objectives, wondering whether we’ll be able to regroup at all to prepare for any potential performance.
    [Show full text]
  • Intersections Between High-End Art and Finance in the Global City a Comparative Analysis
    FACULTEIT WETENSCHAPPEN Geography and Geomatics Master of Geography Intersections between high-end art and finance in the global city A comparative analysis Freke Caset Number of words: 29040 Academic year 2014 – 2015 Prof. dr. Ben Derudder, Master’s thesis submitted to Department of Geography acquire the degree of Master of Geography 1 PREFACE As a human geography student with a high affinity for the areas of globalization and urbanization, the choice to write a thesis within the field of the global city discourse was easily made. When browsing through possible subjects and approaches related to this topic, the perspective wherein the conventional way in which global cities have generally been approached (as key sites of capital transaction and accumulation) is combined with the role of these nodes as centers for the arts, seemed refreshing and welcome, given the scarce amount of similar empirical studies on a city-scale and the growing recognition of urban cultural policy frameworks based on the arts within global cities and cities aiming at global city status. Along the line, many people gave me inspiring ideas, encouragement and much needed practical advice. Therefore my gratitude goes out to professor Ben Derudder for all of the above reasons and for providing me with the highly inspiring book Arts, Culture and the Making of Global Cities by Kong et al. (2015). Similar words of thank go out to Lizzy for making the time to discuss some of my statistical queries, to Laura for the critical feedback and diverting company in between, to Jeroen and Nicolas for the comprehensive reviews and to my ever- helpful father.
    [Show full text]
  • Preuzmite Knjižica Natjecanja 4 MB
    MEÐUNARODNO MEÐUNARODNO SAKSOFONISTICˇKO SAKSOFONISTICˇKO NATJECANJE NATJECANJE INTERNATIONAL INTERNATIONAL SAXOPHONE SAXOPHONE COMPETITION COMPETITION ACADEMY OF MUSIC ZAGREB ACADEMY OF MUSIC ZAGREB SPRING 2024 JUNE 5 - JUNE 10 2021 4. 3. MEĐUNARODNO SAKSOFONISTIČKO NATJECANJE JOSIP NOCHTA ZAGREB, 5.6. - 10.6.2021. Muzička akademija Sveučilišta u Zagrebu 3rd INTERNATIONAL SAXOPHONE COMPETITION JOSIP NOCHTA ZAGREB, June 05 - 10 2021 University of Zagreb Academy of Music 3. međunarodno saksofonističko natjecanje Josip Nochta održava se pod visokim pokroviteljstvom Ministarstva kulture i medija Republike Hrvatske 3rd International Saxophone Competition Josip Nochta is held under the high patronage of Ministry of Culture and Media of the Republic of Croatia Održavanje 3. međunarodnog saksofonističkog natjecanja Josip Nochta omogućuje 3rd International Saxophone Competition Josip Nochta is supported by Ministarstvo kulture i medija Republike Hrvatske Ministry of Culture and Media of the Republic of Croatia Gradski ured za obrazovanje, kulturu i sport Zagreb City Office for Education, Culture and Sport Posebnu zahvalnost za suradnju i pomoć zaslužuju Our special thanks for the collaboration and help goes to Zagrebačka filharmonija The Zagreb Philharmonic Orchestra Adolphesax.com, la web del saxofón kao i sponzori i donatori nagrada navedeni u katalogu as well as the sponsors and donators of the awards listed in the catalogue Umjetnički ravnatelj natjecanja / Artistic Director of the Competition Dragan Sremec Počasni odbor natjecanja / Honorary
    [Show full text]
  • SIEF Congresses
    Zagreb 12th Congress, 21-25 June 2015 Timetable Sun June 21 Mon June 22 Tue June 23 Wed June 24 Thu June 25 08:45- 09:45 Keynote 2 Keynote 3 Keynote 4 09:45-10:00 Getting from Keynote to main venue 10:00-10:30 Refreshments Refreshments Refreshments 10:30-12:00 Panel session 1 Panel session 4 Panel session 7 12:00-14:00 Lunch Lunch Lunch 14:00-15:30 Panel session 2 Panel session 5 Panel session 8 Excursions 15:30-16:00 Refreshments Refreshments Refreshments Registration 16:00-17:30 Panel session 3 Panel session 6 Panel session 9 17:30-17:50 Break Break Break Young Scholar Working group 17:50-18:50 Prize & meetings Closing Opening and presentation roundtable Keynote 1 (ends 19:20) 18:50-19:00 (start 18:00) Break Break 19:00-19.30 YS Wine Mixer Journal launch General Assembly 19:30-20:00 Coord meeting of Welcome reception Uni Deps 20:00-21:00 Banquet (starts 20:30) 21:00-22:30 22:30-00:00 Final Party SIEF2015 Utopias, Realities, Heritages: Ethnographies for the 21st Century 12th Congress of Société Internationale d’Ethnologie et de Folklore (SIEF) Department of Ethnology and Cultural Anthropology, Faculty of Humanities and Social Sciences, University of Zagreb 21-25 June 2015 Acknowledgements SIEF Board: Pertti Anttonen, Jasna Čapo, Tine Damsholt, Laurent Fournier, Valdimar Hafstein, Peter Jan Margry, Arzu Öztürkmen, Clara Saraiva, Monique Scheer SIEF2015 Congress convenors: Jasna Čapo and Nevena Škrbić Alempijević SIEF2015 Scientific Committee:Jasna Čapo, Laurent Fournier, Valdimar Hafstein, Peter Jan Margry, Sanja Potkonjak, Clara Saraiva,
    [Show full text]