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The Function of Activist Art in Czech Political Culture
SIT Graduate Institute/SIT Study Abroad SIT Digital Collections Independent Study Project (ISP) Collection SIT Study Abroad Spring 2017 Czech Artivism: The uncF tion of Activist Art in Czech Political Culture Kristen Fontaine SIT Study Abroad Follow this and additional works at: https://digitalcollections.sit.edu/isp_collection Part of the Arts and Humanities Commons, Community-Based Research Commons, Family, Life Course, and Society Commons, Near and Middle Eastern Studies Commons, Politics and Social Change Commons, Sociology of Culture Commons, and the Soviet and Post-Soviet Studies Commons Recommended Citation Fontaine, Kristen, "Czech Artivism: The unctF ion of Activist Art in Czech Political Culture" (2017). Independent Study Project (ISP) Collection. 2593. https://digitalcollections.sit.edu/isp_collection/2593 This Unpublished Paper is brought to you for free and open access by the SIT Study Abroad at SIT Digital Collections. It has been accepted for inclusion in Independent Study Project (ISP) Collection by an authorized administrator of SIT Digital Collections. For more information, please contact [email protected]. Czech Artivism: The Function of Activist Art in Czech Political Culture Fontaine, Kristen Academic Director: Brock, Sarah Project Advisor: Smoliková, Marta Stonehill College, Massachusetts Majors: English and Political Science Prague, Czech Republic. Submitted in partial fulfillment of the requirements for Czech Republic: Arts & Social Change, SIT Study Abroad, Spring 2017 CZECH ACTIVIST ART 2 Abstract This research endeavors to explore the ways in which activist art functions within the context of the Czech Republic’s political culture. In a society where art had such a significant influence during the transition to democracy, the activist role of art is emphasized minimally in terms of contemporary culture. -
The Illusion of the Initiative an Overview of the Past Twenty Years of Media Art in Central Europe1 Miklos Peternák
The Illusion of the Initiative An Overview of the Past Twenty Years of Media Art in Central Europe1 Miklos Peternák When the political transformations began in ramifications, the entry into the European 1989–90, there were nine countries Union and the demands and opportunities (including the GDR) in this one geographical that came along with this, and, finally, region of Europe; today, at the end of 2010, globalization as the backdrop, which, there are twenty-five (and four more, if we beyond its cultural and economic effects, count all the successor states of the Soviet also made possible military control and Union). This fact alone would require an intervention, as in the case of the Yugoslav explanatory footnote longer than this entire wars. article. The above situation is further colored by What is the significance of this varied, more localized political replacement transformation, this transition? For an economies. Beyond the historical Left-Right outline of contemporary (media) art in dichotomy there has been the potential for Eastern and Central Europe (partly also more authoritarian or presidential systems, including Northern and Southern Europe sometimes drawing on more symbolism- and the Balkans) there are at least three laden atavistic outbreaks of a more blood- processes involved, and probably four— curdling nature. partly in parallel, and partly of mutual influence: the capitalist economic system As for art, the above mentioned that arose after the bankruptcy and failure of circumstances do more than just furnish the ―existing socialisms‖—or to put it another backdrop and immediate environment: in way, the transformation of dictatorships into many cases they themselves are the subject democracies—together with the global matter, whatever the medium. -
Inheriting the Yugoslav Century: Art, History, and Generation
Inheriting the Yugoslav Century: Art, History, and Generation by Ivana Bago Department of Art, Art History and Visual Studies Duke University Date:_______________________ Approved: ___________________________ Kristine Stiles, Supervisor ___________________________ Mark Hansen ___________________________ Fredric Jameson ___________________________ Branislav Jakovljević ___________________________ Neil McWilliam Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Art, Art History and Visual Studies in the Graduate School of Duke University 2018 ABSTRACT Inheriting the Yugoslav Century: Art, History, and Generation by Ivana Bago Department of Art, Art History and Visual Studies Duke University ___________________________ Kristine Stiles, Supervisor ___________________________ Mark Hansen ___________________________ Fredric Jameson ___________________________ Branislav Jakovljević ___________________________ Neil McWilliam An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Art, Art History and Visual Studies in the Graduate School of Duke University 2018 Copyright by Ivana Bago 2018 Abstract The dissertation examines the work contemporary artists, curators, and scholars who have, in the last two decades, addressed urgent political and economic questions by revisiting the legacies of the Yugoslav twentieth century: multinationalism, socialist self-management, non- alignment, and -
New Europe College Black Sea Link Program Yearbook 2010-2011, 2011-2012
New Europe College Black Sea Link Program Yearbook 2010-2011, 2011-2012 DIANA DUMITRU IBRAHIM IBRAHIMOV NATALYA LAZAR OCTAVIAN MILEVSCHI ORLIN SABEV (ORHAN SALIH) VSEVOLOD SAMOKHVALOV STANISLAV SECRIERU OCTAVIAN ŢÎCU LIA TSULADZE TAMARA ZLOBINA Editor: Irina Vainovski-Mihai Copyright – New Europe College ISSN 1584-0298 New Europe College Str. Plantelor 21 023971 Bucharest Romania www.nec.ro; e-mail: [email protected] Tel. (+4) 021.307.99.10, Fax (+4) 021. 327.07.74 TAMARA ZLOBINA Born in 1982, in Ukraine “Kandydat nauk” (Ph.D. equivalent) in Philosophy, National Institute for Strategic Studies, Kyiv (2010) Dissertation: The role of cultural space in the development of the Ukrainian political nation Independent scholar, curator and art critic Research grants and curatorial residencies in Ukraine, Moldova, Belarus Participation in conferences and research seminars in Ukraine, Lithuania, Estonia, Poland, Hungary, Belgium, Georgia Articles and studies on contemporary art, gender studies, production of space, and nationalism in Ukraine, Moldova, Belarus THE VISA DENIAL CASE: CONTEMPORARY ART IN BELARUS, MOLDOVA, AND UKRAINE BETWEEN POLITICAL EMANCIPATION AND INTERNALIZATION OF COLONIAL GAZE Introduction The position of the contemporary art from Central and Eastern Europe in the global art world can be metaphorically described through the art work of Sándor Pinczehelyi called “Almost 30 Years 1973‑2002” (Hungary).1 The first part of it was produced in 1973. It represents the self portrait of a young man holding the hammer and the sickle in front of his face. His two hands are strictly crossed in front of his chest and his face is framed by the symbols of communist ideology. -
Marta Filipová, National Treasure Or a Redundant Relic: the Roles of The
RIHA Journal 0066 | 26 February 2013 National treasure or a redundant relic: the roles of the vernacular in Czech art Marta Filipová Editing and peer review managed by: Iain Boyd Whyte, Visual Arts Research Institute Edinburgh (VARIE) Reviewers: Christopher Long, Tomáš Winter Abstract The article examines the reception of folk art in the visual culture of Bohemia and Czechoslovakia and focuses on the shift in the meaning of folk art in the period of early twentieth-century modernism. It examines closely the main attitudes and approaches to folk art in examples drawn from painting, sculpture and architecture as well as art theory in the Czech-speaking regions from the end of the nineteenth century until the early 1930s. This politically important period that saw the transformation of the Habsburg monarchy into new independent states, including Czechoslovakia, was also marked by the establishment of modernism in Central Europe. Many Czech artists were turning to more cosmopolitan ideas, while simultaneously they retained some of the ideas and ideals from the nineteenth century national revival. These shifts were reflected in the various roles folk art was given, ranging from its association with a nostalgic return to pre-industrial society, to an ideological tool of national revival, and to a redundant relic of the past. Folk art, therefore, is understood as a complex phenomenon, which disrupts the reading of modernism in Central Europe as a straightforward embrace of cosmopolitan ideas in the visual arts and art theory and that challenges the historical opposition between folk art and high art. Simultaneously, its central role in the formation of Central European modernism is emphasized as crucial to our understanding of Central European art in this period. -
The Politics of Artistic Identity: the Czech Art World
The Politics of Artistic Identity. The Czech Art World in the 1950s and 1960s Svasek, M. (2001). The Politics of Artistic Identity. The Czech Art World in the 1950s and 1960s. In G. Péteri (Ed.), Intellectual Life and the First Crisis of State Socialism in East Central Europe, 1953-1956 (pp. 133-153). Norwegian University of Science and Technology. Published in: Intellectual Life and the First Crisis of State Socialism in East Central Europe, 1953-1956 Queen's University Belfast - Research Portal: Link to publication record in Queen's University Belfast Research Portal General rights Copyright for the publications made accessible via the Queen's University Belfast Research Portal is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The Research Portal is Queen's institutional repository that provides access to Queen's research output. Every effort has been made to ensure that content in the Research Portal does not infringe any person's rights, or applicable UK laws. If you discover content in the Research Portal that you believe breaches copyright or violates any law, please contact [email protected]. Download date:30. Sep. 2021 The Politics of Artistic Identity: the Czech Art World in the 1950s and 1960s MARUSKA SVASEK Introduction Since the Czech 'revivalist' movement of the last century, Czech art — along with the roles assigned to its artists — has been undergoing a continual process of definition and redefinition.1 The question of what constituted and what should constitute Czech artistic identity has often proved politically charged, with artists and art historians on opposing sides attacking each other for their political views. -
PR/ARTH 332 Czech Art & Architecture: from the Middle Ages to the 21St Century
CET Syllabus of Record Program: CET Prague Course Title: Czech Art and Architecture: From the Middle Ages to the 21st Century Course Code: PR/ARTH 332 Total Hours: 45 Recommended Credits: 3 Primary Discipline / Suggested Cross Listings: Art History / Central European Studies Language of Instruction: English Prerequisites/Requirements: Open to all students Description The course examines key developments in Czech visual art and architecture from the early Medieval to the contemporary period within the European context. Slide-based lectures are supplemented with visits to representative monuments, museums and art collections in Prague. Objectives In this course, students: ▪ Gain a foundation understanding of the history of art and architecture in Prague ▪ Learn the main characteristics of the following artistic and architectural styles: Romanesque, Gothic, Renaissance, Baroque, Neo-Renaissance & Historicism, Art Nouveau, Cubist and Modernist ▪ Gain skills necessary to thoroughly analyze paintings, sculptures and structures, putting them into full historical context ▪ Come to understand the development of historical styles and become able to identify their elements ▪ Become versed in the oral presentation and discussion of art historical topics and themes Course Requirements Class Participation. Students must read required literature in advance (approximately 30 to 60 pages per class session). Class attendance is mandatory and active participation in class is expected. Students are also required to attend all seminar sessions and museum visits. They are encouraged to take detailed lecture notes and to review the notes weekly, correcting or enhancing what they have written. Students are expected to abide by CET’s Attendance Policy. Midterm Presentation. Students choose one artwork from a permanent collection visited (Collection of Medieval Art in the National Gallery; Exhibition of the Art of the 19th and 20th Centuries of the National at the Veletrzni palace; Lapidary Collection of the National Museum). -
Dedicated to the Glassmakers of Bohemia Who Have Made Their Country Famous All Around the World the Czech Art of Glass Association
DEDICATED TO THE GLASSMAKERS OF BOHEMIA WHO HAVE MADE THEIR COUNTRY FAMOUS ALL AROUND THE WORLD THE CZECH ART OF GLASS ASSOCIATION PRESENTS CONCERTO GLASSICO DEDICATED TO THE GLASSMAKERS OF BOHEMIA WHO HAVE MADE THEIR COUNTRY FAMOUS ALL AROUND THE WORLD The Greek mythical hero Prometheus stole fire from gods and brought it to people. The myth seems to live on in the persons of glassmakers. They take from fire a glowing message, add their breath, the pulse of their hearts and the art of their hands to the molten matter, in order to pass it on – to people. Glass belongs to the noblest materials which man has begotten with the help of Concerto Glassico Project Management: Jiří Říha, President of THE CZECH ART OF GLASS Association nature. Like all things born of fire, glass, too, has its adventure and magic. Though Concerto Glassico Project Executive Manager: people were able to define its chemical composition and physical propertiesn ages Dalibor Šilhavý ago, it remains a mystery. www.czechartofglass.com We can control glass in thousands of ways, yet we keep on discovering further veils Marketing concept, idea, exposition scenario: Ladislav Kopecký, Createam, s.r.o. and behind them new forms of its beauty. The glassmaker´s hot breath and firm Artistic concept, creative development and design: Yveta Absolonová, Createam, s.r.o. hands can tame it for just a while – the next moment it slips his grasp, and while www.createam.cz staying within reach, it disappears in the infinite space of fantasy. Cooperating on the Concerto Glassico project: It is in linkage and synergy of craftsmanship, creativity and modern technologies Pavel Kopáček, President of Union of Glass and Fashion Jewellery Producers (SVSB) – creative workshops and retail sale that the secret of the fame of Czech glass and the harmony of the glass concert lie. -
Eastern Europe Can Be Yours! Alternative Art of the Eighties
Contexts / 25.09.2017 Eastern Europe Can Be Yours! Alternative Art of Print the Eighties Maja Fowkes, Reuben Fowkes Recent excursions to the decade of the 1980s across Eastern Europe bear telling titles that strikingly express the remoteness, nostalgic appeal and exoticism that are now associated with the last days of socialism. Whether antagonistic (‘Rejected Heritage’) or escapist (‘I Could Live in Africa’), wistful (‘Sweet Decadence of the Postmodern’) or ambiguous (‘Islands of Positive 1 Deviation’), recent exhibitions and publications have delivered vivid impressions of an ‘ungraspable 2 diffuseness’ – a chaotic period in which creative expression found a way out through the alternative channels of erupting subcultures. Art ‘returned to expression, to primitive forms and inspirations’, thriving on ‘pop-cultural junk and rubbish’, with ‘improvised happenings complete with revelry and concerts’, springing up in ‘exhibition openings organised in private apartments 3 or reclaimed spaces.’ Decadence, deviation and exoticism are notions that now stand as mythical constructs of East European art of the 1980s, comparable to those of heroism, dissidence and originality that are regularly applied to the neo-avant-garde generation that preceded it. In attempting to account for the diffuseness of that decade, a number of common threads and questions arise. What impact did the Sándor Pinczehelyi, Makó Sketches, 1980. Courtesy the artist different political circumstances in various countries of the region have? How did individual states appropriate, seize on or ignore the new art of the time? And how did the new generation of artists deal with the legacy of the socially-engaged and politically critical neo-avant-garde art of the previous decade? Against Social Engagement In Poland an unlikely critique of the neo-avant-garde was voiced via the uncovering of the suppressed memory of socialist realism that came into vogue in the early 1980s, when the short period of dominance of the Stalinist artistic model in the early 1950s became a ‘hot topic’ for art historical inquiry. -
Constructing a Czech National Art in the Prague Biennale Carrie Dedon Pomona College
Claremont Colleges Scholarship @ Claremont Pomona Senior Theses Pomona Student Scholarship 2010 Visualizing the Nation: Constructing a Czech National Art in the Prague Biennale Carrie Dedon Pomona College Recommended Citation Dedon, Carrie, "Visualizing the Nation: Constructing a Czech National Art in the Prague Biennale" (2010). Pomona Senior Theses. Paper 39. http://scholarship.claremont.edu/pomona_theses/39 This Open Access Senior Thesis is brought to you for free and open access by the Pomona Student Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in Pomona Senior Theses by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. VISUALIZING THE NATION: CONSTRUCTING A CZECH NATIONAL ART IN THE PRAGUE BIENNALE By Carrie Dedon Submitted to Pomona College in Partial Fulfillment of the Requirement for the Degree of Bachelor of Arts Thesis Readers: Frances Pohl Mary McNaughton April 23, 2010 Carrie Dedon Acknowledgements Many thanks to Frances Pohl and Mary McNaughton for their suggestions and advice in writing this thesis; to the Pomona College Art History faculty, particularly my advisor George Gorse, for their support and encouragement; to the Faculty Research Committee for the Summer Undergraduate Research Project Grant and the Art & Art History Department for the Flintridge Foundation/Louisa Moseley Fine Arts Special Project Grant, both of which funded my research in Prague; to Josef Bolf, Lucie Drdova, Edith Jeřábková, Miloš Šejn, Štĕpanká Šimlová, Pavel Šmíd, and Miloš Voytĕchovsky for their insightful interviews; to Katka Francová and her family for their generous hospitality and Czech-English translations; and to my family and friends who were the patient sounding boards for every idea in the following pages. -
CZECH ART NOUVEAU ARCHITECTURE in the CITIES of PRAGUE, BRNO and HRADEC KRÁLOVÉ Zuzana Ragulová
Strand 3. The New Frontiers: Unveiling Art Nouveau Cities CZECH ART NOUVEAU ARCHITECTURE IN THE CITIES OF PRAGUE, BRNO AND HRADEC KRÁLOVÉ Zuzana Ragulová Abstract: The contribution presents the best of Art Nouveau architecture in Czech cities of Prague, Hradec Králové and Brno. In the Czech capital it was usual to decorate in the new style only facades and interiors, whilst in Brno and Hradec Králové arosed whole Art Nouveau buildings. Prague architect Osvald Polívka, inspired by Parisian stream, created many colourful projects for the banking houses, insurance company palaces or department stores. Most of the other architects were inspired by Vienna (especially the architect Otto Wagner), just like one of the most respected Czech architect Jan Kotěra, who designed a lyrical district house in Hradec Králové and only a few years later monumental and moderate City Museum. At the beginning of the 20th century were built two interesting villas in Brno: the first modern house in the Habsburg monarchy, Reissig villa by Leopold Bauer, and Dušan Jurkovič’s own villa inspired by Slavic folk art. Key Words: Art Nouveau, architecture, Prague, Hradec Králové, Jan Kotěra, City Museum, Brno, Leopold Bauer, Reissig villa, Dušan Jurkovič Czech Republic used to be a part of Habsburg Monarchy during the era of Art Nouveau. There are three historical Czech lands – Bohemia, Moravia and Silesia – and all of them were among the best developed parts of the monarchy. Thanks to the industrial prosperity there were constructed buildings of good quality and there were also first-rate technical high schools.1 The architects were inspired especially by visiting 1 Selected bibliography related to this topic: the exhibitions – in 1891 General Land Centennial Exhibition and in 1895 Czechoslavic Etnographic Exhibition were held in Prague. -
Reclaiming Public Life, Building Public Spheres: Contemporary Art, Exhibitions and Institutions in Post-1989 Europe
RECLAIMING PUBLIC LIFE, BUILDING PUBLIC SPHERES: CONTEMPORARY ART, EXHIBITIONS AND INSTITUTIONS IN POST-1989 EUROPE by Izabel Anca Galliera B.A., Troy University, 2001 M.A., University of South Florida, 2005 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2013 UNIVERSITY OF PITTSBURGH THE KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Izabel Anca Galliera It was defended on April 4, 2013 and approved by Barbara McCloskey, Associate Professor, University of Pittsburgh Kirk Savage, Professor, University of Pittsburgh Grant Kester, Professor, University of California, San Diego Committee Chair: Terence Smith, Andrew W. Mellon Professor, University of Pittsburgh ii RECLAIMING PUBLIC LIFE, BUILDING PUBLIC SPHERES: CONTEMPORARY ART, EXHIBITIONS AND INSTITUTIONS IN POST-1989 EUROPE Izabel Anca Galliera, Ph.D. University of Pittsburgh, 2013 Copyright © by Izabel Anca Galliera 2013 iii RECLAIMING PUBLIC LIFE, BUILDING PUBLIC SPHERES: CONTEMPORARY ART, EXHIBITIONS AND INSTITUTIONS IN POST-1989 EUROPE Izabel Anca Galliera, Ph.D. University of Pittsburgh, 2013 This Ph.D. dissertation traces the emergence and development of an important current of socially engaged art in Central and Eastern Europe after the fall of communism. It examines various participatory, collaborative and dialogic projects in public spaces by contemporary artists, working in Bulgaria, Hungary and Romania. These works often directly engaged marginalized communities, such as the homeless, members of immigrant groups and the Roma. In various ways, these artworks revived leftist traditions in a local context where, as political ideologies and economic orders, socialism had become equated with authoritarianism and democracy with neoliberalism.