Slovakia

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[edit] Avant-garde

[edit] School of Arts and Crafts, Bratislava (1928-1939)

In 1920, Josef Vydra, founded the Society of Art Industry orientated towards the production and promotion of modern design. The Society intended to organise production workshops and enterprises, but the generally low level of Slovak industry resulted in it being dissolved in 1924. Josef Vydra later concentrated on educational activities. In 1928 on his initiative the School of Arts and Crafts [Škola umeleckých remesiel] (1928-1939) was founded in Bratislava with support from the Chamber of Commerce and Industry to provide evening courses in drawing and advertising. Later there were departments for textiles, metal, wood, ceramics, photography, typography, decorative painting and window-dressing. It quickly became one of the most progressive educational institutions in the area of utility creative art disciplines in Europe during the interwar period. Study in specialized departments was preceded by preliminary basic elementary courses in drawing, surface and space composition, colour harmony, modelling and lettering. In reality, this already involved an application of the Bauhaus method. The school's intention was also to integrate national folk craft traditions into modern production. The teachers included avant-garde artists Ľudovít Fulla, Mikuláš Galanda, Jaromír Funke and lecturers such as László Moholy-Nagy, Jan Tschichold, Kállai, Hannes Meyer and others. They drew their inspiration from Analytical Realism, Constructivism and the poetic fantasy of children's art - combining all these influences with a high level of craft skills and with folk art traditions going back over hundreds of years. In mid-1930s the school was attended by 200 students and the teaching staff counted some twenty members. The students were of Slovak, Czech, German and Hungarian nationalities and, in time, they also came from Poland, Yugoslavia, Germany and Bulgaria. After Czech professors were forced to leave Slovakia, Vydra persuaded Fulla to take up the direction of the School after him in the hope that continuity would thus be preserved. It was for a very short time only-ten months. In October 1939 the School of Applied Arts was closed. [1] [2]

Photography
  • Jaromír Funke, head of photography department since 1931. He considered studying at the Bauhaus, but in the end gave priority to teaching in Bratislava.
  • Irena Blühová.
Typography
  • Zdeněk Rossmann, With him, Vydra school's impact had grown considerably and within two years its influence had penetrated several Slovak printing presses. During his stay in Bratislava he prepared a book on the utilization of lettering and photography in advertising, published as Písmo a fotografie v reklamě, Index, Olomouc, 1938. He also worked at Slovenská grafia and nová bratislava journals.
Architecture
Painting and graphic art
Theatre
  • Frantisek Tröster, scenographer. Head of metal-working department at the School (1934-38).
Film
  • Karol Plicka. Came during the last years of the School's existence. Later in 1938 in Bratislava he opened the first film school in Czechoslovakia.
Applied arts

[edit] Events

  • Under the auspices of its director Josef Polák, the East Slovakia Museum in Košice organised exhibitions of contemporary European graphic art, for which a series of posters was created by the featured artists. The key figure amongst these artists was Eugen Krón, who came from Hungarian avant-garde circles. Another Slovak, Martin Benka, presented a different kind of production in Slovak graphic design, with works that were close to the international art deco design movement, but which mainly tried to emphasise the national character of production. As the first Slovak to do so, Benka applied himself intensively to the creation of fonts. [3]
  • Fulla, Galanda, "Súkromné listy Fullu a Galandu", 1930-32, manifesto. [4]
  • 'Bauhaus im Osten', exhibition at Slovak National Gallery, Bratislava. Designed the director of the Stadtische Museum in Leverkusen, Susanne Anna.
  • 'SLOVENSKÁ TYPOGRAFIA V XX. STOROČÍ. Časť prvá: 1918 - 1970', exhibition, City Gallery of Bratislava, Oct 2004 - Jan 2005. Curator: Ľubomír Longauer. [5]
  • Hranice geometrie: Geometrické a konštruktívne tendencie v slovenskom výtvarnom umení od roku 1960 po súčasnosť, curated by Ľuba Belohradská and Eva Trojanová, Dom umenia, Bratislava, 13 Jan - 13 Feb 2010.

[edit] Journals

[edit] Literature

  • Francis A. Taylor, article on his impressions of a visit to the Bratislava School, Journal of the Royal Society of Arts, no. 4332, 1935; "Současné školy umění a řemesel na kontinente" [Contemporary School of Arts and Crafts on the Continent], Výtvarná výchova, Prague, vol. 2, no. 3, 1936, pp. 11-29 (Czech).
  • Ľudovít Kudlák, "Rozpomienky na ŠUR v Bratislave", Výtvarný život 3, No. 5, 1958. (Slovak)
  • "Avant-garde and the Present", International Conference at Smolenice near Bratislava, 12-14 June 1968 (papers by Irena Blühová, Júlia Horová, Iva Mojžišová, František Reichenthal, Tomáš Štrauss, Eduard Toran, Marian Váross, Hans Maria Wingler, et al.), published by the Institute of the Theory and History of Art, Slovak Academy of Sciences, Ars, Bratislava, 1969, no. 2
  • Iva Mojžišová, "A Slovak Contribution to Avant-garde Movements", Actes du XXIIe Congres International d'Histoire de l'Art, Publishing House of the Hungarian Academy of Sciences, Budapest, 1969, vol. 2, pp 347-9.
  • Tomáš Štrauss, "Slovenský variant moderny (ŠUR Bratislava 1928-1938)" [A Slovak Variant of Modernism]. Umění a remesla, 1978, no. 3, pp 10-19; "Die Slowakische Variante der Moderne", Bauhauskolloquium von 27. bis 29. Juni 1979 in Weimar, WissenschaftlicheZeitschriftder Hochschule Architektur und Bauwesen, Weimar, vol. 26, nos. 4-5, 1979, pp 405-13. [6]
  • Fero Tomík, "J. Funke a ŠUR v Bratislave" [J. Funke and the School of Arts and Crafts in Bratislava]. In: Aktuálnost československé meziválečné fotografie. Dum umění města Brna, Brno 1979. pp 54-61.
  • Maria Pötzl-Malikova, "Die Kunstgewerbeschule in Preßburg 1928-1939. Zur Ausstrahlung der Bauhaus-Ideen in der Slowakei", Vorträge der Tagungen des Collegium Carolinum Bad Wiesse vom 23. bis 25. November 1979 und vom 28. bis 30. November 1980, R. Oldenbourg Verlag, Munich/Vienna, 1982, pp 201-324.
  • Iva Mojžišová, "Die personliche Beziehungen zwischen den Angehörigen des Bauhauses und der Kunstgewerbeschule in Bratislava in Lichte neuentdeckter Dokumente", 4. internationales Bauhauskolloquium vom 24. bis 25. Juni 1986, in Wissenschaftliche Zeitschrift der Hochschule fur Architektur Bauwesen Weimar, vol. 33, nos. 4-5-6, 1987, pp 335-8. [7]
  • Peter Havaš, "Die slowakische Architektur in der Zwischenkriegszeit als fortschrittliches Erbe der modernen Bewegung", Wissenschaftliche Zeitschrift / A, Hochschule für Architektur und Bauwesen; Jg. 33, 1987, H. 4/6. [8]
  • "Škola umeleckých remesiel v Bratislave a Bauhaus", Ars, Bratislava, 1990, pp 43-54
  • "The First Wave of Avant-garde: Bratislava 1930", Niedzica Seminars VI. October 19-22, 1989, Association of Polish Art Historians, Cracow, 1991, pp 47-51
  • František Foltýn, Slowakische Architektur und die tschechische Avantgarde. 1918-1939, Verlag der Kunst, Dresden, 1991, pp 90-4.
  • Václav Macek, Iva Mojžišová, Dušan Škvarna, Irena Blühová, Vydavateľstvo Osveta, Martin, 1992.
  • Iva Mojžišová, "Avant-Garde Repercussions and the School of Applied Arts in Bratislava, 1928-1939", Journal of Design History, Vol. 5, No. 4 (1992), pp. 273-279. [9]
  • Susanne Anna (ed.), Das Bauhaus im Osten: Slowakische und tschechische Avantgarde 1928-1939, Hatje Cantz Verlag, 1997. [10] [11] [12]
  • Vladimír Birgus, "The New Objectivity and Constructivism in Czech Inter-War Photography", Imago, Winter 2000. [13]
  • Iva Mojžišová, "Podnety a predchodcovia kinetizmu na Slovensku (1929-1939)", MADI ap 4, March 2002. (Slovak/Hungarian) [14]
  • Mira Keratová, "Slovenská avantgardná typografia v medzivojnovom období so zameraním na grafickú úpravu časopisov". Comenius University, Faculty of Philosophy, Diploma thesis, 2005. (Slovak)
  • Markéta Svobodová, "Studentky z Československa na Bauhausu 1919-1933: Výmar – Desava – Berlin" [Female students from Czechoslovakia at the Bauhaus 1919-1933: Výmar – Desava – Berlin], in: Žena Umělkyně na přelomu 19. a 20. století. Sborník příspěvků z mezinárodní odborné konference ve Středočeském muzeu v Roztokách u Prahy ve dnech 11. a 12. října 2005 [The female artist at the turn of the 19th and 20th centuries. Proceedings from the international conference held at the Museum of Central Bohemia in Roztoky on 11-12 October 2005], Roztoky u Prahy 2005, pp. 333 – 344.
  • Markéta Svobodová, "Českoslovenští studenti architektury na Bauhausu" [Czechoslovak Students of Architecture at the Bauhaus], Umění/Art LIV, 2006, no. 5, pp. 406-432. [15] [16]
  • Markéta Svobodová, "Bauhaus a kultura v Československu v 1919 - 1939". Disertační práce. Vedoucí: prof. PhDr. Rostislav Švácha, CSc. Katedra dějin umění, Olomouc, 2007.
  • Sonia de Puineuf, "A Dot on the Map: Some Remarks on the Magazine 'Nová Bratislava'", The Journal of Modern Periodical Studies, Volume 1, Number 1, 2010. [17]
  • Richard Kitta, "(Ne)existujúce paralely: Umenie akcie, multimediálne a interaktívne umenie v kultúrno-historickom vývoji umenia 1. pol. 20. storočia na Slovensku", Rovart, March 2010. (Slovak) [18] [19]

[edit] Video art (1960s-80s)

Artists
Forms
  • diaprojections (*1966, Filko)
  • documentation recordings of performances, happenings, events (*1971, Mlynárčik, Kordoš, Meluzin, Rónai)
  • features, films incorporating video art techniques (*1972, Havrilla, Ďurček)
  • fine art films (*1977, Havrilla)
  • video installations (*1980s, Rónai's antivideos)
  • No references to the self-purpose videos, neither closed-circuit TV installations in this period.
More

[edit] Performance art (1960s-2000s)

Artists
Groups
Festivals
  • Transart Communication intermedia art festival (*1987, Nové Zámky, at the peak period 1990-92 and 1995-96 performances by Jana Želibská, Milan Adamčiak, Július Koller, Juraj Bartusz, Stanislav Filko, Anna Daučíková, Miroslav Nicz, Michal Murin, Ľubo Stacho, Peter Kalmus, Anabela Žigová and others), Evenings of New Music (*1990, Bratislava), San Francisco Performance Art Festival (1991, Bratislava), IFEM music forum (1992, 94, Dolná Krupa Castle), FEM music festival (1995, 96, Bratislava), Sound Off music festival (1995-2002, Bratislava, Šamorín, Nové Zámky, Nitra), ...Medzi... (1996-2000, Skalica), Next music festival (*2000, Bratislava), Multiplace new media culture festival (*2002).
Exhibitions and events
  • Art in Windows, 2000 in Nitra.
  • Výhonok, 2000 in GMB Bratislava. Curator: Radislav Matuštík.
  • Art of Action 1965-1989, 26 April - 19 August 2001 in Slovak National Gallery. Curator: Zora Rusinová (Radislav Matuštík resigned).
  • Art of Action 1989-2000, 7 April - 7 May 2001 in Elektráreň Tatranskej galérie, Poprad and 12 September - 20 October 2001 in Gallery of Nitra. Curator: Lucia Gregorová-Stachová. Initiated by Michal Murin.
More

[edit] Geometric abstraction, Neo-constructivism, Op art, Kinetic art

Artists
Exhibitions
Literature
  • Ľuba Belohradská, "Konštruktívne tendencie v zrkadle slovenskej umenovedy", MADI ap 4, March 2002. (Slovak/Hungarian) [21] [22]
  • Ľuba Belohradská and Eva Trojanová (eds.), Hranice geometrie / Borders of Geometry (Slovak/English), Petum, 2009, 429 pp. [23]

[edit] Sound art (1960s-2000s)

Artists
Forms
  • audio-kinetic sculptures and environments (1960s, Dobeš, Mlynárčik)
  • collaborations of graphic artists and composers (George Cup - Peter Machajdík, mid-1970s; Daniel Fischer – Ilja Zelenka, 1979 and 1993; Svetozár Ilavský – Svetozár Ilavský, since 1991; Miloš Štofko – Martin Burlas, 1994; Viktor Hulík – Peter Machajdík, 1993; Dirk Dietrich Hennig - Peter Machajdík, since 2003; Bohuš Kubínsky and Monika Kubínska – Iris Szeghy, 1995; Jaroslav Drotár – Marek Piaček, 1995; Dorota Sadovská – Daniel Matej, 1997; Zbyněk Prokop - Peter Machajdík, since 2010)
  • acoustic part of action art (1970, Adamčiak, Cyprich)
  • sound objects (1970s-90s, Polymúzický priestor I. exhibition, Labat, Transmusic Comp, Lengow & HEyeRMEarS)
  • sound environments (1990s-2010s, Machajdík)
  • home-made musical instruments (1980s-90s, Adamčiak, Sound Off festivals)
  • acoustic environments (1980s-90s, Murin)
Exhibitions
Works
  • The Pulsating Rhythm, 1963. Milan Dobeš. Sound manipulated on the basis of the synchronization of impulses.
  • A Cathedral of Humanism, 1968. Stanislav Filko. Exhibited at the international exhibition Danuvius ’68. The synthetic environment that utilized concrete music (sounds reproducing radio broadcast).
  • Chafing, 1969. Milan Adamčiak and Róbert Cyprich. Created the musical component of Alex Mlynárčik's event in the High Tatras.
  • Miss Pogana’s Flirt, 1969. Alex Mlynárčik. Exhibited in Apollinaire Gallery in Milan, Italy. (1934) in his homage to Constantin Brâncuşi used plastic eggs that emitted ringing sounds after being set in motion by spectators. Interactive environment changing, through a visitor’s gesture, was not merely the constellation of objects but also the acoustic quality of space.
  • Water Music, 1969. Milan Adamčiak and Róbert Cyprich. Music project that modernized Georg Friedrich Händel’s original composition; together with Jozef Revallo, the piece was performed at the indoor swimming-pool of the college dormitory Juraja Hronca in Bratislava.
  • Spring Union, 1970. Milan Adamčiak. Created the musical components of Jana Želibská's event in Dolné Orešany.
  • The Yellow Environment, 1970. Milan Adamčiak. Created the musical components of Jarmila Čihánková's event at the exhibition Polymúzický priestor I. in Piešťany.
  • The Wheelwork of Time, 1970. Vladimír Môťovský. Piece for the exhibition Polymúzický priestor I. in Piešťany. Sculpturesque object in the shape of a clattering mill.
  • A Dwelling-Place, 1970. Andrej Goliáš. Piece for the exhibition Polymúzický priestor I. in Piešťany.
  • 1970. Ivan Štěpán. Piece for the exhibition Polymúzický priestor I. in Piešťany. Optophonic space consisting of the synchronization of visual, acoustic, and architectural elements.
  • Three Graces, 1970. Róbert Cyprich. Participated musically at the Alex Mlynárčik's project at the I. Otvorený ateliér in Bratislava.
  • Acousticon, 1970. Alex Mlynárčik, Miroslav Filip and Viera Mecková. Project was begun but left unfinished; it had been intended as a programmed musical instrument whose sound depended on the movement of the spectator on an ascending and descending spiral.
  • 1971. Milan Dobeš. Wrote a special light-kinetic program for the American Wind Symphony Orchestra to accompany symphonic compositions by T. Mayazumi and Krzysztof Penderecki (a series of concerts in the United States).
  • Time of Cage, 1979. Róbert Cyprich. Intepretation of John Cage's piece 4'33".
  • Games of Games, 1985. Michal Murin. Acoustic environment.
  • Earth Music, 1986. Michal Murin. Part of Monuments and the Present Age project.
  • A Visual Composition, 1987. Michal Murin. Acoustic environment.
  • Simultaneous Improvisations, 1989. Michal Murin. Acoustic environment. Music bridge Perth – Bratislava.
  • 1989. Milan Adamčiak. At the exhibition The Basement in Bratislava. Extensive installation consisting of sound objects and musical instruments constructed primarily from found materials.
  • The Schrattenberg Sprite, 1991. Miloš Boďa and Juraj Ďuriš. Interactive acoustic object.
  • Archeomusic, 1992. Michal Murin. Used natural material (wood, leaves, soil, straw) for creating sound objects brought into play during performances.
  • Sonic Environment, 1993. Peter Machajdík and David Moss. Audio Art Festival, The Hague (NL).
  • Green Pianos, 1993. Sound environment by Peter Machajdík. AVE Festival (internationaal audiovisueel experimenteel festival), Arnhem (NL).
  • Tanz-Klang-Raum I., 1993. Sound Environment by Peter Machajdík. With dancer-performer Dorothea Rust. Festival Hier und dort, Shedhallen, Zug (CH).
  • Tanz-Klang-Raum II., 1993. Sound Environment by Peter Machajdík. With dancer-performer Dorothea Rust. Performance-Tage, Seedam Kulturzentrum, Pfäffikon (CH).
  • Tanz-Klang-Raum III., 1994. Sound Environment by Peter Machajdík. With dancer-performer Dorothea Rust. Kunstmuseum Thun (CH).
  • TROMPeter, 1995. Sound Environment by Peter Machajdík. Audio Art Festival, Kraków (PL) and Melos-Ethos Festival, Bratislava (SK).
  • Tanz-Klang-Raum IV., 1995. Sound Environment by Peter Machajdík. With dancer-performer Dorothea Rust. International Festival Bollwerk Belluard, Fribourg (CH).
  • Tanz-Klang-Raum V., 1995. Sound Environment by Peter Machajdík. With violinist Malcolm Goldstein and dancer-performer Dorothea Rust. Aargauer Kunsthalle, Aarau (CH).
  • Soundscapes, 1997. Peter Machajdík and Nicolas Collins. Studienwoche für Neue Musik, Lüneburg (DE).
  • Travelling Art Museum – Musical Ecofacts and Artifacts from the Eocene to the Futurocene, 1997. Lengow & HEyeRMEarS. For the symposium Kép-Ze-Let at the Mining Museum in Tatabánya (HU). Sound object oscillating between a sound object and a conceptual visual acoustic installation.
  • SOUNDgARTen, 1999. Peter Machajdík. Festival La Belle Jardinière, Künstlerhaus Schloss Wiepersdorf (DE).
  • Warholes, 1999. Lengow & HEyeRMEarS and Otomo Yoshihide. Acoustic installation on the premises of the permanent exhibition at Andy Warhol’s Museum of Modern Art in Medzilaborce.
  • Personal Time Quartet, 2003. Sound environment by Peter Machajdík for a mixed media installation by Gülsün Karamustafa. Historisches Museum, Hannover (DE).
  • Hannahver, 2003. Sound environment by Peter Machajdík. Electric Rainbow Coalition Festival; Dartmouth College, Hanover (USA).
  • SOUNDpaik, 2003. Sound environment by Peter Machajdík. Künstlerhaus Lukas, Ahrenshoop (DE).
  • The Healing Heating, 2007. Sound environment by Peter Machajdík. With Petra Fornayová and Boris Lenko. Kunstforum Ostdeutsche Galerie, Regensburg (DE).
  • Sonic Situations, 2010. By Peter Machajdík and Michal Rataj. International Festival Intermedia.bb in Banská Bystrica 2010 + Elektronischer Frühling 2011, Kunstverein Wien (AT).
Literature
  • Michal Murin: The Seeing Ear - Sound Object and Instalations II, [24]

[edit] Audiovisual compositions

Literature

[edit] Intermedia art

Literature
  • Jozef Cseres, "O SNEH-ových prehánkach i prestávkach, skrátka kalamitách". In Michal Murin (ed.), AVALANCHES 1990 - 1995 : Zborník spoločnosti pre nekonvenčnú hudbu, Bratislava: 1995.
  • Miloš Štofko, Od abstrakcie po živé umenie: Slovní­k pojmov moderného a postmoderného umenia. Bratislava: Slovart, 2007.
  • Miroslava Putišová, "Intermedia arts - overview", Slovakia Cultural Profile. (Slovak)

[edit] Computer art (1970s-80s)

Artists

Jozef Jankovič with Imrich Bertók, Juraj Bartusz with Vladimír Haltenberger, Daniel Fischer with Igor Klačanský, Martin Šperka, Agnes Sigetová.

Forms
  • lithographies and serigraphies based on computer-generated drawings (*1966/1973, Jankovič with Bertók)
  • manufactured sculptures based on computer-generated curves (*1973, Bartusz with Haltenberger)
  • computer morphing line drawings (*1975, Fischer with Klačanský)
  • computer animations (*1980s, Sigetová, Slivka)
Exhibitions
Works
  • decoration for facade of Výpočtové stredisko dopravy in Bratislava, 1971-1974. Jozef Jankovič with Imrich Bertók.
  • Aluminium art objects, 1973-1974. Juraj Bartusz with Vladimír Haltenberger. The objects were made according to computer drawings utilizing boundary curves generated by the HP 9030A computer.
  • Ikarus, 1974. Jozef Jankovič with Imrich Bertók.
  • Movement in a circle, 1974. Jozef Jankovič with Imrich Bertók. Transformation of figure into abstract image.
  • Spacetime sculpture, 1976-78. Juraj Bartusz with Vladimír Haltenberger.
  • Cosmic Head, 1976-78. Juraj Bartusz with Vladimír Haltenberger
  • Altamira, 1978-. Daniel Fischer with Peter Gerža /? Igor Klačanský. Cave bull morphing into sign of infinity, first computer animation in Slovakia. Single frames plotted by CalComp plotter were photographed step by step by 16mm animation camera, then processed by painter's interventions. Film was shown on Slovak television in Bratislava. Fischer: "Úlohou lineárnej transformácie je postihnúť kultúrne kontexty v čase fázovaním premien východiskových kresieb do cieľových, priamo modelovať časové premeny a vizualizovať čas ako fenomén spätý s ľudským bytím."
  • Exterior design for a general hospital in Bratislava IV, colored aluminium and epoxy, 6 x 6 m, 1981-1982. Jozef Jankovič. The artwork was created according to computer drawings using the PDP11 computer and the Calcomp plotter. Each column shows the morphing of an outline of part of the human body into an electrocardiograph signal.
  • Solentine Apocalypse, 1982. Daniel Fischer with Igor Klačanský. Computer-generated illustrations for Slovak edition of the book by J Cortazar.
  • The Cubist's Pictures Can Be Read Like a Modern Poetry, serigraph, 1983. Daniel Fischer. From the series Images-Poems, this artwork was generated by the CDC3000 computer and the Calcomp plotter. The artist used an earlier version of the image to create an oil painting in 1982.
  • Window, 1984. Jozef Jankovič with Imrich Bertók. Dynamics of line in a given frame.
  • Interior design at the general hospital in Bratislava III, cast sand and epoxy, 3 x 3 m, 1984-1985. Jozef Jankovič. The casting form was produced from computer drawings using the SM4 computer and Calcomp plotter.
  • Squash, 1985. Jozef Jankovič with Imrich Bertók. Dynamics of line in a given frame.
  • Neverending Line, 1985. Jozef Jankovič with Imrich Bertók. Applied random number generator.
  • ?, 1986. Ondrej Slivka. 7' cartoon with some sections animated by a computer program of Martin Sepp and Martin Šperka. The film received awards at several international animation festivals abroad.
  • 01, 1987. Michal Murin, project for Ars Electronica, software art, performance, sound, concept in big computer hall MEOPTA - výpočtové stredisko.
Literature
Resources

[edit] Electroacoustic music

Composers
Centres
Events
Releases
Literature
Resources

Slovak electroacoustic music archive, [38]

[edit] Experimental film

Artists, filmmakers, and works
  • Juraj Jakubisko, filmmaker. Short student films: Mikulášsky týždenník (1961-1963), Posledný nálet (1960), Každý deň má svoje meno (1961), Mlčanie (1963), Dážď (1965). Feature films with experimental techniques: Kristove roky (1967), Zbehovia a pútnici (1968), Vtáčkovia, siroty a blázni (1969) a Dovidenia v pekle priatelia (1970). [39]
  • Martin Slivka, documentary filmmaker. Voda a práca (1963). [40]
  • Dušan Hanák, filmmaker. Made several experimental documentary films at Štúdio krátkych filmov, Bratislava. Zádumčivosť (1963), Variáce kľudu (1966), Metamorfózy (1965), Impresia (1966), Sonáta, alebo Hľadanie šťastného čísla (1966), Výzva do ticha (1966), Prišiel k nám Old Shatterhand (1966), Zanechať stopu (1970), Deň radosti (1972). [41]
  • Ctibor Kováč, Ohnivé rieky (1965). [42]
  • Dušan Trančík, filmmaker. Short films: Fotografovanie obyvateľov domu (1968) a Šibenica (1969). [43]
  • Peter Mihálik, film theorist. Lilli Marlen (1970), short film. [44]
  • Vladimír Havrilla. Artist. 8mm films: White (bazén, rúra), White (pena) (1973), Lift (1974), No limit (1976), Lebo veľa hrešila (1977), Modliaca figurína (1977), Milosť (1977), Bábika (1982). See also his video works at Video art in Slovakia (1960s-80s).
  • Ľubomír Ďurček, Home (Domov, 1983, 16mm). See his video works at Video art in Slovakia (1960s-80s).
  • Samo Ivaška.
  • Vladimír Kordoš, artist. Aténska škola (1981, 16mm). [45]
  • Kvetoslav Hečko, documentary filmmaker. Atď. (1987), Zo Suterénu (1989), Argíllia (1991), Squat (1991), Scénografický útok na Groningen (1992), Jana Želibská (1994), V. Oravec a M. Pagáč (1994), Kaplnka svätej Barbory (1995). [46]
Literature
Documentary film
  • Osmičkári, dir. Miro Remo jr., 26 min, 2012. From the cycle Konzervy času. Dokument o filmových amatéroch združených koncom 70. rokov vo filmovom klube v Ladcoch. Jeho členovia, ktorým učaroval 8 mm film, sa po rokoch opäť stretávajú, konfrontujú niekdajšie sny a plány s aktuálnou realitou, premietajú si staré filmy. [51]
Resources

[edit] Video art (1990s-2000s)

Artists
Forms
  • Features on identity, consummerism, body, gender, socio-cultural questions, ecology.
  • Film footage manipulations.
  • Video installations (Rónai, Meluzin, Želibská, Kvetán)
  • Interactive video installations (Rónai)
  • Video performances (Murin)
Exhibitions
  • Imago – Fin de siécle, 30 May to 10 July 1991 in Bratislava. First video art exhibition in Slovakia. Art from Netherlands curated by René Coelho, premiered in 1988 in Amsterdam.
  • Oscillation, 30 June to 20 September 1991 in Komárno. Slovak and Hungarian artists.
  • Objects and Installations, 1992 in PGU Žilina. Included video-installations.
  • New Acquisitions, 1993 in PGU Žilina. Included video installations.
  • First Floor, 5-23 March 1993. Curated by Radoslav Matuštík. Exhibited Peter Meluzin (Impo(r)tant) and Roman Galovský (L.E.D1, L.E.D1).
  • Power Station T, 1993 in Poprad. Exhibited Peter Rónai (Oheň-Voda-Zem-Duch), Jana Želibská (Dialóg) a Peter Meluzin (Life After Life).
  • ON/OFF, 1993 in Škola úžitkového výtvarníctva J Vydru Bratislava. Exhibited the sampler of videos from six events of Slovak artists (Meluzin, Želibská, Oravec-Pagáč, Galovský, Nicz, Pisár) at various locations.
  • Video vidím ich sehe, 1994 in PGU Žilina. Curated by Katarína Rusnáková. Videoart from Slovakia (Jana Želibská, Peter Rónai, Peter Meluzin), Czech Republic and Switzerland. The catalog contained first more complex texts on Slovak video art. The gallery was the only one consistently researching and acquiring Slovak video art. Later exhibition included retrospective of Jana Želibská (1996-97) and Peter Rónai (1997).
  • Peter Meluzin - Mouse Killer, 1995 in PGU Žilina. Site-specific video-installation by Peter Meluzin.
  • Videoart VŠVU, 1996 in Rock Café Gallery Prague. Curated by Juraj Čarný. [52]
  • Videoanthology, 1997 in PGU Žilina. Curated by Katarína Rusnáková. 13 video works by Peter Rónai.
  • Tusovka screening, 2009, Bologna.
Events
  • Videoart + symposium 2000, SPACE Gallery, Bratislava
Publications
  • BARLA videojournal, videotape presenting a number of video artists from Slovakia, Czech Republic, and other countries. Three issues were published in 1996, 1997 and 1999 by editors Miroslav Nicz and Peter Rónai. The collection was released on CD-ROM in 2000.
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[edit] Digital prints

Exhibitions
Literature
  • Michal Murin: Digital Male. Central European project of Exhibition of digital prints. Interview with Michal Boďa. In: Profil 4/2000. [55] (Slovak)
  • Zuzana Habšudová, "What have computers got to do with classic art?", In: The Slovak Spectator. October 2002. [56]

[edit] New media art, Media culture (1990s-2000s)

Cities

Banská Bystrica, Banská Štiavnica, Bratislava, Kežmarok, Košice, Levoča, Medzilaborce, Michalovce, Nitra, Nové Zámky, Považská Bystrica, Prešov, Šamorín, Skalica, Trenčín, Trnava, Žilina.

Forms
  • digital signal processing and sound performances
  • visual performances
  • interactive software-based installations
  • computer animation
  • motion video
  • internet art
Exhibitions
Literature
  • Michal Murin (ed.), Tematické číslo časopisu Profil, Profil 1 (1993) pp 1-20 (Slovak)
  • Martin Šperka, "Počítače na školách", Profil 1 (1993), Bratislava, p 14 (Slovak)
  • Juraj Németh, "Multimédiá alebo prezentácia umenia po novom", Profil 1 (1993), Bratislava, p 15 (Slovak)
  • Martin Šperka "Počítače na VŠVU" Projekt 4 (1993) pp. 46-47 (Slovak)
  • Martin Šperka, "Elektronické umenie," Jana Geržová ed., Slovník svetového a slovenského výtvarného umenia druhej polovice 20. storočia (Bratislava: Profil, 1999) (Slovak)
  • Martin Šperka, "Multimédiá," Jana Geržová ed., Slovník svetového a slovenského výtvarného umenia druhej polovice 20. storočia (Bratislava: Profil, 1999) (Slovak)
  • Michal Murin, "Nové technológie v slovenskom umení alebo vyhoďme sa z kola von", Almanach 98 (Bratislava: SCCA, 1999) [57] (Slovak)
  • Monika Mitášová, Martin Kaňuch, Peter Michalovič, Jozef Cseres (eds.), Almanach 98 : Texty o filme... filozofii... hudbe... a výtvarnom umení, Bratislava: SCCA, 1999. 186 pp. ISBN 80-968089-1-5 [58]
  • Martin Šperka, "Virtuálna realita," Jana Geržová ed., Slovník svetového a slovenského výtvarného umenia druhej polovice 20. storočia (Bratislava: Profil, 1999) (Slovak)
  • Katarína Rusnáková, "Postfotografia," Jana Geržová ed., Slovník svetového a slovenského výtvarného umenia druhej polovice 20. storočia (Bratislava: Profil, 1999) (Slovak)
  • Michal Murin (ed.), Tematické číslo časopisu Profil, Profil 4 (2000) pp 4-73 (Slovak)
  • Slávo Krekovič, "Net radio.. net.audio" Trištvrte revue 5-6 (2000) (Slovak)
  • Jana Geržová, "Intermédiá a (alebo) multimédiá?", Profil 4, 2000, pp 64-65 (Slovak) PDF [59] (Slovak)
  • Michal Murin, "Nové médiá", Profil 4 (2000) pp. 4-5. [60]
  • Zora Rusinová, "Objekt v multimediálnych kontextoch" Zora Rusinová et al. Dejiny slovenského výtvarného umenia – 20. storočie (Bratislava: SNG, 2000) (Slovak)
  • Dušan Barok, "Net.art. Internet ako umelecké médium" 3/4 revue 1 (2001) pp. 22-24. [61] (Slovak)
  • Juraj Čarný, "Topical Status of Contemporary Media Arts in Slovakia" Conceptual Art at the Turn of Millennium (Budapest-Bratislava: AICA Section Hungary, Slovak Section of AICA, 2002) pp. 94-112 (Slovak)
  • Miloš Vojtěchovský, "Umenie a elektronické technológie," Karel Císař, Josef Čermák, Terezie Petišková ed., Dejiny umenia 12 (Bratislava: Ikar, 2002) (Slovak)
  • Juraj Čarný, "Aktuálne postavenie súčasného mediálneho umenia na Slovensku" Conceptual Art at the Turn of Millennium (Budapest-Bratislava: AICA Section Hungary, Slovak Section of AICA, 2002) pp. 95-113 (English)
  • Jozef Cseres, "Interaktívnym umením za novú senzibilitu" Dart 10 (2003) (Slovak)
  • Mária Rišková et al., New Media Nation. Festival of Festivals, catalogue (Bratislava: Buryzone, 2003) (Slovak and English)
  • Michaela Sečanská, "Elektronické umenie na Slovensku po roku 1990", Trnava: Trnavská univerzita, Fakulta humanistiky, Katedra dejín umenia a kultúry, 2004. Master thesis. Consultant: Zora Rusinová.
  • Michal Murin, "Od utópií cez virtualitu k digitálnej realite" Profil 2 (2004) pp. 80–94. [62] (Slovak)
  • Miloš Krekovič, "Internetové umenie", master thesis (2005)
  • Katarína Rusnáková, "The Correlation of Image and Text in Contemporary Media Art" Human Affairs 1 (2005) pp 35-44
  • Katarína Rusnáková (ed.), V toku pohyblivých obrazov. Antológia textov o elektronickom a digitálnom umení v kontexte vizuálnej kultúry (Bratislava: AFAD Press, 2005) (Slovak)
  • Katarína Rusnáková, História a teória mediálneho umenia na Slovensku (Bratislava: AFAD Press, 2006), with DVD (Slovak)
  • Magdaléna Kobzová (ed.), Multiplace 2007, catalogue (Bratislava: Multiplace, 2007)
  • Slávo Krekovič a Pavel Sedlák, "Má pojem nová média dnes ještě co říci?", in: Literární noviny 31 (2007). [63]
  • Miloš Štofko, Od abstrakcie po živé umenie: Slovník pojmov moderného a postmoderného umenia, Slovart, 2007. [64]
  • Martin Beťko, "Hysteria.sk a Kyberia.sk – sonda do virtuálnej komunity", Brno: Masarykova Univerzita v Brně, Fakulta sociálních studií, Katedra mediálních studií a žurnalistiky. Consultant: David Kořínek, 2008. Master thesis. [65]
  • Ivana Madariová, "Festival ako sociálny experiment", Flash Art 9, July-October 2008. (Slovak) PDF
  • Jan Rylich, "Ivor Diosi", Flash Art 9, July-October 2008. (Czech) PDF
  • Diana Olčáková, "Michal Murin", Vlna 37 (2008), pp 8-18 (Slovak)
  • Mária Rišková, "Agónia a extáza nových médií", Flash Art 9, July-October 2008. (Slovak)
  • Zuzana Husárová, "Písanie v interaktívnych médiách. Digitálna fikcia", Bratislava: Ústav svetovej literatúry Slovenskej akadémie vied v Bratislave, 2009. Consultant: Bogumiła Suwara. Doctoral thesis. [66]
  • Jozef Cseres, Michal Murin (eds.), Od analógového k digitálnemu. Nové pohľady na nové umenia v audiovizuálnom veku, Fakulta výtvarných umení, Akadémia umení v Banskej Bystrici, 2011. (Slovak) [67]
  • Katarína Rusnáková, Rozšírené spôsoby diváckej recepcie digitálneho umenia, Fakulta výtvarných umení, Akadémia umení v Banskej Bystrici, 2011. (Slovak) [68]
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Media art in Slovakia
Video art in Slovakia (1960s-80s) | Performance art in Slovakia (1960s-2000s) | Sound art in Slovakia (1960s-2000s) | Early computer art in Slovakia (1970s-80s) | Electroacoustic music in Slovakia | Experimental film in Slovakia | Video art in Slovakia (1990s-2000s) | Digital prints in Slovakia | Digital art in Slovakia (1990s-2000s) | Bibliography of writings on media art in Slovakia | Bibliography of writings on media art (outside Slovakia) in Slovak
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