Difference between revisions of "Arts and engineering groups and collectives in CEE"

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==elsewhere==
 
==elsewhere==
* Free experiments with mixed media were part and parcel of the poetry of the so-called [[Group of six authors]] who mixed media such as photography, film, and photocopy in the form of visual art, art books and (street) performance. Active in Croatia.
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* Free experiments with mixed media were part and parcel of the poetry of the so-called [[Group of Six Artists]] who mixed media such as photography, film, and photocopy in the form of visual art, art books and (street) performance. Active in Croatia.
 
* [[Vladimir Petek]] set up in 1971 the FAVIT art association (film-audiovisual research - television) and created a series of multimedia works with a number of collaborators, mostly multivision (multi-channel video, film and slide projections), and realized ten computer movies with [[Tomislav Mikulic]] in 1976.
 
* [[Vladimir Petek]] set up in 1971 the FAVIT art association (film-audiovisual research - television) and created a series of multimedia works with a number of collaborators, mostly multivision (multi-channel video, film and slide projections), and realized ten computer movies with [[Tomislav Mikulic]] in 1976.
 
* In the late 1980s in Croatia, the [[Nova Evropa]] (NEP, founded by Dejan Krsic) group, [[Studio imitacija zivota]] (SIZ; Darko Fritz and Zeljko Serdarevic), [[Grainer and Kropilak]] and the [[Katedrala project]] displayed artistic activity carried out under a collective authorship (in the Katedrala project a computer programmer has been included as a full-fledged author). The above-mentioned used the media as their basic material (reproductive, electronic, digital and mass media) and inaugurated sampling/cut-up/quotation/recycling as an expression without specific stylistic characteristics, i.e. the rejection of the idea about the original. The medium of photocopy in the pre-Photoshop aesthetics of the 1980s (in the wake of experiences of copy art of the 1970s) was the prime graphic tool. In the case of SIZ and NEP more indicative were their media projects than the produced objects. NEP inaugurated a new understanding of equaling politics and art, not just by ³borrowing² from political rhetoric but also by using it on an equal footing, in the spirit of post-modernist theories. In 1988, SIZ thrice opened an exhibition (of graphics) using three manners of opening: live broadcast over the radio, by a spoken word of an art historian, and by textual print-outs of interviews. In 1990, SIZ stopped working after having completed a three-year production and distribution (corporative) plan. The Katedrala project (Bakal, Fritz, Juzbasic, Marusic, Premec; 1988) took place on the anniversary of death of Andy Warhol and called for a transformation of image to sound of a Mussorgsky composition and the sound into a space performance of Kandinsky. It was a space generated by a computer using joint sound, light, and video elements set in motion through the movement of the audience and the signals of an EEC connected to the performer, Joska Lesaj, the opera signer.
 
* In the late 1980s in Croatia, the [[Nova Evropa]] (NEP, founded by Dejan Krsic) group, [[Studio imitacija zivota]] (SIZ; Darko Fritz and Zeljko Serdarevic), [[Grainer and Kropilak]] and the [[Katedrala project]] displayed artistic activity carried out under a collective authorship (in the Katedrala project a computer programmer has been included as a full-fledged author). The above-mentioned used the media as their basic material (reproductive, electronic, digital and mass media) and inaugurated sampling/cut-up/quotation/recycling as an expression without specific stylistic characteristics, i.e. the rejection of the idea about the original. The medium of photocopy in the pre-Photoshop aesthetics of the 1980s (in the wake of experiences of copy art of the 1970s) was the prime graphic tool. In the case of SIZ and NEP more indicative were their media projects than the produced objects. NEP inaugurated a new understanding of equaling politics and art, not just by ³borrowing² from political rhetoric but also by using it on an equal footing, in the spirit of post-modernist theories. In 1988, SIZ thrice opened an exhibition (of graphics) using three manners of opening: live broadcast over the radio, by a spoken word of an art historian, and by textual print-outs of interviews. In 1990, SIZ stopped working after having completed a three-year production and distribution (corporative) plan. The Katedrala project (Bakal, Fritz, Juzbasic, Marusic, Premec; 1988) took place on the anniversary of death of Andy Warhol and called for a transformation of image to sound of a Mussorgsky composition and the sound into a space performance of Kandinsky. It was a space generated by a computer using joint sound, light, and video elements set in motion through the movement of the audience and the signals of an EEC connected to the performer, Joska Lesaj, the opera signer.
 
  
 
==Works==
 
==Works==

Revision as of 19:11, 8 February 2009

Groups and collectives

Czechoslovakia

elsewhere

  • Free experiments with mixed media were part and parcel of the poetry of the so-called Group of Six Artists who mixed media such as photography, film, and photocopy in the form of visual art, art books and (street) performance. Active in Croatia.
  • Vladimir Petek set up in 1971 the FAVIT art association (film-audiovisual research - television) and created a series of multimedia works with a number of collaborators, mostly multivision (multi-channel video, film and slide projections), and realized ten computer movies with Tomislav Mikulic in 1976.
  • In the late 1980s in Croatia, the Nova Evropa (NEP, founded by Dejan Krsic) group, Studio imitacija zivota (SIZ; Darko Fritz and Zeljko Serdarevic), Grainer and Kropilak and the Katedrala project displayed artistic activity carried out under a collective authorship (in the Katedrala project a computer programmer has been included as a full-fledged author). The above-mentioned used the media as their basic material (reproductive, electronic, digital and mass media) and inaugurated sampling/cut-up/quotation/recycling as an expression without specific stylistic characteristics, i.e. the rejection of the idea about the original. The medium of photocopy in the pre-Photoshop aesthetics of the 1980s (in the wake of experiences of copy art of the 1970s) was the prime graphic tool. In the case of SIZ and NEP more indicative were their media projects than the produced objects. NEP inaugurated a new understanding of equaling politics and art, not just by ³borrowing² from political rhetoric but also by using it on an equal footing, in the spirit of post-modernist theories. In 1988, SIZ thrice opened an exhibition (of graphics) using three manners of opening: live broadcast over the radio, by a spoken word of an art historian, and by textual print-outs of interviews. In 1990, SIZ stopped working after having completed a three-year production and distribution (corporative) plan. The Katedrala project (Bakal, Fritz, Juzbasic, Marusic, Premec; 1988) took place on the anniversary of death of Andy Warhol and called for a transformation of image to sound of a Mussorgsky composition and the sound into a space performance of Kandinsky. It was a space generated by a computer using joint sound, light, and video elements set in motion through the movement of the audience and the signals of an EEC connected to the performer, Joska Lesaj, the opera signer.

Works

Literature

  • Martin Šperka, "The Origins of Computer Graphics in the Czech and Slovak Republics", Leonardo, Vol. 27, No. 1 (1994), pp. 45-50 [1]
  • Jarmila Doubravová, "Music and Visual Art: Their Relation as a Topical Problem of the Contemporary Music in Czechoslovakia", International Review of the Aesthetics and Sociology of Music, Vol. 11, No. 2 (Dec., 1980), pp. 219-228 [2]
  • Zdeněk Sýkora, Jaroslav Blažek, "Computer-Aided Multi-Element Geometrical Abstract Paintings", Leonardo, Vol. 3, No. 4 (Oct., 1970), pp. 409-413 [3]
  • Libor Zajíček, "The History of Electroacoustic Music in the Czech and Slovak Republics", Leonardo Music Journal, Vol. 5, (1995), pp. 39-48 [4]
  • http://www.ekac.org/dialogicimag.html
  • Jarmila Doubravová, Hudba a výtvarné umění, Prague: Academia, 1982

Resources