Arts and engineering groups and collectives in CEE

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Groups and collectives

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Czechoslovakia
Croatia
  • 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.
Slovenia
  • avant-garde group OHO in Ljubljana, 1960s and early 1970s. used drawings, photographs, film, video, music, texts, also the way of dressing, living and behaviour.
Poland
  • late 1980s in Poland: Yach-Film group: Yach Paszkiewicz, Dorota Podlaska, Bombela Kuich, Andrzej Kuich, Andrzej Wasik. Worked on the border of film and video. Paszkiewicz was shooting on Super 8 film and transferring onto magnetic tape. In his case relationship between video and music was evident. His later career as a musical videoclip maker seems to be a consequence of the previously made artistic decisions.
Hungary
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Works

  • Josef Svoboda, Laterna magika, 1958

  • Josef Svoboda, Laterna magika, 1958

  • Josef Svoboda, Laterna magika, 1958

  • Zdeněk Sýkora, Gray Structure, oil on canvas, 150 x 120 cm, 1962-1963.

  • Zdeněk Sýkora, Black-white Structure, oil on canvas, 220 x 110 cm, 1966.

  • Josef Svoboda, Jaroslav Frič, Polyvision, 1967. © Josef Svoboda, Jaroslav Frič

  • Josef Svoboda, Diapolyecran at the Czech Pavilion at Expo 67. Each square is a self-contained automatic slide-projector unit. Through careful programming the images appear either isolated or unified.

  • Josef Svoboda. A fractured image on the Diapolyecran. The image can move as in film (through the extremely rapid changing of slides) or appear static in any kind of mosaic formation.

  • Josef Svoboda. The slide-projector equipment bank of the Diapolyecran. Each of 112 projectors was mounted on its own carriage which could take position in one of three places. The slide image and movement program was memorized on tape and controlled from a central booth not pictured.

  • Josef Svoboda, Polyecran, 1967

  • Josef Svoboda, Polyecran, 1967

  • Radúz Činčera, Kinoautomat One Man and his Jury, 1967

  • Radúz Činčera, Kinoautomat, 1967

  • Radúz Činčera, Kinoautomat, 1967

  • Zdeněk Sýkora, Black-and-White Structure, ceramic mosaic (detail), 530x350cm, 1969. The composition of the pattern was computed with a program on a LGP-30 (German) computer.

  • Zdeněk Sýkora, geometrical elements used in the paintings Black-white Structure.

  • Zdeněk Sýkora, the placement of initial elements and the assignment of color density ratings supplied among the instructions to computer for the painting Black-white Structure.

  • Zdeněk Sýkora, computer results for the painting Black-white Structure (based on Rule 2, coefficient c = 0.75). Underlined numbers refer to the initial elements.

  • Zdeněk Sýkora, Multi-colored Structure, oil on canvas, 200 x 160 cm, 1969.

  • Juraj Bartusz, retrospective exhibition in Košice, aluminum art objects from 1973-74. (Photo: Milan Bobula) The objects were made according to computer drawings utilizing boundary curves generated by the HP 9030A computer.

  • Juraj Bartusz, Time and Space Sculpture, aluminum, 52 cm, 1974. This adjustable sculpture was created according to instructions generated by an HP 9030A computer. Algorithm and program: S. Haltenberger.

  • Miroslav Klivar, Structure II, computer drawing using pen plotter, 21 x 28 cm, 1979. (Collection of the National Gallery of Prague)

  • Jozef Jankovič, exterior design for a general hospital in Bratislava IV, colored aluminium and epoxy, 6 x 6 m, 1981-1982. 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.

  • Daniel Fischer, Scribbling in the Sky, from the series Images-Poems, mixed-media computer serigraph with oil paint, 75 x 58 cm. The first version of this work was created in 1982.

  • Daniel Fischer, The Cubist's Pictures Can Be Read Like a Modern Poetry, serigraph, 1983. 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.

  • Jozef Jankovič, interior design at the general hospital in Bratislava III, cast sand and epoxy, 3 x 3 m, 1984-1985. (Photo: Ivan Hoffman) The casting form was produced from computer drawings using the SM4 computer and Calcomp plotter.

  • Zdeňka Čechová, offset-printed design, 8.5 x 10 cm, 1986. Čechová made similar computer-generated patterns for textile designs and book illustrations.

  • Zdeňka Čechová, Sand Storm, computer drawing, 21 x 28 cm, 1991. This drawing was printed on a dot-matrix printer using the author's program.

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

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