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| − | ==Croatia==
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| − | * a group of [[Zagreb]]-based experimentators, [[Vjenceslav Richter]], [[Ivan Picelj]], [[Julije Knifer]], [[Aleksandar Srnec]], and others who founded [[Exat 51]] group, and organised [[New Tendencies]] exhibition series (1961-73).
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| − | * video art in 1970s (Zagreb): [[Sanja Iveković]], [[Dalibor Martinis]]
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| − | * [[Vojin Bakić]]
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| − | * [[Vlado Kristl]]
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| − | * [[Miroslav Šutej]]
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| − | * [[Juraj Dobrović]]
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| − | * [[Koloman Novak]]
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| − | * [[Fedora Orebić]]
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| − | * [[Ante Vulin]]
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| − | * [[Vilko Žiljak]]
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| − | * [[Tomislav Mikulić]]
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| − | * [[Braco Dimitrijević]]
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| − | * [[Goran Trbuljak]]
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| − |
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| − | ==Slovenia==
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| − | * video art in 1970s (Ljubljana): [[Nuša Dragan]], [[Srečo Dragan]], [[Miha Vipotnik]]
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| − | * video art in 1980s: Ljubljana subculture scene
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| − | ==Serbia==
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| − | * [[Marina Abramović]], her performance works were documented on video (some initially on film, then transferred to video) in 1960s-70s while she lived in Belgrade
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| − | * [[Petar Milojević]]
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| − | * [[Rechenzentrum des Instituts Boris Kidrič, Vinča]]
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| − | * [[Zoran Radović]]
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| − | * [[László Szalma]]
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| − | * [[Bálint Szombathy]]
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| − |
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| − | ==Macedonia==
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| − | * [[Ilija Šoškić]]
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| − |
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| − | ==Czech Republic==
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| − | * [[Media art in Czech Republic]]
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| − | * [[Jiří Bielecki]]
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| − | * [[Jarmila Cihankova]]
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| − | * [[Radoslav Kratina]]
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| − | * [[Jiří Hilmar]]
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| − | * [[Hugo Demartini]], neo-constructivist
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| − | * [[Stanislav Kolibal]], neo-constructivist
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| − | * [[Jan Kubiček]], neo-constructivist
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| − |
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| − | ==Slovakia==
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| − | * [[Media art in Slovakia]]
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| − | * [[Štefan Belohradský]]
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| − | * [[Tamara Klimova]]
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| − | * [[Miloš Urbásek]]
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| − |
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| − | ==Hungary==
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| − | * [[Media art in Hungary]]
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| − | * [[Sándor Szandaï]]
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| − | * [[Anonymous Collective]]
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| − |
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| − | ==Poland==
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| − | * [[Media art in Poland]]
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| − | * [[Edward Krasinski]]
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| − | * [[Henryk Stażewski]], a member of many international groups before the war, not only remained influential, but continued his artistic career almost till the end of his long life (died in 1988)
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| − | * [[Katarzyna Kobro]] (died in early 1950s)
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| − | * [[Władysław Strzemiński]] (died in early 1950s)
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| − | ==former GDR (Eastern Germany)==
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| − | * [[Hermann Glöckner]], a very active artist almost till the end of his very long live (died in 1987), i.e. till the eighties, however, his influences among young East-German artists were not very significant
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| − |
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| − | ==Romania==
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| − | * [[111]], neo-constructivist group
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| − | * [[Sigma]], neo-constructivist group
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| − | * [[Kinema Ikon]]
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| − | ==former Soviet Union (Russia)==
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| − | * [[Dvizheniye]] (Movement) group (early 1960s-1970s)
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| − | * [[ARGO]] group (early 1970s)
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| − | * [[Viacheslav Koleichuk]], one of the leaders of constructivist art in Russia.
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| − | * Composers, musicians and artists, attending classes or working at the Theremin Center in 1992-1998:, [http://web.archive.org/web/20070521044007/http://www.theremin.ru/people/index.html]
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| − | ; Electronic music
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| − | * [[Yurii Yukechev]]
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| − | * [[Andrei Rodionov]]
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| − | * [[Viktor Ulyanich]]
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| − | * [[Viktor Katayev]]
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| − | * [[Igor Mikhailenko]]
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| − | * [[Gedrius Kuprevichius]] (Lithuania)
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| − | * [[Mindaugas Urbaitis]] (Lithuania)
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| − | * [[Arturas Medonis]] (Lithuania)
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| − | * [[Birute Sinkevichiute]] (Lithuania)
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| − | * [[Linas Paulauskas]] (Lithuania)
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| − | * [[Lepo Sumera]] (Estonia)
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| − | * [[Mark Rais]] (Estonia)
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| − | * [[Peeter Vähi]] (Estonia)
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| − | * [[Alo Mattisen]] (Estonia)
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| − | * [[Stephan Rostomyan]] (Armenia)
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| − | ; Electro-acoustic music
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| − | * [[Valery Beluntsov]], composer, founded Electro-acoustic studio in Moscow State Musical College
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| − | * [[Julia Dmitryukova]], Composer, Musicologist
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| − | * [[Dmitry Tcheglakov]], Composer, cellist
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| − | * [[Stanislav Kreichi]], Composer, Sound Engineer. In 1961 joined group of engineers and composers who designed ANS synthesizer and with the ANS composed music for several films, performances and shows
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| − | * [[Vladimir Nikolaev]], composer
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| − | * [[Tatyana Mikheyeva]], composer
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| − | * [[Sergei Zagny]], composer and musicologist
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| − | * [[Michael Prosniakov]], Musicologist, Founder and Director of Stockhausen Institute, Moscow.
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| − | ; Works
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| − | * [[Electronic_music_instruments_in_CEE]]
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| − | * '''Cybertheater''', 1967, Lev Nusberg and the 'Movement' Group. A 20 m2 complex of kinetic "cyber-creatures", mostly 130 X 80 cm. Members of the Russian 'Movement' Group built in St. Petersburg (then, Leningrad) cyber-creatures, or "cybers", which had five to six degrees of freedom. In this theater of artificial creatures, the actors were capable of controlling the color and intensity of the lights, as well as sounds and smells. A color film was planned by the "Movement" Group. A much bigger and more complex programmed "Cybertheater" was also projected.
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| − | * CD ''Mrs. Lenin. Electro-Acoustic music from the Theremin Center'', http://payplay.fm/theremincenter
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| − | ; Events
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| − | * 1965 - Exhibition - Kinetic Art, [[Dvizheniye]] (Movement) group, House of Architect, Leningrad
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| − | * 1967 - EXPO '67, Soviet Pavilion, Montreal, Canada
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| − | * 1978 - Science and Art, House of Scientists, exhibition, Moscow
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| − | * 1979 - Colour - Form - Space, Exhibition Hall on Malaja Gruzinskaja, exhibition, Moscow
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| − | * 1987 - Retrospection of Moscow Unofficial Art (1957-1987), Exhibition Hall of the association "Ermitazh" in Belajevo, Moscow
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| − | * 1988 - Geometry in Art, Exhibition Hall on Kashirskaja, Moscow
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| − | * 1996 - Concert program for Lev Theremin’s 100 anniversary.
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| − | * 1997 - The Theremin Center. The Multimedia Concert Program at Russian Musical Academy, Moscow.
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| − | ; Centres
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| − | * [[Stockhausen Institute]], Moscow, *1991, founded and directed by [[Michael Prosniakov]]
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| − | * [[Theremin Center]], Moscow, *1992, directed by [[Andrey Smirnov]]
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| − | * Electro-acoustic studio in Moscow State Musical College
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| − | ; Predecessors
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| − | * [[VKhUTEMAS]], Russian architectural avant-garde school 1920-1930 in [[Moscow]]. Together with the French rationalism, German and Dutch functionalism it is a turning point in the historical development of the world architectural process. [http://en.wikipedia.org/wiki/VKhUTEMAS] [http://www.fondazione-delbianco.org/inglese/InsertNews/Avant_garde.htm] Tomáš Štrauss (1998) pp 180-182
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| − | * 1921 exhibition of Constructivist art, put together by Obmokhu, or the Society of Young Artists, a group founded in 1919 by recent graduates of the First State Free Art Studios [http://context.themoscowtimes.com/stories/2006/08/18/101.html]
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| − | * [[Wladimir Baranoff-Rossine]], in 1924 he had the first presentation of his '''optophonic piano''' during a performance at the Bolshoi Theatre in Moscow - a synaesthetic instrument that was capable of creating sounds and coloured lights, patterns and textures simultaneously.
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| − | ; Resources
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| − | * Russian Avantgarde Foundation [http://www.russianavantgarde.org]
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| − | ; Bibliography
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| − | * Bibliography of Articles Published in Leonardo on Art, Science and Technology in the Former Soviet Union [http://lea.mit.edu/isast/leobib275.html]
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| − | ==Electro-acoustic music studios and societies==
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| − | * [[Polish Radio Experimental Studio]] Warszawa - SEPR, *1957 (director: Marek Zwyrzykowski)
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| − | * [[Studio of Experimental Music Plzeň]], *1965
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| − | * [[Experimental Studio of Slovak Radio]] & [[CECM]] Bratislava, *1965
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| − | * [[Budapest New Music Studio]] *1970
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| − | * [[Electro-acoustic Music Studio]] at the Academy of Music in Krakow - SME, *1973 (director: Marek Choloniewski)
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| − | * Studio for Computer Music at the Academy of Music in Warsaw (coordinator: Krzysztof Czaja)
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| − | * Studio for Computer Composition at the Academy of Music in Wroclaw - SCC (director: Stanislaw Krupowicz)
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| − | * Studio for Computer Music at the Academy of Music in Poznan (director: Lidia Zielinska)
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| − | * Studio for Computer Music at the Academy of Music in Lodz (director: Krzysztof Knittel)
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| − | * [[Electroacoustic Music Studio]] at the Academy of Music in Katowice, *1992 (director: Jaroslaw Mamczarski)
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| − | * Studio for Computer Music at the Academy of Music in Gdansk (director: Krzysztof Olczak)
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| − | * Studio for Computer Music at the Academy of Music in Bydgoszcz (coordinator: Dobromila Jaskot)
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| − | * Studio for Computer Music at the Silesian University in Cieszyn (director: Krzysztof Gawlas)
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| − | * Studio of Electroacoustic Music of the Hungarian Radio (HEAR Studio), Budapest (co-ordinator: Itsvan Szigeti)
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| − | * [[Society for Electroacoustic Music]] Prague+Brno *1990
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| − | * [[Polish Society for Electroacoustic Music]], Krakow *2005
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| | ==neo-constructivism== | | ==neo-constructivism== |
| | ''All neo-constructivists favored the discourse of freedom expressed in a more or less orthodox language of geometry. The crucial question, however, to repeat after Rosalind Krauss, is: how was the expression of freedom possible in that way, if the "grid," a system of intersecting lines, allegedly discovered anew again and again, is one of the most stereotypical visual devices? Furthermore, as the American art historian suggests, all the artists who started using "grid" as their "own" means of expression brought their artistic evolution to an end, since in many respects (structural, logical, as well as commonsensical) that particular figure can only be repeated.2 What was then the justification of the discourse of freedom or, more precisely, of its mythologization in the artistic practice of the Central European neo-constructivists? Most likely, it was the negative function of that art; the fact that under the specific historical circumstances it was directed against the socialist realism, absolutizing "form" (or even "pure form") while the authorities, particularly in the early fifties, were conducting a campaign against the so-called "formalism" identified with the bourgeois culture. According to the doctrine of the socialist realism, the form was supposed to be "national" ("narodnaya"), and the content "socialist." On the contrary, the neo-constructivists preferred the form to be universal, whereas the so-called content did not exist for then at all.'' [http://www.pogranicze.sejny.pl/archiwum/krasnogruda/pismo/8/forum/piotr.htm] | | ''All neo-constructivists favored the discourse of freedom expressed in a more or less orthodox language of geometry. The crucial question, however, to repeat after Rosalind Krauss, is: how was the expression of freedom possible in that way, if the "grid," a system of intersecting lines, allegedly discovered anew again and again, is one of the most stereotypical visual devices? Furthermore, as the American art historian suggests, all the artists who started using "grid" as their "own" means of expression brought their artistic evolution to an end, since in many respects (structural, logical, as well as commonsensical) that particular figure can only be repeated.2 What was then the justification of the discourse of freedom or, more precisely, of its mythologization in the artistic practice of the Central European neo-constructivists? Most likely, it was the negative function of that art; the fact that under the specific historical circumstances it was directed against the socialist realism, absolutizing "form" (or even "pure form") while the authorities, particularly in the early fifties, were conducting a campaign against the so-called "formalism" identified with the bourgeois culture. According to the doctrine of the socialist realism, the form was supposed to be "national" ("narodnaya"), and the content "socialist." On the contrary, the neo-constructivists preferred the form to be universal, whereas the so-called content did not exist for then at all.'' [http://www.pogranicze.sejny.pl/archiwum/krasnogruda/pismo/8/forum/piotr.htm] |
