Difference between revisions of "Milan Adamčiak"

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==Biography==
 
==Biography==
−
Adamčiak was born in 1946 in Ružomberok. He studied cello at the Conservatory (music school) in [[Žilina]] (1962-68) and musicology at the Faculty of Philosophy of Comenius University [[Bratislava]] (1968-73). From 1972-91 he worked at the Institute of Musical Studies (later renamed to Institute of Art Studies) of Slovak Academy of Sciences as a researcher of 20th century music and relations between music and visual arts. In parallel he worked as a lecturer on 20th century music at the Film Academy and the Faculty of Philosophy of Comenius University (1977-89).
+
[[Image:Adamciak_Revallo_Ensemble_Comp_Duo_1969.jpg|thumb|258px|Adamčiak and Jozef Revallo performing as Ensemble Comp. Duo, New Music Seminar I., Smolenice, 1969. Photo Juraj Bartoš.]]
 +
[[Image:Adamciak_Cyprich_First_Evening_of_New_Music_1969.jpg|thumb|258px|Adamčiak and Róbert Cyprich performing at the 1. večer Novej hudby [First Evening of New Music], Dom osvety, Ružomberok, 1969.]]
 +
Adamčiak was born in 1946 in Ružomberok. He studied cello at the Conservatory (music school) in [[Žilina]] (1962-68) and musicology at the Faculty of Philosophy of Comenius University [[Bratislava]] (1968-73). From 1972-91 he worked at the Institute of Musical Studies (later renamed to Institute of Art Studies) of Slovak Academy of Sciences as a researcher of 20th century music and relations between music and visual arts. In parallel he worked as a lecturer on 20th century music at the Music Faculty of the Academy of Performing Arts, Bratislava (1977-88), the Faculty of Philosophy of Comenius University, Bratislava (1979-88), and the Academy of Fine Arts, Bratislava (1991).
  
−
From the mid-1960s he focused primarily on experimental poetry, graphic scores, and constructing sound objects. Trained in a traditional way but influenced by the poetics of [[John Cage]] and [[Fluxus]], he created a large body of work that transgressed the conventional definitions of the arts and quickly moved towards the concepts of opera aperta, action music and various intermedia forms. He also experimented with electronic media, and created several pieces of [[electroacoustic music]] and musique concrète, but it was primarily live electronics that fit the principles of his radical poetics. In the second half of the 1960s he worked in several collectives, particularly with [[Róbert Cyprich]] and [[Jozef Revall]]. At the same time, he carried out sound and music parts of several projects by other authors ([[Alex Mlynárčik]], [[Jana Želibská]], [[Jarmila Čihánková]]). By the end of the 1980s he renewed these activities by starting the [[Transmusic comp.|Transmusic comp. - Ensemble of unconventional music]] (1989), founding the [[SNEH|Society of Unconventional Music]] (Spoločnosť pre nekonvenčnú hudbu, SNEH, 1990) and initiating the [[FIT - Festival of intermedia creativity]] (Bratislava, 1991 and 1992). In 1990 he co-founded [[New Seriousness]] with [[Július Koller]] and [[Peter Rónai]]. From 2005 Adamčiak collaborated with [[Michal Murin]] on the social project ''[http://www.silberkuppe.org/Adamciak_A3.pdf Altruism as Arttruism]''. He lived the last years of his life in Banská Belá near Banská Štiavnica, Slovakia.
+
From the mid-1960s he focused primarily on experimental poetry, graphic scores, and constructing sound objects. Trained in a traditional way but influenced by the poetics of [[John Cage]] and [[Fluxus]], he created a large body of work that transgressed the conventional definitions of the arts and quickly moved towards the concepts of opera aperta, action music and various intermedia forms. He also experimented with electronic media, and created several pieces of [[electroacoustic music]] and musique concrète, but it was primarily live electronics that fit the principles of his radical poetics. In the second half of the 1960s he worked in several collectives, namely DAD (1965), and Ensemble Comp. (1967, with [[Róbert Cyprich]] and [[Jozef Revallo]]). At the same time, he carried out sound and music parts of several projects by other authors ([[Alex Mlynárčik]], [[Jana Želibská]], [[Jarmila Čihánková]]). By the end of the 1980s he renewed these activities by starting the [[Transmusic comp.|Transmusic comp. - Ensemble of unconventional music]] (1989), founding the [[SNEH|Society of Unconventional Music]] (Spoločnosť pre nekonvenčnú hudbu, SNEH, 1990) and initiating the [[FIT - Festival of intermedia creativity]] (Bratislava, 1991 and 1992). In 1990 he co-founded [[New Seriousness]] with [[Július Koller]] and [[Peter Rónai]]. From 2005 Adamčiak collaborated with [[Michal Murin]] on the social project ''[http://www.silberkuppe.org/Adamciak_A3.pdf Altruism as Arttruism]''. He lived the last years of his life in Banská Belá near Banská Štiavnica, Slovakia.
  
 
; in German
 
; in German
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==Works==
 
==Works==
 +
; Water Music, 1970
 
<gallery>
 
<gallery>
−
Jama Milan Adamciak 1965 Sizyfovske roboty.jpg|jama (Milan Adamčiak), from the series ''Sizyfovské roboty'', 1965. SNG.
+
Adamciak_Cyprich_Revallo_1970_Water_Music_a.jpg
 +
Adamciak_Cyprich_Revallo_1970_Water_Music_b.jpg
 +
Adamciak_Cyprich_Revallo_1970_Water_Music_c.jpg
 +
Adamciak_Cyprich_Revallo_1970_Water_Music_d.jpg
 +
</gallery>
 +
with Róbert Cyprich, in collaboration with Jozef Revallo, music happening in the indoor swimming pool, Juraj Hronec college dormitory, Bratislava, 14 Mar 1970. Based on Georg Friedrich Händel's piece. Photo Juraj Bartoš. [http://www.sonicart.sk/archives/1088 Invitation text].
 +
 
 +
; more works
 +
<gallery>
 +
Jama Milan Adamciak 1965 Sizyfovske roboty 1.jpg|jama (Milan Adamčiak), ''Sizyfovské roboty I.'', 1965. Typescript on green paper, 10 x 13.5 cm. [http://www.webumenia.sk/dielo/SVK:SNG.K_18460 SNG].
 
Adamciak Milan 1968 Spiraly.jpg|''Špirály'', 1968. Private collection.
 
Adamciak Milan 1968 Spiraly.jpg|''Špirály'', 1968. Private collection.
 
Adamciak Milan 1969 Hommage a A Rimbaud.jpg|''Hommage à A. Rimbaud'', 1969. Private collection, Brno.
 
Adamciak Milan 1969 Hommage a A Rimbaud.jpg|''Hommage à A. Rimbaud'', 1969. Private collection, Brno.
 +
Adamciak_Milan_1970_Homage_to_Otto_Piene.jpg|''Homage to Otto Piene'', Festival snehu – prvá interpretácia vo výtvarnom umení [Snow Festival – First Interpretation in Graphic Art], High Tatras, SK, 1970.
 
Adamciak Milan 1971 Mesiac.jpg|''Mesiac'', 1971. Linea collection.
 
Adamciak Milan 1971 Mesiac.jpg|''Mesiac'', 1971. Linea collection.
−
Adamciak Milan 1975 Um Textruehm herum ein Lesestueck.jpg|''Um Textrühm herum (ein Lesestück)'', 1975. SNG.
+
Adamciak Milan 1975 Um Textruehm nerum ein Lesestueck.jpg|''Um Textrühm nerum (ein Lesestück)'', 1975. Graphic score. Fix on paper, 30 x 42 cm. [http://www.webumenia.sk/dielo/SVK:SNG.K_17638 SNG].
 
Adamciak Milan 1976 La Conga.jpg|'' La Conga'', 1976. Private collection, Bratislava.
 
Adamciak Milan 1976 La Conga.jpg|'' La Conga'', 1976. Private collection, Bratislava.
−
Adamciak Milan 1977 Kvinteto pre 4 drevene dychove nastroje.jpg|''Kvinteto pre 4 drevené dychové nástroje'', 1977. SNG.
+
Adamciak Milan 1977 Kvinteto pre 4 drevene dychove nastroje.jpg|''Kvinteto pre 4 drevené dychové nástroje'', 1977. Graphic score. Ink on paper, 30 x 42 cm. [http://www.webumenia.sk/dielo/SVK:SNG.K_17637 SNG].
 
Adamciak Milan 1978 48 slacikovych kvartet hra sucasne a nezavisle tu istu skladbu klasika.jpg|''48 sláčikových kvartet hrá súčasne a nezávisle tú istú skladbu klasika'', 1978. Linea collection.
 
Adamciak Milan 1978 48 slacikovych kvartet hra sucasne a nezavisle tu istu skladbu klasika.jpg|''48 sláčikových kvartet hrá súčasne a nezávisle tú istú skladbu klasika'', 1978. Linea collection.
 
Adamciak Milan 1978 Prerusena piesen.jpg|''Prerušená pieseň'', 1978. Linea collection.
 
Adamciak Milan 1978 Prerusena piesen.jpg|''Prerušená pieseň'', 1978. Linea collection.
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* ''Archív IV (AKTY): Akcie, performancie, projekty, koncepty a výstavy'', eds. Milan Adamčiak and Michal Murin, Košice: Dive Buki, 2016, 389 pp. [http://www.divebuki.sk/sk/knihy/milan-adamciak-archiv-iv Publisher]. {{sk}}
 
* ''Archív IV (AKTY): Akcie, performancie, projekty, koncepty a výstavy'', eds. Milan Adamčiak and Michal Murin, Košice: Dive Buki, 2016, 389 pp. [http://www.divebuki.sk/sk/knihy/milan-adamciak-archiv-iv Publisher]. {{sk}}
  
−
===Writings===
+
===Papers===
−
; Papers
 
 
* "Hudobné problémy výtvarného umenia 20. storočia", ''Slovenská hudba'' 15:10, Bratislava, 1971, pp 356-362. {{sk}}
 
* "Hudobné problémy výtvarného umenia 20. storočia", ''Slovenská hudba'' 15:10, Bratislava, 1971, pp 356-362. {{sk}}
 
* "Fónická poézia a hudba", ''Slovenská hudba'' 15:6-7, Bratislava, 1971, pp 243-248; [[Media:Adamciak_Milan_1971_2010_Fonicka_poezia_a_hudba.pdf|repr. in]] ''kloaka'' 1:1-2, Bratislava: Literis, Apr 2010, pp 18-21.  {{sk}}
 
* "Fónická poézia a hudba", ''Slovenská hudba'' 15:6-7, Bratislava, 1971, pp 243-248; [[Media:Adamciak_Milan_1971_2010_Fonicka_poezia_a_hudba.pdf|repr. in]] ''kloaka'' 1:1-2, Bratislava: Literis, Apr 2010, pp 18-21.  {{sk}}
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* "Z histórie podávania súčasnej slovenskej hudby", ''Hudobný život'' 1-2, 2017, pp 30-31. {{sk}}
 
* "Z histórie podávania súčasnej slovenskej hudby", ''Hudobný život'' 1-2, 2017, pp 30-31. {{sk}}
  
−
; Articles, reviews
+
===Articles, reviews===
 
<div class="dpl" style="-moz-column-count:2; -webkit-column-count:2; column-count:2; font-size:.95em">
 
<div class="dpl" style="-moz-column-count:2; -webkit-column-count:2; column-count:2; font-size:.95em">
 
* Jama (J. Adamčiak), "Ensemble-Comp.", ''MT'' 14:10 (1969), pp 25-28. {{sk}}
 
* Jama (J. Adamčiak), "Ensemble-Comp.", ''MT'' 14:10 (1969), pp 25-28. {{sk}}
Line 132: Line 144:
 
* [[Media:Adamciak_Milan_1990_Luigi_Nono_1924-1990.pdf|"Luigi Nono 1924-1990"]], ''Hudobný život'' 22:12, Bratislava: Obzor, 6 Jun 1990, p 9. [http://xn--h-toa.hc.sk/1990/hz_12_1990.pdf#page=9] {{sk}}
 
* [[Media:Adamciak_Milan_1990_Luigi_Nono_1924-1990.pdf|"Luigi Nono 1924-1990"]], ''Hudobný život'' 22:12, Bratislava: Obzor, 6 Jun 1990, p 9. [http://xn--h-toa.hc.sk/1990/hz_12_1990.pdf#page=9] {{sk}}
 
* "Zomrel Olivier Messiaen", ''Kultúrny život'' 26:21, Bratislava, 1992, p 13.  {{sk}}
 
* "Zomrel Olivier Messiaen", ''Kultúrny život'' 26:21, Bratislava, 1992, p 13.  {{sk}}
−
* "SNEH spoločnosť pre nekonvenčnú hudbu", ''Dotyky'' 4:1, Bratislava: Spolok slovenských spisovateľov, p 29.  {{sk}}
+
* Adamčiak, et al., [[Media:Adamciak_Milan_et_al_1992_SNEH_spolocnost_pre_nekonvencnu_hudbu.pdf|"SNEH: spoločnosť pre nekonvenčnú hudbu"]], ''Dotyky'' 4:1, Bratislava: Spolok slovenských spisovateľov, 1992, pp 29-31, [http://www.dotyky.net/?p=9068 PNG]. {{sk}}
−
* "Magický svet Hugha Daviesa", ''Dotyky'' 4:1, Bratislava: Spolok slovenských spisovateľov, 1992, pp 29-30. {{sk}}
 
 
* with Viera Polakovičová, Etela Čárska and Miro Bázlik, "Záznam besedy s Olivierom Messiaenom...", ''Slovenská hudba'' 19:1, Bratislava, 1993, pp 6-9.  {{sk}}
 
* with Viera Polakovičová, Etela Čárska and Miro Bázlik, "Záznam besedy s Olivierom Messiaenom...", ''Slovenská hudba'' 19:1, Bratislava, 1993, pp 6-9.  {{sk}}
 
* "Debussy, Claude: String Quartet in G minor, Op. 10", in ''Opus 1995''. CD text.  {{sk}}
 
* "Debussy, Claude: String Quartet in G minor, Op. 10", in ''Opus 1995''. CD text.  {{sk}}
Line 139: Line 150:
 
* "Pravda okamihu. Kronikársky portrét V. Ivaškovej", ''Národná osveta'' 6(14): "Príloha Kamera" 2:3, Bratislava: Národné osvetové centrum, 1996, pp 10-11. {{sk}}
 
* "Pravda okamihu. Kronikársky portrét V. Ivaškovej", ''Národná osveta'' 6(14): "Príloha Kamera" 2:3, Bratislava: Národné osvetové centrum, 1996, pp 10-11. {{sk}}
 
* "Krásne dlhy. Úvahy o festivale Melos-Étos", ''Literárny týždenník'' 10:49, Bratislava, 1997, p 15.  {{sk}}
 
* "Krásne dlhy. Úvahy o festivale Melos-Étos", ''Literárny týždenník'' 10:49, Bratislava, 1997, p 15.  {{sk}}
−
* "Aký jazz na džezáky?", ''Dotyky'' 9:7-8, Bratislava: Spolok slovenských spisovateľov, 1997, pp 36-39.  {{sk}}
+
* [[Media:Adamciak_Milan_1997_Aky_jazz_na_dzezaky.pdf|"Aký jazz na džezáky?"]], ''Dotyky'' 9:7-8, Bratislava: Spolok slovenských spisovateľov, 1997, pp 36-39, [http://www.dotyky.net/?p=5784 PNG].  {{sk}}
 
* "V znamení farieb a tvarov", ''Literárny týždenník'' 16:15, Bratislava, 2003, p 11.  {{sk}}
 
* "V znamení farieb a tvarov", ''Literárny týždenník'' 16:15, Bratislava, 2003, p 11.  {{sk}}
 
* "Milo Gašpar", ''Slovenské pohľady na literatúru, umenie a život'' IV+121:5, Martin: Matica slovenská, 2005, p 2.  {{sk}}
 
* "Milo Gašpar", ''Slovenské pohľady na literatúru, umenie a život'' IV+121:5, Martin: Matica slovenská, 2005, p 2.  {{sk}}
Line 154: Line 165:
 
* Emil Babín, "(Ne)zanechať stopu... S muzikológom Milanom Adamčiakom o nekonvenčnej hudbe a umení", ''Pravda'', 16 Apr 1993. {{sk}}
 
* Emil Babín, "(Ne)zanechať stopu... S muzikológom Milanom Adamčiakom o nekonvenčnej hudbe a umení", ''Pravda'', 16 Apr 1993. {{sk}}
 
* Adam Vlček, "S tvorivými ľuďmi v priaznivých podmienkach. Hovoríme s muzikológom, skladateľom a pedagógom Milanom Adamčiakom", ''Národná osveta'' 4:2, 1994, pp 2-4. {{sk}}
 
* Adam Vlček, "S tvorivými ľuďmi v priaznivých podmienkach. Hovoríme s muzikológom, skladateľom a pedagógom Milanom Adamčiakom", ''Národná osveta'' 4:2, 1994, pp 2-4. {{sk}}
−
* "Rozhovor s muzikológom", in ''[http://monoskop.org/log/?p=1549 Avalanches 1990–95]'', ed. Michal Murin, Bratislava: Spoločnosť pre nekonvenčnú hudbu (SNEH), 1995. {{sk}}
+
* Michal Murin, [[Media:Murin_Michal_1995_Rozhovor_s_muzikologom_Milanom_Adamciakom.pdf|"Rozhovor s muzikológom Milanom Adamčiakom o jednej z jeho aktivít, o jeho hudobných nástrojoch"]], in ''[http://monoskop.org/log/?p=1549 Avalanches 1990–95]'', ed. Michal Murin, Bratislava: Spoločnosť pre nekonvenčnú hudbu (SNEH), 1995, pp 69-72. Conducted on 3 Feb 1990. [https://monoskop.org/images/c/c9/Avalanches_1990-95_Zbornik_spolocnosti_pre_nekonvencnu_hudbu_1995.pdf#page=35] {{sk}}
 
* Helena Dvořáková, "Hluch, ako sluch? Hovoríme s muzikológom Milanom Adamčiakom", ''Nové slovo bez rešpektu'' 5:27, 1995, pp 16-17. {{sk}}
 
* Helena Dvořáková, "Hluch, ako sluch? Hovoríme s muzikológom Milanom Adamčiakom", ''Nové slovo bez rešpektu'' 5:27, 1995, pp 16-17. {{sk}}
 
* Imrich Bariak, "Trvalý zdroj inšpirácie. Rozhovor s Milanom Adamčiakom, hudobným teoretikom", ''Národná osveta'' 6:12, Bratislava: Národné osvetové centrum, 1996, pp 4-5. {{sk}}
 
* Imrich Bariak, "Trvalý zdroj inšpirácie. Rozhovor s Milanom Adamčiakom, hudobným teoretikom", ''Národná osveta'' 6:12, Bratislava: Národné osvetové centrum, 1996, pp 4-5. {{sk}}
Line 181: Line 192:
 
* Jozef Cseres, [http://muse.jhu.edu.sci-hub.cc/article/363696 "In Between As a Permanent Status: Milan Adamčiak's Version of Intermedia"], ''Leonardo Music Journal'' 19, Dec 2009, pp 31-34. {{en}}
 
* Jozef Cseres, [http://muse.jhu.edu.sci-hub.cc/article/363696 "In Between As a Permanent Status: Milan Adamčiak's Version of Intermedia"], ''Leonardo Music Journal'' 19, Dec 2009, pp 31-34. {{en}}
 
* [http://www.silberkuppe.org/Adamciak_A3.pdf "Adamčiak - Murin: Altruism as Arttruism"], in ''Copy and Paste'', 2011. [http://idm.aku.sk/michal-murin/altruism-as-arttruism-copy-and-paste] {{en}}
 
* [http://www.silberkuppe.org/Adamciak_A3.pdf "Adamčiak - Murin: Altruism as Arttruism"], in ''Copy and Paste'', 2011. [http://idm.aku.sk/michal-murin/altruism-as-arttruism-copy-and-paste] {{en}}
 +
* Michal Murin, [http://www.gandy-gallery.com/exhib2/adamciak/exhib_adamciak.html "Milan Adamčiak Familiar and Unknown"], 2012. {{en}}
 
* Slávo Krekovič, [http://soundexchange.eu/#slovakia_sk?id=11 "Organizovaný zvuk a experiment v slovenskej hudbe"], in ''Sound Exchange: Anthology of Experimental Music Cultures in Central and Eastern Europe 1950-2010'', eds. Carsten Seiffarth, Carsten Stabenow and Golo Föllmer, Saarbrücken: PFAU, 2012. {{sk}}
 
* Slávo Krekovič, [http://soundexchange.eu/#slovakia_sk?id=11 "Organizovaný zvuk a experiment v slovenskej hudbe"], in ''Sound Exchange: Anthology of Experimental Music Cultures in Central and Eastern Europe 1950-2010'', eds. Carsten Seiffarth, Carsten Stabenow and Golo Föllmer, Saarbrücken: PFAU, 2012. {{sk}}
 
** [http://soundexchange.eu/#slovakia_en?id=11 "Organized Sound and Experiments in Slovak Music"], in ''Sound Exchange: Anthology of Experimental Music Cultures in Central and Eastern Europe 1950-2010'', eds. Carsten Seiffarth, Carsten Stabenow and Golo Föllmer, Saarbrücken: PFAU, 2012. {{en}}
 
** [http://soundexchange.eu/#slovakia_en?id=11 "Organized Sound and Experiments in Slovak Music"], in ''Sound Exchange: Anthology of Experimental Music Cultures in Central and Eastern Europe 1950-2010'', eds. Carsten Seiffarth, Carsten Stabenow and Golo Föllmer, Saarbrücken: PFAU, 2012. {{en}}

Revision as of 12:44, 26 March 2017


Milan Adamčiak with John Cage in front of the Clarissine Church, Bratislava, June 1992. Photo: Milan David.
Born December 16, 1946(1946-12-16)
Ružomberok, Czechoslovakia (now Slovakia)
Died January 16, 2017(2017-01-16) (aged 70)
Banská Belá, Slovakia
Collections Art museums in Slovakia (Web umenia)

Milan Adamčiak (1946-2017) was a Slovak composer, cellist and musicologist; author of acoustic objects, installations and unconventional musical instruments; performer, visual artist, experimental poet, and mystifier.

Biography

Adamčiak and Jozef Revallo performing as Ensemble Comp. Duo, New Music Seminar I., Smolenice, 1969. Photo Juraj Bartoš.
Adamčiak and Róbert Cyprich performing at the 1. večer Novej hudby [First Evening of New Music], Dom osvety, Ružomberok, 1969.

Adamčiak was born in 1946 in Ružomberok. He studied cello at the Conservatory (music school) in Žilina (1962-68) and musicology at the Faculty of Philosophy of Comenius University Bratislava (1968-73). From 1972-91 he worked at the Institute of Musical Studies (later renamed to Institute of Art Studies) of Slovak Academy of Sciences as a researcher of 20th century music and relations between music and visual arts. In parallel he worked as a lecturer on 20th century music at the Music Faculty of the Academy of Performing Arts, Bratislava (1977-88), the Faculty of Philosophy of Comenius University, Bratislava (1979-88), and the Academy of Fine Arts, Bratislava (1991).

From the mid-1960s he focused primarily on experimental poetry, graphic scores, and constructing sound objects. Trained in a traditional way but influenced by the poetics of John Cage and Fluxus, he created a large body of work that transgressed the conventional definitions of the arts and quickly moved towards the concepts of opera aperta, action music and various intermedia forms. He also experimented with electronic media, and created several pieces of electroacoustic music and musique concrète, but it was primarily live electronics that fit the principles of his radical poetics. In the second half of the 1960s he worked in several collectives, namely DAD (1965), and Ensemble Comp. (1967, with Róbert Cyprich and Jozef Revallo). At the same time, he carried out sound and music parts of several projects by other authors (Alex Mlynárčik, Jana Želibská, Jarmila Čihánková). By the end of the 1980s he renewed these activities by starting the Transmusic comp. - Ensemble of unconventional music (1989), founding the Society of Unconventional Music (Spoločnosť pre nekonvenčnú hudbu, SNEH, 1990) and initiating the FIT - Festival of intermedia creativity (Bratislava, 1991 and 1992). In 1990 he co-founded New Seriousness with Július Koller and Peter Rónai. From 2005 Adamčiak collaborated with Michal Murin on the social project Altruism as Arttruism. He lived the last years of his life in Banská Belá near Banská Štiavnica, Slovakia.

in German

Urspruenglig Violoncellist, später Musikwissenschaftler, Mitglied der Slowakischen Akademie der Wissenschafften (1972-91). Seit 1964 beschäftigte sich mit experimentellen Poesie und Musikalischen Graphik unnd war tätig auch als Aktionkuenstler. In 1974 war Teilnehmer an Darmstädter Ferienkurse fuer Neue Musik. Nach 1989 inizierte Entstähung der Transmusik Comp. - ein offene Ensemble fuer Musikperformance mit seine gefundene und home made Klangobjekten. und hat Gesellschaft fuer unkinventionelle Musik mit Michal Murin und Peter Machajdík gegruendet. Als Kurator hat in Slowakischen Nationale Galerie mit persoenlichen Partizipation von John Cage eine grosse Austellung seinner Partituren in 1992 präsentiert. In letzten Jahren war tätig als Performer und Installationskuensttler. Dank Michal Murins Initiativen ist seine ältere und neue Schaffen mehr kennengelehrt und akzeptiert.

in Czech

"Adamčiak se jako jeden z prvních začínal cílevědomě věnovat výzkumu v rámci intermediálních programů. Upřednostňoval vizuální experimentální poezii, kterou později rozšířil na hudební a poetické kreace - hudební akce happeningového a eventového typu. Často vycházel z ozvláštňování běžných událostí postavených na individuálních zážitcích. Své projekty prezentoval jako akce pro několik jedinců jako ve Zpívajících fontánách, založených na bezprostředním komorním účinkovaní pod sprchou, které vznikaly od roku 1966, nebo ve veřejném, zřídka kdy pochopeném prezentovaní akcí jako Requiem nebo Pocty Františkovi z Assisi z roku 1968. Od roku 1968 se začínal rozsáhleji věnovat hudebně-prostorovým projektům, přičemž ve většině byl cítit výrazný vliv Johna Cageho. Adamčiak si uvědomoval, že 'partitura skladby se silnými náhodnými (aleatornými) prvky se vlivem své grafické struktury dostává i do sféry výtvarné a tím může působit i jako volný grafický list, stává se teda nositelem hudební i výtvarné informace.'" (Source)

Works

Water Music, 1970
  • Adamciak Cyprich Revallo 1970 Water Music a.jpg
  • Adamciak Cyprich Revallo 1970 Water Music b.jpg
  • Adamciak Cyprich Revallo 1970 Water Music c.jpg
  • Adamciak Cyprich Revallo 1970 Water Music d.jpg

with Róbert Cyprich, in collaboration with Jozef Revallo, music happening in the indoor swimming pool, Juraj Hronec college dormitory, Bratislava, 14 Mar 1970. Based on Georg Friedrich Händel's piece. Photo Juraj Bartoš. Invitation text.

more works

  • jama (Milan Adamčiak), Sizyfovské roboty I., 1965. Typescript on green paper, 10 x 13.5 cm. SNG.

  • Špirály, 1968. Private collection.

  • Hommage à A. Rimbaud, 1969. Private collection, Brno.

  • Homage to Otto Piene, Festival snehu – prvá interpretácia vo výtvarnom umení [Snow Festival – First Interpretation in Graphic Art], High Tatras, SK, 1970.

  • Mesiac, 1971. Linea collection.

  • Um Textrühm nerum (ein Lesestück), 1975. Graphic score. Fix on paper, 30 x 42 cm. SNG.

  • La Conga, 1976. Private collection, Bratislava.

  • Kvinteto pre 4 drevené dychové nástroje, 1977. Graphic score. Ink on paper, 30 x 42 cm. SNG.

  • 48 sláčikových kvartet hrá súčasne a nezávisle tú istú skladbu klasika, 1978. Linea collection.

  • Prerušená pieseň, 1978. Linea collection.

  • 80 – Hommage à John Cage. Pre osem kazetových magnetofónov, 1992. Private collection, Bratislava.

See also

List of music works on the website of Music Centre Slovakia

Discography

Filmography

  • Sympózium dňa, dir. Samuel Ivaška, ČST Bratislava, 1988. TV documentary.
  • Podhubie - podhudbie, STV.
  • Transmédia, dir. Novan, STV, 1990.
  • UM, dir. Kaiser - Princ, STV, 1990.
  • Opak je pravdou [The Opposite is True], dir. Arnold Kojnok, FVU AU Banská Bystrica, 2007, 15 min. Video.
  • Muzikológ a tvorca [Musicologist as Creator], dir. Arnold Kojnok, VŠMU + FVU AU BB, 2009, 44 min. Documentary. More information.
  • Genug, dir. Michal Murin, 2009, 20 min.

Exhibitions

  • Otvorené diela alebo GENUG, 28 May-27 Aug 2009, Linea Gallery, Bratislava. Prepared by Michal Murin.
  • Transmusic Comp., Cyprián Majerník Gallery, Bratislava, 14 Nov-22 Dec 2009. With Michal Murin.
  • Pracovná pamäť / Working memory, with Milan Adamčiak, Tranzit workshops, Bratislava, 15 May-13 Jun 2009. Curated by Lucia Gavulová.
  • 10 x 10, European Culture Congress, Wroclaw, 2011. Group exhibition; participating with the work Altruism as Artruism: Archív solidarity with Michal Murin. [1]
  • Galanta Songs, Tranzit workshops, Bratislava, 30 May-17 Jun 2012. Curated by Lucia Gavulová.
  • EX-PO, Gandy Gallery, Bratislava, 21 Sep-24 Nov 2012.
  • Panphilia, Zahorian Gallery, Bratislava, 28 Oct-15 Dec 2016. Curated by Daniel Grúň.
  • Adamčiak, začni! / Adamčiak, Begin!, Slovak National Gallery, Bratislava, 23 Mar-4 Jun 2017. Retrospective of Adamčiak's intermedia works, 1964-2017; curated by Lucia Gregorová Stach and Michal Murin.

List of Adamčiak's exhibitions on Artfacts

Publications

Collected works

  • Archív I (EXPO): experimentálna poézia 1964-1972 / Archive 1: Experimental Poetry 1964-1972, ed. Michal Murin, Košice: Dive Buki, 2011, 352 pp. TOC & Introduction, Review, Publisher. (Slovak),(English),(French)
  • Archív II (KOPO): konkrétna poézia 1964-1972, ed. Michal Murin, Košice: Dive Buki, 2016, 330 pp. Publisher. (Slovak)
  • Archív III (NÔTY): notácie a grafické partitúry / Archive III (NÔTY): notations and graphic scores, ed. Michal Murin, Košice: Dive Buki, 2013, 413 pp. Publisher. (Slovak),(English)
  • Archív IV (AKTY): Akcie, performancie, projekty, koncepty a výstavy, eds. Milan Adamčiak and Michal Murin, Košice: Dive Buki, 2016, 389 pp. Publisher. (Slovak)

Papers

  • "Hudobné problémy výtvarného umenia 20. storočia", Slovenská hudba 15:10, Bratislava, 1971, pp 356-362. (Slovak)
  • "Fónická poézia a hudba", Slovenská hudba 15:6-7, Bratislava, 1971, pp 243-248; repr. in kloaka 1:1-2, Bratislava: Literis, Apr 2010, pp 18-21. (Slovak)
  • "Kontinuita zápasu o socialistický ráz slovenskej hudobnej tvorby", in Socialistický realizmus a súčasná umelecká kultúra. Zborník referátov zo sympózia, Bratislava: VEDA, 1987. (Slovak)
  • "Leoš Janáček and His Influence on Slovak Music", in Janáček and Czech Music: Proceedings of the International Conference (Saint Louis, 1988), eds. Glen Bauer and Michael Beckerman, Pendragon Press, 1995, pp 301-307. [2] (English)
  • "Príbeh jednej hudby", Slovenská hudba 22:1-2, Bratislava, 1996, pp 7-10. (Slovak)
  • "Z histórie podávania súčasnej slovenskej hudby", Hudobný život 1-2, 2017, pp 30-31. (Slovak)

Articles, reviews

Interviews

Literature

Essays, articles

more

Theses

Obituaries

Murin (Hudobný život), Cseres (Hudobný život), Matej (Hudobný život), Rehák, Németh, Balog (Denník N), Murin (SME), Cseres (Pravda), Cifra (Literárny týždenník), Ružomberský (Spolok ZA), Hutko (Postoj). (Slovak)

See also

Links

Contact

michal.murin(at)gmail.com

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