Slovakia

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Interwar avant-garde

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

School of Arts and Crafts [Škola umeleckých remesiel] (1928-1939) was founded on initiative of Josef Vydra in Bratislava with support from the Chamber of Commerce and Industry to provide evening courses in drawing and advertising. In 1930 it merged with Učňovské školy, and included departments for painting, fashion and textile design, metal, wood, ceramics, photography, graphic art, retail design, and film. It quickly became one of the most progressive educational institutions in the arts and crafts in Europe during the interwar period. Studies in specialized departments were preceded by preliminary elementary courses in drawing, surface and space composition, colour harmony, modeling and lettering. In reality, this already involved an application of the Bauhaus method. The school's intention was also to integrate folk craft traditions in modern production. The teachers included avant-garde artists Ľudovít Fulla, Mikuláš Galanda, Jaromír Funke or Zdeněk Rossmann, guest lectures were delivered by 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. 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 they also came from Poland, Yugoslavia, Germany and Bulgaria. After the Czech professors were forced to leave Slovakia, Vydra persuaded Fulla to take up the direction of the School, hoping to preserve continuity of its orientation. However, the school operated only for another 10 months. On 1 October 1939, the School of Applied Arts was closed.

Exhibitions

  • 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. [1]

Magazines

Conferences and retrospective exhibitions

Literature

For literature about the School of Arts and Crafts see its dedicated page.

Catalogues
  • Das Bauhaus im Osten: Slowakische und tschechische Avantgarde 1928-1939, ed. Susanne Anna, Ostfildern-Ruit: Hatje Cantz, et al., 1997, 339 pp. [5] TOC, [6]. Review: Long (SDA 2000 EN). (German)
  • Košice Modernism and Its Wider Context, eds. Zuzana Bartošová and Lena Lešková, Košice: Východoslovenská galéria, 2013. Exhibition. (English)
Books, journal issues
  • Ars 3:2 "Výtvarné avantgardy a dnešok", Bratislava: Slovak Academy of Sciences, 1969. Proceedings from an international conference held at Smolenice, 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. [7] (Slovak)
  • František Foltýn, Slowakische Architektur und die tschechische Avantgarde. 1918-1939, Dresden: Verlag der Kunst, 1991, pp 90-94. (German)
  • Klára Kubičková (ed.), Moderné hnutie na Slovensku: Avantgarda medzivojnového obdobia / Modern Movement in Slovakia: Avantgarde of the Interwar Period, Bratislava: Spolok architektov Slovenska, 1996, 86 pp. Catalogue for the exhibition in Slovak National Museum, held on 17.9.-27.10.1996, organized on the occasion of the Fourth International Conference DOCOMOMO in Slovakia. (Slovak)/(English)
  • Zsófia Kiss-Szemán (ed.), Košická moderna. Umenie Košíc v dvadsiatych rokoch 20. storočia / Košice Modernism. Košice Art in the 1920s, Košice: Východoslovenská galéria, 2010, 198 pp. Collection of papers from an international research symposium held in the East Slovak Gallery in Košice, 11-12 Nov 2010. (Slovak)/(English)
  • Ľubomír Longauer, Modernity of Tradition / Modernosť tradície, Bratislava: Slovart, 2012, 354 pp. Video discussion. (English)/(Slovak)
  • Lena Lešková (ed.), Košická moderna. Umenie Košíc v dvadsiatych rokoch 20. storočia / Košice Modernism. Košice Art in the Nineteen-Twenties, Košice: Východoslovenská galéria, 2013, 413 pp. (Slovak)/(English)
  • Markéta Svobodová, Bauhaus a Československo 1919-1938: studenti, koncepty, kontakty / The Bauhaus and Czechoslovakia 1919-1938: Students, Concepts, Contacts, Prague: Kant, 2016, 255 pp. [8] (Czech)/(English)
Articles
  • Iva Mojžišová, "A Slovak Contribution to Avant-garde Movements", Actes du XXIIe Congres International d'Histoire de l'Art, 2, Budapest: Hungarian Academy of Sciences, 1969, pp 347-349. (English)
  • Peter Havaš, "Die slowakische Architektur in der Zwischenkriegszeit als fortschrittliches Erbe der modernen Bewegung", Wissenschaftliche Zeitschrift / A 33:4/6, Hochschule für Architektur und Bauwesen, 1987. (German)
  • Leo Kohut, "Bauhaus. Ungarn-Tschechoslowakei. Zur Bauhaus-Rezeption in Ost-europa", in Bauhaus-Archiv, Museum. Sammlungs-Katalog, (Auswahl), Architektur, Design, Malerei, Graphik, Kunstpädagogik, Berlin: Gebr. Mann, 1981, pp 283-287. (German)
  • Dana Borutová, "Architektonische Entwicklungstendenzen der zwanziger Jahre in der Slowakei", in The Art of the 1920s in Poland, Bohemia, Slovakia, and Hungary, ed. Lech Kalinowski, Cracow: International Cultural Centre, 1991, pp 33-40. (German)
  • Iva Mojžišová, "The First Wave of Avant-garde: Bratislava 1930", in The Art of the 1920s in Poland, Bohemia, Slovakia, and Hungary, ed. Lech Kalinowski, Cracow: International Cultural Centre, 1991, pp 47-51. (English)
  • Iva Mojžišová, "Podnety a predchodcovia kinetizmu na Slovensku (1929-1939)", MADI ap 4 (Mar 2002). [9] (Slovak)/(Hungarian)
  • Markéta Svobodová, "Studentky z Československa na Bauhausu 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, Roztoky u Prahy, 2005, pp 333-344. (Czech)
  • Markéta Svobodová, "Českoslovenští studenti architektury na Bauhausu", Umění/Art LIV:5 (2006), pp 406-432. (Czech) [10] [11]
  • Sonia de Puineuf, "A Dot on the Map: Some Remarks on the Magazine 'Nová Bratislava'", The Journal of Modern Periodical Studies 1:1 (2010). (English)
  • Richard Kitta, "(Ne)existujúce paralely: Umenie akcie, multimediálne a interaktívne umenie v kultúrno-historickom vývoji umenia 1. pol. 20. storočia na Slovensku", Rovart, Mar 2010. [12] [13] (Slovak)
  • Peter Biľak, "Forgotten History", Typotheque blog, April 2012. (English)
Dissertations
  • Mira Keratová, Slovenská avantgardná typografia v medzivojnovom období so zameraním na grafickú úpravu časopisov, Bratislava: Comenius University, 2005. Master's thesis. (Slovak)
  • Markéta Svobodová, Bauhaus a kultura v Československu v 1919-1939, Olomouc, 2007. Dissertation. (Czech)

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

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.
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Conceptual art

Artists

Alex Mlynárčik, Stano Filko, Július Koller, Jana Želibská, Rudolf Sikora, Peter Bartoš, Michal Kern, Ľubomír Ďurček, Jozef Bartusz, Juraj Meliš, Dezider Tóth

Literature
  • Tomáš Štrauss, Slovenský variant moderny, 1979 (samizdat); 2nd ed., Bratislava: Pallas, 1992, pp 55ff. (Slovak)
  • Radislav Matuštík, ...Predtým. Prekročenie hraníc, 1964-1971, 1983 (samizdat); repr., Žilina: Považská galéria umenia, 1994, 27ff. [15] (Slovak)
  • Tamara Archlebová, "Príspevok k problematike konceptuálneho umenia na Slovensku", in Súčasné výtvarné umenie, ed. Dagmar Srnenská, Bratislava, 1989, pp 98-132. (Slovak)
  • Aurel Hrabušický, "Počiatky alternatívneho umenia na Slovensku", in Šesťdesiate roky v slovenskom výtvarnom umení, ed. Zora Rusinová, Bratislava: Slovenská národná galéria, 1995, pp 218-251. (Slovak)
  • Jana Geržová, "Konceptuálne umenie", in Slovník svetového a slovenského výtvarného umenia druhej polovice 20. storočia, ed. Jana Geržová, Bratislava: Profil, 1999, pp 145-149. (Slovak)
  • Jana Geržová, "Konceptuálne umenie", in Dejiny slovenského výtvarného umenia 20. storočia, ed. Zora Rusinová, Bratislava: SNG, 2000, pp 170-178. (Slovak)
  • Marián Mudroch, Dezider Tóth (eds.), 1. otvorený ateliér, Bratislava: SCCAN, 2000, 143 pp. (Slovak)
  • Konceptuálne umenie na zlome tisícročí / Conceptual Art at the Turn of Millenium / Konceptuális művészet az ezredfordulón. International Symposium, October 15-16, 2001, Budapest/Bratislava, eds. Jana Geržová and Erzsébet Tatai, Bratislava: Slovak Section of AICA, and Budapest: AICA Section Hungary, 2002, 174 pp. Symposium proceedings. (Slovak),(English),(Hungarian)
    • Jana Geržová, "Mýty a realita konceptuálneho umenia na Slovensku" / "Myths and Reality of the Conceptual Art in Slovakia", pp 22-51. (Slovak)/(English)
  • Jana Geržová, "N(e)oklasický koncept", in Na križovatke kultúr? Zborník z medzinárodného sympózia, ed. Zora Rusinová, Bratislava: Slovenská národná galéria, 2002, pp 107-118. (Slovak)
  • Dušan Brozman, Boris Kršňák, Zo slovenského konceptuálneho umenia, Budapest: Slovenský Inštitút Budapešť, and Zvolen: Oznka, 2008. Catalogue. (Slovak)
  • Zuzana Bartošová, Napriek totalite. Neoficiálna slovenská výtvarná scéna sedemdesiatych a osemdesiatych rokov 20. storočia, Bratislava: Kalligram, 2011, 360 pp. Commentary: Hrabušický & Macek (Profil 2012). (Slovak)
  • Beata Jablonská, "Spor o slovenské 'More'", Sešit pro umění, teorii a příbuzné zóny 15, Prague: VVP AVU, 2013, pp 6-19. (Slovak)
  • Tomáš Pospiszyl, "Národní konceptualizmus. Obrozenecké motivy v díle Stana Filka a Júliuse Kollera", ch 3 in Pospiszyl, Asociativní dějepis umění: poválečné umění napříč generacemi a médii, Prague: tranzit.cz, 2014, pp 81-121. (Czech)
  • Miękkie kody. Tendencje konceptualne w sztuce słowackiej / Soft Codes: Conceptual Tendencies in Slovak Art, Wrocław: Muzeum Współczesne Wrocław, 2015, 224 pp. Catalogue. [16], Exhibition. (Polish)/(English)
  • Daniel Grúň, Christian Höller, Kathrin Rhomberg (eds.), White Space in White Space / Biely priestor v bielom priestore, 1973-1982. Stano Filko, Miloš Laky, Ján Zavarský, Vienna: Schlebrügge, 2021, 228 pp. Project archive. Publisher. [25] [26] (English)
  • Denisa Kujelová (ed.), ČS koncept 70. let, Brno: Fait Gallery, 2021, 363 pp. Catalogue. [27] [28] [29] (Czech),(Slovak)
  • Richard Gregor (ed.), BAC: Bratislava Conceptualism / Bratislavský konceptualizmus, Bratislava: Kunsthalle Bratislava, and Liptovský Mikuláš: Liptovská galéria Petra Michala Bohúňa, 2022, 480 pp. Proceedings from the conference Could We Speak of Bratislava Conceptualism (2015). Essays incl.: Gregor, Gregor, Kralovič. [30] (English)/(Slovak)

Geometric abstraction, Neo-constructivism, Op art, Kinetic art

Artists
Exhibitions
Literature
  • Dušan Konečný, Kinetizmus, Bratislava: Pallas, 1970, 88 pp. [31] (Slovak)
  • Vladimir Maleković, "Suvremena češka i slovačka avangarda", Život umjetnosti 18, Zagreb, 1972, pp 68-78. (Serbo-Croatian)
  • Vladimír Beskid, "Geometrická abstrakcia", in Slovník svetového a slovenského výtvarného umenia druhej polovice 20. storočia, ed. Jana Geržová, Bratislava: Profil, 1999. (Slovak)
  • Katarína Bajcurová, "Kinetické umenie", in Slovník svetového a slovenského výtvarného umenia druhej polovice 20. storočia, ed. Jana Geržová, Bratislava: Profil, 1999. (Slovak)
  • Jana Geržová, "Mobil", in Slovník svetového a slovenského výtvarného umenia druhej polovice 20. storočia, ed. Jana Geržová, Bratislava: Profil, 1999. (Slovak)
  • Katarína Bajcurová, "Op-art", in Slovník svetového a slovenského výtvarného umenia druhej polovice 20. storočia, ed. Jana Geržová, Bratislava: Profil, 1999. (Slovak)
  • Ľuba Belohradská, "Konštruktívne tendencie v zrkadle slovenskej umenovedy", MADI ap 4, Mar 2002. (Slovak)/(Hungarian)
  • Ľuba Belohradská, Eva Trojanová (eds.), Hranice geometrie / Borders of Geometry, Petum, 2009, 429 pp. [32] (Slovak)/(English)

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, [33]

Audiovisual compositions

Literature

Intermedia art

Literature

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

Electroacoustic music

Composers
Centres
Events
Releases
Literature
Resources

Slovak electroacoustic music archive, [50]

Experimental film

Artists, filmmakers, and works
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. [63]
Resources

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. [64]
  • 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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Digital prints

Exhibitions
Literature
  • Michal Murin: Digital Male. Central European project of Exhibition of digital prints. Interview with Michal Boďa. In: Profil 4/2000. [67] (Slovak)
  • Zuzana Habšudová, "What have computers got to do with classic art?", In: The Slovak Spectator. October 2002. [68]

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, "Ars Electronica", Profil 14-15, 1992, pp 24-25. (Slovak)
  • Michal Murin, "John Cage v Bratislave", Profil 14-15, 1992, pp 36-38 (Slovak) PDF
  • Ľubica Krénová, "Videnie cez video", Profil 22-23, 1992, pp 1-3 (Slovak) PDF
  • Performance Art - monotématické číslo, (ed. Michal Murin) Profil 3, 1993, pp 1-15 (Slovak) PDF
  • Marvin Minsky, "Budúcnosť zjednotí vedu, umenie a psychológiu", Profil 3-4, 1993, pp 1-3 (Slovak) PDF
  • Michal Murin, "Ars Electronica ´93 - Osmy div sveta", Profil 8-9, 1993, pp 30 -31
  • Michal Murin, "Orlan - moje telo, text a jazyk", Profil 8-9, 1993, pp 31
  • Juraj Rakovský, "Osmy div sveta", Profil 8-9, 1993, pp 32 - 33
  • Martin Šperka, "Počítače na VŠVU", Projekt 4, 1993, pp 46-47. (Slovak)
  • Katarína Rusnáková, "New York - Londýn", Profil 3-4, 1994, pp 16-17 (Slovak) PDF
  • Michal Murin, "Ars Electronica Linz", Profil 5-6-7, 1994, pp 22
  • Ľuba Lacinová, "Kybernetický priestor pre telo, intelekt a dušu", Profil 1-2, 1995, pp 2-9 (Slovak) PDF
  • Stephan Berg, "Keď sa obrazy učili lietať. Umenie a virtuálna realita", Profil 1-2, 1995, pp 10-15 (Slovak) PDF
  • Martin Šperka, "ISEA95 Montréal", Profil 1-2, 1995, pp 16-19 (Slovak) PDF
  • Michal Murin, "Ars Electronica", Profil 1-2, 1995, pp 20-27 (Slovak) PDF
  • Martin Šperka, "Elektronické umenie", in Slovník svetového a slovenského výtvarného umenia druhej polovice 20. storočia, ed. Jana Geržová, Bratislava: Profil, 1999. (Slovak)
  • Martin Šperka, "Multimédiá", in Slovník svetového a slovenského výtvarného umenia druhej polovice 20. storočia, ed. Jana Geržová, Bratislava: Profil, 1999. (Slovak)
  • Martin Šperka, "Virtuálna realita", in Slovník svetového a slovenského výtvarného umenia druhej polovice 20. storočia, ed. Jana Geržová, Bratislava: Profil, 1999. (Slovak)
  • Katarína Rusnáková, "Postfotografia", in Slovník svetového a slovenského výtvarného umenia druhej polovice 20. storočia, ed. Jana Geržová, Bratislava: Profil, 1999. (Slovak)
  • Michal Murin, "Nové technológie v slovenskom umení alebo vyhoďme sa z kola von", in Almanach 98: texty o filme... filozofii... hudbe... a výtvarnom umení, eds. Monika Mitášová, Martin Kaňuch, Peter Michalovič, and Jozef Cseres, Bratislava: SCCA, 1999. (Slovak)
  • Slávo Krekovič, "Net radio.. net.audio", Trištvrte revue 5-6, Bratislava, 2000. (Slovak)
  • Zora Rusinová, "Objekt v multimediálnych kontextoch", in Zora Rusinová et al. Dejiny slovenského výtvarného umenia: 20. storočie, Bratislava: Slovenská národná galéria, 2000. (Slovak)
  • Dušan Barok, "Net.art. Internet ako umelecké médium", 3/4 revue 1, 2001, pp 22-24. (Slovak)
  • Juraj Čarný, "Aktuálne postavenie súčasného mediálneho umenia na Slovensku" / "Topical Status of Contemporary Media Arts in Slovakia", in Conceptual Art at the Turn of Millennium, Budapest: AICA Section Hungary, and Bratislava: Slovak Section of AICA, 2002, pp 94-113. (Slovak)/(English)
  • Miloš Vojtěchovský, "Umenie a elektronické technológie", in Dejiny umenia, 12, eds. Karel Císař, Josef Čermák, and Terezie Petišková, Bratislava: Ikar, 2002. (Slovak)
  • Jozef Cseres, "Interaktívnym umením za novú senzibilitu", Dart 10, 2003. (Slovak)
  • Mária Rišková, et al., New Media Nation. Festival of Festivals, Bratislava: Buryzone, 2003. Catalogue. (Slovak)/(English)
  • Michaela Sečanská, Elektronické umenie na Slovensku po roku 1990, Trnava: Trnavská univerzita, 2004. Master's thesis. Consultant: Zora Rusinová. (Slovak)
  • Michal Murin, "Od utópií cez virtualitu k digitálnej realite", Profil 2, 2004, pp 80-94, PDF (Slovak)
  • Jana Geržová, "Rozhovor s Michaelom Bielickým", Profil 4, 2004, pp 88-90 (Slovak) PDF
  • Miloš Vojtěchovský, "Nástin: Gary Hill a videopoetika", Profil 4, 2004, pp 80-87 (Czech) PDF
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Bibliography

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