Slovakia

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Cities

Banská Bystrica, Banská Štiavnica, Bratislava, Kežmarok, Košice, Levoča, Medzilaborce, Michalovce, Nitra, Nové Zámky, Považská Bystrica, Prešov, Šamorín, Skalica, Trenčín, Trnava, Žilina.

Historical media experimentators

  • Johann Wolfgang Kempelen {18th century) - mechanical sound synthesis, chess automaton (a man hidden in a box moved chess figures with the help of teleoperator links)
  • Jozef Petzval - calculated and constructed the first photo camera lens
  • Jozef Murgaš - emigrated from Slovakia to Wilkes Barre, Pennsylvania, where he soon devised a system that greatly improved Morse code. His "Rotary-spark-system" allowed for faster communication, through the use of musical tones. The new invention was patented as the "Wireless Telegraphy Apparatus". He also patented 16 more inventions in this field, which would go on to lay the foundations for the invention of the radio. A lack of money as well as a number of financial setbacks, eventually led Murgas to give the younger, more prosperous Marconi, the rights to all of his patents.
  • Antonin Jedlík and Gejza Bolemann - created Lissajouse patterns (super-position of harmonic functions) with the mechanical "predecessor" of the computer plotter (long before Ben Laponsky did his first oscilons with an electronic computer).

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.

Events

  • 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]
  • Fulla, Galanda, "Súkromné listy Fullu a Galandu", 1930-32, manifesto. [2]
  • 'Bauhaus im Osten', exhibition at Slovak National Gallery, Bratislava. Designed the director of the Stadtische Museum in Leverkusen, Susanne Anna.
  • 'SLOVENSKÁ TYPOGRAFIA V XX. STOROČÍ. Časť prvá: 1918 - 1970', exhibition, City Gallery of Bratislava, Oct 2004 - Jan 2005. Curator: Ľubomír Longauer. [3]

Journals

Literature

  • Francis A. Taylor, article on his impressions of a visit to the Bratislava School, Journal of the Royal Society of Arts, no. 4332, 1935; "Současné školy umění a řemesel na kontinente" [Contemporary School of Arts and Crafts on the Continent], Výtvarná výchova, Prague, vol. 2, no. 3, 1936, pp. 11-29 (Czech).
  • "Avant-garde and the Present", International Conference at Smolenice near Bratislava, 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.), published by the Institute of the Theory and History of Art, Slovak Academy of Sciences, Ars, Bratislava, 1969, no. 2
  • Iva Mojžišová, "A Slovak Contribution to Avant-garde Movements", Actes du XXIIe Congres International d'Histoire de l'Art, Publishing House of the Hungarian Academy of Sciences, Budapest, 1969, vol. 2, pp 347-9.
  • Tomáš Štrauss, "Slovenský variant moderny (ŠUR Bratislava 1928-1938)" [A Slovak Variant of Modernism]. Umění a remesla, 1978, no. 3, pp 10-19; "Die Slowakische Variante der Moderne", Bauhauskolloquium von 27. bis 29. Juni 1979 in Weimar, WissenschaftlicheZeitschriftder Hochschule Architektur und Bauwesen, Weimar, vol. 26, nos. 4-5, 1979, pp 405-13.
  • Fero Tomík, "J. Funke a ŠUR v Bratislave" [J. Funke and the School of Arts and Crafts in Bratislava]. In: Aktuálnost československé meziválečné fotografie. Dum umění města Brna, Brno 1979. pp 54-61.
  • Maria Pötzl-Malikova, "Die Kunstgewerbeschule in Pressburg 1928-1939. Zur Ausstrahlung der Bauhaus-Ideen in der Slowakei", Vorträge der Tagungen des Collegium Carolinum Bad Wiesse vom 23. bis 25. November 1979 und vom 28. bis 30. November 1980, R. Oldenbourg Verlag, Munich/Vienna, 1982, pp 201-324.
  • Iva Mojžišová, "Die personliche Beziehungen zwischen den Angehorigen des Bauhauses und der Kunstgewerbeschule in Bratislava in Lichte neuentdeckter Dokumente", 4. internationales Bauhauskolloquium vom 24. bis 25. Juni 1986, in Wissenschaftliche Zeitschrift der Hochschule fur Architektur Bauwesen Weimar, vol. 33, nos. 4-5-6, 1987, pp 335-8.
  • "Škola umeleckých remesiel v Bratislave a Bauhaus", Ars, Bratislava, 1990, pp 43-54
  • "The First Wave of Avant-garde: Bratislava 1930", Niedzica Seminars VI. October 19-22, 1989, Association of Polish Art Historians, Cracow, 1991, pp 47-51
  • František Foltýn, Slowakische Architektur und die tschechische Avantgarde. 1918-1939, Verlag der Kunst, Dresden, 1991, pp 90-4.
  • Václav Macek, Iva Mojžišová, Dušan Škvarna, Irena Blühová, Vydavateľstvo Osveta, Martin, 1992.
  • Iva Mojžišová, "Avant-Garde Repercussions and the School of Applied Arts in Bratislava, 1928-1939", Journal of Design History, Vol. 5, No. 4 (1992), pp. 273-279. [4]
  • Susanne Anna (ed.), Das Bauhaus im Osten: Slowakische und tschechische Avantgarde 1928-1939, Hatje Cantz Verlag, 1997. [5] [6] [7]
  • Vladimír Birgus, "The New Objectivity and Constructivism in Czech Inter-War Photography", Imago, Winter 2000. [8]
  • Mira Keratová, "Slovenská avantgardná typografia v medzivojnovom období so zameraním na grafickú úpravu časopisov". Comenius University, Faculty of Philosophy, Diploma thesis, 2005. (Slovak)
  • Sonia de Puineuf, "A Dot on the Map: Some Remarks on the Magazine 'Nová Bratislava'", The Journal of Modern Periodical Studies, Volume 1, Number 1, 2010. [9]

Artist groups

Arts and engineering groups and collectives in CEE#Czechoslovakia

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
  • 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. Iniciated by Michal Murin.
More

Sound art (1960s-2000s)

Artists
Forms
  • audio-kinetic sculptures and environments (1960s, Dobeš, Mlynárčik)
  • graphic artists meeting 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).
  • 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 Improvisationshttp://www.rainerlinz.net/NMA/repr/Synchronistic.html, 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, [11]

Early 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
  • Československá počítačová grafika Institut průmyslového designu, Praha, 1976
  • Druhá celostátní výstava počítačového umění v ČSSR, ÚKDŽ, Praha, 1985
  • Počítačové umění v ČSSR a ve světě, Palác kultury, Praha, 1989
  • Hranice geometrie, Dom umenia, Bratislava, 2010
Works
  • decoration for facade of Výpočtové stredisko dopravy in Bratislava, 1971-1974. Jozef Jankovič with Imrich Bertók.
  • Aluminium art objects from 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
  • Martin Šperka, "The Origins of Computer Graphics in the Czech and Slovak Republics" Leonardo, Vol. 27, No. 1 (1994), pp. 45-50 [12]
  • Martin Šperka, "Some notes on the history of electronic and computer art in Slovakia" 1996 [13]
Resources
  • Pioneers of the computer graphics art in the Czech and Slovak Republics, [14]

Electroacoustic music

Composers
Centres
Events
Releases
  • Anthology of Slovak electroacoustic music 1966-1991. CECM, 2-CD, EMCD001-002, 1992. [15]
  • Electroacoustic music Slovakia 1989-1994. CECM, EMCD003, 1994. [16]
  • EXperimental edition. Experimental Studio of Slovak Radio. [17]
  • Peter Machajdík, Soundscapes, Electro-Acoustic and Computer Music. Edition Hudba N81 0002 2 131, 2005. [18]
  • Various – Electronic Music: Experimental Studios In Prague, Bratislava, Munich, University Of Illinois, Warsaw, Paris. Creel Pone #39, 2006. [19] download
  • R(a)dio (Custica) Selected 2008. Czech Radio 3 - Vltava and His Voice, 2009-3. Works by Peter Machajdík, Colin Black, Miloš Vojtĕchovský and Ladislav Železný, [20]
Literature
  • Milan Adamčiak, "Slovak electroacoustic music history", 1995. [21] (English)
  • Milan Adamčiak, "Príbeh jednej hudby", 1996. [22] (Slovak)
  • Jozef Malovec, "Reminiscences of the beginnings of EAM in Bratislava", November 1994. [23] (English and Slovak)
Resources

Slovak electroacoustic music archive, [24]

Experimental film

Artists, filmmakers, and works
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