Difference between revisions of "Video art in Slovakia (1990s-2000s)"
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== Artists == | == Artists == | ||
| − | + | [[Anetta Mona Chisa]], [[Pavlína Fichta Čierna]], A. Čierny, [[Dušan Zahoranský]], [[Erik Binder]], G. Binderová, N. Ružičková, [[Mário Chromý]], [[Juraj Dudáš]], [[Peter Agat Huba]], [[Richard Fajnor]], [[Jana Želibská]], [[Anna Daučíková]], [[Elena Pätoprstá]], [[Roman Galovský]], [[Miroslav Nicz]].. | |
| − | == | + | == Forms == |
| − | + | * Features on identity, consummerism, body, gender, socio-cultural questions, ecology. | |
| + | * Film footage manipulations. | ||
| + | * Video-installations (Rónai, Meluzin, Želibská) | ||
| + | * Interactive video-installations (Rónai) | ||
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'''ON/OFF''', 1993. Exhibited the sampler of videos from six events of Slovak artists at various locations.<br> | '''ON/OFF''', 1993. Exhibited the sampler of videos from six events of Slovak artists at various locations.<br> | ||
'''Video vidím ich sehe''', 1994 in Považská galéria umenia [[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 videoart. The gallery was the only one consistently researching and acquiring Slovak videoart. Later exhibition included retrospective of Jana Želibská (1996-97) and Peter Rónai (1997).<br> | '''Video vidím ich sehe''', 1994 in Považská galéria umenia [[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 videoart. The gallery was the only one consistently researching and acquiring Slovak videoart. Later exhibition included retrospective of Jana Želibská (1996-97) and Peter Rónai (1997).<br> | ||
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== Works == | == Works == | ||
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| − | ''' | + | '''IDENTITY POLITICS'''<br> |
| + | '''T.R.A.N.Z.I.T.''', 1992. [[Peter Rónai]]. Video-installation. Tautology.<br> | ||
| + | '''Second Hand Art''', 1992. [[Peter Rónai]]. Video-installation. Tautology.<br> | ||
| + | '''Alter ego''', 1993. [[Peter Rónai]]. Exhibited in UBS [[Bratislava]]. Site-specific video-installation.<br> | ||
| + | '''Cogito ergo Kunst''', 1994. [[Peter Rónai]]. Installation with morphing animation on LCD display.<br> | ||
| + | '''AIDS''', 1995. [[Peter Rónai]]. Interactive video-installation.<br> | ||
| + | '''Autoreverse''', 1997. [[Peter Rónai]]. Installation with morphing animation on LCD display.<br> | ||
| + | '''Elastic Reality''', 1997. [[Peter Rónai]]. Installation with morphing animation on LCD display.<br> | ||
| + | '''Cannibale ante portas''', 1997. [[Peter Rónai]]. Installation with morphing animation on LCD display.<br> | ||
| + | '''After Alter ego''', 1998. [[Peter Rónai]]. Interactive video-installation.<br> | ||
| + | '''Hello Dolly''', 1998. [[Peter Meluzin]]. On cloning.<br> | ||
| + | '''Real Virtuality''', 1998. [[Peter Meluzin]]. On cloning.<br> | ||
| + | '''Babyc/l/on''', 1999. [[Peter Meluzin]]. On cloning. | ||
| + | |||
| + | |||
| + | '''TELEVISION AND CONSUMMERISM'''<br> | ||
| + | '''Life after life''', 1992. [[Peter Meluzin]]. Video-installation. A person in the living room watching television program about the man from France who died in the sofa while watching the television.<br> | ||
| + | '''Teletextament''', 1995. [[Peter Meluzin]]. Video-object.<br> | ||
| + | '''Wordburger Column''', 1995. [[Peter Meluzin]]. <br> | ||
| + | '''Home Video''', 1996. [[Peter Meluzin]]. <br> | ||
| + | '''Titled''', 1999. [[Anetta Mona Chisa]]. Installation of television sets wrapped around by pink foil with the latin text cutout: 'proto horror-neo vacui'.<br> | ||
| + | '''Caché''', 2000. [[Anabela Žigová]]. Record of a performance of the artist, when she was giving away the promotion bags full of garbage to the public.<br> | ||
| + | '''Flyers''', 2001. [[Veronika Šramatyová]]. Record of a performance of the artist giving away the empty 'flyers' to the public. | ||
| + | |||
| − | ''' | + | '''GENDER'''<br> |
| − | ''' | + | '''Zákaz dotyku''', 1992. [[Jana Želibská]]. Demystificating female and sexuality from ironical distance.<br> |
| − | ''' | + | '''Jej pohľad na neho''', 1996.<br> |
| − | ''' | + | '''Sisters''', 1997. [[Jana Želibská]]. Inherent symptoms of adolescence.<br> |
| + | '''Sisters II''', 1999. [[Jana Želibská]]. Installation. Video of two young females in a dialogue, occasionally touching each other. A towel, wash-basin with water and other bathroom accessories installed next to the TV set. | ||
| − | ''' | + | '''FILM FOOTAGE MANIPULATION'''<br> |
| − | ''' | + | '''New Slovak Dream''', 1994. [[Peter Rónai]]. Appropriation of Warhol's 6-hour film 'Sleep' of a man sleeping in a bed. Video plays only one frame still from the film.<br> |
| − | ''' | + | '''Red''', '''Blue''', '''White''', 2000. [[Marek Kvetán]]. Comprimated versions of the Kieslowski's film trilogy.<br> |
| − | ''' | + | '''Telenovela''', 2001. [[Dušan Zahoranský]]. The scene from the TV series JAG, when the main character is interrogating the arrested female character. The dialogue is manipulated by the artist.<br> |
| − | ''' | + | '''D’art’agnan RE:PLAY''', 2003. [[Ivan Dudáš]]. The young artist-musketeer is accepted to the older and famous artists-musketeers.<br> |
| + | '''Jánošík''', 2003. [[Mário Chromý]]. Scene from the execution of Slovak national hero manipulated by the artist. <br> | ||
| + | '''Mullholand Drive''', 2004. [[Anna Daučíková]]. Dialogue of female characters on lesbian sex is accompanied by the artist's visual commentary. | ||
| − | ''' | + | '''APPROPRIATION'''<br> |
| − | ''' | + | '''G. Bellini 1487 - V. Kordoš 1996''', 1996. [[Vladimír Kordoš]]. Live interpretation of Bellini's painting of Madona. |
| − | ''' | ||
| − | |||
| − | |||
| − | |||
| − | |||
| − | |||
| − | ''' | + | '''ABJECTION, BODY AND MYTH OF BEAUTY'''<br> |
| − | ''' | + | '''On Diet''', 1997. [[Jana Želibská]]. Cycling sequence of the girl overeating, then throwing out. Along the shot of another girl, excersizing and giving instructions of how to solve the overweight problems.<br> |
| + | '''What you do not think of, it is not''', 1997. [[Pavlína Fichta Čierna]]. The camera slides the body of sitting actress and her reactions.<br> | ||
| + | '''Clone Line''', 1997-98. [[Peter Meluzin]]. The shots of two soviet working pair alternating with the shots of Barbie and Ken dolls.<br> | ||
| + | '''Les Amies''', 2000. [[Anetta Mona Chisa]] and [[Lucia Tkáčová]]. Urban girl and her barbie-doll friend episodes filmed in the TV advertisement form.<br> | ||
| + | '''What the fuck are you staring at?''', 2001. by [[Anetta Mona Chisa]]. Ex-model threatens with resolute gesticulation to the camera.<br> | ||
| + | '''Back to the Trees''', 2002. [[Jaroslav Kyša]].<br> | ||
| + | '''Kiss''', 2004. [[Jaroslav Kyša]]. Male lips resembling the sweet female ones. | ||
| − | ''' | + | '''?'''<br> |
| − | ''' | + | '''Pálenie vlastného tieňa''', 1991. [[Vladimír Kordoš]].<br> |
| − | ''' | + | '''Dipól''', 1993. [[Richard Fajnor]].<br> |
| − | ''' | + | '''Blízke stretnutie''', 1993. [[Vladimír Kordoš]].<br> |
| − | ''' | + | '''Akčná inscenácia v Kittsee''', 1997. [[Vladimír Kordoš]]. |
| − | |||
Revision as of 00:20, 22 February 2006
Contents
Artists
Anetta Mona Chisa, Pavlína Fichta Čierna, A. Čierny, Dušan Zahoranský, Erik Binder, G. Binderová, N. Ružičková, Mário Chromý, Juraj Dudáš, Peter Agat Huba, Richard Fajnor, Jana Želibská, Anna Daučíková, Elena Pätoprstá, Roman Galovský, Miroslav Nicz..
Forms
- Features on identity, consummerism, body, gender, socio-cultural questions, ecology.
- Film footage manipulations.
- Video-installations (Rónai, Meluzin, Želibská)
- Interactive video-installations (Rónai)
Exhibitions
Imago – Fin de siécle, 30 May to 10 July 1991 in Bratislava. First videoart 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.
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. Exhibited the sampler of videos from six events of Slovak artists at various locations.
Video vidím ich sehe, 1994 in Považská galéria umenia 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 videoart. The gallery was the only one consistently researching and acquiring Slovak videoart. Later exhibition included retrospective of Jana Želibská (1996-97) and Peter Rónai (1997).
Works
IDENTITY POLITICS
T.R.A.N.Z.I.T., 1992. Peter Rónai. Video-installation. Tautology.
Second Hand Art, 1992. Peter Rónai. Video-installation. Tautology.
Alter ego, 1993. Peter Rónai. Exhibited in UBS Bratislava. Site-specific video-installation.
Cogito ergo Kunst, 1994. Peter Rónai. Installation with morphing animation on LCD display.
AIDS, 1995. Peter Rónai. Interactive video-installation.
Autoreverse, 1997. Peter Rónai. Installation with morphing animation on LCD display.
Elastic Reality, 1997. Peter Rónai. Installation with morphing animation on LCD display.
Cannibale ante portas, 1997. Peter Rónai. Installation with morphing animation on LCD display.
After Alter ego, 1998. Peter Rónai. Interactive video-installation.
Hello Dolly, 1998. Peter Meluzin. On cloning.
Real Virtuality, 1998. Peter Meluzin. On cloning.
Babyc/l/on, 1999. Peter Meluzin. On cloning.
TELEVISION AND CONSUMMERISM
Life after life, 1992. Peter Meluzin. Video-installation. A person in the living room watching television program about the man from France who died in the sofa while watching the television.
Teletextament, 1995. Peter Meluzin. Video-object.
Wordburger Column, 1995. Peter Meluzin.
Home Video, 1996. Peter Meluzin.
Titled, 1999. Anetta Mona Chisa. Installation of television sets wrapped around by pink foil with the latin text cutout: 'proto horror-neo vacui'.
Caché, 2000. Anabela Žigová. Record of a performance of the artist, when she was giving away the promotion bags full of garbage to the public.
Flyers, 2001. Veronika Šramatyová. Record of a performance of the artist giving away the empty 'flyers' to the public.
GENDER
Zákaz dotyku, 1992. Jana Želibská. Demystificating female and sexuality from ironical distance.
Jej pohľad na neho, 1996.
Sisters, 1997. Jana Želibská. Inherent symptoms of adolescence.
Sisters II, 1999. Jana Želibská. Installation. Video of two young females in a dialogue, occasionally touching each other. A towel, wash-basin with water and other bathroom accessories installed next to the TV set.
FILM FOOTAGE MANIPULATION
New Slovak Dream, 1994. Peter Rónai. Appropriation of Warhol's 6-hour film 'Sleep' of a man sleeping in a bed. Video plays only one frame still from the film.
Red, Blue, White, 2000. Marek Kvetán. Comprimated versions of the Kieslowski's film trilogy.
Telenovela, 2001. Dušan Zahoranský. The scene from the TV series JAG, when the main character is interrogating the arrested female character. The dialogue is manipulated by the artist.
D’art’agnan RE:PLAY, 2003. Ivan Dudáš. The young artist-musketeer is accepted to the older and famous artists-musketeers.
Jánošík, 2003. Mário Chromý. Scene from the execution of Slovak national hero manipulated by the artist.
Mullholand Drive, 2004. Anna Daučíková. Dialogue of female characters on lesbian sex is accompanied by the artist's visual commentary.
APPROPRIATION
G. Bellini 1487 - V. Kordoš 1996, 1996. Vladimír Kordoš. Live interpretation of Bellini's painting of Madona.
ABJECTION, BODY AND MYTH OF BEAUTY
On Diet, 1997. Jana Želibská. Cycling sequence of the girl overeating, then throwing out. Along the shot of another girl, excersizing and giving instructions of how to solve the overweight problems.
What you do not think of, it is not, 1997. Pavlína Fichta Čierna. The camera slides the body of sitting actress and her reactions.
Clone Line, 1997-98. Peter Meluzin. The shots of two soviet working pair alternating with the shots of Barbie and Ken dolls.
Les Amies, 2000. Anetta Mona Chisa and Lucia Tkáčová. Urban girl and her barbie-doll friend episodes filmed in the TV advertisement form.
What the fuck are you staring at?, 2001. by Anetta Mona Chisa. Ex-model threatens with resolute gesticulation to the camera.
Back to the Trees, 2002. Jaroslav Kyša.
Kiss, 2004. Jaroslav Kyša. Male lips resembling the sweet female ones.
?
Pálenie vlastného tieňa, 1991. Vladimír Kordoš.
Dipól, 1993. Richard Fajnor.
Blízke stretnutie, 1993. Vladimír Kordoš.
Akčná inscenácia v Kittsee, 1997. Vladimír Kordoš.
