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Opening the Cage at "Hungría 74": Hungarian Artists in Argentina and Their Critical Take on the Dematerialization of Art Objects 打开“Hungría 74”的牢笼:阿根廷的匈牙利艺术家及其对艺术品非物质化的批判
Acta Academiae Artium Vilnensis Pub Date : 2022-03-17 DOI: 10.37522/aaav.105.2022.109
Lena Sophie Trüper
{"title":"Opening the Cage at \"Hungría 74\": Hungarian Artists in Argentina and Their Critical Take on the Dematerialization of Art Objects","authors":"Lena Sophie Trüper","doi":"10.37522/aaav.105.2022.109","DOIUrl":"https://doi.org/10.37522/aaav.105.2022.109","url":null,"abstract":"\u0000\u0000\u0000In 1974, the exhibition Hungría 74 presented 24 artists from Hungary at the Centro de Arte y Communicación (CAYC) in Buenos Aires, Argentina. By the time, artists from both countries suffered political repressions of the dictatorships ruling their countries. Hungría 74 thus was one of the few occasions to interchange ideas. However, the artists from Hungary and Argentina did not first and foremost agree on their political stance. Rather, they were both preoccupied with the dematerialization of art objects. Among Western artist dematerialization was perceived as a rebellious act against the commodification of art objects on the market; it was also embraced as a positive effect of media societies facilitating participation of marginalized groups. However, Argentinian and Hungarian artists transformed the idea to their own means. Experiencing political oppressions, they understood that the loss of material presence was not merely positive. By contrast, it was connected to disappearance, forced exiles or invisible political surveillance. The works of Dóra Maurer, Tamás Hencze, István Haraszty, György Jovánovics presented at Hungría 74 reflect these different notions of dematerialization and offer a critical perspective on the broader political consequences of dematerializations in media societies developing worldwide since the 1970s.\u0000\u0000\u0000","PeriodicalId":36620,"journal":{"name":"Acta Academiae Artium Vilnensis","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-03-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44271709","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Spatial Cities in the East and South. Gyula Kosice’s Artistic Dialogue with Hungarian and Slovak Artists 东部和南部的空间城市。Gyula Kosice与匈牙利和斯洛伐克艺术家的艺术对话
Acta Academiae Artium Vilnensis Pub Date : 2022-03-08 DOI: 10.37522/aaav.105.2022.110
Katarzyna Cytlak
{"title":"Spatial Cities in the East and South. Gyula Kosice’s Artistic Dialogue with Hungarian and Slovak Artists","authors":"Katarzyna Cytlak","doi":"10.37522/aaav.105.2022.110","DOIUrl":"https://doi.org/10.37522/aaav.105.2022.110","url":null,"abstract":"\u0000\u0000\u0000The article aims to reveal similarities between the artistic approaches of the Czechoslovakian-born Argentine artist Gyula Kosice and the Slovak art scene. Referencing Polish art historian Piotr Piotrowski’s concept of “horizontal art history”, the article focuses on the artistic dialogue between kinetic and op art artists developed during the Cold War period in the countries of Central Europe and Latin America. The goal of the article is twofold. Firstly, it will expose the specificity of artistic practices and strategies developed in non-Western art scenes. It also aims to reveal certain proximities among artists, especially those engaged in kinetic and geometrical art. Adopting a transnational and transmodern approach, the text will focus on Gyula Kosice’s contact with the Slovak artist Alex Mlynárčik, established through the French art critic Michel Ragon. It will also highlight similarities between Kosice’s hydrospatial cities, Mlynárčik’s architectural proposals realised with the VAL group in the 1970s, and the concept of prospective architecture coined by Michel Ragon.\u0000\u0000\u0000","PeriodicalId":36620,"journal":{"name":"Acta Academiae Artium Vilnensis","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-03-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44072531","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Legenda
Acta Academiae Artium Vilnensis Pub Date : 2022-03-07 DOI: 10.1515/9783110252484.xvii
Kazimierz Stabrowski, Rūta Janonienė
{"title":"Legenda","authors":"Kazimierz Stabrowski, Rūta Janonienė","doi":"10.1515/9783110252484.xvii","DOIUrl":"https://doi.org/10.1515/9783110252484.xvii","url":null,"abstract":"\u0000\u0000\u0000Pristatomas dailininko Kazimiero Stabrausko (Kazimierz Stabrowski, 1869–1929) fantastinio apsakymo „Legenda“ vertimas į lietuvių kalbą. Apie 1895–1905 m. sukurto apsakymo rankraštis buvo nusiųstas Varšuvoje leisto literatūros ir meno mėnraščio Chimera redakcijai, bet liko nepublikuotas, dabar saugomas Varšuvos nacionalinės bibliotekos rinkiniuose, Chimeros redaktoriaus Zenono Przesmyckio (1861–1905) archyve.\u0000Kūrinyje atsispindi dailininko žavėjimasis teosofinėmis ir antroposofinėmis idėjomis, kurios persipina su krikščioniškosios kultūros simboliais ir įvaizdžiais, savitai traktuotomis Šventojo Rašto citatomis (aukso veršio motyvas). Vizionieriškame Stabrausko tekste, kaip ir jo tapybos darbuose, daug dėmesio skiriama moteriškumo temai, kuriamas dieviškos, idealios moters – grožio ir tobulumo personifikacijos – įvaizdis.\u0000„Legendoje“ išreikštos mintys ir kuriami vaizdiniai gali praplėsti Stabrausko paveikslų interpretacijos galimybes, kartu atspindi platesnes XX a. pradžioje kūrėjus jaudinusias filosofines idėjas. Tekstą iš lenkų į lietuvių kalbą išvertė ir publikaciją parengė Rūta Janonienė.\u0000\u0000\u0000","PeriodicalId":36620,"journal":{"name":"Acta Academiae Artium Vilnensis","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-03-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/9783110252484.xvii","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44156306","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Pasijų Vaikelis Vilniaus Šv. Teresės bažnyčios koplyčioje
Acta Academiae Artium Vilnensis Pub Date : 2022-02-22 DOI: 10.37522/aaav.106.2022.122
Tojana Račiūnaitė
{"title":"Pasijų Vaikelis Vilniaus Šv. Teresės bažnyčios koplyčioje","authors":"Tojana Račiūnaitė","doi":"10.37522/aaav.106.2022.122","DOIUrl":"https://doi.org/10.37522/aaav.106.2022.122","url":null,"abstract":"\u0000\u0000\u0000Vilniaus Šv. Teresės bažnyčios sienų tapyboje sutinkamas Vaikelio Jėzaus, laikančio kančios įrankius, atvaizdas. Tai vadinamasis Pasijų Vaikelis – iš esmės simbolinis motyvas, jungiantis vaikystės ir mirties realybes. Kadaise šis metaforinis, sapniškas reginys turėjo savą suvokimo ir matymo kontekstą, šiandien prarastą, o gal pamirštą. Straipsnyje aptariama jo ikonografinė genezė ir istorinis kontekstas Vilniaus Šv. Teresės bažnyčios šoninės Dievo Apvaizdos (vėliau – Švč. Mergelės Marijos Gerosios Patarėjos) koplyčioje, bandoma rekonstruoti šio motyvo reikšmę bendresniame bažnyčios prienavio abiejų koplyčių įrangos ir sienų tapybos ikonografiniame kontekste. Atskleidžiama, jog, orientuojantis į šių koplyčių vienas priešais kitą įrengtus altorius, formuota dar viena ikonografinės programos ašis – Kristaus kančių, arba pasijų, ciklas, kuris tarytum kerta pagrindinės navos išilginę pasakojimo vaizdais ašį. Straipsnyje bandoma pagrįsti prielaidą, kad XVIII a. antros pusės bažnyčios polichromija buvo glaudžiai susieta su altorių titulinių atvaizdų ikonografija.\u0000\u0000\u0000","PeriodicalId":36620,"journal":{"name":"Acta Academiae Artium Vilnensis","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-02-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43567615","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Fighting for Visibility: Lithuanian Artists in Argentina 争取知名度:立陶宛艺术家在阿根廷
Acta Academiae Artium Vilnensis Pub Date : 2022-02-18 DOI: 10.37522/aaav.105.2022.108
Laura Petrauskaitė
{"title":"Fighting for Visibility: Lithuanian Artists in Argentina","authors":"Laura Petrauskaitė","doi":"10.37522/aaav.105.2022.108","DOIUrl":"https://doi.org/10.37522/aaav.105.2022.108","url":null,"abstract":"The paper analyses the role of the Lithuanian diaspora and its artists in the art field of Argentina in the 30’s and 40’s, and overviews their input into the development of the nativist discourse. The paper employs social art history to show the impact the transatlantic migration had on the social mobility of migrant artists and their careers in South America and Lithuania.","PeriodicalId":36620,"journal":{"name":"Acta Academiae Artium Vilnensis","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-02-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45758253","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
The Cult and Images of Saint Rose of Lima in Lithuania 立陶宛利马圣玫瑰的崇拜与形象
Acta Academiae Artium Vilnensis Pub Date : 2022-02-17 DOI: 10.37522/aaav.105.2022.105
Rūta Janonienė
{"title":"The Cult and Images of Saint Rose of Lima in Lithuania","authors":"Rūta Janonienė","doi":"10.37522/aaav.105.2022.105","DOIUrl":"https://doi.org/10.37522/aaav.105.2022.105","url":null,"abstract":"\u0000\u0000\u0000Isabel Flores de Oliva (1586–1617), generally known as Saint Rose of Mary or Saint Rose of Lima, became the first and, until today, the most venerated Catholic saint of Latin America. Almost immediately after her death, this Dominican of the Third Order, who died young and won fame for her highly ascetic life, various virtues and immovable faith, developed a cult following in Peru. Soon enough the cult had spread across South America and Europe. The topic of Saint Rose of Lima has been addressed in a great many publications that appeared in various (primarily Spanish-speaking) countries, but in Lithuania, the devotion to and images of this saint have not received specific research attention. By referring to the published sources and manuscripts, as well as the surviving ecclesiastical artworks, the author of this paper aims to discuss in more detail how information about the life and personality of Saint Rose of Lima was disseminated in the Grand Duchy of Lithuania, what information about Latin America, its culture and people was conveyed in these sources, whether it was reflected in the icono- graphy of the saint, and if so, how.\u0000\u0000\u0000","PeriodicalId":36620,"journal":{"name":"Acta Academiae Artium Vilnensis","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-02-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45116385","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
The Lithuanian Pavilion in Chile in 1972: Architect Vladas Vizgirda’s Account Fifty Years Later 1972年智利的立陶宛馆:建筑师Vladas Vizgirda 50年后的描述
Acta Academiae Artium Vilnensis Pub Date : 2022-02-15 DOI: 10.37522/aaav.105.2022.113
Karolina Jakaitė
{"title":"The Lithuanian Pavilion in Chile in 1972: Architect Vladas Vizgirda’s Account Fifty Years Later","authors":"Karolina Jakaitė","doi":"10.37522/aaav.105.2022.113","DOIUrl":"https://doi.org/10.37522/aaav.105.2022.113","url":null,"abstract":"\u0000\u0000\u0000This Archival publication presents a manuscript of the Lithuanian architect Vladas Vizgirda (b. 1935), in which the author describes the project of an export pavilion of fifty years ago. The Lithuanian SSR received an award for its exhibition in the pavilion of the Soviet Union at the international agriculture and industry fair FISA-72 held in Santiago de Chile. As the leading architect of the Chile-72 pavilion, Vizgirda reminisces on the conception of the 500 m2 display, its architectural and design solutions, the preparation process, the installation works, and the impressions experienced during his almost three-month-long work trip to Chile in October–December 1972. An important part of the published source is a visual narrative consisting of unpublished photographs, which allows us to newly assess the pavilion’s modern constructions, minimalist design, and colour solutions, as well as Gintautėlė Baginskienė’s design projects created specifically for this pavilion. In the publication of the source, the manuscript is presented unedited, while the introductory text describes the context of the pavilion and outlines the first directions of possible assessments and interpretations.\u0000\u0000\u0000","PeriodicalId":36620,"journal":{"name":"Acta Academiae Artium Vilnensis","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-02-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44068476","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Look for the Domeykos! Images of "The Lord of Good Hope" from Santiago de Chile in the Vilnius Archdiocese 寻找Domeykos！来自智利圣地亚哥维尔纽斯总教区的“希望之主”图片
Acta Academiae Artium Vilnensis Pub Date : 2022-02-14 DOI: 10.37522/aaav.105.2022.106
Sigita Maslauskaitė-Mažylienė
{"title":"Look for the Domeykos! Images of \"The Lord of Good Hope\" from Santiago de Chile in the Vilnius Archdiocese","authors":"Sigita Maslauskaitė-Mažylienė","doi":"10.37522/aaav.105.2022.106","DOIUrl":"https://doi.org/10.37522/aaav.105.2022.106","url":null,"abstract":"\u0000\u0000\u0000The article aims to find out whether the appearance of the images of The Lord of Good Hope with its rare iconography in Lithuania was influ­ enced by the family history of the famous geologist Ignacy Domeyko (Lith. Ignotas Domeika, 1802–1889), while emphasising the contribution of his son, Rev. Hernán Domeyko (1859–1931), towards the dissemination of this cult. The history and iconography of the image, as well as the development of the veneration tradition in Santiago de Chile and the Vilnius Archdiocese is explored. The authorship of the painting of Vilnius Cathedral is estab­ lished, the erroneous date of its creation established in historiography is corrected, and the votives belonging to the painting are identified.\u0000\u0000\u0000","PeriodicalId":36620,"journal":{"name":"Acta Academiae Artium Vilnensis","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-02-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47645008","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
The “Yugoeslavia” Folder 南斯拉夫文件夹
Acta Academiae Artium Vilnensis Pub Date : 2022-02-10 DOI: 10.37522/aaav.105.2022.114
Francisco Tomsich
{"title":"The “Yugoeslavia” Folder","authors":"Francisco Tomsich","doi":"10.37522/aaav.105.2022.114","DOIUrl":"https://doi.org/10.37522/aaav.105.2022.114","url":null,"abstract":"\u0000\u0000\u0000In 2018, the Uruguayan-Slovene artist Francisco Tomsich launched the artistic research project Give my regards to those you connect, an exploration on connections and dialogues between artists from the former Yugoslavia and the River Plate region corresponding through the Mail Art network from the late 1960s onward. The research’s point of departure was a list of postal addresses from artists in Serbia prepared prior to the dissolution of Yugoslavia by the Uruguayan artist Clemente Padín and expanded in 2019 by Tomsich through the study of the “Yugoeslavia” folder at the General Archive of the University of the Republic of Uruguay. This paper traces the project’s development in Uruguay and Serbia in 2019 and summarises some of its achievements while describing the author’s approach to artistic research and the key issues of method, archive, comparative art histories, institutional context and failure.\u0000\u0000\u0000","PeriodicalId":36620,"journal":{"name":"Acta Academiae Artium Vilnensis","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-02-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42921734","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Coloniality at Global Scales: Reframing the Nineteenth-Century Exhibition Image 全球范围内的殖民主义：重塑19世纪的展览形象
Acta Academiae Artium Vilnensis Pub Date : 2022-02-08 DOI: 10.37522/aaav.105.2022.107
Bart Pushaw
{"title":"Coloniality at Global Scales: Reframing the Nineteenth-Century Exhibition Image","authors":"Bart Pushaw","doi":"10.37522/aaav.105.2022.107","DOIUrl":"https://doi.org/10.37522/aaav.105.2022.107","url":null,"abstract":"\u0000\u0000\u0000This study advocates for the necessity of writing more lateral art histories across cultures and geographies in the global 19th century by placing two history painters, the Estonian Johann Köler (1826–1899) and the Peruvian Luis Montero (1826–1869), into conversation. Although the role of indigenous actors within local histories of colonial conquest loomed large for both artists, the enduring Eurocentrism of 19th-century art history has limited how we might understand the commensurability of coloniality in the period. This study serves as an experimental roadmap for transcending these historiographical limitations, establishing the 19th century as a significant period of cultural correspondence between Eastern Europe and Latin America.\u0000\u0000\u0000","PeriodicalId":36620,"journal":{"name":"Acta Academiae Artium Vilnensis","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-02-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46944966","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
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