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    Wyświetlanie 1-2 z 2
    Tytuł:
    Artist Run Initiatives (ARI) – cechy ogólne i analiza wybranych przykładów historycznych w Czechosłowacji i Republice Czeskiej
    Artist Run Initiatives (ARI) – the General Features and the Analysis of Selected Historical Examples in Czechoslovakia and the Czech Republic
    Autorzy:
    Pospiszyl, Tomás
    Powiązania:
    https://bibliotekanauki.pl/articles/424280.pdf
    Data publikacji:
    2012
    Wydawca:
    Akademia Sztuk Pięknych w Gdańsku
    Tematy:
    ARI
    Temporary Autonomous Zones
    TAZ
    Hakim Bey
    Soviet Bloc
    Opis:
    The essay questions the position of artist run initiatives in the countries of the former Soviet Bloc, particularly in Czechoslovakia and the Czech Republic, during the communist regime and compares them to similar institutions working today. The general thesis is that the self-organised activities of artists under a totalitarian state or in the times of economical crisis lead to similar strategies. Therefore the history of unofficial art in the former Soviet Bloc cannot be understood as shaped exclusively by the conditions of the communist state. In general terms it is similar to the artist run initiatives or theoretical models elsewhere, for example the Temporary Autonomous Zones by Hakim Bey or different independent art institutions in Western Europe or USA. Artist run initiatives are often physically attached to certain places which influences their mission and their activities. The alternative to the official institutional system creates parallel community, formed by different art groups, galleries or by a whole community that shares similar interests, vocabulary and values. Sometimes – and especially in Eastern Europe – creating a social network is more important that art production or the establishment of theoretical framework. Art is often a mere pretext for a desired social activity that cannot be fulfilled in another way. The traditional values of art criticism are not sufficient here. The works clearly have not only an aesthetic value, but also an ethical one.
    Źródło:
    Sztuka i Dokumentacja; 2012, 7; 38-43
    2080-413X
    Pojawia się w:
    Sztuka i Dokumentacja
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Kultury powojenne. Sztuka i komunizm w Krakowie i Lipsku
    Postwar Cultures: Art and Communism in Krakow and Leipzig
    Autorzy:
    Kunakhovich, Kyrill
    Powiązania:
    https://bibliotekanauki.pl/articles/477673.pdf
    Data publikacji:
    2015
    Wydawca:
    Instytut Pamięci Narodowej, Komisja Ścigania Zbrodni przeciwko Narodowi Polskiemu
    Tematy:
    Kraków
    Lipsk
    sowietyzacja
    polityka kulturalna
    związki artystów
    rekonstrukcja
    II wojna światowa
    blok sowiecki
    Krakow
    Leipzig
    Sovietization
    cultural policy
    artists’ unions
    reconstruction
    World War II
    Soviet Bloc
    Opis:
    Postwar Cultures: Art and Communism in Krakow and Leipzig On the morning of January 19, 1945, Dr. Bolesław Drobner arrived as the first representative of Poland’ s postwar government, charged with a special mission: to resurrect the city’ s arts scene and build a new, democratic culture. Six months later a music teacher named Rudolf Hartig took up his new post in Leipzig’ s bullet-riddled City Hall. Hartig was a lifelong communist who took over the city’ s Culture Department after the Nazi collapse. Drobner and Hartig became local agents in a transnational project that spanned Eastern Europe: the search for a distinctive socialist culture. This paper investigates what they did at the city level in the first half-decade after World War II. For the East European regimes that came to power after WWII, culture was not a form of entertainment but a tool of governance. Both Drobner and Hartig viewed art as a foundation of the postwar order, capable of bridging social divisions, eradicating fascist residues, and promoting a Marxist worldview. At the same time, the two officials could not simply impose their vision from above: they also had to contend with Soviet advisors and local artists, two groups that had their own notions of what art should look like. The struggle for socialist culture thus reflected broader struggles over political and social control in Eastern Europe. This paper compares cultural reconstruction in Krakow and Leipzig, two of EasternEurope’s major cities. Looking at them side by side allows us to assess the role Soviet officials played in local affairs and to refine our notion of Sovietization. The postwar program of socialist culture was not just a Soviet imposition but rather had deep native roots. Lacking concrete models or instructions, both Drobner and Hartig relied on prewar conventions, national traditions, and even fascist practice. They pursued policies that seemed to uphold the status quo and therefore provoked little opposition – even from those who opposed leftist parties. Yet these policies also expanded the authority of the state, paving the way for a radical restructuring of the cultural sphere in the years 1949/50. It was widely accepted principles like democratization that enabled the Stalinization of Polish and German culture. The policies that Drobner and Hartig developed proved to have a lasting impact on the Soviet Bloc: they prepared the ground for the Stalinist system, but also preserved local traditions that reemerged when that system collapsed.
    Źródło:
    Pamięć i Sprawiedliwość; 2015, 1(25); 163-184
    1427-7476
    Pojawia się w:
    Pamięć i Sprawiedliwość
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-2 z 2

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