The photographic series "Gesticulations" is based on the earlier work of Zbigniew Dłubak entitled "Systems". It contains twelve boards with black-and-white photographs attached on each. Every photography presents a different gesture planned by Dłubak. This photographic series shows the effort of the Polish contemporary art to remain creative and independent from the official, socialist art. It was altering most of the art created in socialist Poland, as it avoided simplistic political implications and undermined the straightforward realistic and mimetic interpretations which the viewers invest in the image and photography. Soon after, Dłubak resigned from the mimetic and journalist photography and engaged into presenting the manners of photographic manipulation and ambiguity, thus, de-constructing the concept of the photography as purely documentalist and representative.
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Warszawa Chłodna 20, Poland
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With the "Gestures" series , Dłubak instigated his interest into the study of the symbolysm of the body. The photographic series is arranged in three segments, each one organized accorning to a certain criterion. The first set of photographs shows a female model putting on or taking off a garment: bra, panties, tights. The second image repeats the composition as the naked model performs the same action, but this time only pretending to be holding the garment. In the final photograph, only hands performing the gestures from the former two are shown against a black background. Without the descriptive attributes – the woman’s body and the pieces of clothing – the hand gestures become abstract. This reduction of the composition to a seemingly empty gesture is a reference to the "Gesticulations" series, which the artist had concluded in 1978, and to the ‘empty sign’ theory.
This photographic series also shows the effort of the Polish contemporary art to remain creative and independent from the official, socialist art. It was different from most of the art created in the socialist Poland, as it avoided simple political implications and concentrated on undermining the trust which the viewer grants to photography and image. Dłubak resigned from the mimetic and journalist photography and engaged into presenting the manners of photographic manipulation and ambiguity, thus, de-constructing the concept of the photography as a purely documentalist and representative.
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In May 1965, American Beatnik poet Allen Ginsberg took part in the students’ May Celebrations in Prague “Majales” and was elected “Král Majálesu” (“King of the Majales”). Later, Ginsberg was arrested and expelled from Czechoslovakia for alleged indecent behaviour. On that occasion, Ginsberg wrote the poem “Kral Majales”. The poem was visually arranged by American painter Robert LaVigne. Thus, an impressive artistic work reflecting Ginsberg’s dramatic stay in Prague and documenting an exceptional moment in Czech queer history was created. Only 350 copies of this poem were printed. One of them was purchased for 150 US dollars by the Society for Queer Memory. On the occasion of this acquisition, an exhibition on Ginsberg’s 1965 events was held from January to April 2018 at the Society’s Centre for Queer Memory.
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Na Strži 1683/40, 140 00 Praha 4, Czech Republic
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Ion Monoran era unul dintre ascultătorii fideli ai posturilor de radio Europa Liberă și Vocea Americii. Ambele stații de radio aveau emisiuni în limba română, iar tipul de presă promovat la acestea era, în cel mai radical sens, subversiv la adresa regimului comunist.
Între bunurile păstrate cu sfințenie de familia Monoran se numără și un aparat de radio de fabricație românească, marca “Gloria 4,” care avea dimensiuni apreciabile comparativ cu alte aparate portable. Acesta este aparatul la care Ion Monoran asculta cele două posturi de radio mai sus menționate. “Îl lua peste tot cu el și mai ales la serviciu, în sala cazanelor de la subsolul unui bloc cu patru etaje,” povestește Ana Monoran, soția sa. Despre acest loc, Brândușa Armanca menționează că “devenise în acei ani un spațiu simbolic al libertății și o reacție împotriva literaturii de prezidiu. Acolo se adunau nonconformiștii să vorbească liber, fără microfoane” (Armanca 2011, 56).
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The second performance from the Homage to Josip Broz Tito cycle is "Listening to the Radio" performed by Tomislav Gotovac in the New Gallery New in Mihanovićeva street 28 in Zagreb from 5 p.m. to 6 p.m. on April 1, 1980. The performances were photographed by Milisav Mio Vesović and Ognjen Beban.
It is the continuation of the Homage Tito cycle in which Gotovac used the mass communication media, in this case radio, to stress the psychosis surrounding the anticipation of the death of Yugoslav leader Tito. The artist also used subversive activity in his work, in which he did not criticize the regime, but encouraged people to think.
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Zagreb Avenija Dubrovnik 17, Croatia 10000
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