Pub Date : 2022-03-17DOI: 10.37522/aaav.105.2022.109
Lena Sophie Trüper
In 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.
{"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":null,"pages":null},"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}
Pub Date : 2022-03-08DOI: 10.37522/aaav.105.2022.110
Katarzyna Cytlak
The 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.
{"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":null,"pages":null},"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}
Pub Date : 2022-03-07DOI: 10.1515/9783110252484.xvii
Kazimierz Stabrowski, Rūta Janonienė
Pristatomas 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. Kūrinyje 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. „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.
{"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":null,"pages":null},"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}
Pub Date : 2022-02-22DOI: 10.37522/aaav.106.2022.122
Tojana Račiūnaitė
Vilniaus 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.
Vilniaus S›v。挂毯上孩子的照片，上面有他或她的手。它被称为Pasiju_；孩子本质上是一个象征性的动机，将童年的现实与死亡联系起来。每当一个隐喻性的梦发生时，梦本身就发生了；感知和视觉的语境今天已经消失，或者可能被遗忘了。本文论述了维尔纽斯S›v的图像学、起源和历史背景。Terese_；的基础上的本质-无-五；的上帝图像（最终——s.v.v.v.Mermaid_；s MariMariMariMariMariaMariMariMari马里马里马里马里玛丽马里马里马里MariMariMari玛丽玛丽马里马里玛丽玛丽马里玛丽马里玛丽玛丽玛丽玛丽马里MariMari玛丽马里马里Mari玛丽玛丽玛丽玛丽MariMariMariMari马里马里马里马里玛丽马里马里马里马里马里马里马里MariMariMari玛丽马里马里玛丽玛丽马里马里Mari马里马里玛丽MariMariMariMariaMariMariMarimarMariMariMari在这种背景下。随着对基督主题的关注，出现了一个似乎穿过容器主纵轴的循环，一个容器的叙事图像。这篇文章试图证明这样一种假设，即在18世纪下半叶，基本的多色与祭坛、标题、图像和肖像画密切相关。
{"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":null,"pages":null},"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}
Pub Date : 2022-02-18DOI: 10.37522/aaav.105.2022.108
Laura Petrauskaitė
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.
{"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":null,"pages":null},"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}
Pub Date : 2022-02-17DOI: 10.37522/aaav.105.2022.105
Rūta Janonienė
Isabel 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.
伊莎贝尔·弗洛雷斯·德·奥利瓦(Isabel Flores de Oliva, 1586-1617)，通常被称为玛丽的圣罗斯或利马的圣罗斯，成为第一位，直到今天，拉丁美洲最受尊敬的天主教圣人。几乎在她死后不久，这位年轻的多米尼加人，因其高度禁欲的生活，各种美德和坚定的信仰而闻名，在秘鲁发展了一个邪教。很快，这个邪教就传遍了南美和欧洲。在各种(主要是讲西班牙语的)国家出版的许多出版物中都讨论了利马的圣罗斯的主题，但在立陶宛，对这位圣徒的奉献和形象没有得到特别的研究关注。通过参考出版的来源和手稿，以及幸存的教会艺术作品，本文的作者旨在更详细地讨论关于利马的圣罗斯的生活和个性的信息是如何在立陶宛大公国传播的，关于拉丁美洲的信息，它的文化和人民是在这些来源中传达的，它是否反映在圣徒的肖像学中，如果是，如何。
{"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":null,"pages":null},"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}
Pub Date : 2022-02-15DOI: 10.37522/aaav.105.2022.113
Karolina Jakaitė
This 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.
{"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":null,"pages":null},"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}
Pub Date : 2022-02-14DOI: 10.37522/aaav.105.2022.106
Sigita Maslauskaitė-Mažylienė
The 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.
{"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":null,"pages":null},"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}
Pub Date : 2022-02-10DOI: 10.37522/aaav.105.2022.114
Francisco Tomsich
In 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.
2018年，乌拉圭-斯洛文尼亚艺术家弗朗西斯科·托姆西奇(Francisco Tomsich)发起了艺术研究项目Give my regards to those you connect，探索自20世纪60年代末以来，通过邮件艺术网络，来自前南斯拉夫和River Plate地区的艺术家之间的联系和对话。该研究的出发点是南斯拉夫解体前由乌拉圭艺术家Clemente Padín准备的塞尔维亚艺术家的邮政地址清单，并于2019年由Tomsich通过研究乌拉圭共和国大学总档案馆的“南斯拉夫”文件夹进行了扩展。本文追溯了2019年该项目在乌拉圭和塞尔维亚的发展，总结了其取得的一些成就，同时描述了作者的艺术研究方法以及方法、档案、比较艺术史、制度背景和失败等关键问题。
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Pub Date : 2022-02-08DOI: 10.37522/aaav.105.2022.107
Bart Pushaw
This 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.
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