Difference between revisions of "Slovakia"

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==Avant-garde==
 
==Avant-garde==
 
* In 1920, Jozef Vydra, founded the Society of Art Industry orientated towards the production and promotion of modern design. The Society intended to organise production workshops and enterprises, but the generally low level of Slovak industry resulted in it being dissolved in 1924. Josef Vydra later concentrated on educational activities. In 1928 on Vydra's initiative the School of Arts and Crafts (1928-1939) was founded in Bratislava with support from the Chamber of Commerce and Industry, and quickly became one of the most progressive educational institutions in the area of utility creative art disciplines in Europe during the interwar period. Like Bauhaus, it focused on the interconnection between the manual skills and creative abilities of the students. The school’s intention was also to integrate national folk craft traditions into modern production. The school’s teachers included creative artists from avant-garde circles, including [[Ľudovít Fulla]], [[Mikuláš Galanda]], [[Jaromír Funke]] and lecturers such as L Moholy-Nagy, J Tschichold, H Meyer and others.  
 
* In 1920, Jozef Vydra, founded the Society of Art Industry orientated towards the production and promotion of modern design. The Society intended to organise production workshops and enterprises, but the generally low level of Slovak industry resulted in it being dissolved in 1924. Josef Vydra later concentrated on educational activities. In 1928 on Vydra's initiative the School of Arts and Crafts (1928-1939) was founded in Bratislava with support from the Chamber of Commerce and Industry, and quickly became one of the most progressive educational institutions in the area of utility creative art disciplines in Europe during the interwar period. Like Bauhaus, it focused on the interconnection between the manual skills and creative abilities of the students. The school’s intention was also to integrate national folk craft traditions into modern production. The school’s teachers included creative artists from avant-garde circles, including [[Ľudovít Fulla]], [[Mikuláš Galanda]], [[Jaromír Funke]] and lecturers such as L Moholy-Nagy, J Tschichold, H Meyer and others.  
 +
* [[Nová Bratislava]] review monthly
 
; Literature
 
; Literature
 
* [[Sonia de Puineuf]], "A Dot on the Map: Some Remarks on the Magazine 'Nová Bratislava'", ''The Journal of Modern Periodical Studies'', Volume 1, Number 1, 2010. [http://muse.jhu.edu/journals/journal_of_modern_periodical_studies/summary/v001/1.1.de-puineuf.html]
 
* [[Sonia de Puineuf]], "A Dot on the Map: Some Remarks on the Magazine 'Nová Bratislava'", ''The Journal of Modern Periodical Studies'', Volume 1, Number 1, 2010. [http://muse.jhu.edu/journals/journal_of_modern_periodical_studies/summary/v001/1.1.de-puineuf.html]

Revision as of 12:05, 15 September 2011

Cities

Banská Bystrica, Banská Štiavnica, Bratislava, Kežmarok, Košice, Levoča, Medzilaborce, Michalovce, Nitra, Nové Zámky, Prešov, Šamorín, Skalica, Trenčín, Trnava, Žilina.

Historical media experimentators

  • Johann Wolfgang Kempelen {18th century) - mechanical sound synthesis, chess automaton (a man hidden in a box moved chess figures with the help of teleoperator links)
  • Jozef Petzval - calculated and constructed the first photo camera lens
  • Jozef Murgaš - emigrated from Slovakia to Wilkes Barre, Pennsylvania, where he soon devised a system that greatly improved Morse code. His "Rotary-spark-system" allowed for faster communication, through the use of musical tones. The new invention was patented as the "Wireless Telegraphy Apparatus". He also patented 16 more inventions in this field, which would go on to lay the foundations for the invention of the radio. A lack of money as well as a number of financial setbacks, eventually led Murgas to give the younger, more prosperous Marconi, the rights to all of his patents.
  • Antonin Jedlík and Gejza Bolemann - created Lissajouse patterns (super-position of harmonic functions) with the mechanical "predecessor" of the computer plotter (long before Ben Laponsky did his first oscilons with an electronic computer).

Avant-garde

  • In 1920, Jozef Vydra, founded the Society of Art Industry orientated towards the production and promotion of modern design. The Society intended to organise production workshops and enterprises, but the generally low level of Slovak industry resulted in it being dissolved in 1924. Josef Vydra later concentrated on educational activities. In 1928 on Vydra's initiative the School of Arts and Crafts (1928-1939) was founded in Bratislava with support from the Chamber of Commerce and Industry, and quickly became one of the most progressive educational institutions in the area of utility creative art disciplines in Europe during the interwar period. Like Bauhaus, it focused on the interconnection between the manual skills and creative abilities of the students. The school’s intention was also to integrate national folk craft traditions into modern production. The school’s teachers included creative artists from avant-garde circles, including Ľudovít Fulla, Mikuláš Galanda, Jaromír Funke and lecturers such as L Moholy-Nagy, J Tschichold, H Meyer and others.
  • Nová Bratislava review monthly
Literature
  • Sonia de Puineuf, "A Dot on the Map: Some Remarks on the Magazine 'Nová Bratislava'", The Journal of Modern Periodical Studies, Volume 1, Number 1, 2010. [1]

Artist groups

Arts and engineering groups and collectives in CEE#Czechoslovakia

Video art (1960s-80s)

Artists
Forms
  • diaprojections (*1966, Filko)
  • documentation recordings of performances, happenings, events (*1971, Mlynárčik, Kordoš, Meluzin, Rónai)
  • features, films incorporating video art techniques (*1972, Havrilla, Ďurček)
  • fine art films (*1977, Havrilla)
  • video installations (*1980s, Rónai's antivideos)
  • No references to the self-purpose videos, neither closed-circuit TV installations in this period.
More

Performance art (1960s-2000s)

Artists
Groups
Festivals
  • Transart Communication intermedia art festival (*1987, Nové Zámky, at the peak period 1990-92 and 1995-96 performances by Jana Želibská, Milan Adamčiak, Július Koller, Juraj Bartusz, Stanislav Filko, Anna Daučíková, Miroslav Nicz, Michal Murin, Ľubo Stacho, Peter Kalmus, Anabela Žigová and others), Evenings of New Music (*1990, Bratislava), San Francisco Performance Art Festival (1991, Bratislava), IFEM music forum (1992, 94, Dolná Krupa Castle), FEM music festival (1995, 96, Bratislava), Sound Off music festival (1995-2002, Bratislava, Šamorín, Nové Zámky, Nitra), ...Medzi... (1996-2000, Skalica), Next music festival (*2000, Bratislava), Multiplace new media culture festival (*2002).
Exhibitions
  • Výhonok, 2000 in GMB Bratislava. Curator: Radislav Matuštík.
  • Art of Action 1965-1989, 26 April - 19 August 2001 in Slovak National Gallery. Curator: Zora Rusinová (Radislav Matuštík resigned).
  • Art of Action 1989-2000, 7 April - 7 May 2001 in Elektráreň Tatranskej galérie, Poprad and 12 September - 20 October 2001 in Gallery of Nitra. Curator: Lucia Gregorová-Stachová. Iniciated by Michal Murin.
More

Sound art (1960s-2000s)

Artists
Forms
  • audio-kinetic sculptures and environments (1960s, Dobeš, Mlynárčik)
  • graphic artists meeting composers (George Cup - Peter Machajdík, mid-1970s; Daniel Fischer – Ilja Zelenka, 1979 and 1993; Svetozár Ilavský – Svetozár Ilavský, since 1991; Miloš Štofko – Martin Burlas, 1994; Viktor Hulík – Peter Machajdík, 1993; Dirk Dietrich Hennig - Peter Machajdík, since 2003; Bohuš Kubínsky and Monika Kubínska – Iris Szeghy, 1995; Jaroslav Drotár – Marek Piaček, 1995; Dorota Sadovská – Daniel Matej, 1997; Zbyněk Prokop - Peter Machajdík, since 2010)
  • acoustic part of action art (1970, Adamčiak, Cyprich)
  • sound objects (1970s-90s, Polymúzický priestor I. exhibition, Labat, Transmusic Comp, Lengow & HEyeRMEarS)
  • sound environments (1990s-2010s, Machajdík)
  • home-made musical instruments (1980s-90s, Adamčiak, Sound Off festivals)
  • acoustic environments (1980s-90s, Murin)
Exhibitions
Works
  • The Pulsating Rhythm, 1963. Milan Dobeš. Sound manipulated on the basis of the synchronization of impulses.
  • A Cathedral of Humanism, 1968. Stanislav Filko. Exhibited at the international exhibition Danuvius ’68. The synthetic environment that utilized concrete music (sounds reproducing radio broadcast).
  • Chafing, 1969. Milan Adamčiak and Róbert Cyprich. Created the musical component of Alex Mlynárčik's event in the High Tatras.
  • Miss Pogana’s Flirt, 1969. Alex Mlynárčik. Exhibited in Apollinaire Gallery in Milan, Italy. (1934) in his homage to Constantin Brâncuşi used plastic eggs that emitted ringing sounds after being set in motion by spectators. Interactive environment changing, through a visitor’s gesture, was not merely the constellation of objects but also the acoustic quality of space.
  • Water Music, 1969. Milan Adamčiak and Róbert Cyprich. Music project that modernized Georg Friedrich Händel’s original composition; together with Jozef Revallo, the piece was performed at the indoor swimming-pool of the college dormitory Juraja Hronca in Bratislava.
  • Spring Union, 1970. Milan Adamčiak. Created the musical components of Jana Želibská's event in Dolné Orešany.
  • The Yellow Environment, 1970. Milan Adamčiak. Created the musical components of Jarmila Čihánková's event at the exhibition Polymúzický priestor I. in Piešťany.
  • The Wheelwork of Time, 1970. Vladimír Môťovský. Piece for the exhibition Polymúzický priestor I. in Piešťany. Sculpturesque object in the shape of a clattering mill.
  • A Dwelling-Place, 1970. Andrej Goliáš. Piece for the exhibition Polymúzický priestor I. in Piešťany.
  • 1970. Ivan Štěpán. Piece for the exhibition Polymúzický priestor I. in Piešťany. Optophonic space consisting of the synchronization of visual, acoustic, and architectural elements.
  • Three Graces, 1970. Róbert Cyprich. Participated musically at the Alex Mlynárčik's project at the I. Otvorený ateliér in Bratislava.
  • Acousticon, 1970. Alex Mlynárčik, Miroslav Filip and Viera Mecková. Project was begun but left unfinished; it had been intended as a programmed musical instrument whose sound depended on the movement of the spectator on an ascending and descending spiral.
  • 1971. Milan Dobeš. Wrote a special light-kinetic program for the American Wind Symphony Orchestra to accompany symphonic compositions by T. Mayazumi and Krzysztof Penderecki (a series of concerts in the United States).
  • Games of Games, 1985. Michal Murin. Acoustic environment.
  • Earth Music, 1986. Michal Murin. Part of Monuments and the Present Age project.
  • A Visual Composition, 1987. Michal Murin. Acoustic environment.
  • Simultaneous Improvisationshttp://www.rainerlinz.net/NMA/repr/Synchronistic.html, 1989. Michal Murin. Acoustic environment. Music bridge Perth – Bratislava.
  • 1989. Milan Adamčiak. At the exhibition The Basement in Bratislava. Extensive installation consisting of sound objects and musical instruments constructed primarily from found materials.
  • The Schrattenberg Sprite, 1991. Miloš Boďa and Juraj Ďuriš. Interactive acoustic object.
  • Archeomusic, 1992. Michal Murin. Used natural material (wood, leaves, soil, straw) for creating sound objects brought into play during performances.
  • Sonic Environment, 1993. Peter Machajdík and David Moss. Audio Art Festival, The Hague (NL).
  • Green Pianos, 1993. Sound environment by Peter Machajdík. AVE Festival (internationaal audiovisueel experimenteel festival), Arnhem (NL).
  • Tanz-Klang-Raum I., 1993. Sound Environment by Peter Machajdík. With dancer-performer Dorothea Rust. Festival Hier und dort, Shedhallen, Zug (CH).
  • Tanz-Klang-Raum II., 1993. Sound Environment by Peter Machajdík. With dancer-performer Dorothea Rust. Performance-Tage, Seedam Kulturzentrum, Pfäffikon (CH).
  • Tanz-Klang-Raum III., 1994. Sound Environment by Peter Machajdík. With dancer-performer Dorothea Rust. Kunstmuseum Thun (CH).
  • TROMPeter, 1995. Sound Environment by Peter Machajdík. Audio Art Festival, Kraków (PL) and Melos-Ethos Festival, Bratislava (SK).
  • Tanz-Klang-Raum IV., 1995. Sound Environment by Peter Machajdík. With dancer-performer Dorothea Rust. International Festival Bollwerk Belluard, Fribourg (CH).
  • Tanz-Klang-Raum V., 1995. Sound Environment by Peter Machajdík. With violinist Malcolm Goldstein and dancer-performer Dorothea Rust. Aargauer Kunsthalle, Aarau (CH).
  • Soundscapes, 1997. Peter Machajdík and Nicolas Collins. Studienwoche für Neue Musik, Lüneburg (DE).
  • Travelling Art Museum – Musical Ecofacts and Artifacts from the Eocene to the Futurocene, 1997. Lengow & HEyeRMEarS. For the symposium Kép-Ze-Let at the Mining Museum in Tatabánya (HU). Sound object oscillating between a sound object and a conceptual visual acoustic installation.
  • SOUNDgARTen, 1999. Peter Machajdík. Festival La Belle Jardinière, Künstlerhaus Schloss Wiepersdorf (DE).
  • Warholes, 1999. Lengow & HEyeRMEarS and Otomo Yoshihide. Acoustic installation on the premises of the permanent exhibition at Andy Warhol’s Museum of Modern Art in Medzilaborce.
  • Personal Time Quartet, 2003. Sound environment by Peter Machajdík for a mixed media installation by Gülsün Karamustafa. Historisches Museum, Hannover (DE).
  • Hannahver, 2003. Sound environment by Peter Machajdík. Electric Rainbow Coalition Festival; Dartmouth College, Hanover (USA).
  • SOUNDpaik, 2003. Sound environment by Peter Machajdík. Künstlerhaus Lukas, Ahrenshoop (DE).
  • The Healing Heating, 2007. Sound environment by Peter Machajdík. With Petra Fornayová and Boris Lenko. Kunstforum Ostdeutsche Galerie, Regensburg (DE).
  • Sonic Situations, 2010. By Peter Machajdík and Michal Rataj. International Festival Intermedia.bb in Banská Bystrica 2010 + Elektronischer Frühling 2011, Kunstverein Wien (AT).
Literature
  • Michal Murin: The Seeing Ear - Sound Object and Instalations II, [3]

Early computer art (1970s-80s)

Artists

Jozef Jankovič with Imrich Bertók, Juraj Bartusz with Vladimír Haltenberger, Daniel Fischer with Igor Klačanský, Martin Šperka, Agnes Sigetová.

Forms
  • lithographies and serigraphies based on computer-generated drawings (*1966/1973, Jankovič with Bertók)
  • manufactured sculptures based on computer-generated curves (*1973, Bartusz with Haltenberger)
  • computer morphing line drawings (*1975, Fischer with Klačanský)
  • computer animations (*1980s, Sigetová, Slivka)
Exhibitions
  • Československá počítačová grafika Institut průmyslového designu, Praha, 1976
  • Druhá celostátní výstava počítačového umění v ČSSR, ÚKDŽ, Praha, 1985
  • Počítačové umění v ČSSR a ve světě, Palác kultury, Praha, 1989
  • Hranice geometrie, Dom umenia, Bratislava, 2010
Works
  • decoration for facade of Výpočtové stredisko dopravy in Bratislava, 1971-1974. Jozef Jankovič with Imrich Bertók.
  • Aluminium art objects from 1973- 1974. Juraj Bartusz with Vladimír Haltenberger. The objects were made according to computer drawings utilizing boundary curves generated by the HP 9030A computer.
  • Ikarus, 1974. Jozef Jankovič with Imrich Bertók.
  • Movement in a circle, 1974. Jozef Jankovič with Imrich Bertók. Transformation of figure into abstract image.
  • Spacetime sculpture, 1976-78. Juraj Bartusz with Vladimír Haltenberger.
  • Cosmic Head, 1976-78. Juraj Bartusz with Vladimír Haltenberger
  • Altamira, 1978-. Daniel Fischer with Peter Gerža /? Igor Klačanský. Cave bull morphing into sign of infinity, first computer animation in Slovakia. Single frames plotted by CalComp plotter were photographed step by step by 16mm animation camera, then processed by painter's interventions. Film was shown on Slovak television in Bratislava. Fischer: "Úlohou lineárnej transformácie je postihnúť kultúrne kontexty v čase fázovaním premien východiskových kresieb do cieľových, priamo modelovať časové premeny a vizualizovať čas ako fenomén spätý s ľudským bytím."
  • Exterior design for a general hospital in Bratislava IV, colored aluminium and epoxy, 6 x 6 m, 1981-1982. Jozef Jankovič. The artwork was created according to computer drawings using the PDP11 computer and the Calcomp plotter. Each column shows the morphing of an outline of part of the human body into an electrocardiograph signal.
  • Solentine Apocalypse, 1982. Daniel Fischer with Igor Klačanský. Computer-generated illustrations for Slovak edition of the book by J Cortazar.
  • The Cubist's Pictures Can Be Read Like a Modern Poetry, serigraph, 1983. Daniel Fischer. From the series Images-Poems, this artwork was generated by the CDC3000 computer and the Calcomp plotter. The artist used an earlier version of the image to create an oil painting in 1982.
  • Window, 1984. Jozef Jankovič with Imrich Bertók. Dynamics of line in a given frame.
  • Interior design at the general hospital in Bratislava III, cast sand and epoxy, 3 x 3 m, 1984-1985. Jozef Jankovič. The casting form was produced from computer drawings using the SM4 computer and Calcomp plotter.
  • Squash, 1985. Jozef Jankovič with Imrich Bertók. Dynamics of line in a given frame.
  • Neverending Line, 1985. Jozef Jankovič with Imrich Bertók. Applied random number generator.
  • ?, 1986. Ondrej Slivka. 7' cartoon with some sections animated by a computer program of Martin Sepp and Martin Šperka. The film received awards at several international animation festivals abroad.
  • 01, 1987. Michal Murin, project for Ars Electronica, software art, performance, sound, concept in big computer hall MEOPTA - výpočtové stredisko.
Literature
  • Martin Šperka, "The Origins of Computer Graphics in the Czech and Slovak Republics" Leonardo, Vol. 27, No. 1 (1994), pp. 45-50 [4]
  • Martin Šperka, "Some notes on the history of electronic and computer art in Slovakia" 1996 [5]
Resources
  • Pioneers of the computer graphics art in the Czech and Slovak Republics, [6]

Electroacoustic music

Composers
Centres
Events
Releases
  • Anthology of Slovak electroacoustic music 1966-1991. CECM, 2-CD, EMCD001-002, 1992. [7]
  • Electroacoustic music Slovakia 1989-1994. CECM, EMCD003, 1994. [8]
  • EXperimental edition. Experimental Studio of Slovak Radio. [9]
  • Peter Machajdík, Soundscapes, Electro-Acoustic and Computer Music. Edition Hudba N81 0002 2 131, 2005. [10]
  • Various – Electronic Music: Experimental Studios In Prague, Bratislava, Munich, University Of Illinois, Warsaw, Paris. Creel Pone #39, 2006. [11] download
  • R(a)dio (Custica) Selected 2008. Czech Radio 3 - Vltava and His Voice, 2009-3. Works by Peter Machajdík, Colin Black, Miloš Vojtĕchovský and Ladislav Železný, [12]
Literature
  • Milan Adamčiak, "Slovak electroacoustic music history", 1995. [13] (English)
  • Milan Adamčiak, "Príbeh jednej hudby", 1996. [14] (Slovak)
  • Jozef Malovec, "Reminiscences of the beginnings of EAM in Bratislava", November 1994. [15] (English and Slovak)
Resources

Slovak electroacoustic music archive, [16]

Experimental film

Artists, filmmakers, and works
  • Juraj Jakubisko, filmmaker. Short student films: Mikulášsky týždenník (1961-1963), Posledný nálet (1960), Každý deň má svoje meno (1961), Mlčanie (1963), Dážď (1965). Feature films with experimental techniques: Kristove roky (1967), Zbehovia a pútnici (1968), Vtáčkovia, siroty a blázni (1969) a Dovidenia v pekle priatelia (1970). [17]
  • Martin Slivka, documentary filmmaker. Voda a práca (1963). [18]
  • Dušan Hanák, filmmaker. Made several experimental documentary films at Štúdio krátkych filmov, Bratislava. Zádumčivosť (1963), Variáce kľudu (1966), Metamorfózy (1965), Impresia (1966), Sonáta, alebo Hľadanie šťastného čísla (1966), Výzva do ticha (1966), Prišiel k nám Old Shatterhand (1966), Zanechať stopu (1970), Deň Radosti (1972). [19]
  • Ctibor Kováč, Ohnivé rieky (1965). [20]
  • Dušan Trančík, filmmaker. Short films: Fotografovanie obyvateľov domu (1968) a Šibenica (1969). [21]
  • Peter Mihálik, film theorist. Lilli Marlen (1970), short film. [22]
  • Vladimír Havrilla, artist. 8mm films: White (bazén, rúra), White (pena) (1973), Lift (1974), No limit (1976), Lebo veľa hrešila (1977), Modliaca figurína (1977), Milosť (1977), Bábika (1982). See also his video works at Video art in Slovakia (1960s-80s).
  • Ľubomír Ďurček. See his video works at Video art in Slovakia (1960s-80s).
  • Samo Ivaška.
  • Vladimír Kordoš, artist. Aténska škola (1981, 16mm). [23]
  • Kvetoslav Hečko, documentary filmmaker. Atď. (1987), Zo Suterénu (1989), Argíllia (1991), Squat (1991), Scénografický útok na Groningen (1992), Jana Želibská (1994), V. Oravec a M. Pagáč (1994), Kaplnka svätej Barbory (1995). [24]
Literature
  • Andrew J Horton, "Avant-garde Film and Video in Slovakia" Central European Review (October 1998) [25] (English)
Resources

Video art (1990s-2000s)

Artists
Forms
  • Features on identity, consummerism, body, gender, socio-cultural questions, ecology.
  • Film footage manipulations.
  • Video installations (Rónai, Meluzin, Želibská, Kvetán)
  • Interactive video installations (Rónai)
  • Video performances (Murin)
Exhibitions
  • Imago – Fin de siécle, 30 May to 10 July 1991 in Bratislava. First video art 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.
  • Objects and Installations, 1992 in PGU Žilina. Included video-installations.
  • New Acquisitions, 1993 in PGU Žilina. Included video installations.
  • 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 in Škola úžitkového výtvarníctva J Vydru Bratislava. Exhibited the sampler of videos from six events of Slovak artists (Meluzin, Želibská, Oravec-Pagáč, Galovský, Nicz, Pisár) at various locations.
  • Video vidím ich sehe, 1994 in PGU 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 video art. The gallery was the only one consistently researching and acquiring Slovak video art. Later exhibition included retrospective of Jana Želibská (1996-97) and Peter Rónai (1997).
  • Peter Meluzin - Mouse Killer, 1995 in PGU Žilina. Site-specific video-installation by Peter Meluzin.
  • Videoart VŠVU, 1996 in Rock Café Gallery Prague. Curated by Juraj Čarný. [26]
  • Videoanthology, 1997 in PGU Žilina. Curated by Katarína Rusnáková. 13 video works by Peter Rónai.
Publications
  • BARLA videojournal, videotape presenting a number of video artists from Slovakia, Czech Republic, and other countries. Three issues were published in 1996, 1997 and 1999 by editors Miroslav Nicz and Peter Rónai. The collection was released on CD-ROM in 2000.
More

Digital prints

Exhibitions

Reinstallation: Slovak institut, Budapest and East Slovakia Gallery, Košice in 2005

Literature

Digital art (1990s-2000s)

Forms
  • digital signal processing and sound performances
  • visual performances
  • interactive software-based installations
  • computer animation
  • motion video
  • internet art
Exhibitions
More

Bibliography

Presentation out of Slovakia

Tusovka screening (*2009)

more


Arts in Slovakia
Video art in Slovakia (1960s-80s) | Performance art in Slovakia (1960s-2000s) | Sound art in Slovakia (1960s-2000s) | Early computer art in Slovakia (1970s-80s) | Electroacoustic music in Slovakia | Experimental film in Slovakia | Video art in Slovakia (1990s-2000s) | Digital prints in Slovakia | Digital art in Slovakia (1990s-2000s) | Bibliography of writings on media art in Slovakia | Bibliography of writings on media art (outside Slovakia) in Slovak
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