Difference between revisions of "Milan Adamčiak"

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Born 1946 in Ružomberok. After studying cello at the Music school in [[Žilina]] (1962-1968) he continued his music studies at the Faculty of Philosophy of Comenius University [[Bratislava]] (1968-1973). In 1972-1991 he worked at the Institute of Musical Studies (later renamed to Institute of Art Studies) of Slovak Academy of Sciences on a research of music of the 20th century and the relations of music and visual arts. He taught at the Film Academy and also at the Faculty of Philosophy of Comenius University (1977-1989).
 
Born 1946 in Ružomberok. After studying cello at the Music school in [[Žilina]] (1962-1968) he continued his music studies at the Faculty of Philosophy of Comenius University [[Bratislava]] (1968-1973). In 1972-1991 he worked at the Institute of Musical Studies (later renamed to Institute of Art Studies) of Slovak Academy of Sciences on a research of music of the 20th century and the relations of music and visual arts. He taught at the Film Academy and also at the Faculty of Philosophy of Comenius University (1977-1989).
  
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From the mid-1960s he focused primarily on experimental poetry, graphic scores, and building sound objects. Trained traditionally but influenced by the poetics of John Cage and Fluxus, he created a large body of work that transgressed the conventional definitions of art creativity and quickly moved towards the concepts of opera aperta, action music and various intermedia forms. He also experimented with electronic media, and created several pieces of electroacoustic music and musique concrète, but it was primarily live electronics that fit the principles of his radical poetics. In the second half of the 1960s he worked in several groups of various periods of existence, particularly with [[Róbert Cyprich]] and [[Jozef Revall]]. At the same time, he carried out the sound and musical sections of several projects by other authors ([[Alex Mlynárčik]], [[Jana Želibská]], [[Jarmila Čihánková]]). By the end of the 1980s he renewed the activity by starting the [[Transmusic comp.|Transmusic comp. - Ensemble of unconventional music]] (1989), founding the [[SNEH|Society of Unconventional Music]] (Spoločnosť pre nekonvenčnú hudbu, 1990), and initiating the [[FIT - Festival of intermedia creativity]] (Bratislava, 1991 and 1992). In 1990 he co-founded [[New Seriousness]] with [[Július Koller]] and [[Peter Rónai]]. Since 2005 Adamčiak collaborates with [[Michal Murin]] on a social project ''[http://www.silberkuppe.org/Adamciak_A3.pdf Altruism as Arttruism]''. He lives in Banská Belá near Banská Štiavnica, Slovakia.
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From the mid-1960s he focused primarily on experimental poetry, graphic scores, and building sound objects. Trained traditionally but influenced by the poetics of John Cage and Fluxus, he created a large body of work that transgressed the conventional definitions of art creativity and quickly moved towards the concepts of opera aperta, action music and various intermedia forms. He also experimented with electronic media, and created several pieces of electroacoustic music and musique concrète, but it was primarily live electronics that fit the principles of his radical poetics. In the second half of the 1960s he worked in several groups of various periods of existence, particularly with [[Róbert Cyprich]] and [[Jozef Revall]]. At the same time, he carried out the sound and musical sections of several projects by other authors ([[Alex Mlynárčik]], [[Jana Želibská]], [[Jarmila Čihánková]]). By the end of the 1980s he renewed the activity by starting the [[Transmusic comp.|Transmusic comp. - Ensemble of unconventional music]] (1989), founding the [[SNEH|Society of Unconventional Music]] (Spoločnosť pre nekonvenčnú hudbu, 1990), and initiating the [[FIT - Festival of intermedia creativity]] (Bratislava, 1991 and 1992). In 1990 he co-founded [[New Seriousness]] with [[Július Koller]] and [[Peter Rónai]]. Since 2005 Adamčiak collaborates with [[Michal Murin]] on a social project ''[http://www.silberkuppe.org/Adamciak_A3.pdf Altruism as Arttruism]''. He lived last years of his life in Banská Belá near Banská Štiavnica, Slovakia.
  
 
; in Czech
 
; in Czech

Revision as of 10:48, 18 January 2017


Milan Adamčiak with John Cage
Born December 16, 1946(1946-12-16)
Ružomberok, Slovakia
Died January 17, 2017(2017-01-17) (aged 70)
Collections Art museums in Slovakia (Web umenia)

Milan Adamčiak (1946-2017) was a Slovak composer, cellist and musicologist; author of acoustic objects, installations and unconventional musical instruments; performer, visual artist, experimental poet, and mystifier.

Biography

Born 1946 in Ružomberok. After studying cello at the Music school in Žilina (1962-1968) he continued his music studies at the Faculty of Philosophy of Comenius University Bratislava (1968-1973). In 1972-1991 he worked at the Institute of Musical Studies (later renamed to Institute of Art Studies) of Slovak Academy of Sciences on a research of music of the 20th century and the relations of music and visual arts. He taught at the Film Academy and also at the Faculty of Philosophy of Comenius University (1977-1989).

From the mid-1960s he focused primarily on experimental poetry, graphic scores, and building sound objects. Trained traditionally but influenced by the poetics of John Cage and Fluxus, he created a large body of work that transgressed the conventional definitions of art creativity and quickly moved towards the concepts of opera aperta, action music and various intermedia forms. He also experimented with electronic media, and created several pieces of electroacoustic music and musique concrète, but it was primarily live electronics that fit the principles of his radical poetics. In the second half of the 1960s he worked in several groups of various periods of existence, particularly with Róbert Cyprich and Jozef Revall. At the same time, he carried out the sound and musical sections of several projects by other authors (Alex Mlynárčik, Jana Želibská, Jarmila Čihánková). By the end of the 1980s he renewed the activity by starting the Transmusic comp. - Ensemble of unconventional music (1989), founding the Society of Unconventional Music (Spoločnosť pre nekonvenčnú hudbu, 1990), and initiating the FIT - Festival of intermedia creativity (Bratislava, 1991 and 1992). In 1990 he co-founded New Seriousness with Július Koller and Peter Rónai. Since 2005 Adamčiak collaborates with Michal Murin on a social project Altruism as Arttruism. He lived last years of his life in Banská Belá near Banská Štiavnica, Slovakia.

in Czech

"Adamčiak se jako jeden z prvních začínal cílevědomě věnovat výzkumu v rámci intermediálních programů. Upřednostňoval vizuální experimentální poezii, kterou později rozšířil na hudební a poetické kreace - hudební akce happeningového a eventového typu. Často vycházel z ozvláštňování běžných událostí postavených na individuálních zážitcích. Své projekty prezentoval jako akce pro několik jedinců jako ve Zpívajících fontánách, založených na bezprostředním komorním účinkovaní pod sprchou, které vznikaly od roku 1966, nebo ve veřejném, zřídka kdy pochopeném prezentovaní akcí jako Requiem nebo Pocty Františkovi z Assisi z roku 1968. Od roku 1968 se začínal rozsáhleji věnovat hudebně-prostorovým projektům, přičemž ve většině byl cítit výrazný vliv Johna Cageho. Adamčiak si uvědomoval, že 'partitura skladby se silnými náhodnými (aleatornými) prvky se vlivem své grafické struktury dostává i do sféry výtvarné a tím může působit i jako volný grafický list, stává se teda nositelem hudební i výtvarné informace.'"(source)

in German

Urspruenglig Violoncellist, später Musikwissenschaftler, Mitglied der Slowakischen Akademie der Wissenschafften /1972-1991/. Seit 1964 beschäftigte sich mit experimentellen Poesie und Musikalischen Graphik unnd war tätig auch als Aktionkuenstler. In 1974 war Teilnehmer an Darmstädter Ferienkurse fuer Neue Musik. Nach 1989 inizierte Entstähung der Transmusik Comp. - ein offene Ensemble fuer Musikperformance mit seine gefundene und home made Klangobjekten. und hat Gesellschaft fuer unkinventionelle Musik mit Michal Murin und Peter Machajdík gegruendet. Als Kurator hat in Slowakischen Nationale Galerie mit persoenlichen Partizipation von John Cage eine grosse Austellung seinner Partituren in 1992 präsentiert. In letzten Jahren war tätig als Performer und Installationskuensttler. Dank Michal Murins Initiativen ist seine ältere und neue Schaffen mehr kennengelehrt und akzeptiert.

Recent exhibitions

List of Adamčiak's exhibitions on Artfacts

Filmography

  • Podhubie - podhudbie, STV.
  • Transmédia, dir. Novan, STV, 1990.
  • UM, dir. Kaiser - Princ, STV, 1990.
  • Opak je pravdou [The Opposite is True], dir. Arnold Kojnok, FVU AU Banská Bystrica, 2007, 15 min. Video. Available online.
  • Muzikológ a tvorca [Musicologist as Creator], dir. Arnold Kojnok, VŠMU + FVU AU BB, 2009, 44 min. Documentary. Available online. More information.
  • Genug, dir. Michal Murin, 2009, 9 min.

Publications

Books

  • Archív I (EXPO): experimentálna poézia 1964-1972 / Archive 1: Experimental Poetry 1964-1972, ed. Michal Murin, Košice: Dive Buki, 2011, 352 pp. TOC & Introduction, Review, Publisher. (Slovak),(English),(French)
  • Archív II (KOPO): konkrétna poézia 1964-1972, ed. Michal Murin, Košice: Dive Buki, 2016, 330 pp. Publisher. (Slovak)
  • Archív III (NÔTY): notácie a grafické partitúry / Archive III (NÔTY): notations and graphic scores, ed. Michal Murin, Košice: Dive Buki, 2013, 413 pp. Publisher. (Slovak),(English)
  • Archív IV (AKTY): Akcie, performancie, projekty, koncepty a výstavy, eds. Milan Adamčiak and Michal Murin, Košice: Dive Buki, 2016, 389 pp. Publisher. (Slovak)

Articles

  • Jama (J. Adamčiak), "Ensemble-Comp.", MT 14:10 (1969), pp 25-28. (Slovak)

Interviews

Literature

Essays, articles

  • Jozef Cseres, "Milan Adamčiak", Profil súčasného výtvarného umenia 24, 1992. (Slovak)
  • LENGOW & HEyeRMEarS, "Netransparentný exhibicionizmus Milana Adamčiaka: Klavír z anglickej ambasády", in Programový bulletin Galérie K–49, 1998. (Slovak)
  • Michal Murin, "Klavír z anglickej ambasády. Skladby Milana Adamčiaka pre klavír", Ticho – současník hudby 10, 1998. (Slovak)
  • Alena Vrbanová, "Milan Adamčiak – presahy hudby a výtvarného umenia", Romboid 9, 1998, pp 67-68. (Slovak)
  • Richard Gregor, "Milan Adamčiak", Dilema 2, 2001, pp 76-77. (Slovak)
  • Ivan Kolenič, "Bohovia sú stále smädní (Milanovi Adamčiakovi)", Dotyky 14:3-4, 2002, pp 106-107. (Slovak)
  • Július Fujak, "Slovenské hudobné alternatívy. Transmusic Comp. a SNEH. Adamčiak, Machajdík, Murín, Cseres", Hudobný život 10, 2004, pp 36-38. (Slovak)
  • Kamil Zbruž, "Milan Adamčiak – grafické partitúry alebo Milan v Adamčiakove", Romboid 42:3, 2007, pp 55-60. (Slovak)
  • Marián Kubica, "Opak – je pravdou pre – Milana Adamčiaka ne-zištne Marián Kubica", Slovenské pohľady 3, 2009, pp 144-147. (Slovak)
  • Andrea Bátorová, "Milan Adamčiak", in Aktionskunst in der Slowakei in den 1960er Jahren, Lit Verlag, 2009, pp 94-96. (German)
    • "Milan Adamčiak", in Akčné umenie na Slovensku v 60. rokoch 20. storočia. Akcie Alexa Mlynárčika, Bratislava: Slovart/VŠVU, 2011. [2] (Slovak)
  • Jozef Cseres, "In Between As a Permanent Status: Milan Adamčiak's Version of Intermedia", Leonardo Music Journal 19, Dec 2009, pp 31-34. (English)
  • "Adamčiak - Murin: Altruism as Arttruism", in Copy and Paste, 2011. [3] (English)
  • Slávo Krekovič, "Organizovaný zvuk a experiment v slovenskej hudbe", in Sound Exchange: Anthology of Experimental Music Cultures in Central and Eastern Europe 1950-2010, eds. Carsten Seiffarth, Carsten Stabenow and Golo Föllmer, Saarbrücken: PFAU, 2012. (Slovak)
  • Michal Murin, "Milan Adamčiak, ce célèbre inconnu", Enter +, Košice: Dive Buki, 2011, pp 26-30. (French)
  • Katarína Trnovská, "Milan Adamčiak, Michal Murin. Altruismus ako umelecký akt", Dotyky 5, 2012. (Slovak)
  • Michal Murin, Daniel Matej, Jozef Cseres, Martin Burlas, "Milan Adamčiak – 65", Hudobný život 44:1-2, 2012, pp 22–23. (Slovak)
  • Daniel Grúň, "Performatívne písanie Milana Adamčiaka", in Třídit slova. Literatura a konceptuální tendence 1949–2015, eds. Markéta Magidová, Ondřej Buddeus and Václav Magid, Prague: tranzit.cz, 2015, pp 122-137. [4] (Slovak)
  • more

Theses

See also

Links

Contact

michal.murin(at)gmail.com

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