Slovakia
Cities
Banská Bystrica, Banská Štiavnica, Bratislava, Kežmarok, Košice, Levoča, Medzilaborce, Michalovce, Nitra, Nové Zámky, Považská Bystrica, 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
School of Arts and Crafts, Bratislava (1928-1939)
School of Arts and Crafts [Škola umeleckých remesiel] (1928-1939) was founded on initiative of Josef Vydra in Bratislava with support from the Chamber of Commerce and Industry to provide evening courses in drawing and advertising. In 1930 it merged with Učňovské školy, and included departments for painting, fashion and textile design, metal, wood, ceramics, photography, graphic art, retail design, and film. It quickly became one of the most progressive educational institutions in the arts and crafts in Europe during the interwar period. Studies in specialized departments were preceded by preliminary elementary courses in drawing, surface and space composition, colour harmony, modeling and lettering. In reality, this already involved an application of the Bauhaus method. The school's intention was also to integrate folk craft traditions in modern production. The teachers included avant-garde artists Ľudovít Fulla, Mikuláš Galanda, Jaromír Funke or Zdeněk Rossmann, guest lectures were delivered by László Moholy-Nagy, Jan Tschichold, Kállai, Hannes Meyer and others. They drew their inspiration from Analytical Realism, Constructivism and the poetic fantasy of children's art - combining all these influences with a high level of craft skills and with folk art traditions. In mid-1930s the school was attended by 200 students and the teaching staff counted some twenty members. The students were of Slovak, Czech, German and Hungarian nationalities and they also came from Poland, Yugoslavia, Germany and Bulgaria. After the Czech professors were forced to leave Slovakia, Vydra persuaded Fulla to take up the direction of the School, hoping to preserve continuity of its orientation. However, the school operated only for another 10 months. On 1 October 1939, the School of Applied Arts was closed.
Events
- Under the auspices of its director Josef Polák, the East Slovakia Museum in Košice organised exhibitions of contemporary European graphic art, for which a series of posters was created by the featured artists. The key figure amongst these artists was Eugen Krón, who came from Hungarian avant-garde circles. Another Slovak, Martin Benka, presented a different kind of production in Slovak graphic design, with works that were close to the international art deco design movement, but which mainly tried to emphasise the national character of production. As the first Slovak to do so, Benka applied himself intensively to the creation of fonts. [1]
- Fulla, Galanda, "Súkromné listy Fullu a Galandu", 1930-32, manifesto. [2]
- 'Bauhaus im Osten', exhibition at Slovak National Gallery, Bratislava. Designed the director of the Stadtische Museum in Leverkusen, Susanne Anna.
- 'SLOVENSKÁ TYPOGRAFIA V XX. STOROČÍ. Časť prvá: 1918 - 1970', exhibition, City Gallery of Bratislava, Oct 2004 - Jan 2005. Curator: Ľubomír Longauer. [3]
Journals
- Slovenská grafia, *1929. The magazine intended to promote the modernization of polygraphy and applied graphics. Edited by Antonín Hořejš, who gave lectures at the School of Applied Arts on contemporary taste, and Fulla designed the typographic layout.
- nová bratislava review monthly, early 1930s. With functional design. Edited by Zdeněk Rossmann, Fridrich Weinwurm and Daniel Okáli. (cover)
Literature
For literature about the School of Arts and Crafts see its dedicated page.
- Catalogues
- Das Bauhaus im Osten: Slowakische und tschechische Avantgarde 1928-1939, ed. Susanne Anna, Ostfildern-Ruit: Hatje Cantz, et al., 1997, 339 pp. [4] TOC, [5]. Review: Long (SDA 2000 EN). (German)
- Košice Modernism and Its Wider Context, eds. Zuzana Bartošová and Lena Lešková, Košice: Východoslovenská galéria, 2013. Exhibition. (English)
- Books, journal issues
- Ars 3:2 "Výtvarné avantgardy a dnešok", Bratislava: Slovak Academy of Sciences, 1969. Proceedings from an international conference held at Smolenice, 12-14 June 1968. Papers by Irena Blühová, Júlia Horová, Iva Mojžišová, František Reichenthal, Tomáš Štrauss, Eduard Toran, Marian Váross, Hans Maria Wingler, et al. [6] (Slovak)
- František Foltýn, Slowakische Architektur und die tschechische Avantgarde. 1918-1939, Dresden: Verlag der Kunst, 1991, pp 90-94. (German)
- Klára Kubičková (ed.), Moderné hnutie na Slovensku: Avantgarda medzivojnového obdobia / Modern Movement in Slovakia: Avantgarde of the Interwar Period, Bratislava: Spolok architektov Slovenska, 1996, 86 pp. Catalogue for the exhibition in Slovak National Museum, held on 17.9.-27.10.1996, organized on the occasion of the Fourth International Conference DOCOMOMO in Slovakia. (Slovak)/(English)
- Zsófia Kiss-Szemán (ed.), Košická moderna. Umenie Košíc v dvadsiatych rokoch 20. storočia / Košice Modernism. Košice Art in the 1920s, Košice: Východoslovenská galéria, 2010, 198 pp. Collection of papers from an international research symposium held in the East Slovak Gallery in Košice, 11-12 Nov 2010. (Slovak)/(English)
- Ľubomír Longauer, Modernity of Tradition / Modernosť tradície, Bratislava: Slovart, 2012, 354 pp. Video discussion. (English)/(Slovak)
- Lena Lešková (ed.), Košická moderna. Umenie Košíc v dvadsiatych rokoch 20. storočia / Košice Modernism. Košice Art in the Nineteen-Twenties, Košice: Východoslovenská galéria, 2013, 413 pp. (Slovak)/(English)
- Markéta Svobodová, Bauhaus a Československo 1919-1938: studenti, koncepty, kontakty / The Bauhaus and Czechoslovakia 1919-1938: Students, Concepts, Contacts, Prague: Kant, 2016, 255 pp. [7] (Czech)/(English)
- Articles
- Iva Mojžišová, "A Slovak Contribution to Avant-garde Movements", Actes du XXIIe Congres International d'Histoire de l'Art, 2, Budapest: Hungarian Academy of Sciences, 1969, pp 347-349. (English)
- Peter Havaš, "Die slowakische Architektur in der Zwischenkriegszeit als fortschrittliches Erbe der modernen Bewegung", Wissenschaftliche Zeitschrift / A 33:4/6, Hochschule für Architektur und Bauwesen, 1987. (German)
- Leo Kohut, "Bauhaus. Ungarn-Tschechoslowakei. Zur Bauhaus-Rezeption in Ost-europa", in Bauhaus-Archiv, Museum. Sammlungs-Katalog, (Auswahl), Architektur, Design, Malerei, Graphik, Kunstpädagogik, Berlin: Gebr. Mann, 1981, pp 283-287. (German)
- Dana Borutová, "Architektonische Entwicklungstendenzen der zwanziger Jahre in der Slowakei", in The Art of the 1920s in Poland, Bohemia, Slovakia, and Hungary, ed. Lech Kalinowski, Cracow: International Cultural Centre, 1991, pp 33-40. (German)
- Iva Mojžišová, "The First Wave of Avant-garde: Bratislava 1930", in The Art of the 1920s in Poland, Bohemia, Slovakia, and Hungary, ed. Lech Kalinowski, Cracow: International Cultural Centre, 1991, pp 47-51. (English)
- Iva Mojžišová, "Podnety a predchodcovia kinetizmu na Slovensku (1929-1939)", MADI ap 4 (Mar 2002). [8] (Slovak)/(Hungarian)
- Markéta Svobodová, "Studentky z Československa na Bauhausu 1919-1933: Výmar – Desava – Berlin", in Žena-umělkyně na přelomu 19. a 20. století. Sborník příspěvků z mezinárodní odborné konference ve Středočeském muzeu v Roztokách u Prahy ve dnech 11. a 12. října 2005, Roztoky u Prahy, 2005, pp 333-344. (Czech)
- Markéta Svobodová, "Českoslovenští studenti architektury na Bauhausu", Umění/Art LIV:5 (2006), pp 406-432. (Czech) [9] [10]
- Sonia de Puineuf, "A Dot on the Map: Some Remarks on the Magazine 'Nová Bratislava'", The Journal of Modern Periodical Studies 1:1 (2010). (English)
- Richard Kitta, "(Ne)existujúce paralely: Umenie akcie, multimediálne a interaktívne umenie v kultúrno-historickom vývoji umenia 1. pol. 20. storočia na Slovensku", Rovart, Mar 2010. [11] [12] (Slovak)
- Peter Biľak, "Forgotten History", Typotheque blog, April 2012. (English)
- Dissertations
- Mira Keratová, Slovenská avantgardná typografia v medzivojnovom období so zameraním na grafickú úpravu časopisov, Bratislava: Comenius University, 2005. Master's thesis. (Slovak)
- Markéta Svobodová, Bauhaus a kultura v Československu v 1919-1939, Olomouc, 2007. Dissertation. (Czech)
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
- Milan Adamčiak (1946), Ivan Štěpán (1937-86), Róbert Cyprich (1951-96), Peter Bartoš, Ján Budaj (1952), Július Koller (1939) [13], Peter Meluzin, Ladislav Pagáč (1949), Viktor Oravec (1960), Milan Pagáč (1960), Vladimír Kordoš (1945), Ľubomír Ďurček (1948), Peter Rónai (1953), Michal Murin (1963), Richard Fajnor (1965), Vladimír Železný, Juraj Bartusz (1933), Roland Farkas, Jozsef R. Juhász (1963), Miroslav Nicz (1963), Juraj Dudáš, Mário Chromý.
- Groups
- Labyrint Theatre (1978-?, theatre + body art + performance, Budaj, Adamčiak), Temporary Society of Intensive Living (1979-81, Budaj), Artprospekt P.O.P. (1979-85, performance + body art + happening + rituals, L Pagáč, Oravec, M Pagáč), Balvan (1987-92, Beňo, Miklušičáková, Murin, Šefčáková), Transmusic comp. (1989-96, Adamčiak, Machajdík, Murin..), Disk Theatre (Uhlár, Karásek), Stoka Theatre (1991-2006, Uhlár), GUnaGU Theatre, Spoločnosť pre šírenie a pestovanie patafyziky, HUBRIS, Lengow & HEyeRMEarS (Murin, Cseres), Kafron (Kafúnová, Rónaiová).
- 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
- Milan Dobeš, Alex Mlynárčik, Milan Adamčiak, Róbert Cyprich, Vladimír Labat, Transmusic comp. (1989-96), Juraj Ďuriš, Lengow & HEyeRMEarS, CUCU Ensemble, Michal Murin, Ladislav Kupkovič
- 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
- Polymúzický priestor I., 1970 in Piešťany. Concept by L Kár.
- Touch to Connect, 1985–1989, relaunched in 1997. Concept by Ladislav Snopko and Zuzana Bartošová.
- Image and Music, 1989-90. Curated by Ivan Jančár and Zuzana Martináková.
- Priestor '93, 1993 in Piešťany. Peter Machajdík - Viktor Hulík: Blikač & Peter Machajdík - Viktor Hulík: Music for the Glass Bridge. Concept by L Kára.
- Piano Hotel, 1997. Curated by Michal Murin. Five prepared pianos along with their parts were presented as acoustic objects (Viktor Lois, Otis Laubert, Milan Adamčiak, and Jozef Cseres). Part of Sound Off festival.
- Fenomén Kafka, 2010 Tatranská galéria Poprad, Elektráreň. Peter Machajdík - Zbyněk Prokop - Robo Kočan.
- 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, [14]
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
- Miroslav Klivar, "Kybernetika a teória odrazu vo vzťahu k umeniu", Slovenské pohľady 10, 1962. (Slovak)
- Martin Šperka, "Filmy z počítača", Elektrón 12, 1984, pp 29-31. (Slovak)
- Jankovič - Grafika, Liberec: Oblastní galerie, 1984. Catalogue. With texts by Naďa Reháková and Imrich Bertók.
- Martin Šperka, et al., Počítačová grafika a numerické metódy, Bratislava: SVŠT-Alfa, 1985. (Slovak)
- Počítačové umění ČSSR, Prague: 1985. Catalogue. (Czech)
- Imrich Bertók, Jozef Jankovič, "A Collaborative Investigation of the Line: Interactive Computer-Aided Drawings", Leonardo 19:1, 1986, pp 27-30. (English)
- P Slavkovský, "Niektoré aplikácie počítačovej animácie", in Počítačová grafika '86, Bratislava: JSMF, 1986. (Slovak)
- Miroslav Klivar, "Počítačová grafika v súčasnej výtvarnej kultúre", Výtvarníctvo, fotografia, film 10, 1986. (Slovak)
- Zdeňka Čechová, "Aplikácia počítačovej grafiky vo výtvarnom umení", in Počítačová grafika. Proceedings of conference, Smolenice, 1986, pp 15-20. (Slovak)
- Martin Šperka, "Počítač ako maliar", Elektrón 12, 1986, pp 8-15. (Slovak)
- Imrich Bertók, Ivo Janoušek, Počítače a umenie, Bratislava: SPN, 1989. (Slovak)
- Lucie Holá, Počítačové umění v ČSSR a ve světě, Prague: Dům techniky Praha, 1989. Catalogue. (Czech)
- Robert Zavarský, "Počítačové umenie", Dotyky 1, 1990. [15] (Slovak)
- Profil 3(1): "Počítačová grafika", ed. Michal Murin, Bratislava, 1993, pp 1-20. (Slovak)
- Martin Šperka, "Míľniky počítačovej grafiky na Slovensku", pp 10-11.
- Martin Šperka, "Autori o sebe. Interview so štyrmi pioniermi počítačovej grafiky v Čechách a na Slovensku", p 13.
- Martin Šperka, "Počítače na školách", p 14.
- Juraj Németh, "Multimédiá alebo prezentácia umenia po novom", p 15.
- Martin Šperka, Počítačová grafika vo výtvarnom umení, Banská Bystrica: Štátna galéria Žilina, Regionálne kultúrne stredisko, 1992, 32 pp. Catalogue. (Slovak)
- Martin Šperka (ed.), Počítačová grafika vo výtvarnom umení / Computer Graphics in Fine Arts, Bratislava: Academy of Fine Arts, 1993, 8 pp. Catalogue. (Slovak)/(English)
- Martin Šperka, "The Origins of Computer Graphics in the Czech and Slovak Republics", Leonardo 27:1, 1994, pp 45-50. [16] (English)
- Martin Šperka, "Počítačové umenie - genéza a súčasnosť", in Podoby súčasného umenia. Zborník prednášok o súčasnom výtvarnom umení a architektúre, Bratislava, 1994. (Slovak)
- Martin Šperka, "Some notes on the history of electronic and computer art in Slovakia", 1996. (English)
- Martin Šperka, E_Mail_Art_1_2_3 - Počítačová grafika - výber z diel, Žilina: PGU, 1997. Catalogue. (Slovak)
- Martin Šperka, "Počítačová grafika", in Slovník svetového a slovenského výtvarného umenia druhej polovice 20. storočia, ed. Jana Geržová, Bratislava: Profil, 1999. (Slovak)
- Martin Šperka, "Počítačové umenie", in Slovník svetového a slovenského výtvarného umenia druhej polovice 20. storočia, ed. Jana Geržová, Bratislava: Profil, 1999. (Slovak)
- Diana Majdáková, Digitálny obraz v slovenskom výtvarnom umení 20.storočia. Uplatnenie počítačovej grafiky a digitálnych technológií v tvorbe statického obrazu, Bratislava: Katedra dejín výtvarného umenia/Filozofická fakulta/Univerzita Komenského v Bratislave, 2008. Master's thesis. (Slovak)
- Resources
- Pioneers of the computer graphics art in the Czech and Slovak Republics, [17]
Electroacoustic music
- Composers
- Miro Bázlik, Roman Berger, Peter Kolman, Jozef Malovec, Ivan Parík, Tadeáš Salva, Martin Burlas, Juraj Ďuriš, Peter Machajdík, Viťazoslav Kubička, Ivan Stadtrucker, Ilja Zelenka
- Centres
- Experimental Studio of Slovak Radio & CECM Bratislava, *1965
- Events
- P. Kolman and L. Kupkovič organized New Music seminars (eight lessons since 1959 with the music by Stockhausen, Eimert, Křenek, and Schaeffer).
- International Seminars on New Music, Smolenice, 1968-70
- Releases
- Anthology of Slovak electroacoustic music 1966-1991. CECM, 2-CD, EMCD001-002, 1992. [18]
- Electroacoustic music Slovakia 1989-1994. CECM, EMCD003, 1994. [19]
- EXperimental edition. Experimental Studio of Slovak Radio. [20]
- Peter Machajdík, Soundscapes, Electro-Acoustic and Computer Music. Edition Hudba N81 0002 2 131, 2005. [21]
- Various – Electronic Music: Experimental Studios In Prague, Bratislava, Munich, University Of Illinois, Warsaw, Paris. Creel Pone #39, 2006. [22] 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, [23]
- Literature
- Ivan Stadtrucker, "Novy elektronicky hudobny nastroj", Hudba a zvuk, Bratislava/Praha, 1967.
- Jozef Gahér, "Využitie pseudonáhodných čísel získaných samočinným počítačom pri kompozícii televíznej opery Malka", in Aplikace umělé inteligence - AI '89, Prague: Ústav pro informační systémy v kultuře; Prague, 1989, pp 265-272. (Slovak)
- Miroslav Kaduch, Česká a slovenská elektroakustická hudba 1964 - 1994. Skladatelé, programátoři, technici, muzikologové, hudební kritici, publicisté. Osobní slovník, Ostrava, 1994; 2nd ed., 1996. (Czech)
- Libor Zajíček, "The History of Electroacoustic Music in the Czech and Slovak Republics", Leonardo 5, 1995, pp. 39-48. (English)
- Milan Adamčiak, "Slovak electroacoustic music history", 1995. (English)
- Vladimír Godár (ed.), "Slovenská elektroakustická hudba", Slovenská hudba 1-2, Bratislava: Slovenská hudobná únia, 1996. (Slovak)
- Michal Murin (ed.), Avalanches 1990-1995, Bratislava: SNEH, 1996. ISBN 80-967206-4-3 (Slovak)
- Vladimír Godár, "Slovenská elektroakustická hudba a slovenská normalizácia" (cont.), in "Slovenská elektroakustická hudba", Slovenská hudba 1-2, edited by Vladimír Godár, Bratislava: Slovenská hudobná únia, 1996. (Slovak)
- Vladimír Rusko, "Slovesná tvorba v experimentálnom štúdiu", in "Slovenská elektroakustická hudba", Slovenská hudba 1-2, edited by Vladimír Godár, Bratislava: Slovenská hudobná únia, 1996. (Slovak)
- Jozef Cseres, "Iný rozmer hudby z pásu", in "Slovenská elektroakustická hudba", Slovenská hudba 1-2, edited by Vladimír Godár, Bratislava: Slovenská hudobná únia, 1996. (Slovak)
- Peter Janík, "Elektroakustické intermezzo" (cont.), (cont.), in "Slovenská elektroakustická hudba", Slovenská hudba 1-2, edited by Vladimír Godár, Bratislava: Slovenská hudobná únia, 1996. (Slovak)
- Juraj Ďuriš, "Mýtus obrov sa rozpadá!?", in "Slovenská elektroakustická hudba", Slovenská hudba 1-2, edited by Vladimír Godár, Bratislava: Slovenská hudobná únia, 1996. (Slovak)
- Juraj Ďuriš, "Symbol i", in "Slovenská elektroakustická hudba", Slovenská hudba 1-2, edited by Vladimír Godár, Bratislava: Slovenská hudobná únia, 1996. (Slovak)
- Ivan Stadtrucker, "Slovenské osudy hudby elektronickej" (cont.), in "Slovenská elektroakustická hudba", Slovenská hudba 1-2, edited by Vladimír Godár, Bratislava: Slovenská hudobná únia, 1996. (Slovak)
- Jozef Malovec, "Spomienky na začiatky elektroakustickej hudby v Bratislave", in "Slovenská elektroakustická hudba", Slovenská hudba 1-2, edited by Vladimír Godár, Bratislava: Slovenská hudobná únia, 1996. (Slovak)
- Jozef Malovec, "Reminiscences of the beginnings of EAM in Bratislava", November 1994. (English and Slovak)
- Milan Adamčiak, "Príbeh jednej hudby", in "Slovenská elektroakustická hudba", Slovenská hudba 1-2, edited by Vladimír Godár, Bratislava: Slovenská hudobná únia, 1996. (Slovak)
- Peter Kolman, "Elektronická hudba v Bratislave", in "Slovenská elektroakustická hudba", Slovenská hudba 1-2, edited by Vladimír Godár, Bratislava: Slovenská hudobná únia, 1996. (Slovak)
- Alena Čierna, "Elektroakustická kompozícia na Slovensku", in "Slovenská elektroakustická hudba", Slovenská hudba 1-2, edited by Vladimír Godár, Bratislava: Slovenská hudobná únia, 1996. (Slovak)
- Roman Berger, "Esej o elektroakustickej hudbe", in "Slovenská elektroakustická hudba", Slovenská hudba 1-2, edited by Vladimír Godár, Bratislava: Slovenská hudobná únia, 1996. (Slovak)
- Tadeáš Salva, "Impresie z elektroakustického štúdia", in "Slovenská elektroakustická hudba", Slovenská hudba 1-2, edited by Vladimír Godár, Bratislava: Slovenská hudobná únia, 1996. (Slovak)
- Jozef Cseres, "Blázni sú tí, ktorí v hudbe vnímajú len zvuk", in "Slovenská elektroakustická hudba", Slovenská hudba 1-2, edited by Vladimír Godár, Bratislava: Slovenská hudobná únia, 1996; OS 8 (2000) pp. 69-71. (Slovak)
- Michal Murin (ed.), Sound Off 1997: The Piano Hotel, Bratislava: SNEH, 1997. CD-ROM.
- Jozef Cseres, Michal Murin (eds.), Sound Off 1995 – 1996, Bratislava: SNEH, 1997. With audio CD. ISBN 80-967445-0-X
- Sound Off 1998: Husle/Hegedű/Violin, Bratislava: SNEH, 1998.
- K. Pichlerová, Crossings - Art and Sound, Vienna: Kunsthalle Wien, 1998. Catalogue. (English)
- Michal Murin, "Radioart", 2000. (English/Slovak)
- Michal Murin, "Sound art", 2000. (English/Slovak)
- Michal Murin, "Rádio-Art", Profil 4, 2000. [24] (Slovak)
- Jozef Cseres (ed.), Sound Off 1999/2000: Beams & Waves, Bratislava: SNEH, 2000. With audio CD.
- Július Fujak, Tvorivosť v načúvaní hudobnému tvaru (interpretačné sondy do /ne/konvenčnej hudby), Nitra: Ústav literárnej komunikácie Filozofickej fakulty Univerzity Konštantína Filozofa, 2000. ISBN 80-8050-364-8 (Slovak)
- Rastislav Dubovský, "Elektroakustická hudba na Slovensku", 2001. (Slovak)
- Jozef Cseres, Hudobné simulakrá, Bratislava: Music Centre Slovakia, 2001. ISBN 80-88884-30-6 (Slovak)
- Jozef Cseres (ed.), Sound Off 2002: Typewriting Aloud, Typoxxs Allowed, Nové Zámky: HEyeRMEarS DISCORBIE, 2002. Catalogue, with audio CD.
- Július Fujak, "Sound Off 1995-2002", 2004. (Slovak)
- Vladimír Godár, "Slovenská elektroakustická hudba", Slovo, 12, 2004. (Slovak)
- Július Fujak, et al., Slovenské hudobné alternatívy, Nitra: Univerzita Konštantína Filozofa, 2006, 126 pp. With audio CD. (Slovak)
- Alena Čierna, Elektroakustická hudba na Slovensku a možnosti jej pedagogickej interpretácie, Nitra: Univerzita Konštantína Filozofa v Nitre, 2010. PhD dissertation. (Slovak)
- Kamil Zbruž, "Peter Machajdík: S Karlheinzom Stockhausenom sa stretávam na hviezde Sírius", Kloaka 3, 2011. (Slovak)
- Slávo Krekovič, "Organized Sound and Experiments in Slovak Music", 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. (English)/(German)/(Slovak) [25] [26] [27]
- Marcus Gammel, "Black Holes and White Spots. Visiting the Experimental Studio at Slovakian Radio. In conversation with Milan Adamčiak, Juraj Ďuriš, Michal Murin", in n.b.k. Sounds: Radio - Kunst - Neue Musik, eds. Marius Babias and Katrin Klingan, Cologne: Verlag der Buchhandlung Walther König, 2010, pp 93-111. (English)/(German)
- Ľubomír Chalupka, Slovenská hudobná avantgarda, Bratislava: Comenius University, 2011, 672 pp. (Slovak) [28]
- Štěpán David, "Tvorba elektroakustické hudby ve Zvukovém pracovišti Československé televize v Bratislavě v letech 1960-1968", Brno: Masaryk University, 2012. Bachelor thesis. (Czech)
- Alena Čierna, "Electroacoustic Music and the Slovak Musical Avant-Garde in the 1960s", Ad Alta 11:1, Jun 2021. [29] (English)
- Resources
Slovak electroacoustic music archive, [30]
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). [31]
- Martin Slivka, documentary filmmaker. Voda a práca (1963). [32]
- 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). [33]
- Ctibor Kováč, Ohnivé rieky (1965). [34]
- Dušan Trančík, filmmaker. Short films: Fotografovanie obyvateľov domu (1968) a Šibenica (1969). [35]
- Peter Mihálik, film theorist. Lilli Marlen (1970), short film. [36]
- Vladimír Havrilla.
Born May 13, 1943
Bratislava, SlovakiaCollections Art museums in Slovakia (Web umenia), Artandconcept Gallery (Prague) Vladimír Havrilla (1943) is a Slovak artist.
Contents
- 1 Cities
- 2 Historical media experimentators
- 3 Avant-garde
- 4 Video art (1960s-80s)
- 5 Performance art (1960s-2000s)
- 6 Sound art (1960s-2000s)
- 7 Early computer art (1970s-80s)
- 8 Electroacoustic music
- 9 Experimental film
- 10 Interviews
- 11 Literature
- 12 See also
- 13 Links
- 14 Video art (1990s-2000s)
- 15 Digital prints
- 16 Digital art (1990s-2000s)
- 17 Bibliography
- 18 Presentation out of Slovakia
- 19 more
He made a number of films: White (bazén, rúra), White (pena) (1973), Lift (1974), No limit (1976), Lebo veľa hrešila (1977), Modliaca figurína (1977), Milosť (1977), Bábika (1982). In 1997, he began making computer graphics and 3D animations.
Havrilla about his 16mm film Lift (1974): "Ten film zobrazuje dve dievčatá, ktoré sa vznášajú nad zemou nad čiarami tenisového kurtu. Je to čiernobiely film bez zvuku, a táto téma mi napadla len kvôli vizuálnemu zážitku, kvôli ničomu inému. Bola za tým zvedavosť, či sa to vôbec dá urobiť. Film sa robil po jednotlivých záberoch a tie dievčatá, študentky baletu, vyskočili do vzduchu, medzitým sa otáčali a prechádzali v priestore a ja som robil zábery vždy len vtedy, keď boli vo vzduchu. Ten výsledný pohyb, ktorý som aj ja videl až po vyvolaní filmu, je veľmi zvláštny, pretože ony sa naozaj vznášajú vo vzduchu." [37]
Interviews
- Eva Filová, "Vladimír Havrilla o experimentálnom filme", Inyfilm.sk, May 2003. (Slovak)
- Dušan Brozman and Boris Kršňák, "Vladimír Havrilla: Existují jiné světy", ARTservis, n.d. (Slovak)
Literature
- Zora Rusinová, "Vladimír Havrilla", in Umenie akcie 1965-1989, ed. Zora Rusinová, Bratislava: Slovenská národná galéria, 2001, pp 157-162. (Slovak)
- Dorottya Szalay, "The Concept of Levitation - Vladimír Havrilla: Lift", artinCINEMA, Jul 2013. (English)
See also
Links
- http://www.designpol.com/Havrilla.html
- http://www.inyfilm.sk/zhistorie/havrilla/havrilla.php
- http://www.dsy.hu/matrices/vladimir_havrilla.htm
- https://www.artandconcept.eu/vladimr-havrilla See also his video works at Video art in Slovakia (1960s-80s).
- Ľubomír Ďurček, Home (Domov, 1983, 16mm). See his video works at Video art in Slovakia (1960s-80s).
- Samo Ivaška.
- Vladimír Kordoš, artist. Aténska škola (1981, 16mm). [38]
- 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). [39]
- Literature
- Ivan Stadtrucker, "Novy elektronicky hudobny nastroj", Hudba a zvuk, Bratislava/Praha, 1967.
- Jozef Gahér, "Využitie pseudonáhodných čísel získaných samočinným počítačom pri kompozícii televíznej opery Malka", in Aplikace umělé inteligence - AI '89, Prague: Ústav pro informační systémy v kultuře; Prague, 1989, pp 265-272. (Slovak)
- Miroslav Kaduch, Česká a slovenská elektroakustická hudba 1964 - 1994. Skladatelé, programátoři, technici, muzikologové, hudební kritici, publicisté. Osobní slovník, Ostrava, 1994; 2nd ed., 1996. (Czech)
- Libor Zajíček, "The History of Electroacoustic Music in the Czech and Slovak Republics", Leonardo 5, 1995, pp. 39-48. (English)
- Milan Adamčiak, "Slovak electroacoustic music history", 1995. (English)
- Vladimír Godár (ed.), "Slovenská elektroakustická hudba", Slovenská hudba 1-2, Bratislava: Slovenská hudobná únia, 1996. (Slovak)
- Michal Murin (ed.), Avalanches 1990-1995, Bratislava: SNEH, 1996. ISBN 80-967206-4-3 (Slovak)
- Vladimír Godár, "Slovenská elektroakustická hudba a slovenská normalizácia" (cont.), in "Slovenská elektroakustická hudba", Slovenská hudba 1-2, edited by Vladimír Godár, Bratislava: Slovenská hudobná únia, 1996. (Slovak)
- Vladimír Rusko, "Slovesná tvorba v experimentálnom štúdiu", in "Slovenská elektroakustická hudba", Slovenská hudba 1-2, edited by Vladimír Godár, Bratislava: Slovenská hudobná únia, 1996. (Slovak)
- Jozef Cseres, "Iný rozmer hudby z pásu", in "Slovenská elektroakustická hudba", Slovenská hudba 1-2, edited by Vladimír Godár, Bratislava: Slovenská hudobná únia, 1996. (Slovak)
- Peter Janík, "Elektroakustické intermezzo" (cont.), (cont.), in "Slovenská elektroakustická hudba", Slovenská hudba 1-2, edited by Vladimír Godár, Bratislava: Slovenská hudobná únia, 1996. (Slovak)
- Juraj Ďuriš, "Mýtus obrov sa rozpadá!?", in "Slovenská elektroakustická hudba", Slovenská hudba 1-2, edited by Vladimír Godár, Bratislava: Slovenská hudobná únia, 1996. (Slovak)
- Juraj Ďuriš, "Symbol i", in "Slovenská elektroakustická hudba", Slovenská hudba 1-2, edited by Vladimír Godár, Bratislava: Slovenská hudobná únia, 1996. (Slovak)
- Ivan Stadtrucker, "Slovenské osudy hudby elektronickej" (cont.), in "Slovenská elektroakustická hudba", Slovenská hudba 1-2, edited by Vladimír Godár, Bratislava: Slovenská hudobná únia, 1996. (Slovak)
- Jozef Malovec, "Spomienky na začiatky elektroakustickej hudby v Bratislave", in "Slovenská elektroakustická hudba", Slovenská hudba 1-2, edited by Vladimír Godár, Bratislava: Slovenská hudobná únia, 1996. (Slovak)
- Jozef Malovec, "Reminiscences of the beginnings of EAM in Bratislava", November 1994. (English and Slovak)
- Milan Adamčiak, "Príbeh jednej hudby", in "Slovenská elektroakustická hudba", Slovenská hudba 1-2, edited by Vladimír Godár, Bratislava: Slovenská hudobná únia, 1996. (Slovak)
- Peter Kolman, "Elektronická hudba v Bratislave", in "Slovenská elektroakustická hudba", Slovenská hudba 1-2, edited by Vladimír Godár, Bratislava: Slovenská hudobná únia, 1996. (Slovak)
- Alena Čierna, "Elektroakustická kompozícia na Slovensku", in "Slovenská elektroakustická hudba", Slovenská hudba 1-2, edited by Vladimír Godár, Bratislava: Slovenská hudobná únia, 1996. (Slovak)
- Roman Berger, "Esej o elektroakustickej hudbe", in "Slovenská elektroakustická hudba", Slovenská hudba 1-2, edited by Vladimír Godár, Bratislava: Slovenská hudobná únia, 1996. (Slovak)
- Tadeáš Salva, "Impresie z elektroakustického štúdia", in "Slovenská elektroakustická hudba", Slovenská hudba 1-2, edited by Vladimír Godár, Bratislava: Slovenská hudobná únia, 1996. (Slovak)
- Jozef Cseres, "Blázni sú tí, ktorí v hudbe vnímajú len zvuk", in "Slovenská elektroakustická hudba", Slovenská hudba 1-2, edited by Vladimír Godár, Bratislava: Slovenská hudobná únia, 1996; OS 8 (2000) pp. 69-71. (Slovak)
- Michal Murin (ed.), Sound Off 1997: The Piano Hotel, Bratislava: SNEH, 1997. CD-ROM.
- Jozef Cseres, Michal Murin (eds.), Sound Off 1995 – 1996, Bratislava: SNEH, 1997. With audio CD. ISBN 80-967445-0-X
- Sound Off 1998: Husle/Hegedű/Violin, Bratislava: SNEH, 1998.
- K. Pichlerová, Crossings - Art and Sound, Vienna: Kunsthalle Wien, 1998. Catalogue. (English)
- Michal Murin, "Radioart", 2000. (English/Slovak)
- Michal Murin, "Sound art", 2000. (English/Slovak)
- Michal Murin, "Rádio-Art", Profil 4, 2000. [40] (Slovak)
- Jozef Cseres (ed.), Sound Off 1999/2000: Beams & Waves, Bratislava: SNEH, 2000. With audio CD.
- Július Fujak, Tvorivosť v načúvaní hudobnému tvaru (interpretačné sondy do /ne/konvenčnej hudby), Nitra: Ústav literárnej komunikácie Filozofickej fakulty Univerzity Konštantína Filozofa, 2000. ISBN 80-8050-364-8 (Slovak)
- Rastislav Dubovský, "Elektroakustická hudba na Slovensku", 2001. (Slovak)
- Jozef Cseres, Hudobné simulakrá, Bratislava: Music Centre Slovakia, 2001. ISBN 80-88884-30-6 (Slovak)
- Jozef Cseres (ed.), Sound Off 2002: Typewriting Aloud, Typoxxs Allowed, Nové Zámky: HEyeRMEarS DISCORBIE, 2002. Catalogue, with audio CD.
- Július Fujak, "Sound Off 1995-2002", 2004. (Slovak)
- Vladimír Godár, "Slovenská elektroakustická hudba", Slovo, 12, 2004. (Slovak)
- Július Fujak, et al., Slovenské hudobné alternatívy, Nitra: Univerzita Konštantína Filozofa, 2006, 126 pp. With audio CD. (Slovak)
- Alena Čierna, Elektroakustická hudba na Slovensku a možnosti jej pedagogickej interpretácie, Nitra: Univerzita Konštantína Filozofa v Nitre, 2010. PhD dissertation. (Slovak)
- Kamil Zbruž, "Peter Machajdík: S Karlheinzom Stockhausenom sa stretávam na hviezde Sírius", Kloaka 3, 2011. (Slovak)
- Slávo Krekovič, "Organized Sound and Experiments in Slovak Music", 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. (English)/(German)/(Slovak) [41] [42] [43]
- Marcus Gammel, "Black Holes and White Spots. Visiting the Experimental Studio at Slovakian Radio. In conversation with Milan Adamčiak, Juraj Ďuriš, Michal Murin", in n.b.k. Sounds: Radio - Kunst - Neue Musik, eds. Marius Babias and Katrin Klingan, Cologne: Verlag der Buchhandlung Walther König, 2010, pp 93-111. (English)/(German)
- Ľubomír Chalupka, Slovenská hudobná avantgarda, Bratislava: Comenius University, 2011, 672 pp. (Slovak) [44]
- Štěpán David, "Tvorba elektroakustické hudby ve Zvukovém pracovišti Československé televize v Bratislavě v letech 1960-1968", Brno: Masaryk University, 2012. Bachelor thesis. (Czech)
- Alena Čierna, "Electroacoustic Music and the Slovak Musical Avant-Garde in the 1960s", Ad Alta 11:1, Jun 2021. [45] (English)
- Resources
Video art (1990s-2000s)
- Artists
- Anetta Mona Chisa, Anna Daučíková, Anton Čierny, Dušan Zahoranský, Elena Pätoprstá, Erik Binder, Gabika Binderová, Jana Želibská, Juraj Dudáš, Mário Chromý, Ilona Németh, Michal Murin, Miroslav Nicz, N. Ružičková, Pavlína Fichta Čierna, Peter Agat Huba, Richard Fajnor, Roman Galovský.
- 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. [46]
- 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
- Digital Male, 6-27 October 2000 in Gallery Medium, Bratislava. Curated by Miloš Boďa. Co-organised by Patrik Kovačovský and Marek Kvetán. Exhibited: Miloš Boďa, Patrik Kovačovský, Marek Kvetán, and others.
- 6G - Computer graphics of six artists, October 2002 in Gallery Z at Zichy Palace, Bratislava. Curated by Andrea Kopernická. Exhibited: Jozef Jankovič, Viktor Hulík, Stanislav Stankóci, Róbert Jančovič, Vojtech Kolenčík, Svätopluk Mikyta. http://www.artgallery.sk/vystavyvstupte.php?getGaleria=347&getStrana=1000
- Powered by Circulation, 4-24 April 2003. Zdeno Hlinka. Curated by Mária Rišková. At Buryzone. Digital prints from Circulation visual software synthesizer. http://www.buryzone.sk/?go=1&id=36
- Digital@electronic graphic, 2004, State gallery, Banská Bystrica. Curated by Alena Vrbanová. Exhibited: Vladimír Havrila, Ivan Csudai, Jozef Jankovič, Michal Murin, Miroslav Nicz, Peter Rónai, Svätopluk Mikyta, Aneta Mona CHisa, Richard Fajnor, Robert Urbásek, Maroš Rovňák, Juraj Poliak, Marek Kvetán, Erik Binder, Patrik Kovačovský, Viktor Hulík, Roman Gálovský, Martin Gerboc, Marko Blažo, Pavlína Fichta Čierna, Martin Derner, Marek Kianička, Marianna Mlynarčíková.
Reinstallation: Slovak institut, Budapest and East Slovakia Gallery, Košice in 2005
- Literature
- Michal Murin: Digital Male. Central European project of Exhibition of digital prints. Interview with Michal Boďa. In: Profil 4/2000. [47] (Slovak)
- Zuzana Habšudová, "What have computers got to do with classic art?", In: The Slovak Spectator. October 2002. [48]
Digital art (1990s-2000s)
- Forms
- digital signal processing and sound performances
- visual performances
- interactive software-based installations
- computer animation
- motion video
- internet art
- Exhibitions
- Interactive installation, virtual reality, arteficial life, 17-24 April 2002. Ivor Diosi. Curated by Juraj Čarný. At SPACE Gallery. Part of Multiplace festival. http://www.multiplace.sk/2002/diosi.html
- Športka, 6 April 2004. Erik Binder and Zdeno Hlinka. Processing and visualization of large set of winning numbers of Czechoslovak lottery system (1977-1993). At SPACE Gallery, Bratislava. http://satori.sk/sportka.html
- Processual design, opened 17-24 April 2005. Ján Šicko. Curated by Mária Rišková. At Galéria Veža, Bratislava. Part of Multiplace festival. http://www.multiplace.sk/2005/?place=acte&id=3
- More
Bibliography
- Bibliography of writings on media art in Slovakia
- Bibliography of writings on media art (outside Slovakia) in Slovak
Presentation out of Slovakia
Tusovka screening (*2009)
more
Countries
avant-garde, modernism, experimental art, media culture, social practiceAlbania, Argentina, Armenia, Australia, Austria, Azerbaijan, Belarus, Belgium, Bosnia and Herzegovina, Brazil, Bulgaria, Central and Eastern Europe, Chile, China, Croatia, Cyprus, Czech Republic, Denmark, Egypt, Estonia, Finland, France, Georgia, Germany, Greece, Hungary, Iceland, India, Indonesia, Iran, Ireland, Italy, Japan, Kazakhstan, Kosova, Latvia, Lebanon, Lithuania, Luxembourg, Malta, Mexico, Moldova, Montenegro, Morocco, Netherlands, North Macedonia, Norway, Pakistan, Peru, Poland, Portugal, Romania, Russia, Serbia, Spain, Slovenia, Slovakia, South Korea, Sweden, Switzerland, Turkey, Ukraine, United Kingdom, United States