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| Description
| - %22[W]e cannot even recognize the representational power of a medium except with reference to other media.%22 (Jay David Bolter and Richard Grusin, Remediation. Understanding New Media) Following-up on the quoted text, I showed what we come to know about the possibilities of photographic representation during the moment when photography enters into a relationship with performance art. I thus concerned myself with the relationship between a photograph and an action taking place which is recorded onto the photograph, and I attempted to show that for the making of a photograph an actual realization of the %22action taking place%22 is not necessarily needed. For example, within its broader whole a photographic series or sequence has this photographic ability to create the illusion of temporal succession and of the fluency of the recorded action. The photographic series then serves as a tool for inducing the impression that the depicted action really took place. In such a case, a paradoxical situation arises, in which evidently, if it were not for the photographic equipment, the action would not have occurred. I traced the described principle in concrete examples of Czech art from the 1970s. In then politically isolated Czechoslovakia, action art, not tied to institutions and artistic operation, presented a space for free creation. Easily transportable photographic records moreover guaranteed the possibility of publication in foreign magazines and even exhibiting on an international level. If I were to mention just one example for them all, I introduced Karel Miler, whose work was abundantly published and exhibited in the form of photographic documentations. At the same time, his earliest works correspond exactly to what is described above; i.e., his actions were performed primarily for the photographic camera, not at all for the attending public, and were presented in the form of a photographic series.
- %22[W]e cannot even recognize the representational power of a medium except with reference to other media.%22 (Jay David Bolter and Richard Grusin, Remediation. Understanding New Media) Following-up on the quoted text, I showed what we come to know about the possibilities of photographic representation during the moment when photography enters into a relationship with performance art. I thus concerned myself with the relationship between a photograph and an action taking place which is recorded onto the photograph, and I attempted to show that for the making of a photograph an actual realization of the %22action taking place%22 is not necessarily needed. For example, within its broader whole a photographic series or sequence has this photographic ability to create the illusion of temporal succession and of the fluency of the recorded action. The photographic series then serves as a tool for inducing the impression that the depicted action really took place. In such a case, a paradoxical situation arises, in which evidently, if it were not for the photographic equipment, the action would not have occurred. I traced the described principle in concrete examples of Czech art from the 1970s. In then politically isolated Czechoslovakia, action art, not tied to institutions and artistic operation, presented a space for free creation. Easily transportable photographic records moreover guaranteed the possibility of publication in foreign magazines and even exhibiting on an international level. If I were to mention just one example for them all, I introduced Karel Miler, whose work was abundantly published and exhibited in the form of photographic documentations. At the same time, his earliest works correspond exactly to what is described above; i.e., his actions were performed primarily for the photographic camera, not at all for the attending public, and were presented in the form of a photographic series. (en)
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| Title
| - Photography and Fiction in Czech 'Action Art' - participation in the conference Photography and the Unrepresentable. A History of Photographic (Mis)representation
- Photography and Fiction in Czech 'Action Art' - participation in the conference Photography and the Unrepresentable. A History of Photographic (Mis)representation (en)
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| skos:prefLabel
| - Photography and Fiction in Czech 'Action Art' - participation in the conference Photography and the Unrepresentable. A History of Photographic (Mis)representation
- Photography and Fiction in Czech 'Action Art' - participation in the conference Photography and the Unrepresentable. A History of Photographic (Mis)representation (en)
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| skos:notation
| - RIV/60461071:_____/12:#0000266!RIV13-MSM-60461071
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| http://linked.open...avai/predkladatel
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| http://linked.open...avai/riv/aktivita
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| http://linked.open...avai/riv/aktivity
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| http://linked.open...vai/riv/dodaniDat
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| http://linked.open...aciTvurceVysledku
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| http://linked.open.../riv/druhVysledku
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| http://linked.open...iv/duvernostUdaju
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| http://linked.open...titaPredkladatele
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| http://linked.open...dnocenehoVysledku
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| http://linked.open...ai/riv/idVysledku
| - RIV/60461071:_____/12:#0000266
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| http://linked.open...riv/jazykVysledku
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| http://linked.open.../riv/klicovaSlova
| - art history; art theory; eastern bloc; Czechoslovakia; performance; photography (en)
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| http://linked.open.../riv/klicoveSlovo
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| http://linked.open...ontrolniKodProRIV
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| http://linked.open...in/vavai/riv/obor
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| http://linked.open...ichTvurcuVysledku
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| http://linked.open...cetTvurcuVysledku
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| http://linked.open...UplatneniVysledku
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| http://linked.open...iv/tvurceVysledku
| |
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