National Repository of Grey Literature 6 records found  Search took 0.01 seconds. 
Small packages
Drštičková, Hana ; Jamrichová, Kristína (referee) ; Janů, Valentýna (advisor)
The diploma thesis formally consists of a mosaic of outputs across the media. It contains a set of videos, a set of embroidered pieces of clothing and a set of hand-drawn, subjective maps, all supplemented and accompanied by drawings, watercolors, texts, objects and audio. Thematically, the work has two layers. First, it deals with the reflection of (my) selected hobbies that relate to specific ideas about nature and landscape. These hobbies are divided into three thematic areas named Emo Maps, The Cowboy Spectrum, and Bio Tops. In the second layer, the work is a critical reflection on the use of hobby strategies in art work, as one of the last available ways to create in times of permanent crises.
Noble, generous and cultivated
Jamrichová, Kristína ; Magid, Václav (referee) ; Kvíčala, Petr (advisor)
It moves on the frontiers of the sides it looks from and the media it uses following the vision to assemble miscellaneous knowledge so that a certain truth (or a semblance of a truth) could come to the jigsaw that just has been created. Starting in a context originally coming from another argumentation field (social) and in the subsequent topic (the moment of effect of power), which may not necessarily be explicitly readable, it wants to examine what does it take to activate "the image" to be a (partial) autonomous comment about real spaces, even if translated to fictional or virtual. On the background of this heterotopic matter they want (the images and processes of their creation) also to test themselves, to ask on their own sense, to negate the conceptual difference between static and moving images.
Shapelessness
Conde, Tamara ; Kohoutková, Karolína (referee) ; Jamrichová, Kristína (advisor)
The main body of my diploma work is composed of several paintings of large formats. These paintings depict the fusion, invasion, and profound alteration of two bodies being mixed into one. The paintings contain chunks of interwoven bodies of fleshy caucasian tones, that of my own body and that of oyster mushrooms. These formats are not placed in rigid confines. Along with the large paintings, there are two small formats on wood that resemble morphed organs between the two main models. These two small formats on wood play a fixed role in contrast to the loose canvases. These illustrative works of art play hide and seek with an explanatory audio for whoever roams too long in the installation. The documentation of the thesis text focuses on the partial historical reevaluation of humanity's notions of hybridity in a scientific and cultural sense. The text is structured to define the etymological logic of the keywords used to characterize the project, the philosophical implications these words convey, and to follow the links that tie my project to scientific concepts that are creatively misused in contemporary artistic practice even among other artists. To sum up, the text is structured in such a way as to define the reason why shapelessness is the best word to describe the ambitions of my artwork.
Small packages
Drštičková, Hana ; Jamrichová, Kristína (referee) ; Janů, Valentýna (advisor)
The diploma thesis formally consists of a mosaic of outputs across the media. It contains a set of videos, a set of embroidered pieces of clothing and a set of hand-drawn, subjective maps, all supplemented and accompanied by drawings, watercolors, texts, objects and audio. Thematically, the work has two layers. First, it deals with the reflection of (my) selected hobbies that relate to specific ideas about nature and landscape. These hobbies are divided into three thematic areas named Emo Maps, The Cowboy Spectrum, and Bio Tops. In the second layer, the work is a critical reflection on the use of hobby strategies in art work, as one of the last available ways to create in times of permanent crises.
Shapelessness
Conde, Tamara ; Kohoutková, Karolína (referee) ; Jamrichová, Kristína (advisor)
The main body of my diploma work is composed of several paintings of large formats. These paintings depict the fusion, invasion, and profound alteration of two bodies being mixed into one. The paintings contain chunks of interwoven bodies of fleshy caucasian tones, that of my own body and that of oyster mushrooms. These formats are not placed in rigid confines. Along with the large paintings, there are two small formats on wood that resemble morphed organs between the two main models. These two small formats on wood play a fixed role in contrast to the loose canvases. These illustrative works of art play hide and seek with an explanatory audio for whoever roams too long in the installation. The documentation of the thesis text focuses on the partial historical reevaluation of humanity's notions of hybridity in a scientific and cultural sense. The text is structured to define the etymological logic of the keywords used to characterize the project, the philosophical implications these words convey, and to follow the links that tie my project to scientific concepts that are creatively misused in contemporary artistic practice even among other artists. To sum up, the text is structured in such a way as to define the reason why shapelessness is the best word to describe the ambitions of my artwork.
Noble, generous and cultivated
Jamrichová, Kristína ; Magid, Václav (referee) ; Kvíčala, Petr (advisor)
It moves on the frontiers of the sides it looks from and the media it uses following the vision to assemble miscellaneous knowledge so that a certain truth (or a semblance of a truth) could come to the jigsaw that just has been created. Starting in a context originally coming from another argumentation field (social) and in the subsequent topic (the moment of effect of power), which may not necessarily be explicitly readable, it wants to examine what does it take to activate "the image" to be a (partial) autonomous comment about real spaces, even if translated to fictional or virtual. On the background of this heterotopic matter they want (the images and processes of their creation) also to test themselves, to ask on their own sense, to negate the conceptual difference between static and moving images.

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