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Literature in moving image. A case study of selected films by Martin Ježek.
Hrončeková, Ivana ; Csefalvay,, Andreas (referee) ; Mazanec, Martin (referee) ; Cenek, Filip (advisor)
The dissertation deals with selected films of experimental filmmaker Martin Ježek, who interpret works of experimental literature of the 1960s, or literary works that preceded it. In this pattern, I follow the tightness of the relationship between literary text and film, which I describe in the analytic explanations of films. Text and film represents three types of application: in structure (script and score), performativity (performative reading of the text in while filming) and in sound of the film. This tightness, the way the text is interpreted, simultaneously defined the categorization of the selected sample. This chapter also represents the catalog of selected films. A special category is the analysis of the aspect of performativity, which is present on three levels: in the situation of film projection, during filming and during post-production of the film. Another level of the work is dedicated to a review of Martin Ježek´s filmography from the perspective of gallery practice and contemporary art. In this part, dissertation also analyses the conceptual strategies and contexts that accompany the filmmaking process. The focus of the research is organically based on the practical part of the dissertation, which takes the form of an author´s video, exhibition and screening program.
Potter Wasp
Davydenko, Polina ; Mazanec, Martin (referee) ; Klímová, Barbora (advisor)
The work deals with the topic of migration and subsequent integration of the migrant into society, his feelings of nostalgia, and homesickness. Potter wasps and their way of life are similar to humans in some aspects. The work likens the potter wasp's individualistic way of being and the construction of clay vases for their descendants to human immigrant mothers building space and conditions for their children in the new country.
Kratochvíl, Martin Dominik ; Mazanec, Martin (referee) ; Merta, Ondřej (advisor)
It is an audiovisual film that presents a musical compilation of five artists accompanied by sculptural objects and is one of the other outputs of the platform. The platform has been a collectively curated platform connecting the independent electronic scene and visual art for two years. The audio-visual D-SEED I focuses on materiality, especially fabric, in sculptural objects. The haptic and tactile perception of art is the axis of interest in the artistic activity of the authors of these sculptural objects. Their creations outline a surreal world that is partly influenced by the reflection of the climate crisis we are facing. Michaela Rožnovská sculptural objects, in collaboration with Martin Dominik Kratochvíl, make imaginations of new animals on earth visible, based on abstracted shapes of plants or the simplest organisms living on this planet. They present themselves as heirs of our culture, mythology and religion. The sound side of the whole audiovisual film is created from a compilation of five performers - RLUNG, Thistle, Natálie Pleváková, sees_pod, timmi. The resulting sound mix is the work of the author sees_pod (Martin Dominik Kratochvíl). The whole compilation is composed of ambient surfaces, field recordings and processing. The whole is then built as a collage of constantly changing situations and emotions. At the moment when it may seem to the viewer that something identifiable emerges from the changing mixture, the composition turns into something else.
Sádecká, Lucia ; Králíková, Lucie (referee) ; Mazanec, Martin (advisor)
Len len is about the process. Originating in environmental issues and reflecting the processuality of the creation of a work of art. Processes from production to product, from tradition to the present, from memory to experience, from fast to slow, from imperfection to perfection, from the impersonal to the personal, from beginning to end. I deal with work with textiles as a classic medium, while I devote myself to the cultivation of flax as the original, in our country, raw material for the production of textiles. From the beginning, I watch carefully as it grows, I take care of it and I patiently expect the time of collection and subsequent processing. This phase is very important for me, as it brings with it various procedures, applied in old proven technologies, in interaction with people from whom I learn the craft and who shape the whole process, but especially from behind, observe how I am doing, what I managed. It is a personal and at the same time technical record of a two-year effort.
Fear Eats the Soul
Spalajković, Tamara ; Marković, Nikola (referee) ; Mazanec, Martin (advisor)
For my master thesis I present a video installation named Orlando: Fear Eats the Soul. The project aims to explore the tension created by performative disrupting of the complex relationship between humans and digital images. Contemporary modes of our (human) interaction with digital media challenge the divide between digital and “real.” The video and the installation deal with the potential of performative addressing of this divide through a fictional narrative, utilizing the formal characteristics of a digital camera (apparatus) as a gatekeeping instrument. In this documentation I elaborate on the theoretical and contextual foundations of the project and offer insight into the methods used in the production of the video – the central piece of the installation.
Exhibition - VVČSKSU
Hověžáková, Ilona ; Janečková,, Zuzana (referee) ; Mazanec, Martin (advisor)
The objective of this thesis draws on my experience acquired during the internship in Galeria De Arte Servando in Havana, where I have been given the opportunity to learn about Cuban culture as well as to witness the restrictions and difficulties in gallery activities due to the communist government. The first part of the thesis focuses on historical facts highlighting the art exchange between Czechoslovakia and Cuba, a common part of running the state institution in the past. It was a common practice both in Havana´s House of Czechoslovak Culture and in the House of Cuban Culture in Prague. After the collapse of the Soviet Union, both houses were closed and the Czechoslovak-Cuban relations in art and culture have never been restored. The study subsequently discusses the concept and realization of the exhibition prepared in collaboration with Cuban curator Yenisel Osuna Morales. The aim of the thesis is to try to initiate a dialogue between two countries, Cuba and the Czech Republic (former Czechoslovakia), countries with many differences, and probably even estranged nowadays. However, their relations were warm before, and they could be in many ways an inspiration. The primary outcome of this thesis is the exhibition project aimed at the topic of censorship in independent art, its influence on gallery activities and freedom of artistic expression in Cuba. The selection of cuban artists carried out by curator Yenisel Osuna Morales represents the topic of pluriculturalism, migration and diaspora. By means of exhibition exchange, I would like to refer to the terminated friendship between Cuba and former Czechoslovakia in the field of art. The purpose of these exhibitions is not only to present Czech contemporary art in Cuba but also to present Cuban art in the Czech Republic without any restrictions.
Pintérová, Renáta ; Mazanec, Martin (referee) ; Zálešák, Jan (advisor)
The aim of my work is to investigate the conditions of contemporary art and self-colonising tendencies in the production, perception and circulation of art between the online and offline space as well as the theoretical, contextual and political background of this process. The self-promotional character of mediating my own artwork over the internet is given by the widely used technology options, the preset architecture of web content for distribution of visual content, as well as the dominant aesthetic canon of documentary artwork and exhibitions dictated by influential visual blogs from the Contemporary Art Daily to the Ofluxo , Tzvetnik or others. I recognize the artistic practice in this context as an aesthetic loop and the accelerative impotence of a digital image given by the political conditions of information technology. The practical output of the work will consist of two textile objects.Design of objects and the DIY part of it will be created by me, but the objects stiching will be realized by Slovak designer / model Michal Šumichrast, who creates his own branding under the name SUMICRAFT. I think that the aesthetics and the process of producing his work and life itself corresponds to the social policy of the new global class of cultural producers. His artistic practice is contextually similar to my practice and to the social / political economic issues of the current precariat class that I examine in my theoretical and practical work. As a final result of the research the objects will be documented in "high resolution" and sent back to the Internet. Either in the form of an Instagram post, or as a self-colonising process within some of the "most up-to-date" online platforms for contemporary art.
There's black and white, day and night, good and evil, yin and yang. It all just balances itself out.
Ilič, Risto ; Kořínková, Jana (referee) ; Mazanec, Martin (advisor)
The bachelor's thesis "There's Black and White, Day and Night, Good and Evil, Ying and Yang" follows the three-year existence of the collective "Ugly Brno" and its work, which is based on the still current, local phenomenon of redesigning of advertising banners and shields in the context of small businesses located in the Brno city center. Specifically, it focuses on emerging designs combining black and white. The output of this bachelor's thesis is a video – a fictional interview in which Black and White are personified as two confident, eccentric personalities, quasi-experts in today's visual culture and the ultimate guarantors of taste, who conquered the city of Brno with their realizations. The objective of this thesis is to reveal the mythology behind the popularity of black and white combination in the context of visual culture, particularly in graphic design and its connection to the problematics of gentrification and capitalism. Another objective is to use sarcasm and irony to create a reflection of a culture whose values are elitism, workaholism, perfectionism, disregard for alternatives and an emphasis on efficiency. Why is it that in such a culture, black and white has gained more and more popularity than ever before?
Sádecká, Lucia ; Vacková, Lenka (referee) ; Mazanec, Martin (advisor)
The bachelor project focuses on the phenomenon of the Burda style magazine, which for more than 50 years has been advertising to its readers about pattern making, along with tips and tricks. This allows the readers to fill the wardrobe of current trends that they should be able to make themselves In this project, I chose one specific issue from 07/17 magazine, which I transferred from patterns provided with the material needed according to the template and workflow. I kept the original sewing method using the orientation map provided by the designers (using a silk screen), which forms the design of the whole collection. The aim is, on the one hand, to test the functionality and the practicality of the offered dresses in the magazine, but at the same time emphasis is put on the quality of craftsmanship. According to the popularity of the magazine, this quality still has its visible place in the fashion industry. How? What is this heading towards? Does the social artefact of this confection still make sense in this era?
Hládeková, Katarína ; Mazanec, Martin (referee) ; Zahoranský, Dušan (referee) ; Fajnor, Richard (advisor)
The dissertation thesis studies the extension of the context of the term model as a means of interpretation for Czech and Slovak post-conceptual works of art. Based on result of a historical excursion into the history of painting, sculpture and architecture, the thesis offers a new typology of a model which is exemplified on particular work of art of Czech and Slovak post-conceptual era in the first two decades of the 21st century. The historical part of the thesis concludes the following: model in the art is an emancipated form originating from different academic as well as layman discourse; emancipated model has a methaphorical layer and thus it reflects wide historical, cultural and social relations. The categories proposed include: a linear model, a physical model, a cognitive model and an immersive model. The linear model encompases the sketch themes and so-called visualization metaphors (graphs, charts, schemes, etc) and originates as a reaction to information saturation and complicated networks. The physical model is a form to architecture and hobby modelling, it is characterised by a simple, „sketchy“ structure reacting to social themes and individual and collective memory. The cognitive model points to the cognitive turn of the society, it evaluates the materialisation of mental space and explains the emancipated model as an open category. Finally, the immersive model interprets the medium of exhibition as a model form which is articulated by and artisitic manifesto or an architectural interference. Another form of immersion that is being discussed in the chapter about immersive models, is a photographic or 3 D computer illusion as a reaction to society‘s virtualisation. Simultaneously to theoretical-historical research, an artistic research was taking place which became the basis for the creation of different categories and typologies of model. Each proposed category thus includes a so-called author‘s note reflecting the practical part of the dissertation thesis.

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See also: similar author names
3 MAZANEC, Milan
2 Mazanec, Michal
3 Mazanec, Milan
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