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Art in the club
Verešpej, Jonáš ; JANOŠČÍK, Václav (advisor) ; LEDVINA, Josef (referee)
The thesis examine the contemporary art in the context of club culture in Amsterdam, specifically in the clubs De School and Trouw. I am interested in the club as an alternative space for visual arts and its innovative contribution to the world of contemporary art. Whether the way the artworks are being installed, or themes, which are being brought to the club culture. At the same time the thesis examines authors, who in their work thamatise dance and club culture, rave or genres like techno and house
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Sally Mann and David Hamilton. Comparison in the context of nymphet archetype and its photographic representations.
Sekta, Karol ; Vančát, Pavel (advisor) ; JANOŠČÍK, Václav (referee)
Thesis would be based on deep studies conducted on two photographers - Sally Mann and David Hamilton. The form of work is going to be a result of comparison of two creative paths which led artists to very the same effect (and provoke quite the same questions of perversity/legality/aesthetics/kitsch). Even if photographers acted in completely different intentions(presenting directly opposite approaches to art piece as such), still they have a lot in common.
In result I would deposit this specific relation between two circles (represented strongly by two mentioned artists) on this quite specific dualism of
motherhood-like and intimate approach of Sally Mann depictions contrary to David Hamilton's aggressive, straightly sexual way of photographing his young "subjects-objects".
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Google street view in comtemporary photography
Levitner, Šimon ; DVOŘÁK, Tomáš (advisor) ; JANOŠČÍK, Václav (referee)
Analysis of Google street view as a tool to view a world throught quite persuasive virtual reality which builds its belivevability on an impresion of extension of most used map. I examine possibilities of its use in artist practice on the example of three artists - Jon Rafman, Mishka Henner and Michael Wolf. I see as the objective of this thesis the comparasion of the approaches of indivual artists which would serve as a tool to better understanding how can we percieve GSV or where can we place it in the context of photography.
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Theory of absence in contemporary Czech art
Janů, Valentýna ; Havránek, Vít (advisor) ; JANOŠČÍK, Václav (referee)
In my thesis, I focus mainly on the concept of absent in Czech contemporary art. I am trying, using examples of singular pieces, artists and (overal) projects, to examine current art scene and it’s resource. Considering the historical and artistic context, I am searching for the continuous fascination with the subject of void and analysing the strategies neccessary for it’s possible artistic application.
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Composition and decomposition as an contemporary art strategy
Zakharova, Iryna ; JANOŠČÍK, Václav (advisor) ; LEDVINA, Josef (referee)
Our changing relationships to things and materials forces us to seek new strategies and patterns to create "artistic situations," the meaning of which is reversible, non-fixed. Each situation can be decomposed and no one thing is more important than another. This unfettered process of thinking about things offers more liberated forms without finding any particular higher importance, or truth. Just as speculative realists were not uplifting the knowledge of the individual about things, the thing by itself circulates and operates without our participation. This idea of anther unknown reality, in which everything is fundamentally different and where things are circulating without us, brings more open ways to compose and decompose things in artistic practice. Because one does not have to react to things as they are, but only to things as they appear. Perhaps what makes an artistic gesture so powerful is not the gesture itself but the moment before the gesture or between the gestures. These spaces between the gestures allow the viewer to reflect on what is being seen and experienced.
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Contemporary development of feminism in the Internet enviroment, approached on The Ardorous collective
Durbáková, Veronika ; JANOŠČÍK, Václav (advisor) ; ŠERÝ, Ladislav (referee)
Master’s thesis analyses the attitude of young female artists, who mostly work with photographic medium, primarily presenting their art works by digital tools, via online platforms. The intention of thesis lies in examination of the group of young female artist, connected by The Ardorous collective, whose members are automatically perceived as feminists, who insist on equality for women in the art world. It also analyses working approach of collective’s founder Petra Collins, as well as some of its most noteworthy members, and contemplates on ideological means leading to their final works. Thesis also describes approach not only to the art practicing, but to the entire constructing of its own public image, by comparing The Ardorous with the british female collective of alike intentions, Bunny Collective. Hypothesis of designated artists are partly interpreted with fragments of text by french creative collective Tiqqun, named Preliminary Materials For a Theory of the Young-Girl [2007, Semiotext(e)].
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Ivan Kafka, Photography between documentation and art
Mertová, Alexandra ; JANOŠČÍK, Václav (advisor) ; LEDVINA, Josef (referee)
The thesis deals with photographic work of conceptual artist Ivan Kafka and questions regarding the thin line between technical documentation and its artistic quality. It focuses primarily on issues related to the documentation of art and presentation of installa-tion records. Issues accompanying photographic documentation of art are presented using examples of specific works by Ivan Kafka and his approach from a technical and artistic point of view. The text is built around thematic interviews with the author Ivan Kafka, art photographer Martin Polák and art historian Pavlina Morgan. The purpose of these interviews was to present a specification of Kafka's documentary approach from different perspectives and point to the exceptional, as well as problematic aspects of his photographic work. Individual subject areas are developed considering the problematic questions concerning documentation of photography.
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Atrocity images and the Audience
Lin, Jun-Ye ; JANOŠČÍK, Václav (advisor) ; ŠERÝ, Ladislav (referee)
Susan Sontag’s reviews and descriptions of agony images is the keystone of war photography. From On photography(1977) to Regarding the Pain of Others(2003), Sontag wrote about how agony images could affect the majority of people. Media ruled photographs and used them as its own container. Through her book, the passiveness of the audiences was examined. She criticised the way of how people looked at an agony image. According to her, audiences constantly consumed other’s pain if the they are far away. She judged repeating formats and simplified messages from media which numb the sensation of people, the surfeit of similar horrendous images turned an audience into a consumer. “Is a photograph ever “real”? she asked. Firstly, within in my thesis I would like to to examine the relevancy of Sontag theory, her interests in emotion in charge of atrocity and pain. To found out the possible respond of the audience, in respect to war in contemporary art photography. When artists have the chance to turn their camera from those atrocity on sites, what could be the differences in audiences’ reactions from traditional war photojournalist. Moreover, Sontag’s concept “the audience as consumers” will be traced back to its basic elements. To scan the particular words and phrase which Sontag used in her two books. Secondly, use Regarding the Pain of Others(2003) as a starting point of the timeline, then search for the critical thoughts which against or support Sontag’s words during the decade. Furthermore, use different concepts of the agony images to examine the remarkable singular atrocity images and the art works relate to war and atrocity. To explore the change according to the interaction between atrocity and contemporary photography and their audiences. After all, use the dialects between the theories and the war in contemporary art photography to extent the perspective from Regarding the Pain of Others(2003) to get closer to our time — to build the the reference of how to see an agony image.
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The Concept of Autonomy : (conditions of modern subjectivity and historicity of the concept of law)
Janoščík, Václav ; Kühn, Zdeněk (advisor) ; Maršálek, Pavel (referee)
of the diploma thesis Janoščík Václav The Concept of Autonomy (Conditions of modern subjectivity, of the concept of law and of historicity) Submitted thesis aims at articulation of the concept of autonomy in its complexity. At first it pursues specific contexts of the notion to arrive at its structure. At first we try to explore prospective of analytical philosophy of law to situate the concept of autonomy to the heart of the idea of law. This efforts unfolds itself by an unorthodox interpretation of natural right theory of Herbert Hart's early work. Second chapter discusses the framework of the philosophy of history, that are based on the idea of an autonomous subject. Seemingly paradoxical linkage of Heidegger's fundamental ontology and Kosík's dialectics of the particular articulates the historical function of the autonomy. Next chapter connects Kosík with Cornelius Castoriadis in the perspective of social theories. Also in their normative core we can identify our notion of autonomy. Fourth chapter follows the theory of disenchantment of the world of Marcel Gauchet. We reformulate it as a realization of the ideal of autonomous subject in order to contextualize the concept historically. Last topic of the first part is the framework of the intellectual history. Here we situate Dieter Henrich and...
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