National Repository of Grey Literature 24 records found  beginprevious15 - 24  jump to record: Search took 0.00 seconds. 
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.
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.
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)].
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.
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.
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...
The concept of autonomy: conditions of modern subjectivity and historicity
Janoščík, Václav ; Horský, Jan (advisor) ; Činátl, Kamil (referee)
Předkládaná práce se snaží o artikulaci pojmu autonomie v jeho komplexnosti rámci. V první části jsou tematizovány jednotlivé kontexty tohoto pojmu, ve snaze prohlédnout jeho strukturu. Následně práce sleduje jeho vlastní historii. V poslední části pak hodláme výslednou koncepci aplikovat na dvě vybraná historiografická díla. Tímto postupem se snažíme zejména důsledně proniknout do bohaté interdisciplinární literatury, formulovat a hájit původní teze týkající se struktury i genealogie tohoto pojmu a prokázat tak nejen jeho historickou relevanci, ale také konceptuální užitečnost v rámci metodologie historické vědy.
Contemporary art after Late Photography.
Czanderle, Michal ; DVOŘÁK, Tomáš (advisor) ; JANOŠČÍK, Václav (referee)
In my work, I would like to close the term "Late photography". Personally, I believe that since the seventies we in the works of many artists find similar documentary strategies that relate to the concept of "Late photography". Currently, there is a certain exhaustion of this concept. For these reasons, I would like to focus on finding artists who suggest a new direction in photography while benefiting from a "photojournalist".
The Liberation of Pilsen 1945 in Photography
Křenová, Tereza ; SILVERIO, Robert (advisor) ; JANOŠČÍK, Václav (referee)
This bachelor thesis deals with liberation of Pilsen in May 1945 by american army in photography. The aim of this thesis is finding and collecting archival materials and placing them in a historical-political context. Communist regime changed the portrayal of historical events and directly influenced the amount of exisiting photographs, documents and lives of those who created them. Important part of this bachelor thesis is working with those archival materials – particularly with photographs capturing arrival of Americans and their stay in Czechoslovakia at the end of WW2. Both professional and amateur photographers created valuable photographs as they witnessed the liberation of Pilsen. These photographs became in spite of communist propaganda a clear evidence that Pilsen was liberated by american army.
Introduction to bio art
Šperanda, Nina ; SILVERIO, Robert (advisor) ; JANOŠČÍK, Václav (referee)
Bio art is a contemporary art practice that works with living organisms (except humans) or is created in cooperation with living organisms. It is relatively new art movement that is rooted deeply inside the history of evolution, domestication of animals and plants, technological discoveries, their development and science. Never before was art questioning its ethics and aesthetics in such profound, molecular and sub-molecular way. In this work I will consider the historical influences and conditions that led to current developments in the field. I will also try to explain the problematics of defining what bio art is and try to clarify the associated terminology. Most relevant and ground breaking works in the field will be mentioned as some new recent developments. Aesthetics of bio art is also an important subject often set aside by the ado around ethics of it. It is an extremely important subject to be considered when talking about bio art and I will try to sketch out a brief outline of it with references to philosophy and contemporary bio art theory.

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