The Photographic Estate of Dagmar Hochová in the Collection of Photography and New Media of the Moravian Gallery in Brno

Kód výsledku v IS VaVaI

<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F00094871%3A_____%2F21%3AN0000011" target="_blank" >RIV/00094871:_____/21:N0000011 - isvavai.cz</a>

Výsledek na webu

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DOI - Digital Object Identifier

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Jazyk výsledku

angličtina

Název v původním jazyce

The Photographic Estate of Dagmar Hochová in the Collection of Photography and New Media of the Moravian Gallery in Brno

Popis výsledku v původním jazyce

In 2013 the bereaved family of the photographer Dagmar Hochová (1926–2012) donated her estate to the Moravian Gallery in Brno. The estate contained around 3,500 positives and the photographer’s archive of negatives, comprising of 300–400,000 frames. The public image of Dagmar Hochová and her work was shaped by the totalitarian regime. During that time the artist could show only the ideologically acceptable part of her work. After the political upheaval in 1989 the unpublished section of her archive provided material for a (re)interpretation of the artist’s canonical image and simultaneously a valuable record forreassessing Czechoslovak history and construing a newpost-totalitarian identity. Within the framework of these activities Hochová’s photographs were exhibited in London and The Hague. Experts are currently processing the so-called political segment of her archive capturing the period of the political transformation and activities in the newly established Parliament of the Czech Republic where the artist was a deputy at the beginning of the 1990s.

Název v anglickém jazyce

The Photographic Estate of Dagmar Hochová in the Collection of Photography and New Media of the Moravian Gallery in Brno

Popis výsledku anglicky

In 2013 the bereaved family of the photographer Dagmar Hochová (1926–2012) donated her estate to the Moravian Gallery in Brno. The estate contained around 3,500 positives and the photographer’s archive of negatives, comprising of 300–400,000 frames. The public image of Dagmar Hochová and her work was shaped by the totalitarian regime. During that time the artist could show only the ideologically acceptable part of her work. After the political upheaval in 1989 the unpublished section of her archive provided material for a (re)interpretation of the artist’s canonical image and simultaneously a valuable record forreassessing Czechoslovak history and construing a newpost-totalitarian identity. Within the framework of these activities Hochová’s photographs were exhibited in London and The Hague. Experts are currently processing the so-called political segment of her archive capturing the period of the political transformation and activities in the newly established Parliament of the Czech Republic where the artist was a deputy at the beginning of the 1990s.

Druh

C - Kapitola v odborné knize

CEP obor

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OECD FORD obor

60401 - Arts, Art history

Projekt

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Návaznosti

V - Vyzkumna aktivita podporovana z jinych verejnych zdroju

Rok uplatnění

2021

Kód důvěrnosti údajů

S - Úplné a pravdivé údaje o projektu nepodléhají ochraně podle zvláštních právních předpisů

Název knihy nebo sborníku

Artist’ Legacies. Preservation, Study, Dissemination, Institutionalisation

ISBN

978-972-8467-58-6

Počet stran výsledku

19

Strana od-do

165-183

Počet stran knihy

296

Název nakladatele

Fundação Arpad Szenes-Vieira da Silva

Místo vydání

Lisbon

Kód UT WoS kapitoly

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