Double Invisibility: Revisiting Queer Spaces in Central Europe, přednáška na konferenci Society of Architectural Historians 71st Annual International Conference, 18.–22. dubna 2018, Society of Architectural Historians, St. Paul, MN

Kód výsledku v IS VaVaI

<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F00216305%3A26420%2F18%3APU131586" target="_blank" >RIV/00216305:26420/18:PU131586 - isvavai.cz</a>

Výsledek na webu

<a href="https://app.oxfordabstracts.com/stages/96/programme-builder/submission/3233?backHref=/events/84/sessions/1988&view=published" target="_blank" >https://app.oxfordabstracts.com/stages/96/programme-builder/submission/3233?backHref=/events/84/sessions/1988&view=published</a>

DOI - Digital Object Identifier

—

Jazyk výsledku

angličtina

Název v původním jazyce

Double Invisibility: Revisiting Queer Spaces in Central Europe, přednáška na konferenci Society of Architectural Historians 71st Annual International Conference, 18.–22. dubna 2018, Society of Architectural Historians, St. Paul, MN

Popis výsledku v původním jazyce

In 1940, the openly gay movie producer Miloš Havel commissioned a project for a luxury villa that was later described in a contemporary novel as the residence the owner shows to his young male lover, who reacts as follows: “in the dressing room, a white room with a red rug and a sofa, he opened all the wardrobes. [...] He instantly fell into a visual trance and dazzling sense of wonder caused by the realization that such a comfort existed.” This shows a strategy of wealthy gay men to furnish their homes as strikingly visibly queer, open to their queer social and sexual circles. At the same time that the house was under construction, the lesbian surrealist painter Toyen acquired her one-room apartment which one could characterize by using avant-garde theorist Karel Teige’s term “the minimum dwelling.” Both apartments were significant in pre-war social and cultural life but actually, they different represented two aspects of queer domestic spaces. The 20th century queer spaces in Central Europe were shape

Název v anglickém jazyce

Double Invisibility: Revisiting Queer Spaces in Central Europe, přednáška na konferenci Society of Architectural Historians 71st Annual International Conference, 18.–22. dubna 2018, Society of Architectural Historians, St. Paul, MN

Popis výsledku anglicky

In 1940, the openly gay movie producer Miloš Havel commissioned a project for a luxury villa that was later described in a contemporary novel as the residence the owner shows to his young male lover, who reacts as follows: “in the dressing room, a white room with a red rug and a sofa, he opened all the wardrobes. [...] He instantly fell into a visual trance and dazzling sense of wonder caused by the realization that such a comfort existed.” This shows a strategy of wealthy gay men to furnish their homes as strikingly visibly queer, open to their queer social and sexual circles. At the same time that the house was under construction, the lesbian surrealist painter Toyen acquired her one-room apartment which one could characterize by using avant-garde theorist Karel Teige’s term “the minimum dwelling.” Both apartments were significant in pre-war social and cultural life but actually, they different represented two aspects of queer domestic spaces. The 20th century queer spaces in Central Europe were shape

Druh

O - Ostatní výsledky

CEP obor

—

OECD FORD obor

60401 - Arts, Art history

Projekt

—

Návaznosti

I - Institucionalni podpora na dlouhodoby koncepcni rozvoj vyzkumne organizace

Rok uplatnění

2018

Kód důvěrnosti údajů

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