Infiltrating the Art World through Photography. Petr Štembera’s 1970s Networks.

Kód výsledku v IS VaVaI

<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F60461071%3A_____%2F18%3AN0000118" target="_blank" >RIV/60461071:_____/18:N0000118 - isvavai.cz</a>

Výsledek na webu

<a href="https://www.tandfonline.com/doi/full/10.1080/09528822.2018.1505314" target="_blank" >https://www.tandfonline.com/doi/full/10.1080/09528822.2018.1505314</a>

DOI - Digital Object Identifier

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Jazyk výsledku

angličtina

Název v původním jazyce

Infiltrating the Art World through Photography. Petr Štembera’s 1970s Networks.

Popis výsledku v původním jazyce

The reception of 1970s Czech performance art was influenced by a unique set of conditions. Typically, only a handful of friends attended live events in Prague, while the art piece had to cross the state borders through photographic documentation in order to find a broader secondary audience. The missing institutional footing was therefore partially substituted by reproductions in foreign magazines and photographs distributed for exhibitions abroad. Petr Štembera was one of the few figures to draw attention to Czech art outside of the country. He would send photographic documentation to artists and curators who orchestrated his representation at many foreign exhibitions. As I demonstrate with concrete examples, he helped create a network which gave his activities the status of art. However, when performance art became an established part of the international art scene and institutionalised itself late in the 1970s, he concluded that it was best to quit the practice altogether.

Název v anglickém jazyce

Infiltrating the Art World through Photography. Petr Štembera’s 1970s Networks.

Popis výsledku anglicky

The reception of 1970s Czech performance art was influenced by a unique set of conditions. Typically, only a handful of friends attended live events in Prague, while the art piece had to cross the state borders through photographic documentation in order to find a broader secondary audience. The missing institutional footing was therefore partially substituted by reproductions in foreign magazines and photographs distributed for exhibitions abroad. Petr Štembera was one of the few figures to draw attention to Czech art outside of the country. He would send photographic documentation to artists and curators who orchestrated his representation at many foreign exhibitions. As I demonstrate with concrete examples, he helped create a network which gave his activities the status of art. However, when performance art became an established part of the international art scene and institutionalised itself late in the 1970s, he concluded that it was best to quit the practice altogether.

Druh

J_imp - Článek v periodiku v databázi Web of Science

CEP obor

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OECD FORD obor

60401 - Arts, Art history

Projekt

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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

Název periodika

Third Text

ISSN

0952-8822

e-ISSN

1475-5297

Svazek periodika

32

Číslo periodika v rámci svazku

4

Stát vydavatele periodika

GB - Spojené království Velké Británie a Severního Irska

Počet stran výsledku

16

Strana od-do

468-484

Kód UT WoS článku

000452007500007

EID výsledku v databázi Scopus

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