A Direct Communicator of Information In and Out: Petr Štembera in the 1970s

Kód výsledku v IS VaVaI

<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F60461446%3A_____%2F22%3AN0000023" target="_blank" >RIV/60461446:_____/22:N0000023 - isvavai.cz</a>

Výsledek na webu

<a href="https://resonances.artpool.hu/conferences/2" target="_blank" >https://resonances.artpool.hu/conferences/2</a>

DOI - Digital Object Identifier

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Jazyk výsledku

angličtina

Název v původním jazyce

A Direct Communicator of Information In and Out: Petr Štembera in the 1970s

Popis výsledku v původním jazyce

The paper by Pavlína Morganová and Hana Buddeus at the conference Rezonances II Beyond Friendships: Regional Cultural Transfer in the Art of the 1970s. Besides being one of the most prominent Czech body artists, the performance artist Petr Štembera was also an important communicator within the diverse network of artists on the eastern side of the Iron Curtain (it is telling that his name has the most entries of all artists in the index of Klara Kemp-Welch’s Networking the Bloc). As evidenced by his report on "Events, Happenings, Land-Art, etc. in Czechoslovakia", published in Lucy Lippard’s Six Years, Štembera was an important mediator of Czechoslovak art even before he produced his most significant performance pieces such as Grafting (1975) or Sleeping in a Tree (1975)—works that still excite the imagination today. Besides his many well-known foreign contacts (Jean-Marc Poinsot, Jorge Glusberg, Klaus Groh, Tom Marioni, Allan Kaprow, Chris Burden, Jarosłav Kozłowski, László Beke), Štembera was also in touch with artists in Denmark, the Netherlands, and Belgium (Roger d’Hondt). The paper’s authors aim to summarize Štembera’s contributions to art and cultural information transfer in the 1970s. The paper focuses on the information that Štembera shared with the outside world (for instance, his intensive contacts with Poland and Hungary meant that Czech artists had the chance to exhibit and perform in front of gallery audiences) and also in what he introduced to the domestic scene (for instance, by translating Marshall McLuhan’s iconic The Medium is the Message into Czech). In the 1970s, conceptual art was considered an information transmitter, and it is in this sense that we should understand all of Štembera’s activities, which compensated for the lack of free media while effectively resisting censorship.

Název v anglickém jazyce

A Direct Communicator of Information In and Out: Petr Štembera in the 1970s

Popis výsledku anglicky

The paper by Pavlína Morganová and Hana Buddeus at the conference Rezonances II Beyond Friendships: Regional Cultural Transfer in the Art of the 1970s. Besides being one of the most prominent Czech body artists, the performance artist Petr Štembera was also an important communicator within the diverse network of artists on the eastern side of the Iron Curtain (it is telling that his name has the most entries of all artists in the index of Klara Kemp-Welch’s Networking the Bloc). As evidenced by his report on "Events, Happenings, Land-Art, etc. in Czechoslovakia", published in Lucy Lippard’s Six Years, Štembera was an important mediator of Czechoslovak art even before he produced his most significant performance pieces such as Grafting (1975) or Sleeping in a Tree (1975)—works that still excite the imagination today. Besides his many well-known foreign contacts (Jean-Marc Poinsot, Jorge Glusberg, Klaus Groh, Tom Marioni, Allan Kaprow, Chris Burden, Jarosłav Kozłowski, László Beke), Štembera was also in touch with artists in Denmark, the Netherlands, and Belgium (Roger d’Hondt). The paper’s authors aim to summarize Štembera’s contributions to art and cultural information transfer in the 1970s. The paper focuses on the information that Štembera shared with the outside world (for instance, his intensive contacts with Poland and Hungary meant that Czech artists had the chance to exhibit and perform in front of gallery audiences) and also in what he introduced to the domestic scene (for instance, by translating Marshall McLuhan’s iconic The Medium is the Message into Czech). In the 1970s, conceptual art was considered an information transmitter, and it is in this sense that we should understand all of Štembera’s activities, which compensated for the lack of free media while effectively resisting censorship.

Druh

O - Ostatní výsledky

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

2022

Kód důvěrnosti údajů

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