Just like home. Photo album on the edge of the everyday

Kód výsledku v IS VaVaI

<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F61989592%3A15210%2F24%3A73622769" target="_blank" >RIV/61989592:15210/24:73622769 - isvavai.cz</a>

Výsledek na webu

<a href="https://espes.ff.unipo.sk/index.php/espes/article/view/19" target="_blank" >https://espes.ff.unipo.sk/index.php/espes/article/view/19</a>

DOI - Digital Object Identifier

<a href="http://dx.doi.org/10.5281/zenodo.16071972" target="_blank" >10.5281/zenodo.16071972</a>

Jazyk výsledku

angličtina

Název v původním jazyce

Just like home. Photo album on the edge of the everyday

Popis výsledku v původním jazyce

In the last few decades we have observed an increased interest in photography as an object of study of the everyday, as well as of the formation of everyday habits and aesthetics. It is no longer understood strictly as an artistic entity, a document, or a personal commodity, but – under the impression of a material turn – it is experiencing a substantial renaissance as a complex tool for learning about the socio-cultural parameters of a given community or space-time with a specific aesthetics. The photographic history, rather than the history of photography, involves a series of tools and methodological procedures that make the photographic image not only a source of banal information but is understood as a saturated structure. Institutional practice becomes one of the key themes, with the archive establishing itself alongside collections. Or rather, and this is what the text focuses on, the photo album – is a complex tool on the borderline between active and passive perception, personal and shared experience, image, and text. How does this medium work in the context of contemporary art practice? What means does it have at its disposal when the author turns his attention to the problem of “everyday”? And can we truly talk about specific aesthetic attributes?

Název v anglickém jazyce

Just like home. Photo album on the edge of the everyday

Popis výsledku anglicky

In the last few decades we have observed an increased interest in photography as an object of study of the everyday, as well as of the formation of everyday habits and aesthetics. It is no longer understood strictly as an artistic entity, a document, or a personal commodity, but – under the impression of a material turn – it is experiencing a substantial renaissance as a complex tool for learning about the socio-cultural parameters of a given community or space-time with a specific aesthetics. The photographic history, rather than the history of photography, involves a series of tools and methodological procedures that make the photographic image not only a source of banal information but is understood as a saturated structure. Institutional practice becomes one of the key themes, with the archive establishing itself alongside collections. Or rather, and this is what the text focuses on, the photo album – is a complex tool on the borderline between active and passive perception, personal and shared experience, image, and text. How does this medium work in the context of contemporary art practice? What means does it have at its disposal when the author turns his attention to the problem of “everyday”? And can we truly talk about specific aesthetic attributes?

Druh

J_SC - Článek v periodiku v databázi SCOPUS

CEP obor

—

OECD FORD obor

60401 - Arts, Art history

Projekt

—

Návaznosti

S - Specificky vyzkum na vysokych skolach

Rok uplatnění

2024

Kód důvěrnosti údajů

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

Název periodika

ESPES

ISSN

1339-1119

e-ISSN

—

Svazek periodika

14

Číslo periodika v rámci svazku

1

Stát vydavatele periodika

SK - Slovenská republika

Počet stran výsledku

17

Strana od-do

257-273

Kód UT WoS článku

001599463200017

EID výsledku v databázi Scopus

2-s2.0-58124418300