Katedra teorií a dějin umění

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AI: All Idiots
(Masaryk University Press, TIC Brno, 2022-12-01) Trnková, Barbora
This article creates a cross section across artistic and artificial intelligence, providing the conceptual basis and examples of the implementation of the group exhibition project AI: All Idiots, which was part of the Other Knowledge exhibition series at the MeetFactory Gallery in Prague in 2021. The purpose of the project was to bring the subject of modern artificial intelligence to the attention of the general public while still being artistically stimulating. In lieu of the conventional strategy of curating a selection of artworks created by artists working with AI, we opted to start from scratch by gathering online digital copies of selected artworks by Czech artists, which served as a training dataset for our original AI software. The artists were also involved in the data’s interpretation. The experiment addressed the widespread use of AI for web content analysis, artists, curators, and the art community as a whole, as well as the question of whether AI operates as a source of information to generate stereotypical products that cannot do more than statistically confirm and continously repeat what is already known. The article sheds some light on the question of how art engages in a creative dialogue with a world co-created by digital technologies and learning algorithms with their own agendas, without falling prey to a mechanical confirmation of stereotypes. The source of artificial intelligence’s creativity draws from tuning expected and unexpected patterns and schemas. Like a sensitive photographic material, the architecture of art’s hidden structures is gradually revealed, intensifying the characteristics of the prejudices and habits we connect with art. If art is defined as revealing the invisible, then artificial intelligence is a useful artistic instrument.
Bohemian Rhapsody? Writing and Collecting Queer Cultural History in the Czech Republic
(GLBT Historical Society, 2020-01-23) Jackson, Ladislav
In autumn 2019, the Czech Republic celebrated the 30th anniversary of the 1989 Velvet Revolution, which ended four decades of communist rule in the former Czechoslovakia. New freedoms have made it easier for LGBTQ people to live their lives more openly in this Central European country, yet they still face significant challenges. Established in 2014, the Society for Queer Memory is the first Czech queer archives and museum. It now holds more than 1,000 objects. Art historian Ladislav Zikmund-Lender will discuss the work of the organization, providing insight into how the history of queer lives and experiences is being documented and presented in the Czech Republic. His talk will compare and contrast the ways that the path to queer emancipation in Central Europe has been distinct from the United States.
Kalifornská story: Queer malíř Orrin Peck a jeho „druhá máma“ Phoebe Hearst
(Společnost pro queer paměť, 2020-10-15) Jackson, Ladislav
Phoebe Apperson Hearst měla velmi úspěšného vlastního syna Williama, který byl ale více jako jeho otec: tvrdý obchodník. Našla však jemnou, uměleckou duši v malíři Orrinu Peckovi (1860–1921), který byl údajně gay a který ji, ještě za života své vlastní matky, začal oslovovat „má druhá mámo.“ Na základě podrobného výzkumu jejich vzájemné korespondence v Peckově pozůstalosti se můžeme ptát, jak moc si byla progresivní, bohatá žena 19. století, jakou byla Phoebe Hearst, vědoma Peckovy sexuality a pokud ano, jestli s tím neměla problém, nebo šlo o nevyřčené tajemství mezi nimi? Jejich příběh představí historik umění Ladislav Zikmund-Lender.
The “Raumplan” and has there been one after Adolf Loos?
(Virginia Tech, School of Architecture, 2021-02-19) Jackson, Ladislav
In 1931, the Vienna publishing house Anton Schroll & Co. published Heinrich Kulka’s extensive monograph on Adolf Loos. In his text, Kulka discussed Loos’s idea of being an architect, he wrote about ornament and the reduction of ornament, and then, on about one page, he outlined Loos’s space concept, which he named “raumplan”. He emphasized a better organization and rationalization of interior space as Loos’s main innovation. However, when we look at Loos’s 1920s and 1930s houses, they boast of a huge waste of space (and money). After Loos’s death in 1933, many of his apprentices continued designing “in the Loos manner”, as Heinrich Kulka promoted his projects from the mid-1930s. At the same time, we can see that the apprentices‘ projects do not achieve Loos’s spatial qualities and proportions and their works had been contaminated with other inventions of architectural avant-garde. What was the real purpose of the invention and use of the term “raumplan“ by Loos’s pupils and has there been anything like that after Loos’s death? The lecture will try to answer this question using examples of post-Loos works by Heinrich Kulka and Kurt Unger from 1933 to 1939.
Adolf Loos: Mezi tradicí a pokrokem
(Galerie výtvarného uměnín v Chebu, 2020-09-02) Jackson, Ladislav
V letošním roce si připomínáme sto padesáté výročí narození jednoho z nejoriginálnějších architektů dvacátého století: Adolfa Loose (1870-1933). Přednáška představí Loosovu publicistickou činnost, hlavní myšlenky jeho architektury, jejich vzájemné rozpory, ale také Loosovy pokračovatele, jako byl Kurt Unger, Heinrich Kulka, dále jeho propagátory v českých zemích, jakými byli Jan Vaněk, Bohumil Markalous a Bořivoj Kriegerbeck, i nepřátele, mezi něž se řadil třeba Otto Wagner či Josef Gočár. V představení Loosovy architektury se přednáška zaměří na tzv. Raumplan, prostorové uspořádání moderního bydlení, jeho zdroje, mezi něž můžeme řadit klasické dispoziční schéma venkovského paláce, i na to, jak byl Loosův Raumplan rozvíjen a obohacován o další inovace v prostředí nejmladší generace vídeňských předválečných architektů, jako byl Fritz Reichl či Josef Frank.

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