Peter Megyeši
Address: Bratislava
Slovakia
https://www.sav.sk/?lang=sk&doc=user-org-user&user_no=9862
https://ff.truni.sk/kontakty/peter-megyesi
https://artbase.kunsthallebratislava.sk/teoretik/TMP.14
Slovakia
https://www.sav.sk/?lang=sk&doc=user-org-user&user_no=9862
https://ff.truni.sk/kontakty/peter-megyesi
https://artbase.kunsthallebratislava.sk/teoretik/TMP.14
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Papers by Peter Megyeši
Michal Machciník (b. 1989), even in his thesis work undertaken in 2015 in the Studio of 3D Creativity at Košice’s Faculty of Arts, has always focused on untraditional topics and applying unusual creative principles, which now characterize his current sculpture work. This is dominated by gathering materials in the forest space, putting them together in a variety of ways to make objects of ambiguous meanings and challenging aesthetics. Channel of Messages from the Edge of the Society / Kanál správ z okraja spoločnosti (2012– 2016) is a series of works documenting forest graffiti
– texts, signs and symbols, inscribed in tree bark. What they have to say reflects a wide scale of human experience, from love notes, banalities and vulgarisms to political slogans and music fan messages. Reliefs for Latour /Reliéfy pre Latoura (2018) are found artefacts and natural materials combined with historical technical drawings and classroom graphic schemes, creating wholes that are aesthetically surprising and semantically provocative. Tribute to the Woodpecker: cast of woodpecker hole /Pocta ďatľovi: odliatok dutiny vytvorenej ďatľom (2014 – 2020) is a capturing and making visible of outwardly undetectable remnants of the natural activities of woodpeckers, left in the hollows of tree trunks. In his latest Wunderkammer /Kabinet kuriozít he built an assortment of objects combining found natural materials, animal taxidermy, technical components and other human creations. The ensemble comprises a disquieting aggregate, whose ambiguous taxonomy evokes a speculative look at the world evocative of pre-modern science, as represented in cabinets of curiosities (Kunstkammer/Wunderkammer). Whereas these pre-museum expositions during the Renaissance had the intention of grasp the world in a microcosm, or to present a “theatre of the world” through this collection, in Michal Machciník’s work it is a way of reconsidering categories that we had – obviously too soon – considered settled once and for all.
English Résumé in text
Michal Machciník (b. 1989), even in his thesis work undertaken in 2015 in the Studio of 3D Creativity at Košice’s Faculty of Arts, has always focused on untraditional topics and applying unusual creative principles, which now characterize his current sculpture work. This is dominated by gathering materials in the forest space, putting them together in a variety of ways to make objects of ambiguous meanings and challenging aesthetics. Channel of Messages from the Edge of the Society / Kanál správ z okraja spoločnosti (2012– 2016) is a series of works documenting forest graffiti
– texts, signs and symbols, inscribed in tree bark. What they have to say reflects a wide scale of human experience, from love notes, banalities and vulgarisms to political slogans and music fan messages. Reliefs for Latour /Reliéfy pre Latoura (2018) are found artefacts and natural materials combined with historical technical drawings and classroom graphic schemes, creating wholes that are aesthetically surprising and semantically provocative. Tribute to the Woodpecker: cast of woodpecker hole /Pocta ďatľovi: odliatok dutiny vytvorenej ďatľom (2014 – 2020) is a capturing and making visible of outwardly undetectable remnants of the natural activities of woodpeckers, left in the hollows of tree trunks. In his latest Wunderkammer /Kabinet kuriozít he built an assortment of objects combining found natural materials, animal taxidermy, technical components and other human creations. The ensemble comprises a disquieting aggregate, whose ambiguous taxonomy evokes a speculative look at the world evocative of pre-modern science, as represented in cabinets of curiosities (Kunstkammer/Wunderkammer). Whereas these pre-museum expositions during the Renaissance had the intention of grasp the world in a microcosm, or to present a “theatre of the world” through this collection, in Michal Machciník’s work it is a way of reconsidering categories that we had – obviously too soon – considered settled once and for all.
English Résumé in text
roles of women in the Middle Ages. It focuses on the territories of the medieval
Czech, Polish and Hungarian states, which were connected by, among other
things, a dynastic relationship. It deals with the period of the High Middle Ages,
during which these noble women were behind the creation of many important
artistic monuments. Mária Prokopp outlines dynastic relations in Central Europe
from the perspective of the Kingdom of Hungary from its beginnings, i.e.
throughout the reign of the House of Arpad. She focuses on unmissable female
figures and highlights their importance from the dynastic, political and religious
point of view. She concludes her study by examining the depiction of some
women in surviving monuments, particularly in the so-called Pictorial Chronicle.
Jan Royt discusses women-queens alongside their husbands. He presents the
iconography of the royal married couples of the Premyslid and Luxemburg
families in the roles of founders and principals. He interprets their depiction as
an expression of monarchical representation, in which the emphasis is placed
either on donor activities or on personal piety. Viktor Kubík examines manuscripts
from the first half of the 14th century that are associated with important nunneries
in the 14th century and influenced the further development of book painting: the
Passion of the Abbess Kunhuta, the set of manuscripts of Eliška Rejčka, the
Breviary of Strozzi 11 intended for Eufrasia dei Lanfranchi de Pancis, and the
Book of Hours of Jana of Evreux. Kornélia Kolářová Takácsová presents Elizabeth
of Poland as a widow, mother and then as co-ruler. Elizabeth had already founded
monasteries alongside her husband and continued her fundraising activities after
his death. The author also highlights the queen’s role as a patroness (she endowed,
for example, the Dominican convent on Hare Island) and the spiritual context of
her public activity. Ágoston Takács focuses on the convent of the Dominican
nuns on Hare Island and presents the results of recent archaeological research. By
analysing the layout of the building and the whole area, the author concludes
that it was a so-called double monastery. In spite of the failure of the Anjou’s efforts
to canonize Margaret of Hungary, for whom the nunnery was built, the nunnery
became an important religious site. The Virgin Mary as the Queen of Heaven,
depicted in a recently (2010) discovered fresco in the Church of St. Mary in Pest,
is presented by Jékely Zsombor. He focuses on the iconography of the little Jesus
in a blue cloak. Although the commissioner of the painting is unknown,
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the author believes that due to the cult of the Christ’s tunic, cultivated in the
nunnery close to the Hungarian royal dynasties, the fresco may have been created
at the initiative of the royalty. Romuald Kaczmarek focuses on several of the most
significant aspects of the life of Agnes of Habsburg: Agnes was the wife (from
1338) of one of the most important Silesian princes, and as a widow she took over
the rule of the principality and formally maintained it for more than 20 years.
A significant part of the study is devoted to architectural works decorated with
sculptures and paintings from the period of Agnes’ life alongside her husband
and after his death. Michaela Ottová outlines the cult of St. Anne – Mother of the
Virgin Mary first on a European scale and then in Luxemburg Bohemia. The
veneration of the saint was supported by King Wenceslas II by founding the
Dominican nunnery of St. Anne in Prague under Petřín. It seems that Eliška
Premyslovna was a great admirer of St. Anne and that her activities fulfilled the
ideal of a woman and mother committed to the development of the cult of
St. Anne. Ivan Gerát provides an interesting perspective on motherhood and
women’s roles using the example of the manuscript Liber depictus. It originally
belonged to the double monastery in Český Krumlov, founded in 1350 by the
widow of Peter I of Rožmberk together with her sons. Based on the legends and
specimens contained in the manuscript, the author focused on the imaginary
dialogues between the Virgin Mary and her son, which influenced the fate of
a select group of women living in the monastery. The final essay by Peter Megyesi
deals with specific iconographic themes, namely the vision of St. Brigitta of
Sweden and the depiction of the Adoration of Christ in Slovakia. The author
demonstrates how the vision of a prominent 14th century mystic influenced
the visual form of the scene in the Central European setting.