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1575A művészeti világ peremén. Az 55. Biennále eseteKorunk (12): 09-19. 2013.On the Periphery of the Artworld. The Case of the 55th Venice Biennale The Venice Biennale is sort of a patent agency for art: if a work is exhibited at the Biennale, it is already regarded as being in the center of the contemporary artworld. This year the peculiarity of the Biennale was the emphasis on peripheral works: outsider art is brought to the center of the artworld. The notion of outsider art is paved with contradictions – it’s difficult to find its place either in traditional art theo…Read more
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1042Mind the Gap! (edited book)Partium, Debrecen University. 2020.Proceedings of the Sixth Argumentor Conference held in Oradea/Nagyvárad, Romania, 11–12 September 2020
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830Arthur C. Danto convincingly argued that works of art are not differentiated from common objects by aesthetic properties. With this he broke down the system of aestheticism, which discussed art as a sub-category of the aesthetic experience, looked for the universal, historically and culturally unconditioned significant form in works of art. At the same time, Danto’s theory can also be read as one considering the aesthetic point of view irrelevant for the essence of art. The paradigmatic starting…Read more
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599Whose Shoes? Identity in Works of ArtSynthesis Philosophica 26 (2): 283-297. 2011.The problem of identity in the world of art is relevant from many perspectives. This paper aims at discussing the identity of the work of art. The discussion is built in three steps: the problem of identification of an object as work of art, the problem of the relevant properties of a work of art and the question of the author of the work of art as decisive (or not) for the identification of a work of art. These issues are raised with the evolution of artistic practice and art theory in the last…Read more
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485Online Artistic Activism: Case-Study of Hungarian-Romanian Intercultural CommunicationSantalka: Filosofija, Komunikacija 24 (1). 2016.Technical reproduction in general, and photography in particular have changed the status and practices of art. Similarly, the expansion of Web 2.0 interactive spaces presents opportunities and challenges to artistic communities. Present study focuses on artistic activism: socially sensitive artists publish their creation on the internet on its most interactive space – social media. These artworks carry both artistic and social messages. Such practices force us to reinterpret some elements of the…Read more
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444“From Museum Walls to Facebook Walls”*. A new public space for artIn Gizela Horvath, Rozalia Klara Bako & Eva Biro Kaszas (eds.), Ten Years of Facebook. Proceedings of the Third International Conference on Argumentation and Rhetoric, Partium Kiado. pp. 73-88. 2014.The ‘museal’ approach to art has been attacked from many angles in the last decade; the main issue raised by most of these attacks was that such an approach would promote a certain idea of art which has little to do with real-life or the layman’s interest. Some artists have protested by stepping out of the museum space with projects deliberately designed as non-museum items (performance, land-art, public art etc.). Art, however, is always meant for a public, so, as an “unfortunate” consequence, …Read more
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395Art, World, ArtworldSynthesis Philosophica 31 (1): 117-127. 2016.Ancient Greek philosophers claimed that the particular task of art was mimesis. This kind of view about the relation between art and the world was dominant until the beginning of the 19th century. The theory of genius rethought this relation, and it did not presume that art needs to mirror the world. On the contrary, it expected originality, that is, the creation of a new world. Since the beginning of the 20th century, the artworld operates under a wider notion of the ‘work of art’, e.g. Duchamp…Read more
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284The Modern Paradigm of Art and Its FrontiersIn Maria Joao & Pereira Neto Mario S. Ming Kong Mario do Rosario Monteiro (ed.), Modernity, Frontiers and Revolutions, . pp. 314-324. 2019.Abstract The awakening of art to self-awareness and the statement of its autonomy are modern phenomena. The way we think about art in the modern age may be derived from the Kantian “beauty without concept”. Beautiful art is the work of the genius, who creates a work of art that is valuable in itself and is admired in museums by the public. That which I call here “the modern paradigm of art” is based on an absence: the non-conceptuality of the beautiful, i.e., the fact that objective qualities…Read more
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201KANT ÉS DUCHAMP MINT FORRÁSIn Tánczos Péter (ed.), Csordultig Duchamp-mal. Tanulmányok a Forrás 100. évfordulójára.. pp. 44-62. 2019.Immanuel Kant és Marcel Duchamp munkássága egyaránt értelmezhető úgy, mint a művészet világát átrendező új kezdet, új távlatok forrása. Kant Az ítélőerő kritikája című munkájára úgy tekintek, mint a művészet modern paradigmájának forrására. E paradigma három alapja – a zseniális alkotó, a műalkotás és a múzeum mint a művészet temploma – levezethető a fogalom nélküli szépből. Mivel a szépnek nincs definíciója és nincsenek szabályai, az alkotó szükségszerűen eredeti kell, hogy legyen. Ezáltal a zs…Read more
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171MINE THE GAP. FINE ARTS IN THE AGE OF PANDEMICIn Gizela Horvath & Rozália Klára Bakó (eds.), Mind the Gap! Proceedings of the Sixth Argumentor Conference held in Oradea/Nagyvárad, Romania, 11–12 September 2020. pp. 229-241. 2020.The necessary condition for the reception of art is aesthetic distance, which paradoxically relies on direct experience: one has to be there in front of the artwork, has to live the experience. Therefore, the current pandemic and the practice of social distancing, which attempts to slow it down, is a serious challenge for the arts. This text analyses the ways in which artists and the institutions which mediate art react to the conditions caused by the pandemic. I will present some creative pract…Read more
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163#MeToo – Hungarian StyleIn Rozália Klára Bakó & Gizela Horvath (eds.), Digital Agora. Proceedings of the Fifth International Conference on Argumentation and Rhetoric, held in Oradea / Nagyvárad, Romania, 21 September 2018. pp. 36-66. 2018.This study focuses on the Hungarian impact of the 2017 “Me Too” movement, offering an analysis of some relevant online texts and of their comments. The theoretical framework is provided by the anthropological linguistic approach (Balázs 2009), linguistic world view research (Kövecses 2017, Banczerowski 2008, 2012, Magyari 2015), and discourse analysis (Berger 1998, Nemesi 2016). The research method is based on participant observation and on text analysis, which also offers the possibility of con…Read more
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107Faces of nostalgia. Restorative and reflective nostalgia in the fine artsJednak Książki. Gdańskie Czasopismo Humanistyczne 9 (2018): 145-156. 2018.In the present article I use the terminology introduced by Svetlana Boym of restorative nostalgia and reflective nostalgia regarding works of contemporary fine art. Restorative nostalgia implies an effort to revive the past – but without acknowledging that the desired and idealized past never existed, therefore it cannot be restored, either. I illustrate the application of this concept through the “new-academic” direction in today’s contemporary Hungarian fine arts. The reflective nostalgia is a…Read more
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67Les chaussures de qui ? L'identité des oeuvres d'artSynthesis Philosophica 26 (2): 283-297. 2011.Le problème de l’identité dans le monde de l’art est pertinent sous de nombreux aspects. Cet article vise à examiner l’identité de l’oeuvre d’art. L’examen est construit en trois étapes : le problème d’identification d’un objet en tant qu’oeuvre d’art, le problème des propriétés pertinentes d’une oeuvre d’art et la question de l’auteur de l’oeuvre comme décisive (ou pas) pour l’identification d’une oeuvre d’art. Ces questions se sont posées avec l’évolution de la pratique artistique et de la thé…Read more
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48Čije cipele? Identitet u umjetničkim djelimaSynthesis Philosophica 26 (2): 283-297. 2011.Problem identiteta u svijetu umjetnosti je važan iz mnogih perspektiva. Ovaj rad ima namjeru raspraviti identitet umjetničkih djela. Rasprava je izvedena u tri koraka: problem identifikacije predmeta kao umjetničkog djela, problem relevantnih svojstava umjetničkog djela i pitanje autora kao odlučujuće (ili ne) za identifikaciju umjetničkog djela. Ova pitanja su se otvorila evolucijom umjetničke prakse i teorije u prošlom stoljeću. Pojava ready-madea destabilizirala je čvrsti identitet umjetničko…Read more
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33Wessen Schuhe? Identität der KunstwerkeSynthesis Philosophica 26 (2): 283-297. 2011.Die Problemstellung der Identität in der Welt der Kunst ist aus allerlei Perspektiven gewichtig. Dieser Artikel strebt eine Debatte über die Identität der Kunstwerke an. Die Diskussion wird in drei Schritten aufgebaut: die Frage der Identifizierung eines Objektes als Kunstwerk, das Problem der relevanten Eigenschaften eines Kunstwerks und letzten Endes die Frage des Autors als ausschlaggebend (oder nicht) für die Identifizierung des Kunstwerks. Diese Thematik wurde aufgeworfen gleichlaufend mit …Read more
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10The Reception of Participatory Art. The Case of Documenta FifteenStudia Universitatis Babeş-Bolyai Philosophia 68 (1): 97-112. 2023."Documenta fifteen in 2022 was par excellence the space for participatory art, so this edition can be seen as a touchstone for it. The research of the phenomenon of participatory art is based in this text on the one hand on the curatorial texts of ruangrupa, the collective that ensured the artistic direction of this edition of the documenta, and on the personal experience of the author as a visitor of the exhibition. Among the many issues raised by participatory art, the present text focuses on …Read more
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8A művész és a közönség testének találkozása a művészet boncasztalánKorunk 11 (2018): 62-71. 2018.A hagyományos felfogásban a művészet a szellem dolga, a test csak reprezentációként lehet jelen a képzőművészetekben. Ahogyan sok minden más szempontból, az utóbbi évszázadban ebben az irányban is megtörtént a határok átlépése: megjelent a képzőművészetben a művész és a befogadó teste. A művész már nem igyekszik eltüntetni keze nyomát. Az absztrakt expresszionizmusban a kép már nem puszta reprezentáció, hanem a művész testi mozgásának lenyomata. A huszadik század második felében elburjánzanak az…Read more
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1Mens Sana: Rethinking the Role of Emotions. Proceedings of the Fourth International Conference on Argumentation and Rhetoric (edited book)Partium Kiadó, Debreceni Egyetemi Kiadó. 2016.
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A „fogalom nélküli” szép és a művészet modern paradigmájaIn Varga Rita Tánczos Péter (ed.), Tanulmányok Immanuel Kant aktualitásáról. ("...amennyiben szellemi lények vagyunk"), L'harmattan. pp. 267-288. 2016.
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A relációesztétika ideiglenes közösségeiIn Rozália Klára Bakó & Gizela Horvath (eds.), Közbeszéd-aktusok. ARGUMENTOR Műhelykonferencia, Nagyvárad, 2015. szeptember 11., Partium Kiadó, Debreceni Egyetemi Kiadó. pp. 179-195. 2016.
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Ten Years of Facebook, The Third Argumentor Conference (edited book)Partium Press, Debrecen University Press. 2014.
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Esztétikai nevelés – mi végre?In Sára Magyari (ed.), Oktatás határhelyzetben, Partiumi Kiadó. 2017.
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Ten Years of Facebook. Proceedings of the Third International Conference on Argumentation and Rhetoric (edited book)Partium Kiado. 2014.
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Diskurzusok az alkonyról ARGUMENTOR Műhelykonferencia Nagyvárad, 2017. szeptember 8. (edited book)Partium Kiadó, Debreceni Egyetemi Kiadó. 2017.
Gizela Horvath
Partium Christian University, Oradea, Romania
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Partium Christian University, Oradea, RomaniaDepartment Of ArtsProfessor
Areas of Specialization
Aesthetics |
Areas of Interest
Aesthetics |
Philosophy of Visual Art, Misc |