Literatura académica sobre el tema "Art Cologne (19th : 1984)"

The SacramentoriumTynecensis was written in circa 1060-1070, probably in Cologne. It was located in the Benedictine Abbey in Tyniec from 11th century to 19th century. In 1814 the illuminated manuscript was bought by Stanisław Kostka Zamoyski, then in 1818 he located the codex in the Zamoyski Ordynacja Library in Warsaw. It stayed there to the end of World War II. Two formations of Nazi Germany were as follows: a military unit led by Professor of Archaeology, Peter Paulsen and a group led by art historian Kajetan Mühlman. Both were responsible for the plundering of Poland's cultural heritage. They wanted to get the Sacramentorium Tynecensis because it was connected with German culture. The employees of the Zamoyski Ordynacja Library have tried to rescue the codex, sometimes at the risk of their own lives. In 1944 during the action of rescuing library collections from the ruins of the capital city of Poland (action called ‘Pruszkowska’), the manuscript codex was exported and hidden by Stanisław Lorentz in the Cathedral in Łowicz. Thankfully that the ST returned to Warsaw in 1947 and was deposited in the National Library of Poland.

The article considers a range of issues related to travel to Germany in the 19 th – the beginning of the 20th century. Attention is drawn to the purpose of travel, routes, choice of objects for review, interethnic cultural contacts. It was established that the purpose of the trips to Germany were rest, treatment and education. Travelers got to Germany in different ways: by steamboat from Saint Petersburg through Sweden or overland through Radzivyliv, Lemberg and the Czech or Polish lands. Guidebooks printed in Germany became useful for travelers. They helped to develop of the travel route, choose the residence, objects for review and decide on means of transportation. The cities that attracted travelers the most were Berlin, Heidelberg, Leipzig, Munich, as well as the resorts of Baden-Baden and Kissingen. During of the 19th century, under the influence of changes in movement in European art – from romanticism to modernism, accents shifted, and interest arosed to various monuments and artistic masterpieces. While in the first half of the 19th century travelers were admired by Gothic architecture, works of the Renaissance, classical opera, ethnographic customs of the local population, in the second half of the 19 th century, attention was paid to modern art, achievements of science and technology, lifestyle, shops, cafes, etc. People, who traveled to Germany, expanded of social circle. There travelers were able to get to know representatives of European elites, leading scientists and practitioners, compatriots. Established contacts were usually long-lasting and multi-year. Sometimes under the influence of new acquaintances and European culture, imperial ideological stereotypes were destroyed and self-identification of travelers from Dnieper Ukraine took place. Keywords: travels, Germany, architectural monuments, memories, M. Rigelman, M. Kostomarov, Dresden Gallery, Cologne Cathedral.

Пути поступления на Каслинский завод моделей для «кабинетного литья» из чугуна во второй половине XIX – начала XX века в научной литературе практически мало изучены. Монографическая выставка «Каслинское художественное литье» во Всероссийском музее декоративно-прикладного и народного искусства в Москве в 1984 году с активным участием в ней завода, его администрации, главного скульптора и рабочих цеха художественного литья дала сильную мотивацию музейным специалистам для целенаправленного изучения истории этого предприятия, имеющего прямое отношение к русской художественной промышленности. До конца невыясненным обстоятельством в каслинском художественном производстве остается степень легитимности поступления авторских моделей и готовых промышленных образцов изделий для ассортиментного тиражного литья на заводе. В исследовании подняты следующие вопросы: каковы пути и способы формирования заводского модельного кабинета; была ли у владельцев предприятия и управленческой администрации продуманная стратегия и тактика действия по получению нужных и актуальных моделей для ассортиментного литья; как предметы русского и европейского прикладного искусства попадали на уральское предприятие в качестве образцов-прототипов для тиражного воспроизводства в чугуне, изготовления редукций и заводских шеф-моделей. The ways in which the Kasli factory received models for “cabinet casting” from cast iron in the second half of the 19th – early 20th centuries have been little studied in the scientific literature. The All-Russian Museum of Decorative Applied and Folk Art in Moscow held the “Kasli Art Casting” exhibition in 1984, with active participation from the factory's administration, chief sculptor, and art casting workshop workers. This event motivated museum specialists to study the history of the enterprise, which has direct ties to the Russian art industry. The degree of legitimacy of the receipt of author's models and finished industrial samples of the products for the assortment mass casting at the factory remains an unexplained circumstance in the Kasli art production. This study raises the following questions: what are the ways and means of forming a factory model cabinet; whether the owners of the enterprise and the management administration had a well-considered strategy and tactics to obtain the necessary and relevant models for assortment casting; how the objects of Russian and European applied art came to the Ural enterprise as prototype samples for mass reproduction in cast iron, manufacture of reductions and factory chief models.

Water freezes into ice in winter and evaporates into vapor in summer. Scientifically, the transformations between solid, liquid, and gas are called phase transitions and can be classified through the changes in symmetry which occur in each case. A fourth phase of matter was discovered late in the 19th century: the liquid crystal nematic, in which rod- or disk-shaped molecules align like the atoms in a solid, while continuing to flow like a liquid. Here we report thermodynamic evidence of a quantum analog of the classical nematic phase, the quantum spin nematic (SN). In an SN, the spins of a quantum magnet select a common axis, like a nematic liquid crystal, while escaping conventional magnetic order. Our state-of-the-art thermal measurements in high pulsed magnetic fields up to 33 T on the copper mineral volborthite with spin 1/2 on a frustrated lattice provide thermodynamic evidence for SN order, half a century after the theoretical proposal [Blume M, Hsieh YY (1969) J Appl Phys 40:1249; Andreev AF, Grishchuk IA (1984) J Exp Theor Phys 97:467–475].

AbstractOnly a few weeks after seeing the Frans Hals portrait of Jaspar Schade in the 1962 exhibition in Haarlem, the author came upon it again in the home of Mr. and Mrs. Waller in Utrecht (Figs. 1 and 2, Note I). He learnt that this particular painting had been in Mr. Waller's family for nearly a century and that it was a copy of the one now in Prague. The story was that the latter had been sold by Mr. Waller's grandfather Beukerfrom his country-house 'Zandbergen', which he had bought in 1865, to his friend P.E.H. Praetorius, on condition that the latter had a copy painted as a replacement. According to a written statement of 1934 by Mr. Waller's mother, the original by Frans Hals had always been at 'Zandbergen' and there was even a legend that the house would fall down, if it were removed. Her father, who was not interested in paintings according to the statement, had sold it to Praetorius at his request. The family had understood, erroneously as it turns out, that Praetorius had sold it on to Cologne and that it had later gone to America. In testing the truth of all this the author discovered first that the house is marked with the name of 'Den Heer Schade' on a map of the Utrecht area by Bernard de Roij published by Nicolaas Visscher in Amsterdam in 1696 (Fig.3, Note 4). The road on which it stands had been projected in 1652, Schade being one of those who acquired a parcel of land along it in return for laying that portion out, planting it and maintaining it and also building a side road on either side of his plot. Part of the agreement also was that he was exempted from paying taxes for 25 years. Schade (1623-,92), a member of a family of considerable standing, held various high offices in the church and province of Utrecht and was a delegate to the States-General in 1672. He was extremely rich and noted for his extravagant lifestyle, particularly as regards clothes (Notes 12-14). His house passed to his eldest son, who in 1701 left it to his brother-in-law Jacob Noirot. Between the latter, who sold it in 1740, and the Beuker family 'Zandbergen' (Fig. 4) had nine different owners. The museum in Prague acquired the portrait of Jaspar Schade in 1890 from Prince Liechtenstein, who had bought it in Paris on 14 March 1881 at the sale of the collection of John W. Wilson, an Englishman then living in Brussels. A. J. van de Ven tried without success to trace its history before that time (Note 18) and this was also unknown to Seymour Slive, although in his catalogue raisonné of Hals' work he mentions that it was shown at an exhibition of Wilson's collection in Brussels in 1873 (Note 20). In an article of the same year on Wilson's collection in the Gazette des Beaux-Arts Charles Tardieu remarked that Wilson had lived in Holland for thirty years and that his residence was obviously in Haarlem, from where the best pictures in his collection came. In his article on the portrait Van de Ven enlarged on the coals of arms on the frame, which were Schade's eight quarterings, but in an arbitrary order. The director of the Prague museum had told him that the frame was a 19th-century one and that the confusion had arisen during its making. A description of the frame in 1875 reveals that the arms were in their correct place then (Note 25), while the frame of the copy has the same arms in the right order, except that the left and right sides are transposed. Thus the present Prague frame must have been made after 1875, while the copy was presumably made and framed at the time the painting left 'Zandbergen'. John W. Wilson (1815-83) was born in Brussels of Thomas Wilsorz, who moved to Haarlem in 1833 and started a cotton factory there. John lived at Hillegom from 1856 to 1868, but after that moved back to Haarlem for a short time up to, but no later than 1870. He must have been very wealthy, as he also bought a lot of land in the area. How he acquired his collection of paintings is not known, as he appears to have kept it quiet until the exhibition of 1873. The catalogue of this covered 164 pictures; 76 of them, painted by 57 different artists, were of the Dutch School. Five pictures, all authentic, were by Frans Hals (Note 29). P.E.H. Praetorius (1791-1876, Fig.5) was a cousin of Beuker's. He moved from Haarlem to Amsterdam in or before 1829 and spent the rest of his life there. He was a broker and banker, an amateur painter and a great connoisseur of paintings, who played a prominent part in art societies in Amsterdam. He was also a member of the Supervisory Committee of the Rijksmuseum from 1844 and Chairman of its Board of Management from 1852 to 1875 (Note 33). His earliest paintings were copies of 17th-century works and he says in an appendix to his memoirs of 1869 that his last five works, done in 1865 and I 866, included a copy of Frans Hals' portrait of Willem van Heythuyzen. While it is clear that Jaspar Schade was the builder of 'Zandbergen', it is odd that the painting is never mentioned in any of the deeds of sale, detailed though these are. This suggests that it was so firmly fixed in its place - in the downstairs corridor over the door to the salon - as to be regarded as part of the fabric of the house. The price paid by Praetorius for the painting is not known, but he bought it at a period when Frans Hals' reputation had shot upwards again, after a long period of decline. This return to favour emerges clearly from Tardieu's comments, from the records of copyists in the Rijksmuseum (Note 37) and, of course, from Wilson's predilection. No evidence can be found of the painting's passing from Praetorius to Wilson, but the two must have known each other. The identity of the painter of the copy is also unknown. Mrs. Waller's statement mentions J. W. Pieneman, but he can be ruled out, as he died in 1853 and his son Nicolaas in 1860. The most likely candidate at the moment would seem to be Praetorius himself.

During Fall 2016 we had the unique opportunity to participate in the regular internship program of the Museum of Modern Art in New York and assist with ongoing exhibition projects in the Architecture and Design Department (A&D). This Department was established in 1932 as the first curatorial department dedicated to architecture and design and built on an ambitious collection covering major figures and movement of architectural culture from mid-19th century to the present. With looking back on a rich history of influential exhibitions such as Modern Architecture: International Exhibition (1932), Architecture Without Architects (1964/65) or Deconstructivist Architecture (1988) it has been one of the key institutions to push the format of the architecture exhibition and which it keeps doing up to today. Having this in mind we both came to New York with great respect and honored to gain insights in this institution for a period of three months. The department currently employs around 15 people which made it a really pleasant, intimate place to work with highly passionate and professional individuals full of remarkable expertise and respect for each other. This said and with the department going through some recent (at that moment) personnel changes, most notably the new directorship of Martino Stierli since 2015, as well MoMA reconfiguring and adding gallery spaces set to be open in 2019, we felt it was a very interesting moment for us to talk to our curator colleagues about their personal history and professional ambitions as curators at MoMA as well specific challenges of exhibiting architecture and design. Being both educated in architecture in different countries (Brazil and Germany) we could gain not only a lot of professional insights but also talk about personal aspects of the curators´ – not always linear – careers. In total we conducted six interviews with all (senior) curators and one curatorial assistant of the Architecture and Design Department, all of whom we asked the same, around ten questions in order to produce a complete “panorama” of the departments staff at that very moment. In the following we would like to share with you the second half with Juliet Kinchin, Martino Stierli and Sean Anderson. The first three interviews with Paola Antonelli, Barry Bergdoll and Michelle Millar Fisher, were published on RISCO v.16 n.1 2018. From the interviews, Juliet Kinchin had an approach since a student into intellectual debates and design history rather than architectural history, while Martino as a professor, was also engaged doing exhibitions. Sean Anderson struggled being a professor and practicing architect, and curation for him “means also being able to condense ideas and questions”. Since they had different backgrounds before arrive at MoMA, the teaching position and a special love for research is a shared common background for them. Juliet Kinchin argues that the curator’s activity apart from the responsabilities also means communicate and creating view points and arguments in a spatial and material form, while Martino talk about the work of curating a show as very much about a teamwork. For Sean Anderson also the very strong critical sensibility, is a must have skill for a curator. Sean Anderson’s advice to young curators is to ask questions and to have as many experiences in the world as possible. Juliet Kinchin talks about integrity, that makes the difference in your work, Martino in the same way, reinforce the ideia to love what you do and so you will be successful. Luis Michal, Amanda Saba Ruggiero

This article characterizes development trends in jazz piano from its origins in the “third-layer” (Konen, V., 1984) of music (ragtime and other “pre-jazz” forms) to the present time (avant-garde and retro styles of the late 20th – early 21st centuries). Main attention was devoted to the stylistic sphere, which represents an entirety of techniques and methods of jazz piano improvisation and combines genre and style parameters. In this context, the currently available information about jazz pianism and its sources (Kinus,Y., 2008; Stoliar, R., 2017) was reviewed, and sociocultural determinants, which contributed to the advent and changes of jazz piano styles were highlighted. Standing out among them at the first (traditional) stage are the schools and individual creative techniques known under generic name “stride piano” and based on the ragtime technique. At the second (contemporary) stage beginning from bebop, jazz piano stylistics gradually diverge from standardized textural formulas of homophonicharmonic type and attain fundamental diversity depending on creative attitudes of leading jazz pianists. The question of jazz piano stylistics is one of the least studied in jazz theory. The existing works devoted to this subject address mostly the sequence of the advent and changes of jazz piano styles along with the general characteristics of their representatives. Beginning from approximately the 1920s, jazz piano styles appeared and changed so fast that they left no time for their comprehension and perception (Kinus, Y., 2008). Only in the newest stylistics of the period after bebop, which divided the art of jazz into traditional and contemporary stages, did these styles attain a certain shape in new modifications and become the components of a phenomenon defined by the generic notion “jazz pianism”. It was stated that the genesis of this phenomenon is usually seen in the art of ragtime, carried in the United States of the late 19th – early 20th centuries by itinerant pianists. This variety of “third-layer” piano music playing produced a significant impact on the art of jazz in general, which is proved by its reproduction in the Dixieland and New Orleans styles as some of the first examples of jazz improvisation. The stylistics of ragtime influenced the entire first stage of jazz piano, which traces its origins back to approximately the 1910s. It combined mental features and esthetics of two traditions: European and Afro-American, which in the entirety produced the following picture: 1) popular and concert area of music playing; 2) gravitation toward demonstration of virtuosic play; 3) domination of comic esthetics; 4) objectivity of expression; 5) tendency toward the completeness of form; 6) inclination toward stage representation. In technological (texturalpianistic) aspect, ragtime, reproduced in the jazz stylistics of stride piano, demonstrated the tendency toward universalization of piano, which combined in the person of one performer the functions of solo and accompaniment, derived from the practice of minstrel banjoists related to the percussion-accented rhythmics of dance accompaniment (Konen, V., 1984). It was stated that ragtime as the transitional bridge to jazz piano existed simultaneously with other forms of “third-layer” music playing found in the Afro-American environment (unlike ragtime itself, which was an art of white musicians). These were semi-folklore styles known as “barrel house” and “honky-tonk(y) piano” cultivated in Wild West saloons. The subsequent development of jazz piano stylistic went along the lines of more vocal and specific directions related mostly to peculiarities of playing technique. Among the more global origins equal in significance to ragtime and stride pianists derivative, blues piano stylistics is worth noting. It represents an instrumental adaptation of vocal blues, which had the decisive influence over the melodics and rhythmics of the right hand party of jazz pianists (ragtime and stride piano highlighted and consolidated the typical texture of accompaniment, i.e., the left hand party). Blues piano style is a multicomponent phenomenon that shaped up as a result of efforts taken by a whole number of jazz pianists. It was developed, and continues to exist until presently, in two variants: a) as a solo piano variant, b) as a duet variant (piano and vocal). Along with blues piano, a style known as “boogie-woogie” was cultivated in jazz piano stylistics of the period before bebop as the new reminiscence of the pre-jazz era (with rock-n-roll becoming a consequence of its actualization in the 1950–1960s). A stylistic genre known as “Harlem piano style” (its prominent representatives include Luckey Roberts, James P. Johnson, Willie “the Lion” Smith, and Thomas “Fats” Waller) became a sort of compendium that combined genetic components of traditional jazz piano. This school has finally defined jazz piano as a form of solo concert music playing, which also determined the subsequent stylistic varieties of this art, the most noteworthy of which are “trumpet piano style”, “swing piano style” and “locked hands style”. Their general feature was interpretation of the instrument as a “small orchestra”, which meant rebirth at the new volute of a historical-stylistic spiral of the “image” of universal piano capable of reproducing the “sounds” of other instruments, voices and their ensembles. Outstanding pianists of various generations have been, and are, the carriers (and often “inventors”) of jazz piano styles. It should suffice to mention the names of such “legends” of jazz as Art Tatum, Oscar Peterson, Thelonious Monk, Bud Powell, Bill Evans, and also Herbie Hancock, Chick Corea, Keith Jarrett (older generation), Gonzalo Rubalcaba, Brad Mehldau, Vadim Neselovskyi, Robert Glasper (middle generation), Eldar Djangirov, Tigran Hamasyan, Cory Henry (younger generation). Conclusions. The description of the stages of development of jazz piano pianism made in this article proves that its polystylistic nature is preserved, and the main representative of certain stylistic inclinations were and remain the texture. Textured formulas serve as the main objects of stylistic interpretations for jazz pianists of different generations. These readings are represented by two vectors – retrospective (revival of jazz traditions) and exploratory, experimental (rapprochement with the academic avant-garde). Of great importance are the styles of personalities, in which polystylistic tendencies are combined with the individual playing manners and improvisation, which, in general, is the most characteristic feature of the current stage of development of jazz piano art.

Statement of the problem. The study of the process of development of the concert style of oboe performance is a relevant area of modern musicology, as evidenced, in particular, by the scientific activity of the International Double Reed Society (IDRS) and works of other researchers on the history of the instrument and its repertoire starting with the second half of the 20 century (Bate, 1975; Bartalozzi, 1967; Reeves & Hooper, 1985; Goossens & Roxburgh, 2001). The concept of “concert oboe” is actualized by V. Martynova (2018, 2019) on the basis of the performance art of the 19th – 20th centuries. As for works for oboe of the early 20th century, in particular by E. Goossens, there are a few studies devoted to the development of modern style of the concert oboe (Del Mar, 1984; Lopez-Pelaez-Casellas & Garcia-Herrera, 2019) and to E. Goossens’s Concerto (Woodworth, 2016). This determines the scientific novelty of this research, which involves genre-style and performance analysis of the Concerto. The purpose of this study is to identify typical genre-stylistic and performance characteristics of E. Goossens’s composition in the context of the development of the concert style of oboe performance. The research methodology is based, first, on the genre and style approach, which is traditional for musicology, in particular, on research on the code of reflexivity (Shapovalova, 2006), and pastoral genre in music (Shapovalova, Chernyavska, Govorukhina & Nikolaievska, 2021). Another methodological dimension is related to the positions of analytical interpretology and principles of performance analysis (Nikolaievska, 2020), which focus on such elements as form-creation, performance dramaturgy, performance poetics. Results and conclusions. The typical genre and stylistic features of E. Goossens’composition refer to the traditions of the romantic concerto (onemovement structure; the presence of a symphonic model of the genre; the use of initial intonation as the main sound symbol of the work; the absence of a single tonal centre; reflexivity; the involvement of pastoral colour as an established image of the instrument). From the viewpoint of performance poetics we have marked the overcoming of the formality of rondeau nature by the continuity of performance form-creation; the presence of such difficulties requiring high performance skills of an oboist as playing of whole-tone scale, high notes and extreme sounds of the registers, polyrhythmic structures, the abundance of virtuoso passages in the composition, the variety of articulation techniques, fast-frequency vibrato, etc., which is crucial in the process of development of the concert style of oboe performance in the early 20th century.

The trends in Palanga architecture of the second half of the 19th – first half of the 20th century are represented in the National Cultural Heritage List by 10 villas, 14 residential houses, two hotels (Kurhauses of Nemirseta and Palanga), a pharmacy, a spa building, a ship rescue station and a bus station. But such heritage objects reflect the stages in the town development only partially. If the cultural heritage list of Palanga town is treated as a coherent and continuous collection reflecting different stages in architecture and culture of this town (as it should be), it would be relevant to add a few more samples of the mid and second half of the 20th century architecture to the list. Taking into consideration the presence of exclusive Soviet period architectural objects on the list (made according to recommendations of different professional and social communities), and recommendations of the list founders, the following two educational institutions realized less than 50 years ago that these may as well be enrolled as examples of specific historic period and acknowledged artistic style or trend, and as most progressive and/or artistic architectural solutions of the time, to be protected for public information and use purposes: the music school designed by architect I. Likšienė,1981, (Maironio St.8; see Fig. 1) and former Pioneers’ Palace designed by I. Likšienė and G. P. Likša,1985, (now the elementary school, at the address Virbališkės Takas 4; see Fig. 2). These buildings are distinctive examples of contemporary architecture development. At present managed by the local municipality, they are in good physical state, with retained initial qualities of space and volume structure, use of materials, environment and purpose. In the category of accommodation buildings the following may be marked out: the early architectural design works by A. Lėckas, namely, the Žilvinas hotel (Kęstučio St. 34; see Fig. 4, a.), designed and implemented in 1968 as a rest house for 45 guests (21 apartment) on commission of the Council of Ministers of the Soviet Socialist Republic of Lithuania and the Žilvinėlis apartment building for 24 guests implemented in 1970 (Birutės al. 44; see Fig. 4, b.). These objects still owned by the state have been prepared for privatization. Before privatization it is suggested to enroll them on the Cultural Heritage List, identify their valuable qualities, character and level of significance and perform any other required procedures. It is also recommended to make agreements for protection of cultural heritage objects with the new owners of such buildings. The initial protection is also needed for the Rąžė book shop and café building (Vytauto St.84; see Fig. 5) designed by R. V. Kraniauskas in 1967 and considered mature in the artistic sense. The building has retained its small scale, which is characteristic for the resort town, and thus enriches the spatial perspective of the street. Considering its physical shape, functional and aesthetical qualities and the use character, it is also highly recommended to grant the heritage protection status to the administration building Komprojektas (Gintaro St.30,30A; see Fig. 6) designed by G. P. and I. Likša in 1988. The collection of Palanga architecture may also be enriched by the conserved pavilions of the summer reading hall of the National Martynas Mažvydas Library (Vytauto St.72, (1968); see Fig. 7) and Kupeta (S.Daukanto/ S.Dariaus and S.Girėno St., (1969); see Fig. 8) designed by architect A. Čepys; an example of the original concrete plastics, the coffee shop Banga (J. Basanavičius St. 2; see Fig. 10) designed by G. J. Telksnys in 1976–77 and realized in 1979. The present shape and use character of these buildings cause serious threat to their preservation. There is little probability that within the context of the on-going reconstructions traditional acts for enrollment on the heritage list could somehow contribute to the conservation of values of the Vanagupė resort center, the laureate (1984) of prestigious prize by the USSR Council of Ministers (architects A. Lėckas, S. Šarkinas and L. Merkinas; see Fig. 3); the resthouse Guboja implemented only partially in 1976 (in Šventoji, Jūros St 65A., architect. R. Buivydas); resthouse Auska (presently, hotel, Vytauto St.11; architect J. Šipalis, 1977); and the resthouse Šiaulių Tauras (Vytauto St.116, architect G. P. Likša,1983). Nevertheless, the identified architectural, urban, landscape and engineering values of objects and analyzed possible forms for their conservation (ex-situ and in-situ) could become a basis for scientific study of contemporary architecture and urban planning in Palanga resort. Based on their design material, the initial concepts of such objects should be identified and their present as well planned for the future transformations should be analyzed. Such study to be presented publicly (for example, on the National Cultural Heritage List database) could ensure conditions for better understanding of past and present values of the objects, for both, specialists and public at large, and be a highly valuable source of information describing the architecture of the time to be used for information, scientific and professional purposes. Such study may also become a stimulus for preparation of complex regeneration design projects of objects and landscapes, which would comprise the conservation and development needs and add new artistic values. Santrauka Dėl pakitusių politinių, ekonominių ir kultūrinių sąlygų XX a. II pusės architektūros ir urbanistikos kūriniai dažnai nebeatitinka šiandienos naudotojų poreikių ir keliamų reikalavimų. Todėl apleidžiami, griaunami ar reikšmingai kinta. Dėl to ryškėja iniciatyvos siūlyti į KVR įtraukti kuo daugiau šio laikmečio kūrinių. Tačiau XX a. IX dešimtmetyje kultūros paminklais tapę naujosios architektūros kūriniai dėl neraiškios saugojimo strategijos, žmogiškųjų ir finansinių išteklių tvarkybai stokos vis tiek nyksta. Todėl kyla abejonių ar registro plėtra bus veiksminga. Straipsnyje Palangos miesto pavyzdžiu nagrinėjamos galimybės sudaryti vėlyvojo modernizmo architektūros kolekciją. Manoma, kad sistemingas kultūriškai vertingų architektūros objektų rinkinys formuojamas apjungiant skirtingus saugojimo metodus gali paskatinti atsakingas institucijas, vietos ir profesines bendruomenes susitelkti atsakingam architektūros paveldo puoselėjimo ir tvaraus naudojimo procesui.

A research report submitted to the Faculty of Humanities, University of the Witwatersrand, in partial fulfilment of the requirements for MA by Coursework and Research Report, Johannesburg, 2017
This research report explores the influences of memory in selected works by two visual artists: South African Kemang Wa Lehulere’s Remembering the Future of a Hole as a Verb 2.1 and Polish artist Ursula von Rydingsvard’s Droga. The report examines the ways in which personal memory can inform creative practice and the surface difficulties such endeavours may present. These works and writings on memory and creative practice inform my own practice, through which I investigate ways of expressing my memories of my grandparents’ carpentry workshop in Sunnydale Eshowe in KwaZulu Natal, South Africa.
XL2018

The belfry is an element of key importance in the complex of the Vilnius Archcathedral Basilica and the Higher and Lower Castles, as well as one of the main vertical landmarks of the Old Town of Vilnius, which has become a symbol of the city. As a heritage object, the building is acclaimed for its volume, décor elements and authentic constructions. The 13th century tower originally was part of the defensive wall. Its ground floor has survived almost in its entirety. It is one of the oldest and best-preserved brickwork structures in Lithuania. In Lithuania, the appearance of large bells is related to the name of Grand Duke of Lithuania Algirdas. The master K.S. Skobeltas cast the first large bell for this ruler in the second half of the 14th century. In the Grand Duchy of Lithuania, bells and cannons were most often cast in weapon foundries by the same masters. Sigismund Augustus established such a foundry in the territory of the Lower Castle in the 16th century. From the 16th century onwards, bells began to be cast in Varniai, Kaunas and Nesvizh as well. In 2002, six large bells were consecrated in the Vilnius Cathedral Square and installed in the belfry. It was a gift from the Archdiocese of Cologne to the Vilnius Cathedral and the city. As a token of gratitude to Archbishop of Cologne Joachim Meisner (1933-2017), the largest bell was given the name of Saint Joachim. In 2002, the bells were cast in one of the largest foundries of Germany, “Petit und Edelbrock” in Westphalia, which is in operation since the second half of the 18th century. The clock of the belfry of the Vilnius Cathedral is the oldest and most important clock in the capital of Lithuania. It was installed in this tower in 1672. It is presumed that the mechanism of the clock was produced in Germany, but the name of the master is unknown. The date 1803 incised on the forged frame bears witness to the last significant repair of the clock, supervised by the elder of the Vilnius clock makers’ guild Juozapas Bergmanas. When the clock tower of the Vilnius Town Hall collapsed in the late 19th century, this mechanism became the city’s main clock. The bell cast in 1673 by Jan Delamars, the bellfounder working in Vilnius, strikes the hours in the cathedral belfry. Its height is 58 cm, and its diameter is 107 cm. The bell is a work of art: it is encircled with a Latin inscription and an ornament, and decorated with the figures of the Blessed Virgin Mary and the patrons of the Vilnius Cathedral, Saint Casimir and Saint Stanislaus.