{"id":581,"date":"2020-04-03T17:23:36","date_gmt":"2020-04-03T17:23:36","guid":{"rendered":"http:\/\/www.jama.ooo\/?page_id=581"},"modified":"2024-09-23T08:54:08","modified_gmt":"2024-09-23T08:54:08","slug":"povedali-o-jama","status":"publish","type":"page","link":"https:\/\/www.jama.ooo\/en\/povedali-o-jama\/","title":{"rendered":"Impressions of JAMA"},"content":{"rendered":" <\/p>\n
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Foto: Photo: J\u00e1n Viazani\u010dka<\/figcaption><\/figure>\n

“Despite everything, JAMA took place in October this year, directly in Bansk\u00e1 \u0160tiavnica, thanks to the artistic and curatorial management of the tandem Fero Kir\u00e1ly & Eva Voz\u00e1rov\u00e1, their team and Banska St a nica Contemporary.<\/span><\/em><\/p>\n

I like the genre of “artistic reminiscence”, which the event introduced as its PR description. It is a brief summary of a functional and open curatorial concept. It suggests that although the inspiration is Adam\u010diak’s already closed body of work, it gives up the pathos of historical remembrance and refuses to be a monument (also by counting the years since the birth of MA, as if he was still alive). JAMA insists on a creative continuation based on his way of thinking by developing 1) new and current artistic expressions directly or freely inspired by his impressively rich artistic work and 2) intermedia works and ideas of other authors and their new interpretations.<\/span><\/em><\/p>\n

This year, JAMA was more deep than wide, as the whole (non)festival was online, without a live audience. As we see, it eventually elevated the whole event. Sv\u00e4topluk Mikyta highlighted the moment of improvisation and the fact that without the audience, the festival became a happening for the participants. Zuzana Bodn\u00e1rov\u00e1 expressed the idea that several participants of last year (often tinged with a bit of emotion) voiced in several variations \u2013 that JAMA is not a place, but a state of mind.”<\/span><\/p>\n

\u2013 Lucia G. Stach, Vlna 85, December 2020<\/p>\n

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“The (non)festival was a space of delicate contact with Adam\u010diak’s work, which took place in the form of performances throughout its duration. Thanks to the high-quality curatorial and dramaturgical work, the effect of the festival resonates even a few days after its end. The disadvantage of this type of event is its specificity, which requires at least a minimum level of audience awareness of the personality, character and scope of the author’s work. In conclusion, it can be assessed that JAMA metaphorically became Adam\u010diak himself, i.e. the local in its dimension, global in its quality.”<\/span><\/em><\/p>\n

\u2013 Dominika Chrzanov\u00e1, Flashart<\/a>, January 2021<\/p>\n

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“What I\u2019m sure is that small, considerate events like Jama are vital, even more so in such nasty times. Because they may help us to navigate through these new realities we\u2019re in. And make us experience remote collectivity, new constellations of a ‘we’, reaching beyond next door, behind the hill, and across borders – no matter if you\u2019re in Bansk\u00e1 Bel\u00e1, Belarus, Ukraine, or Poland.”<\/em><\/p>\n

\u2013 J\u00fcrgen Rendl, traveler, observer and author, guest of JAMA 2020<\/span>, FB Status<\/a><\/p>\n

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“JAMA was beneficial in several ways. It introduced the work of Milan Adam\u010diak to people outside the art scene \u2013 the inhabitants of Bansk\u00e1 \u0160tiavnica and Bansk\u00e1 Bel\u00e1. It also provided another group of people (who knew Adam\u010diak more or less theoretically) with a multidimensional, even hard look at his daily life. But above all, it has allowed us all to experience firsthand how important it is to come out of our private “bubbles” \u2013 common discourses \u2013 in which we are used to move comfortably. It helped us to discover that nebulous areas, spaces on the border (in between the media, in between low and high art, in between theory and practice, in between intellectual and popular culture) are the most fruitful. For me, the concept of intermediality finally got a very specific meaning, experienced firsthand.<\/span><\/em><\/p>\n

This JAMA simply and beautifully filled the hole after an exceptional person, and there is no doubt that Milan himself would be thrilled.”<\/span><\/em><\/p>\n

\u2013 Alexandra Tam\u00e1sov\u00e1, Curator of The collections of Modern and Contemporary Art\u00a0at Slovak National Gallery <\/span>@ Denn\u00edk N, October 29, 2019<\/a><\/p>\n

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“I would like to mention the JAMA festival \u2013 the 73rd year of Milan Adam\u010diak as an example of an intermedia festival, which crossed the borders of a concept of a festival as we know it, brought together people from different artistic professions, not only revived Milan Adam\u010diak’s legacy in the environment in which he lived, but also created a kind of social sculpture in the local community. It is important that this festival in an experiential way enliven the work of the intermedia creator Milan Adam\u010diak in the environment in which he lived, but especially opened the idea of \u200b\u200bintermedia art as a way of perceiving the urgency of the need to express oneself when it comes to the state of the world for the many young people that attended the festival.”<\/span><\/em><\/p>\n

\u2013 Lucia G. Stach, Head Curator of The collections of Modern and Contemporary Art<\/span>\u00a0at Slovak National Gallery <\/span>@ R\u00e1dio Dev\u00edn, January 17, 2020<\/a><\/p>\n

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“The event of the year for me is a phenomenon \u2013 small local festivals \u2013 especially JAMA \u2013 73rd year of Milan Adam\u010diak. Discovering Slovak people with global merit for younger generations has become a new field of positive deviation. JAMA was a local festival, but with the worldwide potential to become a real cult event. Bansk\u00e1 Bel\u00e1 and Bansk\u00e1 \u0160tiavnica were presented in a new surprising light.”<\/span><\/em><\/p>\n

\u2013 Tom\u00e1\u0161 Pri\u0161itiak, musician, filmmaker, director of the Karlovesk\u00e1 kni\u017enica Library<\/span> @ Denn\u00edk N, December 12, 2019<\/a><\/p>\n

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“I have nice memories from the first year of the (non)festival JAMA. I appreciate the unique form of the program, which the organizers planned really interestingly and atypically. I consider the connection of the music, art, dance and literary worlds, as well as the involvement of the locals in the program, an outstanding aspect.”<\/span><\/em><\/p>\n

\u2013<\/span> Ondrej Vesel\u00fd @ Hudobn\u00fd \u017eivot 11\/2019<\/span><\/p>\n

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“JAMA \u2013 the 73rd year of Milan Adam\u010diak (1946\u20132017) was organized at the beginning of October 2019 by members of the Cluster ensemble Eva Voz\u00e1rov\u00e1, Fero Kir\u00e1ly and Ivan \u0160iller in cooperation with other members, partners and guests, but also with the local scene of Bansk\u00e1 \u0160tiavnica and its surroundings. The event, additionally named as a non-festival, became one of the highlights of last year’s festival season, not only for the intensity of the experience and the atmosphere of the place, but especially for the interconnection of media, art and participants. It therefore makes sense to return here once again.”<\/span><\/em><\/p>\n

(…)<\/em><\/p>\n

JAMA was not only a festival, but also one of the many possible trips to Adam\u010diak’s fictional country. The fictional kingdom of Panf\u00edlia originated in 1972 from his interest in pataphysics and provided him with a mental space for “joy and love for all things, almost all things.” “Philia” is in Greek to love, “pan-” in Slovak can be “everything-” and it could also stand for a code for an abbreviation of Latin pro arte nova \u2013 “for new art”, which he used as a signature in the 1960s together with Robo Cyprich. The coat of arms of Panfilia was the syrinx whistle of the Greek god Pan, the god of boisterousness and freedom who had a close relationship with nature. The Panf\u00edlia calendar, as a “handbook for the Panf\u00edlia community”, was created sporadically since 1979. One annual Panf\u00edlia holiday was created. JAMA was able to offer the participants a Panf\u00edlia-like escape from reality as they voluntarily got lost.”<\/span><\/em><\/p>\n

\u2013 Lucia G. Stach, Head Curator of The collections of Modern and Contemporary Art<\/span>\u00a0at Slovak National Gallery<\/span> @ Vlna, XXII, \u010d. 82, May 2020<\/p>\n

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  “Despite everything, JAMA took place in October this year, directly in Bansk\u00e1 \u0160tiavnica, thanks to the artistic and curatorial management of the tandem Fero Kir\u00e1ly & Eva Voz\u00e1rov\u00e1, their team and Banska St a nica Contemporary. I like the genre of “artistic reminiscence”, which the event introduced as its PR description. It is a […]<\/p>\n

Read More… from Impressions of JAMA<\/span><\/a><\/p>\n","protected":false},"author":2,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-581","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.jama.ooo\/en\/wp-json\/wp\/v2\/pages\/581","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.jama.ooo\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.jama.ooo\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.jama.ooo\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.jama.ooo\/en\/wp-json\/wp\/v2\/comments?post=581"}],"version-history":[{"count":27,"href":"https:\/\/www.jama.ooo\/en\/wp-json\/wp\/v2\/pages\/581\/revisions"}],"predecessor-version":[{"id":2111,"href":"https:\/\/www.jama.ooo\/en\/wp-json\/wp\/v2\/pages\/581\/revisions\/2111"}],"wp:attachment":[{"href":"https:\/\/www.jama.ooo\/en\/wp-json\/wp\/v2\/media?parent=581"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}