THINKING BAUHAUS ... LEGACY OF THE ART OF LIGHT IN CONTEMPORARY PROJECTION PERFORMANCES IN PAINTING

The theory and practice of Bauhaus seem to be an unsurpassed commentary on contemporary phenomena in the field of projection light practices, the expansion of which is undoubtedly a legacy of the advancement of the use of light almost a century ago in the practice and theory of this School (light games by Kurt Schwerdtfeger and Ludwig Hirschfeld-Mack, and particularly by Laszlo Moholy-Nagy). Among numerous forms of aesthetic qualities in the field of light practices present in the rapidly developing High Definition epoch light festivals (applying various types of video-mapping practices in urban areas) and immersive performances based on projection (screen) design of painting (Alive cycle, performances using the AMIEX Technology (R) - Art & Music Immersive Experience) have become increasingly successful all over the world. One development is the creation of a kinetic art of light (a kind of video art) on the basis of paintings. This art promotes "using" the projection of the design of paintings in such a way that they are viewed in a manner that differs from mere contemplative watching (as in the case of a museum). In this way, a digital form of timed painting in motion is implemented that initiates new styles of experiencing traditional painting art, equipped with qualities of an immersive light spectacle. "Video frescoes" come into existence - an intermedium at the junction of painting and projection, simulation and registration, and the subject of experience is comprised of a light spectacle together with the place of its disclosure. Therefore, we are dealing with images of painting transferred to the dimension of a digital spectacle, which are managed by users in an environment where a trick of light acts in favour of the design of "poly-cinema" (Moholy-Nagy). The program of Moholy-Nagy's school of vision has come true: painting by means of light in a simultaneous cinema.