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EN
The author tries to interpret the 'oeuvre' of respected American photographer Lee Friedlander. Friedlander's photos are difficult to interpret - his art is placed within such diverse traditions as 'street photography' or 'pop art'. Parmigianino's 16th century 'Self-portrait in a Convex Mirror' is perhaps the most interesting interpretative context.
EN
'Documents', founded in 1929 by Georges Wildenstein, was an unusual and perhaps one of the most interesting episodes in the history of the inter-war European avantgarde. The motor forces of the periodical were three extraordinary men: Carl Einstein, Georges Bataille and Michel Leiris. Their project - a combination of science and art, of that which is part of the past and the avantgarde, of the European and the non-European - remained an isolated Nietzschean attempt at 're-evaluating all'. 'Documents' was also, and this is slightly less obvious, an uncommon atlas of images. This emphasis on visual experience brought the project conceived by Bataille and Einstein close to the conceptions launched by Aby Warburg. If the Mnemosyne atlas is a sui generis 'anthropology of the memory of forms' then 'Documents' can be recognised as an 'anthropology of that which is formless'
EN
A user's guide, mode d'emploi, or perhaps mode d'inemploi? At any rate, this is the first Polish extensive guide to the works of Michel Leiris.
EN
'Africa is a word, a mere pretext...' - Philippe Soupault wrote about 'L'Afrique fantôme'. In this case, it would be difficult to agree with the opinion of the author of 'Les Dernieres Nuits de Paris', since the title of Leiris' African journal absorbs all the themes and interpretations: Africa, Michel, Emawayish, colonialism, depression, obsession, the netherworld...
EN
The book by David Freedberg makes an important attempt at examining the image from an anthropological vantage point. Although the author is by training an art historian he challenged his discipline by writing that the whole discourse which emerged and grew around 'art' is a mere evasion. The image always exerts a similar impact upon the recipient – Freedberg drew attention to, i. a. the Freudian motif of suppression, and underlined the religious character of art and the image. The point of departure for research into art is the question of iconoclasm. The presented text is a recorded conversation about the titular publication.
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