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1

Sztuka w (nie!) zgodzie z naturą?

Władyka-Łuczak Zofia

Wiedza Obronna

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2023

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nr 2

PL

Niniejszy artykuł to próba zaprezentowania artystycznych postaw wobec natury i ochrony środowiska. Przedstawiono trzy główne podejścia spotykane w dziejach historii sztuki: podejście pozytywne (podziw, pochwała natury), podejście negatywne (fascynacja przemysłem) oraz podejście opiekuńcze wobec środowiska naturalnego. Sztuka rozumiana jest tu jako mechanizm społeczny kształtujący postawę człowieka wobec fauny i flory, wobec środowiska naturalnego. Zaprezentowano przykłady wysiłku artystów na rzecz ochrony środowiska oraz przykłady dróg rozwiązań technicznych energii odnawialnej.

EN

This paper attempts to present artistic attitudes towards nature and environmental protection. Three main approaches encountered in the history of art are presented: a positive approach (admiration, praise of nature), a negative approach (fascination with industry) and a caring approach towards the environment. Art is understood here as a social mechanism shaping human attitudes towards flora and fauna, towards the natural environment. Examples of artists' efforts to protect the environment and examples of the technical paths of renewable energy solutions are presented.

2

Analysis of the importance of arts and crafts in the ecological environment construction in the new era

Yang Shuwen, Li Nan, Wu JianHua, Hua YongMing

Ecological Chemistry and Engineering. S

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2023

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Vol. 30, nr 2

209--218

EN

For a long time, people tended to ignore the carrying capacity of the environment, resources, ecology and other natural systems, and also ignore the resource and environmental costs and natural costs incurred by economic growth, which eventually leads to the degradation of natural ecological environment and the decline of residents’ health. The results show that the pollution indexes of environmental art design range from 0.007 (comprehensiveness) to 0.912 (economic value), and those of ecological protection strategy range from 0.113 (industrial development) to 0.704 (innovative design); the carrying capacities of environmental art design range from 0.010 (space arrangement) to 0.684 (sustainability) and those of ecological protection strategy range from 0.124 (social value) to 0.938 (industrial development); the environment-protection factor of environmental art design range from 0.085 (sustainability) to 0.544 (land use) and those of ecological protection strategy range from 0.005 (aesthetic value) to 0.937 (concept presentation). Therefore, the arts and crafts in ecological environment construction in the new era can effectively and scientifically implement and carry out the landscape-site selection, material selection, land use, concept presentation, space planning, innovative design and so on under the guidance of ecological civilisation concept. The research results of this paper provide a reference for further research on the analysis of the importance of arts and crafts in the construction of an ecological environment in the new era.

3

Artists in the face of threats of climate change

Michałowska Marianna

Oceanologia

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2020

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No. 62 (4PB)

565--575

EN

In contemporary visual culture, the subject of climate change and the need for commitment to counteract it (Demos, 2016, Körber et al., 2017, Tsing et al., 2017) are increasingly being addressed. The artists' observation concerns not only the natural effects of climate change but also their impact on the social and cultural heritage of the inhabitants of regions of the most endangered areas. Areas most vulnerable to destruction: oceans, coral reefs and polar regions are becoming a particular subject of interest for artists. A reflection of this interest can be the increasing number of exhibitions devoted to the current state of the environment (i.e. the project Plasticity of the Planet presented in 2019 in Ujazdowski Castle Centre for Contemporary Art in Warsaw). In the article selected artistic strategies to publicize the problems of ecology will be indicated. The first strategy is the exhibition of the beauty of the natural environment and the melancholy associated with its disappearance. An example of this can be Art of the Arctic by environmental photographer Kerry Koeping who focuses the audience's attention on ocean literacy by means of affecting landscapes of the Arctic or the artistic residence in PAN Hornsund Polar Station of Janusz Oleksa. The second way is to indicate the physical and biological effects of climate change. An example would be the work of Kelly Jazvac who, in collaboration with an oceanographer Charles Moore and a geologist Patricia Corcoran, presents plastiglomerate by Agnieszka Kurant – new forms of fossils, resulting from the combination of shells and stones with plastics or artificial compounds. The third method is the presentation of the residents' experience. The examples are works of Subhankar Banerjee, who draws inspiration from ethnographic research and documentary films and Jakub Witek's documentary about Polish emigrants living in Iceland. The artist presents the consequences of climate change for the inhabitants of the polar regions. The fourth way is to build a metaphor for the presence of a ‘stranger’ – a traveller, an explorer or a scientist. An example is a photographic performance entitled Polaris Summer by Kuba Bąkowski conducted during a scientific expedition to Spitsbergen, or three-screen projection by John Akomfrah's showing the relationship between man and oceans in the context of exploitation of natural and human resources. For the artistic practices described in the article, I use the theoretical framework of environmental art that binds together aesthetics, ethics and politics. The purpose of the article is to check whether such a connection can be attractive to the audience.

4

Ned Kahn. Pomiędzy architekturą, sztuką a naturą

Rut M.

Topiarius. Studia krajobrazowe

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2016

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Nr 1 (2)

85--102

PL

W artykule nakreślono działalność Neda Kahna, jednego z najbardziej uznanych twórców environmental art1. Jego projekty nie ograniczają się tylko do realizacji charakterystycznych dla tego nurtu: przemyślnych instalacji umieszczonych w krajobrazie, muzealnych, interaktywnych rzeźb, aranżacji przestrzeni miejskiej. Światową sławę zdobył jako projektant elewacji prestiżowych budynków, gdzie wykorzystując proste konstrukcje z ruchomych płyt, osiąga niezwykle oryginalne efekty plastyczne. Tym samym na trwałe wpisał się w rozwój interaktywnych fasad budynków, a jego działalność zyskała nie tylko artystyczny, ale i utylitarny wymiar. W artykule zasygnalizowano współczesne tendencje, które określają relacje pomiędzy architekturą a naturą oraz sztuką a naturą, by nadać właściwy kontekst dla jego twórczości. Ned Kahn w swych dziełach wykorzystuje elementy natury: wodę, wiatr, światło, ogień. One stanowią kryterium podziału projektów przy ich opisie.

EN

This article outlines activities carried out by Ned Kahn, one of the most acclaimed creators of environmental art. His projects are not limited only to productions which are characteristic of this trend: ingenious installations placed in a landscape, museum interactive sculptures or urban space designs. He has gained worldwide fame as a designer of prestigious buildings’ facades, in which case by using simple structures consisting of movable panels he achieves highly original visual effects. Thereby, he has left a lasting imprint on the development of interactive facades and his activities have acquired not only an artistic but also a utilitarian dimension. This article signals contemporary tendencies that define relationships between architecture and nature as well as between art and nature in order to set his works in a suitable context. In his works Ned Kahn uses the elements of the nature: water, wind, light and fire. They constitute a criterion of his project’s division in their descriptions.