Readymade: a problem for the definition of art and its solution

• Authors: Łukasz Guzek

Title variants

PL

Readymade: problem definicji sztuki i jego rozwiązanie

Abstracts

PL

Czy Marcel Duchamp wprowadzając do sztuki ideę i praktykę readymade rozwiązał problem nowego sposobu definiowania sztuki, czy raczej stworzył problem, z którym zmagamy się ze sztuką do dzis? Readymade zarówno w oczach samego twórcy, ale i współczesnych mu krytyków, jak Pierre Cabanne, Robert Lebel czy późniejszego biografa Calvina Tomkinsa, ma status ambiwalentny. Artysta nie identyfikował się z Dada i Surrealistycznym sensem użycia readymade. Dla Duchampa, readymade jest pomysłem na przełamanie kryzysu sztuki po kubizmie. Redymade stał się istotą jego nowej definicji sztuki. Dalszym rezultatem była sztuka konceptualna Josepha Kosutha oraz nowe media, fotografia i film jako sztuka, co opisała Rosalind Krauss w jej esejach na temat indexical art. Podstawą egzemplifikacji tez artykułu jest studium przypadku fotoobiektu Józefa Robakowskiego pt. Durszlak. Fotografia tytułowego przedmiotu została przebita gwoździem readymade. Ten gest artysty wobec obrazu został osadzony w historii sztuki awangard modernistycznych. W artykule historia readymade została zestawiona z inną paralelną historią, sztuki socjologicznej. Ten trend został przestudiowany poczynając od Georga Grosza i Wielanda Herzfelde Art is in Danger po contextual art i anthropologized art i współczesne kuratorskie praktyki narracyjne. Studium przypadku, Durszlak, pokazuje relacje między historią opowiadaną a formą artystyczną. Duchamp więc zarazem rozwiązał i stworzył problem definicji sztuki.

EN

Did Marcel Duchamp, by introducing the idea and practice of the readymade into art, solve the problem of a new way of defining art, or did he rather create a problem that we are struggling with to this day? The readymade has an ambivalent status both in the eyes of the creator himself and his contemporary critics, such as Pierre Cabanne, Robert Lebel and his later biographer, Calvin Tomkins. The artist did not identify with Dada and the Surrealistic sense of using the readymade. For Duchamp, the readymade is an idea to overcome the crisis of art after Cubism. The redymade became the essence of his new definition of art. A further result was the Conceptual Art of Joseph Kosuth and new media, photography and film as art, as described by Rosalind Krauss in her essays on indexical art. The basis for an exemplification of the theses of the article is a case study of Józef Robakowski's photo-object entitled Colander. The photograph here was pierced with a readymade nail. This gesture of the artist towards the image was embedded in the history of art of the modernist avant-gardes. In the article, the history of the readymade was compared with another parallel history of sociological art. This trend has been studied in George Grosz and Wieland Herzfeld's Art is in Danger, Contextual and Anthropologized Art, and contemporary curatorial narrative practices. The case study, Colander, shows a relationship between storytelling and the art form. Duchamp thus both solved and at the same time created a problem for defining art.

Keywords

EN

the readymade; conceptual art; information art; evidentiality art; contextual art; anthropologized art; photography as art; photo-object; definition of art

PL

readymade; sztuka konceptualna; information art; evidentiality art; sztuka kontekstualna; sztuka zantropologizowana; fotografia jako sztuka; foto-obiekt; definicja sztuki

• Publisher: Łódzkie Towarzystwo Naukowe
• Journal: Art Inquiry. Recherches sur les arts
• Year: 2024
• Volume: 26
• Pages: 61-82

Dates

published

2024

Contributors

author

Łukasz Guzek

• The Academy of Fine Arts in Gdańsk

• https://orcid.org/0000000261010953

References

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Identifiers

DOI

10.26485/AI/2024/26/4

Biblioteka Nauki

57551850