Wyniki wyszukiwania - Biblioteka Nauki

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Stulecie Bauhausu: recenzja wystawy berlińskiej

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Kamczycki A.

Studia Europaea Gnesnensia

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2020

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nr 21

171-177

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Willkommen in den erworbenen Ländern, rec. książki: Karolina Kuszyk, Poniemieckie

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Kamczycki A.

Studia Europaea Gnesnensia

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2021

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nr 23

117-126

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El Lissitzky’s Red Wedge as the Hebrew letter Yud

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Kamczycki A.

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

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2023

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tom 35

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nr 44

180-195

EN

The analysis undertaken in this paper sets out with El Lissitzky’s 1919 revolutionary poster entitled Beat the Whites with the Red Wedge. This artwork, composed of simple geometric figures, in which an acute-angled red triangle splits the form of a white circle, was used by Soviet propaganda to affirm the so-called ‘October events’. However, a thorough analysis of the poster, i.e. its sources, inspirations, borrowings and contexts, supports the hypothesis that the principal motif (the wedge) also constitutes a graphic equivalent of a letter of the Hebrew alphabet, the letter yud, represented as a small comma or, significantly, an acute-angled triangle. Such a premise yields further consequences with regard to meanings, encompassing aspects related to the Jewish iconic tradition that involve mysticism, magic, and the kabbalah.

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Theodor Herzl: From Ahasverus to Baal Teshuva

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Kamczycki A.

Studia Europaea Gnesnensia

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2012

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nr 6

61-81

EN

Theodor Zeev Benjamin Herzl (1860-1904) was the creator of Zionist ideology, which, for the purposes of preparing the Jewish nation to mass emigration to the Promised Land and establishing a state there, made full use of available imagery and visual culture. Zionist iconosphere was therefore created, where Herzl’s iconography occupies a key position. The figure became the foremost Zionist icon, while his codified depiction was to be an embodiment of Zionist and express its ideas. One of such embodiments was Herzl’s portrait by Leopold Pilichowski, made in 1908 on commission from the delegates of the seventh congress. The composition evokes a range of pictorial guidelines, while juxtaposition of the portrait with other works (by A. Nossig, S. Hirszenberg, G. Dore and B. Schatz) enables one to discern an iconographic sequence which draws on the idea of Ahasverus (the Wandering Jew). For Zionism, Ahasverus is an archetype of the so-called negative image of ghetto Jews (ghetto types), which from then on constituted a hindrance on the way to national mobilisation and thus a target of Zionist criticism. He was an element embodying exile, wandering, discrimination, persecution, internal degeneration, social pathology and mental deviation, existential inertia and physiognomic grotesque. In contrast, Herzl’s portrait was to be a manifesto repudiation of these negative encumbrances (visual ones included) and a guideline for new Zionist ideals, which responded with Baal Teshuva – the Jew returning to the Promised Land.

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„Czerwonym klinem bij Białych”. Żydowskie inspiracje El Lissitzky’ego

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Kamczycki A.

Studia Europaea Gnesnensia

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2011

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nr 4

189-202

PL

The article focuses on the analysis of the 1919 poster entitled “Beat the Whites with the Red Wedge”. The intention of the text is to demonstrate the artist’s inspirations with Jewish mysticism, messianism and Kabbalah, exploited for the needs of the Soviet, revolutionary interpretation of building a new world

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Libeskind’s Museum in Berlin as a toppled tower

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Kamczycki A.

Studia Europaea Gnesnensia

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2015

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nr 12

325-352

PL

In the article the author will attempt to interpret the architectural structure of the Jewish Museum in Berlin, designed in 1989 by Daniel Libeskind. The context of deliberations presented here will rely on a broadly understood idea of tower, an entity identical with the Judaic as well as Christian vision of the Heavenly Jerusalem. However, the key to the metaphor is the assumption that the structure symbolizes a toppled tower, which in its turn is a meaningful analogy to the concepts derived from the issues of the Holocaust.

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Unheimlich: Struktury Pustki w berlińskim muzeum Libeskinda

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Kamczycki A.

Studia Europaea Gnesnensia

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2014

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nr 10

333-357

PL

The Museum of 2000 years of German-Jewish History in Berlin, designed in 1989 by Daniela Libeskind, an architect of Polish origins, was to make a powerful reference to the Holocaust as well. Using an underground passage, the architect connected the existing Baroque edifice of the Kollegienhaus in Kreuzberg’s Lindenstrasse, with the building created to his design (the so-called Abteilung). The external form of the buildings is a steel, flat-topped structure, composed of cubical blocks, irregular and marked by incisive edges. Inside, this zig-zagging building was intersected by a straight structure, 4.5 m wide, 27 m high and 150 long, which runs interruptedly along the main axis. The resulting empty spaces, extending from the ground floor to the roof, are tightly isolated from the remaining sections of the edifice. The analysis conducted by the author targets the comparison of that structure of the Void with the Freudian notion of the Unheimlich (uncanny). The comparison was made in a conversation with Libeskind by the originator of the theory of deconstruction, Jacques Derrida. Unheimlich is a psychological notion, which in this case denotes “secret”, “hidden” Jewishness, which instead of remaining an “internally closed” aspect is manifested as a characteristic, “negative” reflection. The term, entangled in the context of architectural theory as well as in the notion of anti-monument, represents a starting point in considering the contemporary condition of German culture, where that Void /unheimlich is a constant, “burdensome” echo of the Holocaust.

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YIZKOR, THE JEWISH WAY OF MEMORY. THE CASE OF CHRISTIAN BOLTANSKI’S ART

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Kamczycki A.

Studia Europaea Gnesnensia

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2013

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nr 7

309-326

EN

Christian Boltanski’s art in principle refers to memory as an important eternal imperative in the Jewish culture, and to the way and kind of representation, that is, artistic language. However, he does not do it by a simple allusion to Shoah but by reference to ‘indexicality’ of the essence of memory (F. Ankersmith) – where memory is juxtaposed with the history referentiality. His artistic work responds to a certain kind of ‘fears’ (J.E. Young, E. Van Alphen, A. Appelfeld, A. Huyssen, S. Friedman) of the possibility of art turning into a soulless attempt of embalming memory, with its influence becoming the opposite of the originally intended one, that is, contributing to forgetting (an anti-monument). Unlike historical archiving (of history as such), art is one of the most significant forms of preserving memory, thanks to artistic activity’s permanent capability of evoking memory – a social, cultural and political perpetual motion serving memory as such. Christian Boltanski’s works, especially the photographic medium that he uses most often, refer to old formulas of memory and commemoration used by Jews called Yizkor, which literally means, remember, recollect. Such conceptualization of a work, that is, formalization or even celebration of the impermanence and changeability of this medium opposes the belief in permanence of a material object, which paradoxically contributes to the death of its implied idea, that is, memory. However, by negating the form, Boltanski does not negate memory but only the false traditional belief in its stability and permanence. Thus, his art is both a suggestive play with history as well as its criticism at the same time. He shows us presence of what is absent by constantly evoking only memory.