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1
Content available Dokumentacja, Czyli Jak Zobaczyć Niewidoczne. Podstawy Metodologiczne Analizy I Interpretacji Dzieł Efemerycznych
100%
Guzek Ł.
Sztuka i Dokumentacja
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2017
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nr 17
9-15
EN
Working with documentation in the case of ephemeral works in a necessity. If the ephemerality is the basic assumption of the art project, the documentation is the only artefact that remains. Such an attitude means that the documentation becomes the sole artwork in its own right and can be researched just like any other works of art. This is the situation in the case of action art, processual and conceptual works. The unique and particular status of such artworks means that they require a particular research methodology. The construction of such a methodology is still in the phase of recognition of its feasibility. This text points to its possible condition on the meta- methodological level, and to a lesser extent at the level of practice. The specificity of the documentation of ephemeral works means that when we study its documentation we are by nature “confronting images” of what was before this image. In my article, I refer to methodological reflection of George Didi-Huberman from his publication Confronting Images. The main subjects of my text are questions concerning the relationship between the word (description, interpretation) and the picture, and what Didi-Huberman called ‘aporias’, or disturbances which the picture introduces to knowledge (we see what we want to see, not what is presented), and this is illustrated by relevant examples. In the attitude of the researcher towards the image, an openness of looking at the image is crucial. This means building a re-actualising narrative emerging from the description of the representation. The source of new narratives in the history of art are image analysis, in which we pay attention to detail and the ‘pan’ and the interpretation results from their dialectical relationship, which allows the limits of the description on the objective level of the document-image to be exceeded towards the dynamic and therefore performative approach to the meaning of the work. The manner of understanding the word ‘pan’ is of key importance here. I analyze it based on the example of Ryszard Waśko's experimental film. And the manner of picture reception of a ‘pan’ type is characterized by the notions taken from the theory of information adapted to art by Mieczysław Porębski. In conclusion, in addition to the methodological framework of working with documentation of ephemeral works, I also point out the urgent need to undertake such research, because works of this type constitute a ‘blind spot’ or ‘black matter’ in the field of art history, and this by now concerns a huge and growing number of works and projects.
2
Content available Art Against Modern Death. A Retrospective of Marina Gržinić and Aina Šmid
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Guzek Ł.
Sztuka i Dokumentacja
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2023
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nr 29
275-287
3
Content available Rola sztuki akcji w ukształtowaniu specyfiki artystycznej grupy Łódź Kaliska
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Guzek Ł.
DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu
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2013
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tom 16
276-294
EN
Kaliska Art Group uses mainly photography and film as their medium. However, their use is "extended" according to the idea of "expanded cinema", which is the starting point of artistic exploration by the group. They concentrate on action in their production of artistic photographs and films. Action determines images and photographs. They take photographs in order to register actions, therefore photographs are considered as secondary medium. Actions are dynamic forms of expression. Also, criticism, pastiche and irony contribute to producing a momentum. Łódź Kaliska is a postmodernist art group. Guzek analyzes their activity in the context of conceptual art and the role of action art in their artistic development. They concentrate on the deconstruction of modernist and avant-garde artistic ideas. He considers his analysis as case study of actionism and its influence on art. He describes the typology of the group including performance for photography and film (all actions are group actions), conceptual ‘performance’ in front of the camera by different members of the group, the ‘Fluxus’- kind of performance which combines art and everyday life, ‘environmental’ actions which are more open and involve people from outside of the group (friends), jokes connected with other artists and celebrities of art (not planned as art). After all, action art reveals the position of artists superior to their work and existential elements in art.
4
Content available Henryk Gajewski. Od Konceptualizmu do Sztuki Interpersonalnej
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Guzek Ł.
Sztuka i Dokumentacja
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2022
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nr 27
289-294
5
Content available Obraz-Tekst. Struktury obrazowe oparte na tekście w konceptualnych i postkonceptualnych pracach Josepha Kosutha i Jana Świdzińskiego
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Guzek Ł.
DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu
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2011
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tom 12
154-177
XX
Kosuth uses printed texts in his textual art-pieces. He believes that his art-pieces become objective and stable by the way of his using of ready made forms. The square form of ‘Definition’ plays the same role. According to dictionaries, fonts copy letter forms. In his out-door installations, Kosuth uses script fonts, that are both similar to industrial and hand-written characters. His neon signs and signs lighted from underneath look liketechnical forms. The changes in text-images mirror different theoretical approach between Art after Philosophy and Artists as Anthropologists, i.e. between scientific objectivism and dynamic social life. Texts by Świdziński are almost without exception hand-written texts. The artist himself writes the texts. They can be considered in the context of ‘performances’. Sometimes, writing becomes a performance (videoperformance), which includes the images of direct presence of the artist (on the same basis documents and artifacts are proofs of actions). Hand-written texts do not attack on-lookers, they do not look official, they are not order-like, they do not persuade, and they do not form distance,hierarchies that contribute to ‘discriminate between those who know and those who should be taught’*. This is the reason Kosuth uses fonts that resemble hand-written letters. Kosuth and Świdziński meet with each other on external and internal platform based on a pattern designed according to the metaphor of tourist. Together with other formal features, image-texts reveal the presence factor: existing in the reality as existing in art.
6
Content available Galeria jako zagadnienie artystyczne w sztuce konceptualnej
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Guzek Ł.
Sztuka i Dokumentacja
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2012
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nr 6
123-131
EN
The text announces a research program on the galleries that emerged in relation to conceptual art and introduces the scope and method of research. The general aim of the research is to set apart the issue of a conceptual gallery as an independent artistic phenomenon. A conceptual gallery is examined as a general artistic formula. The methodological scheme presented in the text aims at establishing a basic chronology and creating a typology of the trend. Historically, conceptual galleries emerged and were shaped in the frame of a broadly understood conceptual tendency (a leading tendency in the seventies) because at that time, there occurred a specific formal-artistic relationship between art and gallery. Until now, the conceptual gallery trend has been examined mainly in the context of the social, political and cultural conditions in which they were functioning. The research on conceptual galleries as an artistic project and a form of conceptual art causes the vector of the research to reverse. The artistic character of particular galleries could be graded into those which housed more or less radical projects. One may imagine a scale between limit points: a gallery as a work of art and a gallery as an art container and place all galleries from the seventies on it. The beginning of the conceptual gallery movement in Poland is marked by a project by Andrzej Kostolowski and Jaroslaw Kozlowski entitled NET (1971), based on a mail-art formula. It assumed not only collecting and exhibiting the works sent (which was each institution’s aim), but also creating their own specific points in the network of institutions. Thirty five galleries participated in an exhibition which summarised an activity of the BWA Gallery in Sopot in the summer of 1981. The galleries of this type functioned in the next decade, even during martial law. In the mid-nineties the gallery movement started to integrate again, however after 2000 the commercialisation of the art market caused their disappearance.
7
Content available „Biografia w badaniach nad sztuką performance. Proponowane zakresy tematyczne i metody.”
63%
Guzek Ł.
Sztuka i Dokumentacja
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2014
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nr 11
101-107
8
Content available „Plenery w Osiekach jako model historii sztuki Polskiej lat siedemdziesiątych.”
51%
Guzek Ł.
Sztuka i Dokumentacja
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2014
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nr 10
105-114
9
Content available Sztuka na rzecz demokracji
51%
Guzek Ł.
Sztuka i Dokumentacja
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2017
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nr 16
5-7
PL
edytorial
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