Wyniki wyszukiwania - Biblioteka Nauki

1

'RETURNS TO THE PAST' ('Powroty ku przyszlosci')

100%

Zwierzchowski A.

Konteksty - Polska Sztuka Ludowa

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2010

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tom 64

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nr 2-3(289-290)

185-187

EN

A record of a speech given by a painter and lecturer at the Warsaw Academy of Fine Arts during the conference: 'The Home - the Path of Being' (Czestochowa 2010), on the relations between the word (the process of naming a thing) and the image in contemporary art.

2

THE PROVINCES, DREAMS. EXCESS (Prowincja, sny. Nadmiar)

100%

Sempolinski J.

Konteksty - Polska Sztuka Ludowa

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2008

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tom 62

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nr 3-4(282-283)

170-173

EN

The author maintains that a contemporary work of art does not exist as such only in a thicket of words. Today, we are witnessing the presence of several thousand world-outlook conceptions of art, which the artist must know in order to meet the prevailing demands and become a creator for every occasion. The paradox of this situation consists of the fact that someone who is to be the most creative component of this process ceases to be such because the only creative people are those who talk about it while objectifying the artist. An excess of words and artistic undertakings is a feature characteristic for contemporary culture.

3

SCULPTURE GAREDN AS SUBSTANTIAL PART OF HIRSHHORN MUSEUM. MUSEUM OF MODERN AND CONTEMPORARY ART SMITHSONIAN INSTITUTION (Ogród z rzezbami - .. Muzeum Hirshhorna. Muzeum Sztuki Nowoczesnej i Wspólczesnej Smithsonian Institution)

80%

Dittwald A. M.

Muzealnictwo

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2004

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nr 45

162-169

EN

The Hirshhorn Museum and Sculpture Garden of the Smithsonian Institution has been open to the public since 1974. It is located on the National Mall in Washington DC, the capitol of the United States. Its location is very significant because it is exactly halfway between the Washington Monument and the US Capitol. The museum is named after Joseph Hirshhorn (1899-1981), an immigrant from Latvia, who became a financier, philanthropist, and well-known American collector of modern art. His gift and bequest of more than 10 000 artworks, including paintings, sculptures, drawings, and mixed-media pieces, form the art collection of the Hirshhorn Museum. The museum was designed in 1966 by architect Gordon Bunshaft from Skidmore, Owings & Merrill. It consists of two major parts - a cylindrical building and a separate sculpture garden. The first project of the garden included a large rectangular reflecting pool, but the plan was changed. In the new plan, the garden was much smaller, it was four metres below street level, and divided the garden into terraces at several levels. The open spaces, simple walls, and use of pebbles create a dramatic yet contemplative effect, like that of a Zen Buddhist 'dry' garden. After some time, several problems were noticed with the design of the garden. Walking on the garden's pebbled surface was difficult, the lack of shade was evident during the hot summers, and there was no wheelchair or baby-stroller access. Redesigns of the sculpture garden in 1981 and the plaza in 1993 increased the accessibility to the garden and enhanced the placement of new sculptures within additional greenery. The Hirshhorn Museum gained its international reputation due to the collection exhibited in the sculpture garden. This small area presents comprehensive history of the evolution of modern sculpture. The garden contains a variety of works from artists from around the world. For thirty years the museum held various exhibitions and developed innovative programs including 'touch tours' for visitors who are blind. During the summer, frequent music festivals were held. The museums web site - www.hirshhorn.si.edu - extends the reach of the museum by providing interactive activities, the history of the Hirshhorn, a searchable collection database, and updated exhibition information. Several historic gardens presented religious and political sculptures. Contemporary sculpture gardens contain new and modern sculptures. There are three basic types of these gardens: gardens that contain one artist's work, gardens that are part of a museum's collection, and gardens that are museums in themselves, commonly called 'Open-Air Museums'. The Hirshhorn followed the new contemporary style of displaying sculptures in a garden and created the Hirshhorn Sculpture Garden. Several museums, universities, businesses and governments have followed suit, and have created outdoor exhibitions dedicated primarily to sculpture. Sculpture parks and gardens are becoming more common and are quickly gaining popularity.

4

EX ORIENTE LUX. RECEPTION OF THE ICON IN POLISH ART (1960-2007) (Ex oriente lux. Recepcja ikony w sztuce polskiej (lata 1960-2007))

80%

Rogozinska R.

Sacrum et Decorum. Materiały i studia z historii sztuki sakralnej

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2009

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tom 2

49-81

EN

Given the widespread interest in the icon in the 20th century - in its form, profundity, rich religious content, and the aura of spirituality - it is hardly surprising that it also became an important source of artistic inspiration, multiple examples of which can be found in Polish art, especially that of the last 50 years. In the 1960s, artists such as Kazimierz Glaz, Jozef Halas, Henryk Musialowicz, Jerzy Nowosielski, Wojciech Sadley, Jan Berdyszak, and Witold Damasiewicz initiated the revival of interest in Orthodox church art, different from that of the interwar period. In the following decades, Orthodox motifs, variously modified, were often taken up by Zbigniew Bajek, Ewa Kuryluk, Tadeusz Brzozowski, Magdalena Dmitruk, Eugeniusz Mucha, Alina Szapocznikow, Aldona Mickiewicz, Zbigniew Treppa, Romuald Oramus, Anna Myca, Marek Sobczyk, Christos Mandzios, Krzysztof Klimek, Magdalena Daniec, Leon Tarasewicz, Andrzej Bednarczyk, Ignacy Czwartos, Andrzej Desperak, Jacek Dluzewski, Tadeusz G. Wiktor, Marian W. Kuczma, Adam Molenda, and Wladyslaw Podrazik. The work of all these artists is presented against different problematic backgrounds, including the martial state in Poland and the related movement of independent culture. As far as the popularization of the icon is concerned, the influence of Jerzy Nowosielski deserves a special mention, and in particular his art, his theological reflection, and his aesthetics. It is also important to discuss the broader European background of the revival, especially the art of the Russian avant-garde. The article argues that the inspiration drawn from the icon cannot be reduced to a superficial exercise in archaization. To the contrary, icons provoke artists to engage in various transpositions and create innovative solutions, which are often remote from the original and bear a clear mark of individuality. Borrowings such as the frontal presentation of figures, two-dimensional space, reversed perspective showing a divine rather than human point of view, luminosity, colour scheme and geometry, richness of materials, and, finally, painting technique, are used to 'inject a drop of the sacred' into the bloodstream of the work of art. In view of the secularization process, references to the icon often come as a rejection of 'culture turning into a desert' and an effort to reclaim the supernatural perspective.

5

AFRICAN ART: THE JOURNEY FROM ETHNOLOGICAL COLLECTION TO THE MUSEUM OF ART

80%

Pawłowska A.

Muzeológia a kultúrne dedičstvo

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2020

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tom 8

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nr 4

161 – 176

EN

This article aims to show the transformation in the way African art is displayed in museums which has taken place over the last few decades. Over the last 70 years, from the second half of the twentieth century, the field of African Art studies, as well as the forms taken by art exhibitions, have changed considerably. Since W. Rubin’s controversial exhibition Primitivism in 20th Century Art at MoMA (1984), art originating from Africa has begun to be more widely presented in museums with a strictly artistic profile, in contrast to the previous exhibitions which were mostly located in ethnographical museums. This could be the result of the changes that have occurred in the perception of the role of museums in the vein of new museology and the concept of a “curatorial turn” within museology. But on the other hand, it seems that the recognition of the artistic values of old and contemporary art from the African continent allows art dealers to make large profits from selling such works. This article also considers the evolution of the idea of African art as a commodity and the modern form of presentations of African art objects. The current breakthrough exhibition at the Bode Museum in Berlin is thoroughly analysed. This exhibition, entitled Beyond compare, presents unexpected juxtapositions of old works of European art and African objects of worship. Thus, the major purpose of this article is to present various benefits of shifting meaning from “African artefacts” to “African objects of art,” and therefore to relocate them from ethnographic museums to art museums and galleries.

6

Sztuka jako wyraz świadomości artysty

80%

Zagrodzki J.

Sztuka i Dokumentacja

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2012

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nr 6

119-122

EN

Considerations upon the awareness that previously had been identified as the power of God's creation, a universal mind that binds all terrestrial matters together, are the source of an ancient thought. The term conceptualism — conceptus, defining a thought, a concept, an imagination—was inherited from the Latin, but as an idea it emerged in philosophical discussions long before Socrates. The idea of conceptual perception may be found in Plato's philosophy; the definition of creative awareness was not, however, precisely defined by him. It was only Aristotle who assumed that a condition for art to exist is “a permanent disposition capable of producing something with reason”. This direction of research was undertaken by Friedrich Wilhelm Joseph Schelling, one of the first philosophers examining consciousness, the author of the treatise entitled “Philosophy of Art”. The power of Schelling's thought was an emphasis on using symbols in art. Confronting hidden meanings with the literality of concepts based on tangible aspects of knowledge mean that his opinions are still of interest for researchers. The concept of a self-awareness we owe to the establishments of René Descartes. His principle “I think therefore I am” did not remove and in fact even highlighted the doubts that arise during creative activity. What is contemporary art?— a discipline which attempts to understand the power of the human mind, which enables artists to use the knowledge they possess in action. It is an inborn predisposition, or perhaps it is a disposition to produce something material with a thought and therefore it is conceptual in nature. The values in art result from the essence of a message, and the methods of transmitting and receiving are, in a natural way, linked to the intellectual process and it does not matter, which form of the ‘conceptualisation’ of the world the artist chose. Art understood as a concept is often identified as utopian. Utopia, on the other hand, is most often understood as an intentional attitude that exists in one’s consciousness, an idea which cannot be realised. The question arises: what is an artwork completed as an artistic fact. This apparent antinomy between the notions of reality, utopia and concept in art results from an assumption that something is possible and other things are not and that all arguments depend on the assumed point of reference. It is often claimed in colloquial sentences that a project turned out to be utopian. But what does it mean? Can art be utopian? Has any art program ever been fully completed? Can ideas stemming from one’s artistic statement, in their full complexity, demanding a lot of harmonious circumstances, ever be realised? So called utopian or conceptual thought is the basis of all meaningful art achievements, contrary to intentions thought to be realistic, which by their very down-to-earth nature, lack fantasy and therefore have little in common with art. The emergence of an art concept is parallel to the possibilities of its realisation. Not sooner does art exist for real, then as a result a conflict between creative ideas and changing reality appears. Sometimes artistic objectives do not develop further beyond the project stage, sometimes they turn into concrete objects, events or processes. The fact that their incarnations exist, does not determine the meanings. The essence of artistic work is to sustain the idea created. If it takes the form of a registered project then it automatically turns into a tangible object, an item, a phenomenon which can be a base for further actions. So, when the artist questions the rules of the surrounding reality, it is not a conceptual utopia that emerges, but new realities.

7

AUTENTYZM W SZTUCE WSPÓŁCZESNEJ

80%

Jadzińska M.

Ochrona Zabytków

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2006

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nr 4

33-48

EN

Authenticity is one of the most prominent factors determining the value of an art work as well as conservation theory and praxis. It exerts prime impact on defining decision strategies, and the significance, preservation, exposition and conservation-restoration of a given work. It also determines the form in which it will be passed on to future generations. In the past, criteria applied for assessing authenticity underwent a number of changes, and by the twentieth century they assumed a form defined in assorted codes of conservation ethics and procedure. Authenticity, however, is not an absolute and constant value, but succumbs to perennial transformations and reflects new truths and criteria. The article attempts to answer these questions within the domain of select problems and upon the basis of most recent international accomplishments. Philosophical premises act as a point of departure for a discussion on the conditions of the preservation of the authenticity of a contemporary art work, with the authoress considering the authenticity of matter, conception and context as well as differentiated approaches to the protection of old art according to the principles of technological correctness. Other questions involve the specificity, techniques and technology of present-day art and its impact on preservation and permanence. The presented reflections pertain to the uniqueness of the conception of a work of art, which can be detected by studying not only its structure but predominantly the artist's intentions. Just as important is the establishment of the context of space, place, culture or history. Attention is drawn to the necessity of distinguishing the complexity of particular, haptic-optic elements of the work of art and their mutual relations, which leads to the preservation of inner unity. The assorted problems are illustrated with examples of Polish and world art in whose cases the comprehension of authenticity was neither obvious nor unambiguous, and frequently resulted in falsifying the original message. Finally, the article examines the newest world tendencies and paths of conservation and protection, which designate the tasks, methods, forms and purposes of ventures intent on preserving the modern work of art together with 'in the full richness of their authenticity'.

8

CONTEMPORARY ART AND CHRISTIANITY. HERESIES, CHALLENGES AND SPIRITUAL SEARCHES (Laikmetiga maksla un kristietiba. Keceribas, izaicinajumi un gariga meklejumi)

80%

Astahovska I.

Materiali Latvijas makslas vesturei

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2008

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tom 7

178-188

EN

In the 20th century many artists have created both artworks for religious purposes and commissioned by the church as well as works depicting Christian motifs or influenced by them but not directly intended for display in sacred premises. Classical examples reveal the significance of this subject and motifs in modernists' works; a growing interest in this field is evident since the 1980s. From the viewpoint of means and messages these artworks are of the widest possible scope - from decorative compositions to openly shocking works that have created wide-range scandals and made to discuss the current value judgements. Interpretations of Christian motifs, including those considered heretic and blasphemous by the church authorities, have been most influential in culture products like visual arts, literature, theatre, cinema, music; they are used many times as allegorical references to stress topical themes or problematic issues and values. Such works that have earned excellent reputation or are highly popular and recognised in the cultural context, have often been criticised by the church and traditionally oriented Christians mainly because of violating Christian canons and important principles of Christian iconography or way of expression. In Latvia the most interesting reflections on Christianity in contemporary art are related to the sacred space where the basic tenets of Christian canon and message are respected, transgressing the accepted boundaries of expression and creativity. The most widely known precedents are Sarmite Malina's and Kristaps Kalns' video installation 'Altarpiece' at St. Mary Magdalene's Catholic Church in Riga in Easter 2006, and Helena Heinrihsone's altarpiece for the Kolka Lutheran Church painted in 1993. Assuming that tradition has a special authority in sacred art, Catholic Church strongly holds to the idea that a Christian artist's point of reference could not be contemporary culture. Compared to the traditional attitude of the Catholic Church, Protestant sacred art is more intellectualised and visually abstracted. The issue of 'images' is also the most complex issue not just in the crossing of art and church but also inside the church, being the cause of disagreements and diverging opinions of different confessions.

9

PARADIGMOU SÚČASNÉHO UMENIA JE NEAUTENTICITA

80%

Karul R.

Filozofia (Philosophy)

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2015

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tom 70

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nr 9

736 – 747

EN

Nathalie Heinich distinguishes a mutation in the history of art, which appeared due development of the contemporary art. Analysing a contemporary work of art she finds the non-authenticity to be its essential quality. It is this quality that makes the contemporary work of art different from a modern one laying the claim to authenticity. Non-authenticity presents itself in the author’s intention as untrustworthiness, cheat, insincerity, impersonality, giving up interiority etc.; in the relationship between the artist and his/her work then as breaking the continuity between the two.

10

HOMELESSNESS AS THE PATH OF CREATION (Bezdomnosc jako droga tworzenia)

80%

Rogozinska R.

Konteksty - Polska Sztuka Ludowa

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2010

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tom 64

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nr 2-3(289-290)

190-194

EN

The topos of sacrificing the home (conceived not as a dwelling but as a 'community of love') on the altar of art dates back to antiquity, although its strongest resonance took place in the nineteenth century. It is present in, i. a, the reflections of Nietzsche and Schopenhauer, in which man's greatness, symbolised by the saint and the genius, is closely connected with solitude. Homelessness/solitude is, therefore, not only hopelessness and abandonment but also, according to Levinas, courage, pride and sovereignty. It assists the artist in attaining inner autonomy, sets free the power to understand, and favours raising oneself above human measure. Only (absolute!) solitude reveals that which is most important: it is the condition for discovering the truth. The shape of a tower assumed by the studios of Hubert von Herkomer or Carl Gustav Jung, ostentatiously inaccessible to others, should be recognised as a spectacular manifestation of the artist's inner exile. The category of homelessness is also associated with a train station waiting room, which for Simone Weil comprised a sui generis niche for reflection, or the hotel room, in which Albert Camus wrote. It is by no means an accident that the formal and ideological model for images of the atelier, universal in painting, was the depiction of St. Jerome or St. Augustine in their workshops. After all, they comprise a representation of the supreme form of a free and beautiful life - bios theoretical, or the Latin vita contemplative - a life consisting of contemplating that which is beautiful because it is invariable, eternal and divine, and thus of studying the truth and philosophising. The exhibition entitled 'The home - the path of being' shows that solitude, alienation and escapism are still part of quite a few programmes of the artist's studio, with considerable space taken up by paintings featuring the motif of the atelier. The Vast Studio by Jerzy Mierzejewski, suffused with light and silence, seems to indicate the supernatural source of creative inspiration. Only such conditions can give rise to a vision and then witness the miracle of its embodiment into a work. After all, it was believed that the creative act consists of a transcendence, a transition from the sphere of the profanum to that of the sacrum, an opinion of a different perspective, a change in the manner of perception. This is a great mystery. Although today such an approach is rare, upon certain occasions the studio is still treated as an exceptional and magical site, marked with sanctity. 'We lived in a house that resembled a Buddhist or Hindu monastery' - the painter Jerzy Cwiertnia recently spoke about the home-studio shared with his daughter, also a painter. 'When Nowosielski came to visit' - recalled Jerzy Tchórzewski - 'I received him in the flat. At a certain moment Jurek said: 'It's very pleasant here, but let's move to the studio. You know, there is always something holy in a studio'. True - I thought, since one enters the studio just as any other place that offers contact with another sphere, in a normal fashion, but leaves it in a special manner - via the paintings'.

11

MUSEUM OF MODERN ART - A NEW NEIGHBOUR IN THE EL RAVAL DISTRICT IN BARCELONA (Muzeum Sztuki Wspólczesnej - nowy sasiad w dzielnicy El Raval w Barcelonie)

80%

Kula A.

Muzealnictwo

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2004

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nr 45

154-161

EN

The establishment of centres specialising in modern art frequently plays an essential role in the revalorisation of municipal cultural space. In accordance with this trend, one of the objects which created part of a campaign of 'invigorating' the poor and devastated El Ravel quarter in Barcelona was Museu d'Art Contemporani de Barcelona (MACBA), opened to the public in 1995. The seat of the museum as well as the square surrounding it were designed by Richard Meier. The modern, glass and translucent building contrasts with the dull and humble district surrounding it. The local authorities attached great hope to the museum, expecting that it would exert a positive impact on the quarter and its residents, animate trade, and provide funds to be used for the development of the whole district. In turn, the prime goal of the MACBA board was to create a significant international centre which would take an active part in the discussion on contemporary art. Moreover, members of the board declared that the very presence of the museum rendered assistance to the quarter. This conflict of interests still remains pressing. The article is based on on-the-spot research conducted in Barcelona in 2000 and an analysis of printed sources.

12

EVALUATING THE RECEPTION OF AN EXHIBITION: DETERMINATION AT THE DOX CENTRE FOR CONTEMPORARY ART

80%

Ballarini M. , Mougenot C. , Prokůpek M.

Muzeológia a kultúrne dedičstvo

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2019

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tom 7

|

nr 1

41 – 55

EN

The aim of this paper is to analyse the impact of the exhibition on visitors’ thinking process. Applying Greiman’s model, we used the exhibition DeTermination by the artist Daniel Pešta at the DOX Centre for Contemporary Art in Prague and explored the exhibition as a story. The model is used as a tool to better understand the thinking process of the visitor stimulated by the exhibition. Qualitative research approach was used. In order to capture a message of the exhibition, interviews with exhibition creators were conducted and afterward interviews with exhibition visitors. This article summarizes the creative methodology created by the authors, followed by a discourse analysis. The study asks questions like: what is the place of mediation in contemporary art? What is the impact of an exhibition on visitors´ thinking process?

13

HOMELESSNESS - THE DESTROYED HOME, THE UNATTAINABLE HOME (Bezdomnosc dom zniszczony, dom nieosiagalny)

80%

Waltos J.

Konteksty - Polska Sztuka Ludowa

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2010

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tom 64

|

nr 2-3(289-290)

183-184

EN

A text accompanying the exhibition 'The Reduced Home. Homelessness. The Home in Contemporary Art' at the Municipal Art Gallery, Czestochowa, 2010).

14

IDEA OF MUSEUM IN CONTEMPORARY CURATORIAL PROJECTS

80%

Biryukova M. V. , Nikonova A. A.

Muzeológia a kultúrne dedičstvo

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2018

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tom 6

|

nr 2

31 – 44

EN

The assessment of the status of contemporary art is theoretically justified in the context of institutional theory, developed in the works of George Dickie and Arthur C. Danto. Museums are pillars of the institutional theory, as they mainly provide art with an undisputed status. The phenomenon of the museum boom of the present day, as the phenomenon of the emergence of the concept of “imaginary museums” in the second half of the 20th century, is associated with longing for “true” art, which ultimately leads to museums, or to the idea of museum. If in a classical museum a viewer expected to see “authentic”, as in “not fake”, works of the old masters, in a museum of contemporary art they expect to see at least “true” art, i.e. works “with the status of art.” Museums give art the quality of “authenticity”, hence the interest in museums and museum projects nowadays, despite the abundance of publicized images of museum artefacts in the media. Instead of these “simulacrums”, museums offer “real” artworks, and the idea of museum attracts a considerable attention, reflected in numerous curatorial projects dedicated to the image and the idea of museum. Among such projects were, for example, the exhibition Voices of Andre Malraux’s Imaginary Museum at the Pushkin Museum of Fine Arts in Moscow and the exhibition The Keeper at the New Museum in New York.

15

Biologiczne media i niepokojąca rola dokumentacji

80%

Bakke M.

Sztuka i Dokumentacja

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2011

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nr 5

29-32

EN

Biological art is one of the most recent manifestations at the intersection of art, science and technology, that has been highly productive for some time. Now, technologically augmented life, such as in vitro fertilisation and genetically engineered life forms, have come under the scrutiny of bio art in particular. By their very nature, biological media, being living systems, provoke a number of difficulties related to the production, exhibition and conservation practices of bio art. It is significant that this emerging genre of artistic expression does not operate on the level of representation, but on the level of presentation involving actual interventions into living systems. However, in some cases organising the presentation of a living art work in a public space is difficult or in fact impossible, which leads to substituting the actual art work by its documentation. Yet, such substitution practices are not accepted by those artists whose goal it is to provide audiences with a unique opportunity to encounter unusual forms of life as art works (wet works, entities still alive or once alive) in a gallery space. This attitude requires the curator not only to arrange suitable conditions for living art works outside the laboratory but also to obtain bio-security permissions. Another option for audiences to gain an opportunity to experience actual lab life is to follow the artists' instructions and join a do-it-yourself biotech movement. In this case, documentation plays the role of both instruction and evidence.

16

Dokumentacja interaktywnych aspektów dzieł sztuki mediów

80%

Dobrowolska W.

Sztuka i Dokumentacja

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2011

|

nr 5

33-53

EN

Media art requires that the traditional documenting methods both improve and work out new tools, allowing the documentation to catch specific features and phenomena associated with the functioning of artworks that include unstable, electronic media. One of the phenomena, a characteristic for many media works is an openness towards the interaction of the audience, who may manipulate the work using many interfaces creating their own performance, as well as modify the work within the framework defined by the artist. According to many researchers and artists, the actual artwork is the result of the activities of 'inter-actors' who experience it. The traditional methods used by art institutions to document the interactive aspect of the artworks is only to a very limited extent successful. The problem of documenting art created by non-standard media (including electronic media) was undertaken as part of many projects, for example: Documentation et conservation du patrimoine des arts mediatiques (DOCAM), Variable Media Initiative (VM), Capturing Unstable Media (CUM) or the thematic residential programs realised by the Daniel Langlois Foundation. However, not all of the above mentioned projects considered that the problem of interactivity and the experience of the audience had been dealt with thoroughly. In many of them a new theoretical ground taking the concept of both the artwork and the role of inter-actors was created. A few of the proposed solutions were quoted in the article. In the text, various strategies of documenting the interactive aspects of media artworks which result from adopting various perspectives and assumptions were described. These strategies oscillate around two opposing terms: interactivity and interaction, as well as the difference between the will to document an ideal representation of the work (according to the artistic concept) and an attempt to grasp how the work functions in real circumstances together with the more or less successful trials of the inter-actors to experience it. Of particular interest seem to be the attempts to document the experience of the audience and then applying the knowledge achieved to work further with the artwork - to protect it, exhibit it in various ways or allow it to communicate further with the audience.

17

ARTUR ŻMIJEWSKI, ELOGIO DEL CORPO IMPERFETTO

70%

Quercioli Mincer L.

pl.it / rassegna italiana di argomenti polacchi

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2021

|

nr 12

54-74

EN

The artistic work of Artur Żmijewski, one of the best-known contemporary Polish artists, is often bold and provocative, playing with the strongest emotions with brutality and at the same time proposing itself as a political and ethical action. The protagonists of Żmijewski’s video and photographic installations are fragile, imperfect, mutilated bodies (Oko za oko), annihilated by suffering (Karolina), old people singing in hospital beds (Nasz śpiewnik), and people occupied with something impossible and incongruous (Lekcja śpiewu). The artistic scenario presented reflects somehow both the world and Poland, it is archaic and contemporary, and characterised by an almost religious pietas combined with a form of poetic insubordination and a ruthless critique of the forms of politics and biopolitics.

18

Funkcja dokumentacji w sztuce współczesnej

70%

Guzek Ł.

Sztuka i Dokumentacja

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2010

|

nr 3

5-14

EN

This text is an attempt to outline the status of documentation in contemporary art and to describe the process of how the role of documentation has changed within the last decade. Simply speaking, documentation has gained the independent status of a work of art. Documentation as an artistic phenomenon can be considered on two levels: formally as a way to create new works of art, and this is what interests me most here; contextually (socially), when issues arising from documentation are discussed institutionally from the point of view of curators, institutions or political decision makers. The most general category which covers the whole phenomenon of documentation as art is a category of the artistic means of expression created by Peter Burger. For him it replaced the traditional category of style in dealing with the 'non-organic' character of artworks created by the dada and surrealistic avant-garde. Its artistic heirs: conceptual art, action art and time-based installations are a starting point for this particular new role of documentation as art. In art history the existing standards outlining the relationship between the original and a repetition, (like Benjamin's aura, a dialectic combination of media such as Higgins's intermedia card), are not entirely applicable here. As in the works based on documentation, the problem of originality does not exist and the intermediality is currently made of several media. Therefore, although they somehow may serve as general patterns of thinking, they are, however, not sufficient to describe and interpret the specific works of art. Ankersmit's theory of history offers a pattern of a narration rooted in facts. Art based on documentation is in opposition to 'literature' created by curators and the contextual studies, into which art history has fallen. This text is illustrated with examples from the main exhibition of the festival 'Art and Documentation 2010' based on open submission and showing the works from last year.

19

"Po nas choćby Potop"? Zachowanie sztuki naszych czasów

70%

Jadzińska M.

Sztuka i Dokumentacja

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2011

|

nr 5

21-28

EN

This article outlines issues associated with the preservation and conservation of contemporary art and the role that documentation plays in this process. A contemporary artwork, in order to become an object of interest, analysis, purchase, collecting, exhibiting etc. must exist, and its existence must be preserved. Its preservation does not always mean, however, fixing the matter and halting the processes of deterioration such as in the case of traditional art, but it may adopt a totally different form, for example preservation in the form of documentation. The changeable character of ephemeral art, the use of perishable materials or ready-mades, as well as innovative concepts and techniques makes conservation a complex issue. An additional worrying factor is also often improperly conducted activities associated with exhibiting, transportation or storing of the artworks that cause a falsification of the artist's concept and destruction of an artwork's structure. The conservator must analyse, identify and preserve the matter in a professional way or, on the contrary, after an appropriate examination, act according to the artist's intention, and treat it in a way that is adequate to the artwork's character. This may involve the making of a replica, a reconstruction, an emulation, a re-enactment or preservation through documenting, or it may use entirely different possibilities of modern conservation. One must set a proper strategy of care and protection over the works of art and the proceedings must keep the authenticity of the artwork. The author of this article analyses the notion of authenticity and shows the change in understanding this concept, and the influence which this change had on the form and method of preserving artworks in the past, in contrast with contemporary visual art. She writes about the new role of an artwork's matter and substance, and the challenges that result from it, and about the new role and relationship between a conservator, an artist and other 'stakeholders'. She describes the threats to preservation and the aims and limits of preservation and conservation, pointing out the key role of documentation. She also pays attention to various forms of documentation by illustrating the article with comprehensive examples of good and bad practices associated with documenting contemporary artworks.

20

PÔDORYS CHRÁMU V SÚČASNOM UMENÍ. PRÍKLAD LARVY BOHDANA HOSTIŇÁKA

70%

Kobetič A.

ARS

|

2022

|

tom 55

|

nr 1

44 - 50

EN

The presented text considers a floor plan of the medieval church, among other things, from the point of view of semiotics, as developed by C. S. Peirce. Based on his second trichotomy, the text identifies the floor plan as an icon and ascribes to it the properties of a pictogram. The text then deals with an example of using the floor plan of a medieval Christian church in contemporary art, specifically in the work of Bohdan Hostiňák (*1968). The author attempts to analyse Hostiňák‘s 1996 painting Larva, partly precisely from the perspective of Peirce‘s general semiotics. It brings closer the artist‘s work with the opposites of two dominant signs, the temple and the larva, which like elements of harmony and chaos, can evoke feelings of ambivalence in the viewer. He then considers these in terms of Heraclitus‘s philosophy, Nietzsche‘s consideration of the Apollonian and Dionysian, and anticlerical reading of the image, Christian doctrine, entomology, and etymology.