Wyniki wyszukiwania - Biblioteka Nauki

1

THE SPACE OF THE LOST HOME (Przestrzen domu straconego)

100%

Barbur E.

Konteksty - Polska Sztuka Ludowa

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2010

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tom 64

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nr 2-3(289-290)

49-52

EN

The author recollects the successive homes and places where he lived: Paris, Warsaw (50 Nowy Swiat Street), Copenhagen and Tel Aviv. In this manner, he spins a tale about lifelong wanderings and searches for his own home-place, a lost childhood...

2

THE HOME IN THE INTELLECTUAL LANDSCAPE OF THE TWENTIETH/TWENTY FIRST CENTURY. FROM PHILOSOPHY TOWARDS ACTIVISM (Dom w intelektualnym krajobrazie XX/XXI wieku od filozofii ku aktywizmowi)

63%

Rewers E.

Konteksty - Polska Sztuka Ludowa

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2010

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tom 64

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nr 2-3(289-290)

41-45

EN

This statement is composed of three parts, with the first introducing the conceit of the relational space that appears between traditional opposites, such as: private space - public space. In relational space the home remains a real place, but its location becomes mobile. Between enrootment and mobility there comes into being a thick network of connections, transitory and hybrid forms. In the second part the Aristotelian conception of the 'good life' is interpreted as an element of the realisation of the modern promesse de bonheur, assuming the form of assorted cultures of dwelling. The last part discusses three vectors of relational space in which we may place - in different forms - modern cultures of residence. Their foundations are composed of: 1. The philosophy of enrootment, 2. The philosophy of the language, 3. The philosophy of activity. Each also possesses its negative version, in which the prime categories are re-deciphered, re-interpreted, deconstructed and, finally, rejected.

3

THE FOREST - THE HOME (Las dom)

63%

Konieczny K.

Konteksty - Polska Sztuka Ludowa

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2010

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tom 64

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nr 2-3(289-290)

304-309

EN

The author - a naturalist and ornithologist - poses the question: 'What is a true forest? Whose home is it? ' and replies: 'The forest is one of my homes, a place where I discover everything that I cannot find in city shop windows. The forest is the home of my thoughts about those aromas, flavours, imagery and people'.

4

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

63%

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.

5

UNNAMED (Nienazwane)

63%

Bartkowicz 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)

346-347

EN

A reflection about a certain modern building that was supposed to be erected in the 1970s on the Mogilskie Rondo in Cracow. The sole outcome was a 70-meter high steel skeleton, which for years blended with the landscape of the city in the manner of the Eiffel tower. Today, it remains the tallest pillar used for displaying advertisements in Europe.

6

MY HOME (Mój dom)

63%

Rodowicz T.

Konteksty - Polska Sztuka Ludowa

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2010

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tom 64

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nr 2-3(289-290)

74-77

EN

Tomasz Rodowicz, a former member of the Centre for Theatre Practices 'Gardzienice' and today the chairman of the' Chorea' theatrical association, speaks about his experiences of the home. The presented reflections concern primarily the expedition made in 1982 to Lapland together with the Gardzienice company, with some of the participants getting lost in the course of a foot trip across the vast empty spaces of the local tundra. The reader learns about a miraculously discovered hone - the small hut of a local reindeer farmer, the connected feeling of safety, and the fall of the Romantic myth of an artist compelled to struggle for survival. The author declares that all those experiences had to a great extent moulded his world outlook and the trends of his subsequent artistic quests.

7

MY MOBILE HOME. THE TRAVELLING ARTIST (Dom mój ruchomy. Artysta w podrózy)

63%

Czaja D.

Konteksty - Polska Sztuka Ludowa

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2010

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tom 64

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nr 2-3(289-290)

107-118

EN

This anthropological interpretation envisages the outstanding documentary film by Bruno Monsaingeon: Piotr Anderszewski. Voyageur intranquille (Medici Arts International 2008) predominantly as a particular 'text of culture', made up of assorted semantic ingredients. The author analyses not so much a portrait of the artist but, primarily, a story about the home. Or more precisely: about different homes, those enrooted in actual space and those suspended in spaces of a more subtle nature. A story about leaving the home and returning to it. About seeking a home or home-oriented nostalgia. On the literal level: about a train carriage changed into a temporary home. Finally: on the last level of this film: a story about a home created out of sounds, fleeting music constructions, erecting an ethereal albeit real space of a home. The interpreted film is also a story about dwelling, connected with empirical topography, which it is possible to measure by means of geographical parameters; it is also a film about the sort of residence that Martin Heidegger described while commenting on the famous refrain from Hoelderlin: 'Man dwells poetically on this earth'.

8

A LETTER TO MR. STANISLAW MORAWSKI (List do Pana Stanislawa Morawskiego)

63%

Rzasa 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)

319

EN

This letter, written by Antoni Rzasa in 1964 upon his return to Poland after a scholarship stay in Italy, is addressed to Stanislaw Morawski, one of the first persons whose acquaintance Rzasa made during his Italian journey; it was Morawski who met the artist at the airport, took him to an hotel and was the first to show the Eternal City. Antoni Rzasa mentioned an interval in sculpting and 'renting a small house'...

9

THE SILESIAN HOME. CANONS OF BEAUTY, SPACES OF CONTACT, THE PASSAGE OF TIME (Dom slaski. Kanony piekna, przestrzenie kontaktu, przemijanie)

63%

Lipok-Bierwiaczonek M.

Konteksty - Polska Sztuka Ludowa

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2010

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tom 64

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nr 2-3(289-290)

68-73

EN

The Silesian landscape is often identified with steel mill chimneys, mine shafts and red brick housing estates. All these elements are branded with specific decline - they bring to mind the past, the history of the development of Silesian industry, capitalist industrialisation from the turn of the nineteenth century as well as its socialist counterpart from the time of the six-year plan and the subsequent period. The discussed examples of three workers' housing estates (Giszowiec, Nikiszowiec and Murcki) make it possible to understand the phenomenon of moulding socio-cultural communities - strongly integrated, living according to identical models, observing the same rhythm of daily life and celebrating the same cycle of festivities. First and foremost, these were communities associated with a single employer-patron. Contemporary redesigning as a rule obliterates the character of the described houses and estates, as exemplified by the loss of the lauba and, as a consequence, a socially important space of contact. The spirit of the Silesian home is retained more in the people, their stories, family histories, manner of perceiving the world and the cherished system of values.

10

THE 'LUCIM 111' GROUP (Lucim dom w realizacjach Grupy 111)

63%

Bogdan C. , Witold C. , Wieslaw S.

Konteksty - Polska Sztuka Ludowa

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2010

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tom 64

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nr 2-3(289-290)

159-168

EN

Since 1977 Bogdan and Witold Chmielewski and Wieslaw Smuzny have been documenting artistic and social campaigns in the village of Lucim. Their unusual undertakings are not merely an attempt at restoring identity and the awareness of a community to the inhabitants of the small village but also at establishing 'here and now' a unique axis mundi - the symbolic home.

11

AFRICAN HOUSE AS A SACRED SPACE. ETHNOLOGICAL STUDY OF THE NORTH-TOGO (Afrykanski dom jako przestrzen swieta. Studium etnologiczne z pólnocnego Togo)

63%

Pawlik J. J.

Konteksty - Polska Sztuka Ludowa

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2010

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tom 64

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nr 2-3(289-290)

95-106

EN

The house can be considered as a metaphor of life. It is a place where human life begins and ends. It is also the proper place for preparing food and a place to eat a meal. This paper, based on ethnological data from the North of Togo, presents African house as a sacred space, separated from the outside world by the compound wall and is sanctified through the regular offering of sacrifices being done inside. The comparative description of the house building in the different ethnic groups shows multiple similarities. The only difference concerns the presence or absence of vestibule and the position of granary inside or outside courtyard. The African household forms members of family living in the compound. It is a group of kin bound through the common goal, the surviving. The group of kinship includes also the defunct who support and protect living members of family. The sacrifices offered in the honor of ancestors ensure material prosperity and procreation capacity of women. The house is also a place of ritual enacting, especially in case of rites of passage and rites of crisis. The African house is a proper place for maintaining the life - physically, psychologically, socially and spiritually.

12

THE LETTERS AND JOURNEY OF ANTONI RZASA (Listy i podróz Antoniego Rzasy)

63%

Mostek M.

Konteksty - Polska Sztuka Ludowa

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2010

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tom 64

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nr 2-3(289-290)

310

EN

The sketch pertains to the letters of Antoni Rzasa, a Polish sculptor, and his brother, Józef, whose vast correspondence lasted between the mid-1950s and Antony's death at the beginning of 1980. Antoni Rzasa appears to have been an 'extremely human' person - the letters addressed to his sibling do not conceal anything. Hence, they often mention painful and difficult issues, at times probably much too frequently and intensely. The second part of the sketch deals with the journey made by Antoni Rzasa to Italy in the winter of 1962, a key experience in his artistic development. All these factors constitute testimony of the artist's activity; despite the fact that he applied artistic means interpreted as purely folk, Rzasa dealt with all that is universal, regardless of the cultural competences of his recipients. The reason could lie in the fact that the artist strove towards recounting that which is the ultimate truth: he told about man.

13

NOT-MY-OWN PLACES (IN THE WORKS) OF WITOLD GOMBROWICZ (Nie-swoje miejsca (w twórczosci) Witolda Gombrowicza)

63%

Zaremba L.

Konteksty - Polska Sztuka Ludowa

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2010

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tom 64

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nr 2-3(289-290)

263-266

EN

The text broaches the topic of the home in the oeuvre of Witold Gombrowicz not in its spatial aspect - as a microcosmos whose order corresponds to that of the world, while consecutive spaces possess symbolic properties and a hierarchic value - but the temporal aspect, in order show that the family home, the childhood home, is an impossible place, and that returning to it is doomed to fail. The author compares Gombrowicz's drama Slub (The Wedding) and autobiographical Dziennik (Diary) - both treated as literary texts; everything that we can learn from them about Gombrowicz pertains to the literary figure of 'WItold Gombrowicz'. The instrument that is to assist our analysis is the Freudian category of das unheimliche, endowing identity and a specific structure to the return home and, simultaneously, the return to oneself. The 'uncanny' is both alien, menacing and familiar, a return to that which is closest and disturbs the certitude of the subject's power. An analogous structure is indicated in the texts by Gombrowicz: fragrances recognizable from Maloszyce and returning during a yearly sojourn in Germany indicate death. In the world of Gombrowicz, which, as M. P. Markowski recalled recently, begins with a 'double association', birth and youth must be paired with death, present, however, not at the end but from the beginning, and not according to the principle of Gombrowicz-style oppositions but the Freudian heimlich-unheimlich, contained in a single word.

14

OPUSZCZONE.COM

63%

Majkowska-Szajer D.

Konteksty - Polska Sztuka Ludowa

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2010

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tom 64

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nr 2-3(289-290)

353-359

EN

An anthropological account of a journey to sites abandoned by God and people, a world of objects straight out of Kantor's 'lowest-rank reality'. A contribution to this expedition is a gallery of photographs available on www. opuszczone. com, set up by a group of persons declaring their manic attachment to dilapidated buildings, abandoned by owners and former residents. The outcome of this predilection is a collection of photographs shown on the Internet and registering homes, housing estates and even whole towns depopulated and left to their own fate. The essay urges not only to take a closer look at the photographs, but also to focus on the ways of seeing that we apply within the range of the depicted degraded spaces. This is an attempt at testing what is the object of a fascination with views of abandoned homes, and what is decisive for their aesthetic attractiveness and force of expression. We explore ruins by applying four consecutive perspectives and pose questions concerning the way in which the perception of the plight of a ruined house is tantamount to our view of the world, life, death and art.

15

THE ITALIAN NOTEBOOK (Notatnik wloski)

63%

Rzasa 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)

311-316

EN

The Italian notebook is a small address book with a rather sombre brown cover. The first pages are full of addresses of persons, the names of Italian institutions, vocabulary, useful expressions and hurriedly noted down sites, both those already seen and those to be toured, which Antoni Rzasa recorded during his journey across Italy in the winter of 1962. The following pages contain detailed descriptions and observations concerning people, art and the landscape.

16

THE STUDIO - PARTIALLY DOMESTICATED, PORTABLE OR TRANSITORY (Pracownia dom czesciowo oswojony, przenosny lub przechodni)

63%

Waltos J.

Konteksty - Polska Sztuka Ludowa

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2010

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tom 64

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nr 2-3(289-290)

31-34

EN

no abstract

17

HOME-MUSEUM, MUSEUM-HOME (Dom - muzeum. Muzeum - Dom)

63%

Baranska K.

Konteksty - Polska Sztuka Ludowa

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2010

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tom 64

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nr 2-3(289-290)

214-220

EN

The text commences by focusing on the ostensible contradiction of two concepts - the home and the museum, and goes on to discuss the domains in which these two conceits are connected. First, attention should be drawn to historical relations - collections constituting the beginnings of European museums were created at home and were to serve predominantly its residents. After all, private collections are established up to this day. At times, they comprise, similarly as in the initial period of setting them up, an expression of the interest of the author and an investment of capital, and convey the process of building the prestige and self-presentation of the owner or his family. They are also - or primarily - the carriers of private memory, storing objects of economic and sentimental value. The same holds true for local museums, where souvenirs of the past, of value for society as a whole, are deposited. Is it possible, therefore, to formulate a thesis claiming that a local museum could fulfil the function of a 'family home'? One could indicate an area where the concepts of the home and the museum meet, i. e. museums that feature residential interiors, either a part or a whole. There are several main types of such institutions. The text considers museums-preserved residences of concrete persons (e. g. the Zamoyski Palace in Kozlówka, the Tumidajski manor house in Dolega), reconstructions of interiors ascribed to renowned representatives of the world of culture or science, whose memory is preserved by setting up a biographical museum. The examples of the Matejko Home in Cracow and the Manor in Czarnolas - the Jan Kochanowski Museum - serve to discuss the main exposition errors, which consist of creating spaces that are a projection of the imagination and knowledge of museum experts. A similar interpretation may be applied in the case of the third type of museums, depicting a 'typical interior' from a given epoch or region (the Hipolit town house in Cracow). The creation of museum reconstructions is deeply embedded in history and the topic of theoretical reflections. That which appears to be the most relevant is such a fulfilment of the expectations of the visitors, which would not violate historical truth and good taste and, first and foremost, would protect the original values contained in the displayed exhibits.

18

A LAMP WITH A TIN SHADE. ON PAINTINGS BY JACEK WALTOS (Lampa z blaszanym abazurem. O obrazach Jacka Waltosia)

63%

Maksymczak M.

Konteksty - Polska Sztuka Ludowa

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2010

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tom 64

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nr 2-3(289-290)

276-282

EN

The topic of this article are three oil canvases by Jacek Waltos featuring the motif of the home: Great Improvisation - Small Stabilisation (1975), Awaiting, Ecstasy, Resignation (1977) and Threefold Pieta and the Fourth (1980). As a member of the 'Wprost' group the artist declared the realisation of painting involved in social issues, commenting on contemporary reality with the assistance of figurative depictions endowed with unambiguous contents. The works by Waltos are, against the backdrop of the 'Wprost' oeuvre, distinguished by their distance towards speaking unambiguously and a direct portrayal of the world. Their characteristic features include a sui generis lyrical approach and a sublimation of the form and contents. The originality of these depictions consists of a presentation of interpersonal relations transpiring in the scenery of the home. Each of the discussed canvases displays a lamp with a tin shade; by possessing a concealed meaning it constitutes a symbol of the space of the Sacrum. The lamp and the portrayed figures share different relations. In Great Improvisation - Small Stabilisation the soaring male figure consistently realises his wish to come closer to the lamp, despite the fact that the bulb is not shining. Awaiting, Ecstasy, Resignation features a contrary situation, since it is the rendered figure of a person, or more precisely, a woman sitting in an armchair, which assumes a passive attitude, while the glowing lamp, hanging from the ceiling, is located in the direct proximity of the sitter. Both motifs are focused in Threefold Pieta and the Fourth, in which kneeling figures assume an active stance and the lamp, once against suspended from the ceiling, draws them forth from the semi-shade. This, in turn, suggests a reference to so-called vertical relations, which connect the figures with empirically inaccessible space that corresponds to the idea of the home conceived as axis mundi and identified with a site that renders possible a link with God.

19

TO RETURN HOME? (Wrócic do domu?)

63%

Szpilka W.

Konteksty - Polska Sztuka Ludowa

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2010

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tom 64

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nr 2-3(289-290)

52-56

EN

The presented sketch is an attempt at delving into the present-day condition of the home, with the latter treated as a form of human existence. At the onset of the twenty first century its basic property is the dissolution or loss of the home. The horrific twentieth century, whose spiritual and physical destruction of the home was a significant element and homelessness - a prominent effect, brings forth the gravity of this phenomenon. The author endeavours to demonstrate the way in which the home creates existence and reinforces it, the manner in which it is submerged in a mythical aura, associating it with that which is primary, intensive, obvious and full of sense. The experiences of the last century revealed the fragility of this construction, depriving it of the obviousness of duration. Can such a mythical home be regained, and is there a path of returning to it? How is one to deal with such a loss without negating it and, at the same time, treating it as something ultimate and without a solution? The story about Zakopane is a project of evading the ultimate.

20

IF A HOME THEN ALSO A 'PLAY', A 'SYMBOL' AND A 'FESTIVAL' - INSPIRED BY THE RELEVANCE OF THE BEAUTIFUL BY H. G. GADAMER (Jesli dom to i 'gra' i 'symbol' i 'swieto' - z inspiracji Aktualnoscia piekna H.G. Gadamera)

63%

Winnicka-Gburek J.

Konteksty - Polska Sztuka Ludowa

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2010

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tom 64

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nr 2-3(289-290)

221-225

EN

An attempt at paraphrasing the theory of art expounded by Hans Georg Gadamer for the needs of an analysis of the category of the home. While discussing the book The Topicality of Beauty, in which the philosopher summarised his views about art and creativity, the author of the article wishes to show the connections between experiencing a work of art and a home.