PL EN


2016 | 9 | 31-44
Article title

Od cyganerii do sztuki post-romskiej i z powrotem. Mapowanie Czarnej Gory

Content
Title variants
EN
La Boheme to Post-Roma Art and Back. Mapping of Czarna Gora (La Boheme karing o pala-rromano dombipen thaj o avipen. Kartografia and-i Czarna Gora)
Languages of publication
PL
Abstracts
EN
The paper entitled La Boheme to post-Roma art and back. Mapping of Czarna Gora makes an attempt to define and display Roma contemporary art today. In its first part the history of bohemianism seen as a cultural background for European artistic modernism has been shown. Popular views and unjustified beliefs concerning 19th-century Roma communities were crucial and basic for the beginning of the bohemian, early-modern art and life. The moment of break off between bohemian artists and Roma art is also discusses. Although, the 19th-century Roma communities were a decisive impulse for the emergence of modernist avant-garde movements, their own artistic production was classified as a kind of unprofessional, naïve, folk art and as such attracted ethnographers’ and ethnologists’ interest rather than art historians’ or critiques’ fascination. This state of affairs was accurate until the early 21st century when the first exhibitions of Roma contemporary art came out. According to the author the most important feature of Roma contemporary art is its transnational character. In the second part of the paper two strategies of practicing and introducing Roma contemporary art have been presented: the first one characterized by a very strong transnational but ethnic component and the second one described here as the post-Roma approach. The latter abandons an attempt to define its own ethnicity and, instead, focuses on hybrid, transversal, and precarious beings. Czarna Gora (Rom. Kali Berga, Eng. Black Mountain), a Polish-Roma village where plein-air workshops and artistic residencies for both Roma and not-Roma artists take place is presented as this kind of post-Roma strategy.
Year
Volume
9
Pages
31-44
Physical description
Dates
published
2016
Contributors
  • Instytut Historii Sztuki Uniwersytetu Wroclawskiego, ul. Szewska 36, 50-139 Wroclaw
References
  • GAUTIER T., Pierwsze spotkanie, przeł. J. GUZE [w:] T. GAUTIER, Pisarze i artyści romantyczni. Szkice – wspomnienia – groteski, Czytelnik, Warszawa 1975.
  • BOURDIEU P., Reguły sztuki. Geneza i struktura pola literackiego, przeł. A. ZAWADZKI, Universitas, Kraków 2007.
  • KOPALIŃSKI W., Słownik wyrazów obcych i zwrotów obcojęzycznych, Wiedza Powszechna, Warszawa 1971.
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  • WEYCHERT-WALUSZKO M., Romska wystawa to pułapka [w:] K. ROJ, J. SYNOWIEC (red.), Tajsa, BWA Biuro Wystaw Artystycznych w Tarnowie, Tarnów 2014.
  • MULAZZANI M., Guide to the Pavilions of the Venice Biennale since 1887, przeł. R. SADLEIR, Electa architecture, Milano 2014.
  • SOSNOWSKA J., Polacy na Biennale Sztuki w Wenecji 1895-1999, Instytut Sztuki Polskiej Akademii Nauk, Warszawa 1999.
  • VERTOVEC S., Transnarodowość, przeł. I. KOŁBON, Wydawnictwo Uniwersytetu Jagiellońskiego, Kraków 2012.
  • WAGNER G., The Roma Pavilion in Venice – A Bold Beginning: Ambivalence, Sophistication, and Politics [w:] T. JUNGHAUS, K. SZÉKELY (red.), Paradise Lost, Prestel, Munich 2007.
  • BUTLER J., Precarious Life: The Powers of Mourning and Violence, Verso, London – New York 2004.
  • BUTLER J., Ramy wojny. Kiedy życie godne jest opłakiwania?, przeł. A. CZARNACKA, Książka i Prasa, Warszawa 2011.
  • JUNGHAUS T., Globalni nomadzi, wędrowni mieszkańcy i wiara współczesnego wyrzutka, przeł. A. ANDRZEJEWSKA [w:] K. ROJ, J. SYNOWIEC (red.), Tajsa, BWA Biuro Wystaw Artystycznych w Tarnowie, Tarnów 2014.
  • MOLESWORTH H., ERICKSON R. (eds.), Leap Before You Look: Black Mountain College 1933-1957, Yale University Press, The Institute of Contemporary Art in Boston, New Haven 2015.
Document Type
Publication order reference
Identifiers
YADDA identifier
bwmeta1.element.desklight-c134a4d0-9e95-48b7-859e-8ccc35d21c32
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