Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

PL EN


2018 | 26 | 74-83

Article title

Niebezsporne związki: niektóre relacje sztuki konceptualnej i performansu

Content

Title variants

Languages of publication

PL

Abstracts

EN
Non-unquestionable relations: some links between conceptual art and performance (part one) The text concerns two major concepts in the art of the last half of this century: conceptual art and performance. Conceptual art, which crystal- lized in the 1960s, has become one of the fundamentally seminal move- ments in contemporary art. Performance – a phenomenon with long his- tory, since 1970s has been treated as an independent art genre. These two phenomena happen to be merged in various context; both feature an approach directed against the commoditization of art. However, in other areas and contexts crucial differences between these concepts can be perceived. Conceptual artists have adopted an analytical-index rela- tion to objects in their approach. During performances objects often play a major (also emotional) role, being left behind as documentation. Con- ceptual art, distancing itself from the so called “retinal art”, i.e. the one that pleases the eye, has adopted utilization of texts or other linguistic materials as an important method of expression. For performance artists (except for performance lecturers), texts and descriptions are located on the outskirts, i.e. as plans preceding actions and descriptions following them. The discussed disciplines of art differ in their approach to media, as well: conceptual art treats them purely functionally, in performances they are of bigger importance, for example combined with multimedia. The conclusion attracts attention to the complicated relations between the two concepts: conceptualism and performance art, taking into ac- count related activities in the 1970s and the difference in approach in the successive years.

Year

Volume

26

Pages

74-83

Physical description

Dates

published
2018

Contributors

References

  • 1. Niniejszy tekst jest bardzo skrótowy 7 i subiektywny. Wybiórczo odnoszę się do terminów, które uważam za 8 ważne i wprowadzone w określonych kontekstach.
  • 2. K. Stiles, Performance Art, [w:] K. Stiles, P. Selz, Theories and Documents of Contemporary Art. A Sourcebook of Artists’ 10 Writings, University of California Press, Berkeley 1996, s. 679.
  • 3. R.L. Goldberg, Performance. Live Art 1909 11 to Present, Thames & Hudson, London1979, s. 125.
  • 4. G. Dziamski; Performance – tradycje, źródła, obce i rodzime przejawy. Rozpoznanie zjawiska, [w:] G. Dziamski 13 i inni (red.); Performance, Warszawa 1984, s.47.
  • 5. A. Downey, Art and Politics Now, London 2014.
  • 6. Określenie Marcela Duchampa w zasadzie użyte przez twórcę ready 16 mades w odniesieniu do malarstwa traktowanego jako la peinture rétinienne. W tłumaczeniu angielskim (przy 17 szerszym określeniu sztuki) jest to retinal art. Patrz: P. Cabanne, Dialogues with Marcel Marcel Duchamp, tłum. [z francuskiego na angielski] R. Padgett, London 1971; tu cytat za reprintem Da Capo Press, Boston 1987, s. 77.
  • 7. H. Flynt, Blueprint for a Higher Civilization, Milano 1975, s. 7.
  • 8. S. LeWitt, Paragraphs on Conceptual Art, “Artforum”, 1967, Vol. 5, No 10, s. 79–83.
  • 9. J. Kosuth, Art after Philosophy, p. I-III, “Studio International”, October– December 1969, s. 915–917.
  • 10. Ostatnio zwróciła uwagę książka: H. Kuś, Wizja człowieka i kultury w teorii sztuki Josepha Kosutha, Lublin 2016.
  • 11. P. Osborne, Conceptual Art, London 2002, s. 19.
  • 12. J. Ludwiński, Sztuka w epoce postartystycznej, „Odra”, 1971, nr 4, s. 51–56.
  • 13. L. Nader, Konceptualizm w PRL, Warszawa 2009, s. 103.
  • 14. M. Foucault, To nie jest fajka, przełożył Tadeusz Komendant, Gdańsk 1996.
  • 15. M. Rush, New Media in Late 20-th Century Art, London 2001, s. 36–75.
  • 16. Interpretacja pojęcia „intermedia” opisywanego w 1965 przez Dicka Higginsa, patrz: P. Osborne, dz. cyt., s. 18.
  • 17. R. Krauss, “A Voyage on the North Sea”. Art in the Age of the Post-Medium Condition, New York 2000, s. 5.

Document Type

Publication order reference

Identifiers

YADDA identifier

bwmeta1.element.desklight-fef58b0f-20a3-494c-9f04-20727b61db4e
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.