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Remarks on the Margin of Wojciech Włodarczyk’s Article “1989. On the Concept of Modernism”

100%
Turowski A.
Artium Quaestiones
|
2019
|
issue 30
271-273
EN
Remarks on the Margin of Wojciech Włodarczyk’s Article “1989. On the Concept of Modernism”
2
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L’Imagination au pouvoir: Art History in the Times of Crisis, 1960s – 1970s

100%
Turowski A.
Artium Quaestiones
|
2019
|
issue 30
243-256
EN
The present paper is reminiscence and an attempt to reconstruct the intellectual heritage of art history as it was practiced at the University of Poznań in the late 1960s and throughout the 1970s in the context of new developments in cultural theory and changing research interests. Besides, it includes the author’s account of his own academic work in that period, began in the 1960s and inspired in particular by the year 1968 that brought a social crisis and a cultural revolution, as well as introduced the element of imagination into academic knowledge and critical thought. The author draws a wide panorama of intellectual stimuli which contributed to an epistemic and methodological turn, first in his own scholarly work and then in the work of some other art historians in Poznań. Those turns opened art history at the University of Poznań to critical reading of artistic practices approached in relation to other social practices and subjects of power. As a result, four key problems were addressed: (1) the position of contemporary art in research and teaching, (2) the necessity to combine detailed historical studies with critical theoretical reflection, (3) the questioning of genre boundaries and ontological statuses of the objects of study and the semantic frames of the work of art, and finally, in connection to the rise of an interdisciplinary perspective, (4) the subversion of the boundaries and identity of art history as an academic discipline. Then the author reconstructs the theoretical background of the “new art history” that emerged some time later, drawing from the writings of Walter Benjamin, the French structuralism, Theodor Adorno’s aesthetic theory, and Louis Althusser’s interpretation of the concept of ideology. Another important problematic was the avant-garde art of Poland and other East-Central European countries, studied in terms of artistic geography and the relations between the center and periphery. The conclusion of the paper presents a framework marked with the names of Aby Warburg and Max Dvořák, which connected the tradition of art history with new developments, took under consideration the seminal element of crisis, and allowed art historians to address a complex network of relations among the artist’s studio, the curator’s practice, the scholar’s study, and the university seminar, as well as the West, the Center, and the East. At last, the author remembers the revolutionary, rebellious spirit and the lesson of imagination that the Poznań art history took from March and May, 1968.
3
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L’Imagination au pouvoir: historia sztuki w czasach kryzysu lat 60./70

100%
Turowski A.
Artium Quaestiones
|
2019
|
issue 30
399-413
PL
The present paper is reminiscence and an attempt to reconstruct the intellectual heritage of art history as it was practiced at the University of Poznań in the late 1960s and throughout the 1970s in the context of new developments in cultural theory and changing research interests. Besides, it includes the author’s account of his own academic work in that period, began in the 1960s and inspired in particular by the year 1968 that brought a social crisis and a cultural revolution, as well as introduced the element of imagination into academic knowledge and critical thought. The author draws a wide panorama of intellectual stimuli which contributed to an epistemic and methodological turn, first in his own scholarly work and then in the work of some other art historians in Poznań. Those turns opened art history at the University of Poznań to critical reading of artistic practices approached in relation to other social practices and subjects of power. As a result, four key problems were addressed: (1) the position of contemporary art in research and teaching, (2) the necessity to combine detailed historical studies with critical theoretical reflection, (3) the questioning of genre boundaries and ontological statuses of the objects of study and the semantic frames of the work of art, and finally, in connection to the rise of an interdisciplinary perspective, (4) the subversion of the boundaries and identity of art history as an academic discipline. Then the author reconstructs the theoretical background of the “new art history” that emerged some time later, drawing from the writings of Walter Benjamin, the French structuralism, Theodor Adorno’s aesthetic theory, and Louis Althusser’s interpretation of the concept of ideology. Another important problematic was the avant-garde art of Poland and other East-Central European countries, studiedin terms of artistic geography and the relations between the center and periphery. The conclusion of the paper presents a framework marked with the names of Aby Warburg and Max Dvořák, which connected the tradition of art history with new developments, took under consideration the seminal element of crisis, and allowed art historians to address a complex network of relations among the artist’s studio, the curator’s practice, the scholar’s study, and the university seminar, as well as the West, the Center, and the East. At last, the author remembers the revolutionary, rebellious spirit and the lesson of imagination that the Poznań art history took from March and May, 1968.
4
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Na marginesie artykułu Wojciecha Włodarczyka „Rok 1989 – wokół pojęcia modernizmu”

100%
Turowski A.
Artium Quaestiones
|
2019
|
issue 30
429-431
PL
Na marginesie artykułu Wojciecha Włodarczyka „Rok 1989 – wokół pojęcia modernizmu”
5

Historia sztuki w dobie szaleństwa

100%
Turowski A.
Konteksty - Polska Sztuka Ludowa
|
2011
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vol. 65
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issue 2-3(293-294)
11-14
EN
History of art, as formulated by Warburg, comprised a critical reference to the beginnings of the discipline where not only the name but also the object of research and the method defined their sense and limits. Such critique was paradigmatic and questioned the epistemological foundations and methodological discourses of the “scientific” history of art. Taking into consideration this basic transformation we must become aware of the fact that due to Warburg the ”first history of art” based on an Enlightenment model was replaced by a “second history of art”, which came into being in the psychiatric clinic and on the excavation site of memory. The first emerged under the sign of the Sun, while the second turned towards the melancholy of Saturn. Its centre was the motif of the threat looming over man and the experience of a permanent crisis.
6
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List, który zaginął

100%
Turowski A.
Artium Quaestiones
|
2017
|
issue 28
273-278
PL
A Letter That Was Lost Summary The paper presents the history of a letter by Tadeusz Kantor of 1981 that was long lost. Kantor responds in it to a proposal from the Institute of Art History of the University of Poznań to have a series of lectures on the avant-garde. Writing that he had not time for it, he explains in some detail his detachment from the institutional study of the avant-garde at the university, stressing his involvement in the avant-garde activity through his art, in particular the Cricot theater. Kantor insists that the avant-garde does not belong to the public domain, but is a result of the artist’s private experience of anxiety and fear in confrontation with the audience and their emotional response to engaged art.
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