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1
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Интермедиальная концепция пространства в саундрамах Владимира Панкова

100%
Bobilewicz G.
Przegląd Rusycystyczny
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2015
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issue 1
PL
INTERMEDIALNA KONCEPCJA PRZESTRZENI W SAUNDRAMACH WŁADIMIRA PANKOWA Artykuł poświęcony jest roli fenomenu intermedialności w konstruowaniu przestrzeni w synkretycznym i wielorodzajowym gatunku przedstawienia teatralnego określanym przez jego twórcę - rosyjskiego reżysera Władimira Pankowa, mianem saundrama. Ten eksperymentalny, niekanoniczny rodzaj sztuki teatralnej syntetyzuje znakowe kody różnych systemów (dźwiękowy, werbalny i wizualny). Przestrzeń w saundramie indywidualizuje i różnicuje zespół różnorodnych reżyserskich konceptów, konstruowanych w oparciu o zasadę improwizacji, kompilacji teatralnych gatunków, rodzajów sztuk, chwytów teatralnych, sugestywnych, wyrazistych środków i technik oraz sposobów gry aktorskiej. W koncepcji Pankowa medialną dominantą saundramy jest dźwięk we wszystkich jego przejawach. Sposób organizacji materiału dźwiękowego i muzycznego modeluje przestrzeń i narrację, tworzy związki znaczeniowe. Saundrama, jako sztuka dźwięku, przeznaczona jest zarówno dla odbioru słuchowego, jak i wzrokowego.   THE INTERMEDIA CONCEPT OF SPACE IN VLADIMIR PANKOV’S SOUNDRAMAS The paper focuses on the role of the phenomenon of intermediality in constructing the space in the syncretic and mulitigenre type of theatre performance which is described by its author - the Russian director Vladimir Pankov - as a soundrama. This experimental, non-canonical type of theatre performance synthesizes sign codes of various systems (sound, verbal and visual). The space in the soundrama is individualized and diversified by a set of various stage ideas based on improvisation and compilation of theatre genres, types of performances, tricks, evocative and expressive means and techniques, and types of acting. According to Pankov, the dominant media feature of the soundrama is the sound in all its hypostases. The organization of the sound and music material shapes the space and narration, and creates meaning relations. The soundrama as an art of sound is intended for both auditory and visual reception. 
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Обнаженное мужское тело в пластическом дискурсе Кузьмы Петрова-Водкина

100%
Bobilewicz G.
Slavica Wratislaviensia
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2011
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vol. 153
469-480
EN
Petrov-Vodkin’s artistic representations of half naked or naked male/boys’/children’s bodies refer to iconographical tradition and, at the same time, reveal the autonomy of artistic conception. In the paintings the figures of naked men, based on the study of posing models, represent the physical beauty of sex. A naked body becomes the element of purely formal studies. Male nudes are naturalistic and do not have any erotic subtext. The artist draws a male figure in studied poses, exposes body muscles and anatomical details. The structure of the body defines aesthetic relations between a part and a whole. A head/face and a torso function as two autonomous parts of a male body (separately or in overall perspective). In Petrov-Vodkin’s painting a male body represents values other than beauty. It has a great symbolic capacity. The basis for visualization of corporeality understood in such a way is the topic of sexual maturation and the ritual context (the motif of bathing, boys’ games and plays). Synthetically captured figures of naked boys contain a proposition of an artistic definition of a male body and determine the norms of watching it. A body in its transitional phase between boyhood and masculinity combines a childlike innocence with youthful beauty and charm. The painter visualizes a naked, young, emancipated body, full of biological vitality, together with its hidden eroticism. He also conceptualizes “the rhetoric of the body.” Boys’ bodies with their narrow hips in various configurations represent Spartan simplicity. They are characterised by activity and dynamism. “The dynamics” of the body is emphasized by the expressiveness of gestures, various forms of gesticulation and the apparent randomness of vision. A gesture is understood as a pose. It does not have any narrative function; the whole body takes part in it. A gesture is purely plastic in its character. The simplicity of gesticulation, poses, turns of the head and free movements of legs and hands become similar to rhythmical movements in a dance. In the somatic discourse the painter uses also other formal solutions: geometrization of form, “purity of colours” and spherical perspective.
3
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Alternatywne biblioteki w przestrzeni publicznej współczesnych miast świata (od natury do kultury)

100%
Bobilewicz G.
Prace Filologiczne. Literaturoznawstwo
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2019
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issue 9(12) cz.2
55-68
EN
Around the world, creative exponents of various disciplines (artists, architects, designers), social activists and members of local communities have challenged stereotypes in thinking and acting, by proposing and implementing experimental ideas of alternative libraries in place of traditional ones closed inside a building or contemporary, open and modernised libraries. In their concepts and artistic executions (installations, actions), they have referred to various traditions of public art. Untypical locations of the libraries within natural scenery, on beaches, in parks, etc. and in public and social spaces of modern cities have redefined the notion of a library, changed its form and content, and given it a new meaning and function. Alternative libraries have specific i.e. artistic, educational, social, ecological or intervention programmes, their main idea being the openness to new experiences and to people.They also follow certain rules: they operate by action and interaction, based on the process of interchange, they are self-service, free-of-charge libraries. Shelves of books, freed from the walls of buildings, or various artistic small architecture projects which serve the idea of borrowing and reading books in publicly accessible places, have transformed those places into intellectually inspiring areas. Selected alternative library models have been analysed with regard to the following interpretive factors: A library in natural space, Libraries on beaches, An open public library as an example of radical democracy, A library as ‘a sculpture of knowledge’, Street libraries (the idea and practice of bookcrossing, small free libraries), A library as an object of modern art.
4
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Werbalna i wizualna reprezentacja ogrodów w Rosji XVIII i początku XIX wieku

100%
Bobilewicz G.
Prace Filologiczne. Literaturoznawstwo
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2011
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issue 1(4)
73-96
EN
Gardens may function as specific coded messages, as texts that are written in the language of nature by means of words or pictures. In order to decipher the garden (a text- -code) correctly one has to find an appropriate key by looking for superimposed senses. The analysis of the verbal and visual representation of gardens in the Russian and European cultures at the end of the 18th and the beginning of the 19th century was based on the principal formula “The garden and texts” (verbal and visual) […]. The material illustrating the issues was chosen mainly from literary works. Those who create gardens combine professional knowledge from different fields and express themselves through various media and materials at the same time. The verbal and visual representation of the garden and its codes come from texts that differ with regard to the genre and semantics, for example from professional and theoretical writings, literature, albums, works of art, real gardens, etc. However, it is the verbal element that plays a dominant role in the interpretation of a work of art, hence frequent returns to the literal, though functionally varied, context. In the verbal discourse of the Russian and European culture at the end of the 18th and the beginning of the 19th century the garden functions at the structural level (compositional dominant, textual dominant of the pragmatic, emotional and aesthetic layer) and the semantic level (garden toponyms, genius loci, lexemes, the use of metaphors, symbolism, verbal code, etc.). The translation, representation and interpretation of the garden through words form a part of creating the model of the garden as the topos of humankind. The visual discourse conceptualizes real gardens as texts varied with regard to nationality, culture and tradition, and as a model of garden art, which becomes an inspiration for innovations concerning content and form in Russian and European literature and fine arts. In the verbal-visual discourse the garden functions at the level of aesthetics, poetics, perceptive processes and memory mechanisms.
5
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Rzeka Wołga w rosyjskim malarstwie pejzażowym XIX i początku XX wieku

100%
Bobilewicz G.
Prace Filologiczne. Literaturoznawstwo
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2015
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issue 5(8)
291-311
EN
The analysis of various painterly representations of the Volga River as well as its visual shape and meaning in Russian landscape painting of the 19th and the beginning of the 20th century, conducted at the level of iconography, perception and reception of the visual work, as well as at the deep structure level of iconic texts, has revealed the issues of vividness, semantics and emotional saturation of the Volga concept. The changes in the way space is presented, constructed, coded, perceived and felt diversify painterly representations of the Volga, its appearance and functions. Their interpretation, which is determined by two factors: the visual code (the aesthetics of a landscape) and the key to understanding the ‘system of a landscape’, together with the revealing of the diversity and complexity of contexts in which the painterly descriptions of the natural world take shape, and the basic characteristics of poetics and artistic language (formal and functional analysis of the principles and the constant of the landscape: space, the seasonal nature, light, colour, rhythm, etc.) show that in Russian landscape painters’ consciousness, the concept sphere of the artistic natural national landscape is shaped by means of metaphoric-and-symbolic perception of its objects in terms of homogeneous values − sacred, undeveloped, wild and ‘one’s own’ though ‘foreign’. This incorporates the category of an artistic landscape into the context of the semantic unity of ‘nature and culture’, which is important for cultural studies. The discovery of the merits of native landscapes is the most significant element of national self-identification.
6
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„Книга художника” как интермедиальный дискурс

100%
Bobilewicz G.
Poznańskie Studia Slawistyczne
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2012
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issue 2
EN
The article is devoted to an analysis of various representations of the “Artist’s book” genre in modern Russian and world art. These representationsfunction within the framework of the paradigm of art that refers to issues such as inter- and multimedia, the model of a broadly talented artist, the concept of a multi-material work of art and the interactive act of perception.  The analysis  of  the  issues  connected  with  verbal  and  visual representations  of  the “Artist’s  book”  has  been  based  on  the  superordinate ‘word  and  picture’  formula  and  the interpretative  indicators  determined  by  generic  diversification  and  the  dialogue  with  other kinds of art: the relationship with painting and sculpture, the book as an object, ready made, mail-art, an artistic project (audiovisual book, photo- and body-art book, book-performance), as  well  as  by  the  act  of  reception.  In  intermedia  discourse,  the  “Artist’s  book”  functions within the cultural, artistic and aesthetic perspective, between art and communication.
RU
The article is devoted to an analysis of various representations of the “Artist’s book” genre in modern Russian and world art. These representationsfunction within the framework of the paradigm of art that refers to issues such as inter- and multimedia, the model of a broadly talented artist, the concept of a multi-material work of art and the interactive act of perception.  The analysis  of  the  issues  connected  with  verbal  and  visual representations  of  the “Artist’s  book”  has  been  based  on  the  superordinate ‘word  and  picture’  formula  and  the interpretative  indicators  determined  by  generic  diversification  and  the  dialogue  with  other kinds of art: the relationship with painting and sculpture, the book as an object, ready made, mail-art, an artistic project (audiovisual book, photo- and body-art book, book performance), as  well  as  by  the  act  of  reception.  In  intermedia  discourse,  the  “Artist’s  book”  functions within the cultural, artistic and aesthetic perspective, between art and communication. 
7
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Twórczość białoruskiego artysty ulicznego Andrieja Busła

100%
Bobilewicz G.
TECHNE. Seria Nowa
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2018
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issue 2
129-148
EN
The study focuses on unexamined representations and miscellaneous instances of the diverse creativity of the Belarusian street artist, Andrei Busel (also known as Hutkasmachna). The study was based on interpretative works analysing Busel’s artistic forms of expression: Eternal in Passing. Artwork of European Masters in the Public Space of Minsk, From Streets to Art Gallery. On Reception of Street Art, and Appropriation of Urban Space: Objects, Installations, Interventions. On the basis of selected examples, an analysis of interpretations of relatively obscure works by European masters was performed, as they were placed by Busel in dilapidated and rundown parts of Minsk. These were works by such artists as Leonardo da Vinci, Michelangelo, Sandro Botticelli, Jan van Eyck, Albrecht Dürer, Hans Memling, Jan Vermeer van Delft. When processing the fragments from their works, he applied a mixture of techniques and tools (cut-out, airbrush, prints, posters, paper sculptures, various types of paints, brushes, scissors, glue, and massive sheets of paper). Busel is the first Belarusian artist to move some of his works from the urban space into a gallery (project: Aeternus et momentum, 2011, ‘Ў’ Gallery in Mińsk), where they were in the form of large-format photographs mounted on stretcher bars. The exposition illustrated his artistic creative process: firstly, he reconstructed the European masterpieces in a real space before photographing them, and eventually, using the photographs to redisplay them on canvas. The article also presents other forms of Busel’s illegal appropriation of urban space, such as street-art objects, installations and interventions, e.g., Bridge (2012), or International Baroque. Another issue discussed in the final section of the article is a brand new street-art trend developing in Belarus – the so-called fundamental suprematism (abbreviated to ‘fuprematism’), i.e., the visual interaction of municipal services with the output of Minsk-based street artists.
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