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1

"Moim domem jest moje dzieło" (w dziesiątą rocznicę śmierci Tadeusza Kantora)

100%

Dziamski G.

ER(R)GO: Teoria – Literatura – Kultura

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2001

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issue 3

EN

This short piece commemorates Tadeusz Kantor on the tenth anniversary of his death.

2

Neoawangarda, wprowadzenie do sztuki współczesnej

100%

Dziamski G.

DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu

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2011

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vol. 12

6-30

XX

Frank Popper believes that neo-avantguard of the 1960’s and the 1970’s contributed to democratization of art. Jerzy Ludwiński believes that neo-avantguard led art into post-artistic era, in which art ceased to be visually different from non-art. Both writers tried to reveal logic hidden in the changes in neo-avantguard, based on their assumption that the changes in neo-avantguard include meta-narration. When art gave up meta-narration, every thing could be considered as art. Art became absolute, total, arbitrary and it established its own borderlines and forms, because it included its own contradiction – non-art and anti-art. What does it mean, that art is now in post-historic era? Doesn’t it need explanatory meta-narration? What should be a reflection on art in posthistoric era?

3

Zwrot postmodernistyczny albo powrót wielkich teorii w naukach społecznych

100%

Dziamski G.

ER(R)GO: Teoria – Literatura – Kultura

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2001

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issue 2

EN

The Postmodernist Turn or the Return of Grand Theories in Social Sciences Abstract in English Grzegorz Dziamski identifies postmodernism with the rebelious spirit of the late 1960's which has been. in turn, underlain by poststructuralism (represented by Foucault, Deleuze, Derrida, Lyotard as well as Lacan and Barthes). The return of grand theories mentioned in the title refers to the impact of poststructuralism on social sciences and, more specifically, to their reorientation under the influence of poststructuralist explorations of discursive and textual practices. The essay focuses on the shift from a theoretically oriented historiography to a recognition of its inevitably narrative quality stressed by Hayden White, Frank Ankersmith or Dominick LaCapra. In social sciences, Dziamski argues, the shift implies a transition from universalistic sociological aspirations to local and particular discourses which should recognise their own limited applicability. That entails, first of all, rejecting the category of objective scientific truth which could control social development at large and, secondly, a turn to a theory which meets the requirements of specific social groups.

4

Ernst Gombrich: In Memoriam (1909-2001)

100%

Dziamski G.

Estetyka i Krytyka

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2002

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issue 1(2)

9-11

5

Kłopoty z kulturą

100%

Dziamski G.

Przegląd Kulturoznawczy

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2010

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issue 2(8)

PL

We have no problems with using the term ‘culture’ in such phrases as ‘Polish culture’, ‘German, French, British, Japanese culture’. In the sense assigned to the concept of culture by Johann Gotffried Herder at the end of the 18th century – culture is a way of life developed by some community (people, nation). But already in the case of the European culture, problem emerges. This is fully justified as for Herder the major element of culture, making it distinctive against other cultures, was language. Is the traditional Herder’s concept of culture (can be called sociological one) still useful in the contemporary world where the dominant figures are emigrants, refugees, tourists, urban wonderers, players? Should not we look for some other concept of culture assuming, as a starting point, that the concept of culture is not merely a descriptive concept but also an operational one and therefore has a significant impact upon our perception of the world and our activity in the world? In each culture we can identify three levels of enculturation: the deep level which naturalizes certain ways of thinking and behaving; social level – when the culture is experienced by individuals as symbolic violence; and finally the level which depends on individual choices, sometimes called a taste. This third level can be called art in opposition to culture. Art stands for whatever unique and original; culture – whatever collective and traditional. Art is the engine of culture. This dynamic aspect of culture was not reflected in Herder’s concept of culture, while this is the most important feature of today’s global culture prevailing in large cities where languages, habits and religions mix, where all, including native inhabitants, feel somewhat deprived of their roots and forced to search for new roots, and who become radicant people – artists who teach us how to live in today’s culture.

6

Estetyka i metafizyka

100%

Dziamski G.

Diametros

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2005

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issue 3

118-120

PL

Głos w debacie: Estetyka i metafizyka

EN

A voice in the debate: Aesthetics and metaphysics

7

Nowe media a sztuka XX wieku

100%

Dziamski G.

Estetyka i Krytyka

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2001

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issue 1

61-85

PL

Artykuł omawia wpływ nowych mediów na sztukę XX wieku, a dokładniej na przemiany pojmowania sztuki w XX wieku. Artykuł wskazuje na trzy kluczowe momenty wzajemnych relacji nowych mediów i sztuki. Pierwszy moment przypada na lata 20., kiedy europejska awangarda wyciąga skrajne konsekwencje z wynalezienia fotografii i ogłasza koniec starej sztuki rzemieślniczej i narodziny nowej sztuki maszynowej. Sztuka maszynowa jest efektem industrializacji sztuki, wyzwalającej sztuki wizualne z tradycji sztuk pięknych. Drugi moment przypada na lata 60. i wiąże się z umasowieniem telewizji. Sztuka musi odnaleźć swoje miejsce w medialnym społeczeństwie, zdominowanym przez telewizyjne obrazy, w świecie symulakrum. W tej nowej sytuacji zmienia się relacja pomiędzy sztuką a tym, co artystyczne. Trzeci moment związany jest z rewolucją cyfrową i z pojawieniem się cyberprzestrzeni. Oparte na komputrze praktyki artystyczne zmieniają nasz stosunek do rzeczywistości, a najbardziej widocznym znakiem tej zmiany jest rzeczywistość wirtualna. Rzeczywistość wirtualna podwaja nasz świat i zmienia go w świat możliwości.

EN

The article focusses on the influence of the new media upon the 20th Century art, or more precisely upon the understanding of art in 20th Century. The article highlights three turning points in relations between new media and visual art. The first turning point came about in 1920s, when the European avant-garde has drawn radical conclusion from the invention of photography and announced the end of old, craftsman`s art and the beginning of the new era of machine art. Machine art was to be the result of industrialisation of art and all culture. "Our age is not the age of arts and crafts but the age of the machine" - Karel Teige, the leading figure of the Czech avant-garde movement wrotr in 1925. The second turning point, in 1960s, is connected with the appearance of the television as the most popuar medium. Art had to find new place in the media society, in the society dominated by new kind of images produced by television in the world of simulacra. The last, third turning point, in 1990s, links with digital revolution, with the coming of cyberspace. The computer-based practices lead to revolutionary changes in human approach to reality, to the world and the most visible sign of this new approach is the Virtual Reality. The latter doubles our vision and makes our world the world of human possibilities.

8

Polish Files in the Lomholt Archive of Mail Art

100%

Dziamski G.

Art Inquiry. Recherches sur les arts

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2014

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vol. XVI (XXV)

138-146

EN

This text is devoted to the archives of mail art complied by the artists and the participants of the mail art network. Mail art was one the most representative artistic phenomena of the 1970s along with feminist art, performance, video art and land art. Today, all those phenomena find their place in the official art world except for mail art, which still remains outside the official institutions of the art world, in private collections. In recent years, most of those collections have been systematized and presented to the public. We should therefore attempt to establish the artistic significance and value of those private archives. This text seeks to contribute to this project, describing in details the Polish section of the archive compiled by the Danish artist Niels Lomholt.

PL

Tekst dotyczy archiwów gromadzonych przez artystów mail artu i uczestników mail artowskiej sieci w latach 70. Mail art był zjawiskiem charakterystycznym dla sztuki lat 70., obok sztuki feministycznej, performance, sztuki video czy sztuki ziemi. O ile jednak wszystkie te zjawiska znalazły dzisiaj swoje miejsce w świecie sztuki, to mail art pozostał poza instytucjami świata sztuki, w rozlicznych archiwach, które są dzisiaj porządkowane i opracowywane. Jakie jest znaczenie i artystyczna wartość tych archiwów? Na to pytanie stara się odpowie-dzieć ten tekst, przyglądając się polskiej części archiwum duńskiego artysty Nielsa Lomholta.

9

Kulturoznawstwo – nowa dyscyplina czy nowy obszar badań?

100%

Dziamski G.

Człowiek i Społeczeństwo

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2020

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vol. 49

EN

Cultural Studies is a young discipline. It appeared in academic structures in the 70s of the last century, that is when the study of culture has long been divided between older and more distinguished disciplines. Cultural studies had to somehow define in relation to existing cultural sciences. Cultural studies deconstructed opposition canonical and non-canonical art practice. Se Dealing with art outside the canon had and still has political dimension, as it draws attention to subcultures in which it sees the cultural expression of marginalized groups. We have no longer translated the English name “cultural studies” as “science of culture” or “knowledge of culture”. We do not examine culture in its numerous manifestations, high or low, but the cultural nature of various phenomena, for example gender. Three generations of researchers can be indicated in the not too long, nearly half century of Polish cultural studies. Cultural studies already has a certain academic tradition and it is still difficult for us to decide whether it is more of a new scientific discipline or new area of research?

10

Narodziny nowej humanistyki z ducha gender

100%

Dziamski G.

Człowiek i Społeczeństwo

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2015

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vol. 39

49-56

EN

If we accept the distinction between sex and gender, introduced by the Second Wave of Feminism, and if we agree that gender does not have to be limited to two sexes, we will enter the terrain of the queer, the world of labile, liquid sexuality where the borders between men and women get blurred and the space opens for creating various human hybrids. In Poland, the middle of 1990 saw the launch of the women’s studies, gay and lesbian studies, gender studies, queer, LGBT, opening new domains and new methods of human studies. We can call them post-feminist and cultural studies because they stem from the feminist distinction between sex and gender and are focused on gender, i.e. on cultural rather than biological determinants of human beings. The new human sciences will have to face such new narratives of human beings, rethink the concept of objectivity (science) and commitment, learn to live in pluralistic world of many theories and more precisely many discourses, and to learn to cooperate with various groups to present their point of view. But first of all, the new human sciences will have to replace the idea of unity by idea of difference. Once we were looking for unity, now we are looking for difference.

11

Kultura Zrzuty trzydzieści lat później

100%

Dziamski G.

Sztuka i Dokumentacja

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2012

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issue 7

66-69

EN

The “Pitch-In Culture” began functioning at the end of 1981 within a circle of people connected with the Łódź Kaliska group, but very soon its strongest presence was reflected by the Artist pilgrimage, Long live art! (Łódź 2-4.09.1983). This was when two meanings of the term “Pitch-In Culture” emerged: a narrow one, meaning people connected with the Łódź Kaliska group and those whose concept of art was closely associated with the group and broader intrepretation – meaning the way the artists acted who wanted to keep their independence during the martial law. Józef Robakowski on the occasion of an exhibition organised in Belgium entitled The Polish avant-garde wrote that the Pitch-In Culture was “independent of politicians, police, church, administration and artists themselves”, it expresses in gestures and slogans, “that is why it may be everywhere, in our homes, streets, forest, bar, park, tram, queue at the butchers shop and even on the train from Łódź to Koszalin and back”. Martial law forced artists to search for new forms for their activities, but this did not blur the previous personal and artistic differences. For Józef Robakowski the Pitch-In Culture was a new form for the activities of independent artists; for Łódź Kaliska it was a new artistic form. In the first case the ‘Pitch-In Culture’ was only a means; in the second – it was an aim. Of course, the second is more interesting but it requires us to answer a question: what was the art form about? Some critics thought of Jacek Kryszkowski as one of the Pitch-In Culture leaders, although he considered that the Pitch-In Culture was supposed to break with the production model of art. Kryszkowski never explained how this post-production art shall look. Today, even though Kryszkowski would not have been happy about this, since many times he attacked the dependence of Polish criticism upon art terminology and theories worked out in the West, we could say that post-production art actually resembles the relational aesthetics of Nicolas Bourriaud.

12

Dokumentowanie sztuki jako nowa praktyka artystyczna

100%

Dziamski G.

Sztuka i Dokumentacja

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2012

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issue 6

21-27

EN

The most tangible feature of Polish conceptual art at the beginning of the seventies was the rejection of the old language of art (painting, sculpture) in order to reach out for a new medium of the visualisation of ideas. Andrzej Lachowicz saw in this process a transition from manual art to mental art. It was a departure from autographic art, in which artists produced their own individual sign, to allographic art, in which they perform operations on signs. Mechanical registration media (photography, film) made this transition easier and lead to ‘depicturalisation’, or in other words, overthrowing painting as the main medium of visual art and, at the same time, introduced a new art language — the language of semiology. Photography made it possible to talk about art through the language of signs, not through the former language of emotions, experiences and aesthetic values. That new language, that was used more or less aptly by artists of the 70s as: Zbigniew Dlubak, Jan Swidzinski, Jaroslaw Kozlowski, Andrzej Lachowicz, Jozef Robakowski and Ryszard Wasko, turned out to be a significant feature highlighting Polish conceptual art. Photography and sign mutually supported each other in the battle with the old ideas of art. A negative point of reference for the new art language became phenomenology. Phenomenologists take signs as reality, wrote Jan Swidzinski. This mistake was avoided by structuralism, which operates through a neutral and arbitral (systematic) concept of a sign. A sign has an operational character, it is used to explore reality, it also allows for the reformulation of questions posed for art. Instead of wondering about the ways in which art reflects reality, we may ask a different question: how reality is understood by art, what actions are needed to be executed for the process of understanding to take place and, finally, what limits the process? Conceptual art did not devise such a new art formula and one may doubt whether it was its aim. It changed, however, the language which we use to talk about art. It drew artists' attention to the processes of sign-posting, to how art functions in the world of signs. The artists may freely use all available signs, they may transform old signs into new ones (secondary signs), they may give them new meanings through manipulation of the context and discover more or less overt mechanisms of encoding signs that are the discourses hidden behind them. Those discoveries became a permanent contribution of conceptual art to contemporary art practice: thanks to them contemporary art appears to be different than art from before a conceptual turn. Its most important consequence, however, is replacing artworks with art documentation.

13

Spoglądając na sztukę minionego wieku

88%

Dziamski G.

Estetyka i Krytyka

|

2002

|

issue 2(3)

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13 Dziamski G.

"Moim domem jest moje dzieło" (w dziesiątą rocznicę śmierci Tadeusza Kantora)

Neoawangarda, wprowadzenie do sztuki współczesnej

Zwrot postmodernistyczny albo powrót wielkich teorii w naukach społecznych

Ernst Gombrich: In Memoriam (1909-2001)

Kłopoty z kulturą

Estetyka i metafizyka

Nowe media a sztuka XX wieku

Polish Files in the Lomholt Archive of Mail Art

Kulturoznawstwo – nowa dyscyplina czy nowy obszar badań?

Narodziny nowej humanistyki z ducha gender

Kultura Zrzuty trzydzieści lat później

Dokumentowanie sztuki jako nowa praktyka artystyczna

Spoglądając na sztukę minionego wieku