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Przewodnik smaku

100%
Koczanowicz D.
Prace Kulturoznawcze
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2015
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vol. 17
209 - 218
EN
After the revolution, a new form of public life — the restaurant — emerged in France. Located at the intersection of the private and the public spheres, the restaurant was shaped by three forces: the chefs, the gourmands and the culinary critics. As the restaurant developed dynamically and refined culinary art underwent democratisation, eating became a specific cultural fact. The text examines the birth of gastronomy and the first food lover’s almanac authored by Grimod de la Reynière.
2
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Martwa natura i metamorfozy życia

100%
Koczanowicz D.
DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu
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2011
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vol. 12
134-152
EN
The aim of the paper is to depict complicated story about the philosophy underling still life in the different cultural and historical context. The author starts from Caravaggio’s Basket of Fruit in which the image of decay is contrasted with the promise of eternal life. It is the point of departure for the interpretation of modern art and the exploration of various ideological references of contemporary still life. Nowadays art loses transcendental insight and focuses on the pure horror of death. Beauty is replaced by disgust. This thesis is illustrated by works of: Pablo Picasso Sam Tylor-Wood, Michel Blazy, and Zoe Leonard. The only consolation which art can offer is grotesque, the eternal return which is showed in Sam Tylor-Wood’s work, or continuous series of transformation in works of Michel Blazy, the image of life which permeates death and death permeated by life.
3
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(nie)Wdzięczność, sztuka i konsumpcja. Refleksje o filmie "Menu", desublimacji i kłopotach z wykwintnym jedzeniem

63%
Koczanowicz D., Koczanowicz L.
Konteksty - Polska Sztuka Ludowa
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2023
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vol. 340
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issue 1-2
151-156
EN
The presented text pertains to eating within the context of consumerism and its critique. Reflections are based on the film Menu, whose plot served posing fundamental questions about the mechanisms of the contemporary culture of consumption. The authors referred to Herbert Marcus’ conception of capitalist society and in particular the category of repressive desublimation. The goal of restaurants offering fine dining is to create the possibility of a holistic experience close to experiencing art. The price of such a conception of gastronomy is often not merely an exorbitant bill but also the exploitation of workers and violence. The ensuing crisis indicates, on the one hand, the economic conditioning of consumerism, but on the other hand the impossibility of evading the contradictions of the culture of capitalist society with which they are associated.
PL
Artykuł dotyczy jedzenia w kontekście konsumpcjonizmu i jego krytyki. Osnową rozważań jest film Menu. Fabuła filmu posłużyła do stawiania zasadniczych pytań o mechanizmy współczesnej kultury konsumpcji. Autorzy odwołali się do koncepcji społeczeństwa kapitalistycznego Herberta Marcusego, a szczególnie do kategorii represyjnej desublimacji. Restauracje oferujące wykwintne jedzenie (fine dining) stawiają sobie za cel stworzenia możliwości całościowego doświadczenia bliskiego doświadczeniu sztuki. Ceną takiej koncepcji gastronomi jest często nie tylko gigantyczny rachunek, ale też wyzysk pracowniczy i przemoc. Kryzys tego tylu wskazuje z jednej strony, na ekonomiczne uwarunkowania konsumpcjonizmu, ale z drugiej też na niemożność ucieczki od sprzeczności kultury społeczeństwa kapitalistycznego, które się z nim wiążą. 
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