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Anety Grzeszykowskiej schizoanalityczne sporządzanie Ciała bez Organów

100%
Oczkowska K.
Kwartalnik Filmowy
|
2020
|
issue 111 Zmysły i afekty
39-53
PL
Punktem wyjścia tekstu jest tryptyk wideo artystki wizualnej Anety Grzeszykowskiej Black (2007), Ból głowy (2008) i Bolimorfia (2008). Autorka omawia te prace z perspektywy schizoanalizy, której materialistyczny i transcendentalny program Gilles Deleuze i Félix Guattari wyłożyli w dwóch tomach Kapitalizmu i schizofrenii. Centralnym problemem staje się w niniejszym wywodzie kategoria Ciała bez Organów, a więc podstawowy przedmiot praktyki schizoanalitycznej, opartej na nowej koncepcji nieświadomego i produkcji pragnienia. W artykule została podjęta próba odpowiedzi na pytanie, czy ucieleśnienie w eksperymentalnych filmach artystki pozwala na sporządzenie Ciała bez Organów oraz jak odbiorca lub odbiorczyni za pomocą afektywnego odczuwania doświadcza schizoanalitycznego stawania-się, bowiem w ujęciu Deleuze’a i Guattariego afekt jest podstawowym elementem współczesnego kina.
EN
The starting point of the text are three short films by visual artist Aneta Grzeszykowska: Black (2007), Ból głowy (Headache, 2008) and Bolimorfia (Painmorphia, 2008), analyzed from the perspective of the Gilles Deleuze and Félix Guattari’s schizoanalysis, whose materialistic and transcendental program they proposed in Capitalism and Schizophrenia. The central problem in the essay is Body without Organs, the basic object of schizoanalytic practice, which draws on a new concept of the unconscious and the production of desire. The text attempts to determine whether the embodiment of the artist’s experimental films allows her to prepare a Body without Organs, and, secondly, how the spectator experiences it affectively. In Deleuze and Guattari’s view, the affect is a basic element of modern cinema.
2
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W stronę archiwum-kłącza: Aneta Klassenberg

89%
Kościelniak M.
Pamiętnik Teatralny
|
2020
|
issue 3(275)
7-50
EN
This text discusses Katarzyna Kalwat’s project Maria Klassenberg, focusing on its most important part to date, Ekstazy (Ecstasies). Klassenberg represents women artists of the 1970s who have not been admitted to the canon. The author of the essay situates the project in the context of Kalwat’s output and other relevant works of the historiographical turn. He problematizes the shape of the female genealogy built by Kalwat by means of a counterfactual archive. His methodological basis is the concept of the archive understood as discursive practices (following Foucault and Derrida). If the archive produces and, at the same time, is a product of patriarchal culture, the author considers how and to what extent Kalwat’s counterfactual archive breaks the rules of utterability. The reflection is enabled and complicated by taking into account the Maria Klassenberg Archive 1970–1980, which comprises videos and photographs produced for the project by Aneta Grzeszykowska. According to the author, the chance to go beyond the patriarchal logic of the archive lies in the processual character of the project, developing between subsequent parts, from theatre to performance.
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