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1

Biologiczne media i niepokojąca rola dokumentacji

100%

Bakke M.

Sztuka i Dokumentacja

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2011

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issue 5

29-32

EN

Biological art is one of the most recent manifestations at the intersection of art, science and technology, that has been highly productive for some time. Now, technologically augmented life, such as in vitro fertilisation and genetically engineered life forms, have come under the scrutiny of bio art in particular. By their very nature, biological media, being living systems, provoke a number of difficulties related to the production, exhibition and conservation practices of bio art. It is significant that this emerging genre of artistic expression does not operate on the level of representation, but on the level of presentation involving actual interventions into living systems. However, in some cases organising the presentation of a living art work in a public space is difficult or in fact impossible, which leads to substituting the actual art work by its documentation. Yet, such substitution practices are not accepted by those artists whose goal it is to provide audiences with a unique opportunity to encounter unusual forms of life as art works (wet works, entities still alive or once alive) in a gallery space. This attitude requires the curator not only to arrange suitable conditions for living art works outside the laboratory but also to obtain bio-security permissions. Another option for audiences to gain an opportunity to experience actual lab life is to follow the artists' instructions and join a do-it-yourself biotech movement. In this case, documentation plays the role of both instruction and evidence.

2

TECHNIQUES OF RESEARCH IN INTER-SUBJECTIVE SYSTEMS OF COMMUNICATION - QUESTIONNAIRES

100%

Elschek O.

Ethnomusicologicum

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2005

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vol. 4

131-138

EN

Fieldwork gains those documents, which are necessary to exemplify processes and phenomena under research. Among the multitude of many methods available and used in fieldwork the paper is concentrated on inter-subjective relations and communication between the researcher and the persons supplying information. This relation became in the last decade subject of psychological investigations. The most decisive role is played in this investigation by psychoanalytical views. Ethnopsychological aspects are more and more enlarged and touch the methodology of ethno-psychoanalytical procedures, applied to the fieldwork situation. Furthers aspect are directed to the traditionally used audiovisual multimedia in documentation as it was the case in the last 100 years. In the 70s have been renewed procedures and aspects in inter-personal communication in empirical and experimental projects as applied in the motifs by Sigmund Freud, Bronislaw Malinowski and others, which got a remarkable support in new research. The inner relations in this procedure are exemplified in two schemes: the first shows the infrastructure of relation between the subject of the researchers and the persons he is investigating. The second scheme has to analyze the project of fieldwork, its organization, administration and data retrieval.

3

Dokumentacja interaktywnych aspektów dzieł sztuki mediów

100%

Dobrowolska W.

Sztuka i Dokumentacja

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2011

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issue 5

33-53

EN

Media art requires that the traditional documenting methods both improve and work out new tools, allowing the documentation to catch specific features and phenomena associated with the functioning of artworks that include unstable, electronic media. One of the phenomena, a characteristic for many media works is an openness towards the interaction of the audience, who may manipulate the work using many interfaces creating their own performance, as well as modify the work within the framework defined by the artist. According to many researchers and artists, the actual artwork is the result of the activities of 'inter-actors' who experience it. The traditional methods used by art institutions to document the interactive aspect of the artworks is only to a very limited extent successful. The problem of documenting art created by non-standard media (including electronic media) was undertaken as part of many projects, for example: Documentation et conservation du patrimoine des arts mediatiques (DOCAM), Variable Media Initiative (VM), Capturing Unstable Media (CUM) or the thematic residential programs realised by the Daniel Langlois Foundation. However, not all of the above mentioned projects considered that the problem of interactivity and the experience of the audience had been dealt with thoroughly. In many of them a new theoretical ground taking the concept of both the artwork and the role of inter-actors was created. A few of the proposed solutions were quoted in the article. In the text, various strategies of documenting the interactive aspects of media artworks which result from adopting various perspectives and assumptions were described. These strategies oscillate around two opposing terms: interactivity and interaction, as well as the difference between the will to document an ideal representation of the work (according to the artistic concept) and an attempt to grasp how the work functions in real circumstances together with the more or less successful trials of the inter-actors to experience it. Of particular interest seem to be the attempts to document the experience of the audience and then applying the knowledge achieved to work further with the artwork - to protect it, exhibit it in various ways or allow it to communicate further with the audience.

4

The Image Of The Artist In Performance Art: The Case Of Rudolf Schwarzkogler

88%

Jarosi S.

Sztuka i Dokumentacja

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2011

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issue 5

63-80

EN

'The Image of the Artist in Performance Art: The Case of Rudolf Schwarzkogler' frames an intervention into the scholarly and public discourse on the medium of performance art by revisiting the myth of Austrian artist Rudolf Schwarzkogler's purported death by auto-castration, which was supposedly 'documented' in a series of performances in the mid 1960s. The myth was most famously propagated in 1972 by the Time Magazine critic Robert Hughes, and, despite a public recantation by Hughes in 1996 and a number of scholarly studies and exhibitions that have exposed the myth's fallacy, it continues to demonstrably inflect the reception not only of Schwarzkogler's work but also of contemporary performance art more broadly. Jarosi's central arguments are concerned with examining the perpetuation of the Schwarzkogler myth through a series of examples all drawn from the last five years. Each of the examples revolves around the construction of an image of 'the performance artist' and what is determined to be true, proper, or detrimental to the practice of performance art. Together the examples underscore the persistent power of the myth in the representation of contemporary performance - a power that can readily exceed the historical record. The author theorizes her claims through exploration of seminal texts on the function of myth by Roland Barthes and by Ernst Kris and Otto Kurz. Having asserted the theoretical mechanics by which the Schwarzkogler myth holds such sway, Jarosi expands the scope of her essay to consider its negative impact on the scholarly reception and public perception of performance art, ultimately pointing to the ethical stakes raised by the myth's absorption into the assumed critical expectations for what the medium of performance art entails.

5

Funkcja dokumentacji w sztuce współczesnej

88%

Guzek Ł.

Sztuka i Dokumentacja

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2010

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issue 3

5-14

EN

This text is an attempt to outline the status of documentation in contemporary art and to describe the process of how the role of documentation has changed within the last decade. Simply speaking, documentation has gained the independent status of a work of art. Documentation as an artistic phenomenon can be considered on two levels: formally as a way to create new works of art, and this is what interests me most here; contextually (socially), when issues arising from documentation are discussed institutionally from the point of view of curators, institutions or political decision makers. The most general category which covers the whole phenomenon of documentation as art is a category of the artistic means of expression created by Peter Burger. For him it replaced the traditional category of style in dealing with the 'non-organic' character of artworks created by the dada and surrealistic avant-garde. Its artistic heirs: conceptual art, action art and time-based installations are a starting point for this particular new role of documentation as art. In art history the existing standards outlining the relationship between the original and a repetition, (like Benjamin's aura, a dialectic combination of media such as Higgins's intermedia card), are not entirely applicable here. As in the works based on documentation, the problem of originality does not exist and the intermediality is currently made of several media. Therefore, although they somehow may serve as general patterns of thinking, they are, however, not sufficient to describe and interpret the specific works of art. Ankersmit's theory of history offers a pattern of a narration rooted in facts. Art based on documentation is in opposition to 'literature' created by curators and the contextual studies, into which art history has fallen. This text is illustrated with examples from the main exhibition of the festival 'Art and Documentation 2010' based on open submission and showing the works from last year.

6

"Po nas choćby Potop"? Zachowanie sztuki naszych czasów

88%

Jadzińska M.

Sztuka i Dokumentacja

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2011

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issue 5

21-28

EN

This article outlines issues associated with the preservation and conservation of contemporary art and the role that documentation plays in this process. A contemporary artwork, in order to become an object of interest, analysis, purchase, collecting, exhibiting etc. must exist, and its existence must be preserved. Its preservation does not always mean, however, fixing the matter and halting the processes of deterioration such as in the case of traditional art, but it may adopt a totally different form, for example preservation in the form of documentation. The changeable character of ephemeral art, the use of perishable materials or ready-mades, as well as innovative concepts and techniques makes conservation a complex issue. An additional worrying factor is also often improperly conducted activities associated with exhibiting, transportation or storing of the artworks that cause a falsification of the artist's concept and destruction of an artwork's structure. The conservator must analyse, identify and preserve the matter in a professional way or, on the contrary, after an appropriate examination, act according to the artist's intention, and treat it in a way that is adequate to the artwork's character. This may involve the making of a replica, a reconstruction, an emulation, a re-enactment or preservation through documenting, or it may use entirely different possibilities of modern conservation. One must set a proper strategy of care and protection over the works of art and the proceedings must keep the authenticity of the artwork. The author of this article analyses the notion of authenticity and shows the change in understanding this concept, and the influence which this change had on the form and method of preserving artworks in the past, in contrast with contemporary visual art. She writes about the new role of an artwork's matter and substance, and the challenges that result from it, and about the new role and relationship between a conservator, an artist and other 'stakeholders'. She describes the threats to preservation and the aims and limits of preservation and conservation, pointing out the key role of documentation. She also pays attention to various forms of documentation by illustrating the article with comprehensive examples of good and bad practices associated with documenting contemporary artworks.

7

ANGAŽOVANOSŤ AUTORA V SOCIÁLNOM DOKUMENTÁRNOM FILME

88%

Palúch M.

Slovenské divadlo (Slovak Theatre)

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2015

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vol. 63

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issue 3

221 - 230

EN

The author of this study seeks an answer to the question what “authorial documentary film” is. He selects examples from the area of social-critical documentary film, especially lower forms of documentation – a weekly and a newsreel. In a historical perspective he follows how directors realized authorial engagement in dealing with documentary themes for a socio-critical purpose. The authorial work is then put into contrast with genre conventions which do not allow the presence of authors’ subjective view in documentary films. In the cases when authors purposefully transcend the conventions of documentary genres, viewers are confronted mainly with a subjective interpretation of facts. This line of reasoning about authorial and genre documentary film has been present in Slovak theory since the 1980s and corresponds with current Western approaches to understanding documentary film, which compare current documentary films to feature films in terms of how they construct narratives. In its conclusion the author of this study proposes dividing any film production to genre and authorial production. The reason is that authorial documentary production goes beyond the objective documentary functions of documentary film and is independent of genre conventions. In addition, its subjective interpretation of themes makes it similar to feature film production.

8

DROBNÁ SAKRÁLNA ARCHITEKTÚRA AKO PRVOK KULTÚRNEHO DEDIČSTVA V DOKUMENTÁCII MÚZEÍ

75%

Krišková Z.

Muzeológia a kultúrne dedičstvo

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2015

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vol. 3

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issue 2

73 – 81

EN

This paper examines closely the role of minor sacral architecture (such as crucifixes on the side of road typical for rural Slovakia or statues of patron saints in village and town squares) in the preservation of the cultural heritage of Slovakia in general and its religious and ethnic minorities in particular. We focus on the difficulties associated with the research into and documentation of these objects such as those associated with their semi-permanent nature. Then we outline the need for the comprehensive survey of minor sacral architecture due to its importance in the documentation of the history and cultural of local communities focusing on their ethnic, confessional, geographic and artistic context. Some Slovak museums have begun to take concrete steps in that effort and we will briefly describe a specific part of it which involves the compilation of a database of these objects.

9

Re-enactment, czyli niekonserwatywna konserwacja sztuki performance

75%

Wysocka E.

Sztuka i Dokumentacja

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2010

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issue 3

17-24

EN

The conservation of performance art sounds like an oxymoron. How can we conserve works whose base of existence is being ephemeral, unique and an unrepeatable dialogue with the spectator? The generally accepted method of preservation is obviously documentation which witnesses the occurrence of the act of art. However, what is to be done if the documentation seems insufficient or inadequate in the process of passing on the piece of work to next generations? One of the ways to revive an ephemeral act of art is the re-enactment. Re-enactment as a method of conservation of performance art is part of a broader strategy for the preservation of ephemeral art and other genres generally referred to as 'time-based art'. Many examples of contemporary art employ performative elements and are often based on interaction. Before, (apart from 'live art') they used to be referred to as kinetic art, installation, and more recently computer and video installations or net art. None of them is conservable in the traditional meaning of the word, which pushes the conservators to look for new ways : a re-interpretation, re-creation, migration or emulation. This article is an attempt to outline and evaluate the effectiveness of such activities based on a case of re-enactment of the performance 'Change. My problem is the Problem of a Woman' by Ewa Partum from 1974. Thirty-six years after the performance took place, a conservator repeated this performance with the help of new make-up artists, as a conservator's experiment. The re-enactment strategy used in this piece was meant to enable the experiencing of it anew. A conservator's workshop has always had the task to preserve and maintain a piece of art but in the context of a piece of a performative artwork the task seems to be unusual. Here the conservation strategy becomes a reconstruction, taking on a new, extreme form acting out the artist's role in order to reproduce the work. The conservator of performance art here uses the tools that come from the performance artist's toolkit and moves around within a framework, of not so much in the matter of the piece, but rather in the sphere of ideas, its verbalized and hidden meanings.

10

Rola dokumentacji w procesie zachowania i konserwacji sztuki współczesnej

75%

Jadzińska M.

Sztuka i Dokumentacja

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2011

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issue 4

71-79

EN

The incredible diversity and complexity of unconventional works of contemporary art has changed the role of documentation in the process of preservation and conservation. It has become absolutely necessary for the future existence of the work, in order to further understanding, acquisition, installation, arranging, displaying, transportation, conservation and many other areas. Besides a description of the traditional history of the object, its materials and techniques used, or the conservation work which it was subjected to, the documentation is also a form of a copyright certificate, an educational base, and sometimes it may even replace the work of art. This research paper defines a new role for the importance of documentation of contemporary works of art. It focuses on what it means to 'preserve through the documentation' and on the importance of profiled interviews with artists. It describes how and when to document the work of art and how to capture its intangible aspects. Based on the example of installation art, specific methods and a current registration system are pointed out.

11

Sztuka totalna czy dychotomia? Klasyczna i nowoczesna sztuka w dokumentacji i opiece

75%

Szmelter I.

Sztuka i Dokumentacja

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2011

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issue 5

16-20

EN

Contemporary art is dichotomous - that means that it functions either within the classic art disciplines or the innovative ones, which have existed generally from the times of Marcel Duchamp. The aim of this paper is to consider an innovative, practical and theoretical framework for the documentation and conservation of the works of art created by the new generation of artists who utilise new media and integrate their works with new technologies, interactive sonic spaces, transformation of sensual processes, etc. The key issue is the conservator's thorough knowledge about the work of art. This is achieved through cooperation with artists. A conservator should play a role in the artworks' pre-acquisition and should use all of his/her knowledge, including the complexity of humanities and science, one's erudition, experience with art, sensitivity and empathy. The result is therefore an appropriate diagnosis of the object allowing the conservator to undertake the appropriate documentation method and action. The artwork shows the truth about the artist, bears the traces of the artist's personality, has traits associated not only with their sensitivity and artistic abilities but also with the creative process and the technical solutions that the artist selected. We can discover these technical methods and materials by a scientific instrumental analysis. In consequence, innovative knowledge is related to the development of artistic ideas, the concepts and models according to which a tangible and intangible heritage is taken care of, the cognition, communication and contextual aspects of art, the principles and processes involved in perception, the senses and the potential role of new media in creating new aesthetic experiences.

12

TECHNIKA V MUZEJNÍ KULTUŘE

63%

Nekuža P.

Muzeológia a kultúrne dedičstvo

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2016

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vol. 4

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issue 2

67 – 74

EN

For the purposes of this paper, the author defines technology as a society‘s constantly developing activity focusing on manufacturing processes and related conditions. As such, technology has always closely followed the society‘s development in general and the broadening of its scientific horizons in particular and it has always been inexorably tied to philosophy. The documentation of technology in a museum environment must be viewed as a part of the scientific effort which must be very well documented. Museums of technology emerged gradually as the society‘s interest in technology in general deepened in the Age of Discovery and the subsequent Industrial Evolution. In the historic lands of the Czech crown, the emergence of museums in general and technology museums is tied to the nationalist revival and the related expansion of education to a wider share of the population which is reflected in their nature and scope. The period of 1989 then sees a wider proliferation of technology museums to such extent that while a basic typology of such museums can be established, there are institutions of this type which are very difficult to classify and label.

13

Exchange Gallery (Galeria Wymiany)

63%

Schwarz I.

Sztuka i Dokumentacja

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2011

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issue 4

5-47

EN

A Polish artist Jozef Robakowski founded the Exchange Gallery in Lodz, Poland in 1978. It was a gallery in name only. Its true function was to unofficially serve as an archive and a meeting place for artists. The materials in the archive were of equal value; they were an expression of independent communication, mutual respect and shared opposition towards the communist regime. In 2003, Robakowski began to prepare a donation of the archive of the Exchange Gallery to the Muzeum Sztuki (Art Museum) in Lodz.

14

MODERNÁ DOKUMENTÁCIA ARCHEOLOGICKÝCH SITUÁCIÍ A NÁLEZOV V ARCHEOLOGICKOM ÚSTAVE SAV

63%

Ruttkay M.

Študijné zvesti

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2015

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issue 58

5 - 58

EN

The paper presents work procedures developed within the project Centre for the Research into the Oldest History of the Middle Danube River Basin. One of the activities is a search for and testing of new methods and technologies in the areas of documentation and presentation – photography, 2D and 3D photogrammetry, 3D scanning, visualisation, modelling 3D printing. We introduced the search for archaeological sites using various kinds of historical maps, ort-photomaps, satellite images and GoogleEarth-Pro, and provided details of the procedures applied during various kinds of photogrammetric documentation (from the ground, from pilotless models, from aeroplane, or a combination). There is a short description of experience with the use of individual instruments, from scanners for archaeological finds to the LIDAR. A special attention is given to the visualisation and digital modelling of movable and immovable archaeological finds. In the final part experience with a 3D printing of archaeological features is described. The obtained data are archived in the ISAU – a newly created Information System of the Institute of Archaeology. Practical experience confirms that there is no ideal method of 3D documentation suitable for all kinds of features. The outcomes are intensively used in the research process as well as during the documentation and renewal of archaeological cultural heritage, and, last but not least, for scientific popularisation aims in exhibitions and other events.

15

Dokumentacja a horyzontalny sposób pojmowania twórczości artystycznej

51%

Sztabiński G.

Sztuka i Dokumentacja

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2011

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issue 5

6-15

EN

The 'horisontalism' of artistic activity and reflection on art is connected with current life and surrounding reality. Their elements flow into works of art. Artworks are not examined historically (according to the history of a medium, style or individual creative evolution) but as a reaction to the network of object arrangements and functioning discourses that surround artists. Such comprehension of art has made Sztabinski introduce the concept of a 'documental turn'. Moreover, it has been depicted by him that the idea of 'documentation' is getting extended. Therefore, 'transdocumentation' appears. The term allows us to notice the specifics of such contemporary phenomena in which documentation does not only perform an informative function but also gives feedback upon what is documented. It is possible to distinguish many artistic approaches and practices within transdocumentation. One of them is a 'mock-documentary' - an ironic documentation that refers to documentary stereotypes and the audience's trust in the reliability of documents. 'Transdocumentation' as a practice and theoretical scheme, possible when understanding art 'horizontally', reveals a great potential for artistic activities and the critical practice.

16

Pojęcie i doświadczenie czasu w polskiej sztuce konceptualnej

38%

Zdanowicz M. H.

Sztuka i Dokumentacja

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2012

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issue 6

141-147

EN

In my paper I analyse the art of selected Polish conceptual artists, whose art and creative strategies clearly attempt to analyse the essence of time. I consider exceptional in this context the work of Roman Opalka (Opałka 1965 /1 - ∞), Natalia LL's recordings (Permanent recordings of time), Zdzislaw Jurkiewicz's Saturn and Jupiter Ways, and the projects by Stanisław Dróżdż (FROM TO) that touch upon various levels of time. In the presented analyses, I refer to the psychological and philosophical concept of perception and aperception, as well as an anthropological understanding of time. In my view, conceptual art is the genre whose characteristics lie in the conscious cognition and deep intellectual analysis of the reality surrounding the artist. With regard to the active role of the mind in the process of perception the aperception of time may be a more appropriate term.

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Biologiczne media i niepokojąca rola dokumentacji

TECHNIQUES OF RESEARCH IN INTER-SUBJECTIVE SYSTEMS OF COMMUNICATION - QUESTIONNAIRES

Dokumentacja interaktywnych aspektów dzieł sztuki mediów

The Image Of The Artist In Performance Art: The Case Of Rudolf Schwarzkogler

Funkcja dokumentacji w sztuce współczesnej

"Po nas choćby Potop"? Zachowanie sztuki naszych czasów

ANGAŽOVANOSŤ AUTORA V SOCIÁLNOM DOKUMENTÁRNOM FILME

DROBNÁ SAKRÁLNA ARCHITEKTÚRA AKO PRVOK KULTÚRNEHO DEDIČSTVA V DOKUMENTÁCII MÚZEÍ

Re-enactment, czyli niekonserwatywna konserwacja sztuki performance

Rola dokumentacji w procesie zachowania i konserwacji sztuki współczesnej

Sztuka totalna czy dychotomia? Klasyczna i nowoczesna sztuka w dokumentacji i opiece

TECHNIKA V MUZEJNÍ KULTUŘE

Exchange Gallery (Galeria Wymiany)

MODERNÁ DOKUMENTÁCIA ARCHEOLOGICKÝCH SITUÁCIÍ A NÁLEZOV V ARCHEOLOGICKOM ÚSTAVE SAV

Dokumentacja a horyzontalny sposób pojmowania twórczości artystycznej

Pojęcie i doświadczenie czasu w polskiej sztuce konceptualnej