Search results

1

APPROACHING AESTHETICS OR: INSTALLATION ART AND ENVIRONMENTAL AESTHETICS AS AN INVESTIGATIVE ACTIVITY

100%

Hinkes B.

ESPES

|

2017

|

vol. 6

|

issue 2

62 – 71

EN

The article discusses installation art and its potential contribution to a transdisciplinary research practice, in which not only artistic, but also aesthetic theoretical approaches could play a central role. However, as the article shows, this firstly requires a change in perspective concerning the way we approach art. Secondly, it entails changes to a common understanding of aesthetic theory and, thereby, philosophy. A term of central significance in this context is the notion of aesthesis. The article will illustrate these thoughts through the examples of Bruce Nauman, Ilya Kabakov, and Arnold Berleant.

2

STYLISTIC PARALLELS IN WESTERN AND LATVIAN CONTEMPORARY ART IN THE 2ND HALF OF THE 20TH CENTURY (Rietumu un Latvijas 20. gs. otras puses laikmetigas makslas stilistiskas paraleles)

88%

Demakova H.

Materiali Latvijas makslas vesturei

|

2000

|

vol. 1

164-175

EN

The article deals with the parallels in Latvian and Western contemporary art. There is no specific reference point in time as the range of material is too broad. Therefore the conceptual origins in Latvia, observable from the late 1960s while Latvia was still under the Soviet system - Hyperrealism, Pop art, performances etc. - that can be considered as contemporary art, in this article are only mentioned in passing. The main accent is on the 1980s and 1990s and the chosen methodology is based on several related directions with clearly expressed stylistic characteristics in the world and Latvia. The article examines the parallels between Latvian new painting and graphics in the 1980s (Ieva IItnere, Franceska Kirke, Aija Zarina, Ojars Petersons and others) and the Italian Transavantgarde, German Neo-expressionism and American Post-modern painting. It looks at the similar tendencies in Russian Sots Art (Komar and Melamid, Bulatov) and the art of Leonards Laganovskis. Latvian object and installation art (Olegs Tillbergs and others) is compared both with older tendencies in Europe, for example Arte Povera, as well as to more recent expressions in the world. Latvian objects may be compared with New British Sculpture - Richard Deacon and Andris Breze - and with the 1990s witty art in public space. Here we can mention the Latvian artists Ojars Petersons, Janis Mitrevics and, for example, the German Martin Kippenberger. Latvia too has seen a flourishing of new media. Alongside photography, which is of a high artistic quality, recognized in the world and similar in style (for example the Latvian Inta Ruka and the Finn Esko Mannikko), the 1980s saw the appearance of video art (Juris Boiko) and the electronic media (the E-Lab group in Riga). Expressions of contemporary art should be evaluated not only in the stylistic but also in the thematic and therefore social context.

3

Rola dokumentacji w procesie zachowania i konserwacji sztuki współczesnej

75%

Jadzińska M.

Sztuka i Dokumentacja

|

2011

|

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.

4

… prosta nieskończona… Wanda Czełkowska, Krystian Jarnuszkiewicz, Andrzej Wojciechowski

38%

Grubba D.

Sztuka i Dokumentacja

|

2012

|

issue 6

163-169

EN

In the paper, I recall three independent individuals, whose work oscillated around conceptual art. They shared a strong interest situated on the borderline of mathematics and art philosophy (including problems such as: an open space, the concept of central – axial point, infinite line etc.) and research on semantic and lexical possibilities of geometry. The work of these three extremely different artists, Wanda Czelkowska, Krystian Jaruszkiewicz, Andrzej Wojciechowski, seems to be tied together by a common element; building spatial utterances based on forms that existed on the border of contemporary and archetypical language. They evoke reflections (e.g. sociological and cultural) by the use of a strongly individualised and meta-artistic code. I analysed the following artworks: Wanda Czelkowska's Conceptual Information about a Table presented in 1972 in Edinburgh at The International Art Festival and another work entitled Absolute elimination of sculpture as a notion of shape (66 concrete slabs and 66 light points) from 1972; the project of a room independent of gravity (1959/1960), Capitel as the structure of space from 1952; Krystian Jaruszkiewicz's multi-material object entitled Sacrifice to Xawery Dunikowski (1975), that incorporated an old Polish definition of the ‘obiata’ (sacrifice) custom taken from Bogumił Linde’s dictionary in its original graphic version into an ascetic form; Andrzej Wojciechowski's works from the period when he co-operated with Stanislaw Drozdz, among them a series of photographs SALVE from 1970 (a stone with a Latin greeting found in an empty field), a model and an idea of the Self-sustaining Plinth from the Symposium “Wrocław’70”, an action entitled The Tower of Joy 23 VII 1970 built with the residents of Wrocław, and a philosophical and formal dialogue with S. Drozdz A Sphere and a stone – two perfections (1974).

Refine search results

2 Sztuka i Dokumentacja

1 ESPES

1 Materiali Latvijas makslas vesturei

1 Demakova H.

1 Grubba D.

1 Hinkes B.

1 Jadzińska M.

1 2017

1 2012

1 2011

1 2000

APPROACHING AESTHETICS OR: INSTALLATION ART AND ENVIRONMENTAL AESTHETICS AS AN INVESTIGATIVE ACTIVITY

STYLISTIC PARALLELS IN WESTERN AND LATVIAN CONTEMPORARY ART IN THE 2ND HALF OF THE 20TH CENTURY (Rietumu un Latvijas 20. gs. otras puses laikmetigas makslas stilistiskas paraleles)

Rola dokumentacji w procesie zachowania i konserwacji sztuki współczesnej

… prosta nieskończona… Wanda Czełkowska, Krystian Jarnuszkiewicz, Andrzej Wojciechowski