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Porządek identyfikacji. Indeksalność kolekcji / archiwum Józefa Robakowskiego

100%
Leśniakowska M.
Konteksty - Polska Sztuka Ludowa
|
2014
|
vol. 68
|
issue 3-4(306-307)
297-306
EN
This text deals with the “archival turn“ and discusses one of the most important Polish private collections of avantgarde art formed since the 1950s by the leading conceptual artist Józef Robakowski. The author’s point of departure is the assumption that the purpose of collecting is the creation of a canon of cultural values, and thus that collecting is the outcome of selecting and systematising facts/objects according to a priori established rules; for this reason it only ostensibly possesses all the features of neutrality. Actually, no collection is neutral since it personifies power inscribed into accumulating, collecting, and gathering as well as encyclopaedic order and rules of the language (Alan Sekula). Private art collections are the effect and image of individual passions, predilections, sometimes manias and obsessions, and build closed and stable testimonies of cultural identity. Archives-collections established by artists are a special case since they are part of artistic strategy, are enrooted in art, and perform work associated with creativity. This fact discloses a certain performative quality of the collection/archive linked with the generation of a private iconosphere, a Derridean “domesticated” archive that constitutes the discourse of the artist-collector with, and about art, also within the domain of “pure” art, which is already only one of the possibilities of artistic strategy. The discussed exhibition was the product of the “domesticated” art collection amassed by Robakowski, and in this manner it builds inter-textual space, ambiguous and connected with its re-[de]-contextualisation. The Robakowski private collection/archive is a conceptual game played with cultural paradigms, originating from the conceptual art of the 1960s and its anti-authoritarian stands conceived as the “great refusal”. The manner of its distribution is part of the conceptual order as a form of artistic organisation and production. At this stage essential questions are yielded by the comprehension of conceptualism by artists living in communist Eastern Europe, where the purpose of conceptualism was not “refusal“ but the involvement of art as a critique of the regime in which it was embedded. This is why the “museum-archival” project proposed by Józef Robakowski, and entailing the collection of objets d’art and documents, focused on memory and history, together with faith in the reanimation ability to “revive” the source and “recreate” the inaccessible past.
2
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MY! Kolaboranci z Bożej Łaski…

62%
Robakowski J.
Sztuka i Dokumentacja
|
2021
|
issue 25
237-245
3
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Kultura Zrzuty trzydzieści lat później

36%
Dziamski G.
Sztuka i Dokumentacja
|
2012
|
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.
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