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Idea a obraz. Ikonoklastyczny aspekt konceptualizmu

100%
Gralińska–Toborek A.
Sztuka i Dokumentacja
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2012
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issue 6
41-64
EN
Conceptualism, as the art of an idea, placed itself beyond aesthetic and sensual experience. As a rule, it did not produce art objects which could be pleasing or that would represent reality. This rejection of an image places conceptualism in a broadly understood iconoclastic movement. When we examine various historical iconoclastic movements (religious and political) we may reconstruct the most important features of iconoclastic awareness and compare them with the essential postulates of conceptualism. The result of this comparison is a striking similarity of both phenomena. To mention just a few linking features of conceptualism and iconoclasm, we may enumerate: a doubt in the adequacy of the relationship between an idea and image, a fear of an idolatrous belief in a material art object, a drive to demystify art and artists, a concentration on a word instead of an image. Iconoclastic mentality can also be characterised by analytic thinking, progressive attitude and irony. However, the question arises if iconoclasm can exist without idolatry; or if conceptualism could have developed without a material object? Even if it rejected it, then the art world (museum, critics, audiences) that shows a progressively stronger tendency to contextualise, flung conceptualism out of “art’s orbit into the ‘infinite space’ of the human condition” (to use the words of J. Kosuth).
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Protokonceptualizm polski

84%
Kowalska B.
Sztuka i Dokumentacja
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2012
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issue 6
15-19
EN
By accepting one of the definitions applied to conceptualism in the research on this genre, as art that “takes the form of objects under the condition that they have a secondary function in parallel with an idea” I draw attention to an exceptional artistic case, that I call a Polish proto-conceptualism. This phenomenon occurred in the first half of the sixties, that is before Seth Siegelaub’s exhibition in New York (1969), accepted as the beginning of conceptualism, or even before Sol LeWitt’s article in Artforum entitled “Paragraphs on Conceptual Art” when the term, preceding the trend itself, was introduced into the language of art. For this reason I describe the above mentioned artistic experiments of clear conceptual characteristics, which preceded the accepted beginning of conceptualism, as protoconceptualism. I include four Polish artists in this category: Andrzej Pawlowski – an author of Cineforms (1957) that were famous in the sixties and “The concept of an energy field” (1966); Jerzy Rosolowicz – the author of the “Theory on the function of the form” (1963) and objects made of lenses and prisms that according to the artist were mere examples of his theory of neutral act; Roman Opałka with his ‘counted paintings’ (1965) that documented the idea of a fight with time; and Ryszard Winiarski inspired by the probability theory, who asked about determinism or indeterminism and treated his works not as paintings but as “Attempts of visual presentation by statistical charts”. Contrary to a typical conceptualism, (which was expressed as a record of processes, place marks, announcements, photographic documentation or mail art that was popular in Poland after 1970 and was inspired by similar activities by artists from Western Europe and the USA – the art of the described Polish proto-conceptualists was purely original and autonomous. It was precursory towards the global understanding of conceptualism and, what is very important, in their activity these artists generated an important message with which a significant concept, philosophical idea or analytic reflection was included.
3
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Obraz a idea. Estetyczno-antropologiczne paradoksy sztuki konceptualnej (implikacje ikonoklastyczne)

84%
Kazimierska–Jerzyk W.
Sztuka i Dokumentacja
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2012
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issue 6
47-54
EN
When taking into account the iconoclastic implications of conceptualism, we may observe its close but at the same time, warped relationship with aesthetics. I developed this thought after reflecting on Arnold Berleant. Such a view allows one to support the idea of a wider understanding of the notion of conceptual art, which accepts the presence of an art object not only in the form of art documentation, but also as an object included in an aesthetic awareness. One of its main aspects is the problem of the effect (power) of images. The problem of an aesthetic awareness was developed by Joseph Kosuth through a suggestive formula of ‘art as anthropology’. I treat this as a consequence of previous ideas developed by the artist, not as a total turn away from them. As a consequence one may consider as conceptual the attitudes and projects that keep the image in its physical sense and make the creating of images problematic in such a way that the most important seem to be reflections on the notion of art (image). In the article I consider two examples of Polish artists – Jan Berdyszak and Grzegorz Sztabinski. I underline how their activities are involved in certain iconoclastic practices (typical for conceptualism) and with which means they articulate the need to overcome them.
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Tautologie konceptualistyczne

67%
Sztabiński G.
Sztuka i Dokumentacja
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2012
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issue 6
89-95
EN
The text is an attempt to consider the character of tautological activities undertaken in conceptual art. There are two ways the issue can be approached. The first refers to the texts of Joseph Kosuth, who wrote that an artwork is a tautology because it refers to the term ‘art’. The author develops the sense of Kosuth’s statement “a work of art is a definition of art” and states, that a part of the tautological system that makes a proposed definiens of ‘art” is available for direct perception, but the other part, which is the term ‘art’ must be recalled intellectually by the recipient. After taking into account the conceptual reference, the sense of a conceptual project with a meta-artistic character becomes noticeable. Polish examples of such works are projects by Roman Opalka, Jaroslaw Kozlowski, Jan Chwalczyk and Wanda Golkowska. The second part of the article considers conceptual projects, in which both parts of equal tautology are directly given. Conceptual works of this structure may either state what is “unquestionable and universally important” (as Alicja Kepińska wrote) or make a kind of sense “at the same time suggested and reversed” (Umberto Eco). The possibilities are considered in reference to tautological works of Zdzislaw Jurkiewicz, Jaroslaw Kozlowski, Zbigniew Dlubak and Jerzy Trelinski.
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