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1
Content available remote

From Dakar to Djibouti, from 'Afrique' to 'fantôme'...

100%
Szerszen T.
Konteksty - Polska Sztuka Ludowa
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2007
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vol. 61
|
issue 3-4(278-279)
105-106
EN
'Africa is a word, a mere pretext...' - Philippe Soupault wrote about 'L'Afrique fantôme'. In this case, it would be difficult to agree with the opinion of the author of 'Les Dernieres Nuits de Paris', since the title of Leiris' African journal absorbs all the themes and interpretations: Africa, Michel, Emawayish, colonialism, depression, obsession, the netherworld...
2
Content available remote

Michel Leiris User's Guide

100%
Szerszen T.
Konteksty - Polska Sztuka Ludowa
|
2007
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vol. 61
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issue 3-4(278-279)
7-21
EN
A user's guide, mode d'emploi, or perhaps mode d'inemploi? At any rate, this is the first Polish extensive guide to the works of Michel Leiris.
3
Content available remote

Giacometti before Giacometti

63%
Kedzierski M.
Konteksty - Polska Sztuka Ludowa
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2007
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vol. 61
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issue 3-4(278-279)
165-171
EN
The first years spent by Alberto Giacometti in Paris: the cooperation with the periodical 'Documents', the beginning of a friendship with Michel Leiris, the decision to join the Surrealists, the difficult relationship with André Breton, the fascination with primitive and non-European art, the search for a suitable form of artistic expression, the death of his father, the rejection of Surrealism...
4
Content available remote

The Toe

63%
Rutkowski K.
Konteksty - Polska Sztuka Ludowa
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2007
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vol. 61
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issue 3-4(278-279)
254-257
EN
Can a toe become a philosophical problem? The Big Toe is the title of an unusual essay by Georges Bataille, written in 1929 and published in 'Documents'. A brilliant commentary was written by Roland Barthes... 'Bataille thought in the Nietzschean style: that which is loftiest and most noble in man, for example, the head, remains in a mysterious relationship with that which is most mundane. (...) Barthes demonstrated that Bataille's wisdom consists in using scientific discourse in a contrary, artistic way which, one would like to say, is doubled or even multiplied. This is scientific discourse in inverted commas, shifted, opened, sometimes mocked and at the same time deceitfully and faux naively proposed precisely as a scientific discourse. According to Barthes in the text by Bataille, truth and wisdom stem from fiction which, successfully composed, allows a brief, flickering, but true grasping of the truth...'.
5
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The Leiris' Tauromachy as Embodied by Us

63%
Delgado R. M.
Konteksty - Polska Sztuka Ludowa
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2007
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vol. 61
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issue 3-4(278-279)
193-197
EN
A commentary to the taurological works by Leiris, the art of tauromachy and the eroticism patterned on it, which resigns from the fulfilment of the orgasm for the sake of a 'feminine' model - aesthetisation, theatralisation, delay. The character which Michel Leiris ascribed to the corrida is the same which the theoreticians of postmodernism refer to social relations dominating in present-day culture. The most important moment in life and in the arena is the one when the toreador and the beast, I and the Other, pass without touching each other.
6
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ANTHROPOLOGY AS A MASK, A COSTUME, A METAPHOR: THE CASE OF MICHEL LEIRIS AND ROGER CAILLOIS (Antropologia jako maska, kostium, metafora: przypadek Michela Leirisa i Rogera Caillois)

63%
Szerszen T.
Konteksty - Polska Sztuka Ludowa
|
2009
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vol. 63
|
issue 3(286)
170-172
EN
Michel Leiris and Roger Caillois are the authors of two rather strange autobiographical works 'L''Âge d'Homme', and a self-analytical essay 'La Nécessité d'esprit', not published during the author's lifetime. Leiris began writing 'L'Âge d'Homme' before he was thirty years old, and Caillois completed 'La Nécessité d'esprit' - his first book - when he was less than twenty years of age. In other words, we are dealing with two works that treat the problem of the autobiography in a truly surrealistic manner: they are the stories of a life that has not been lived but has barely began. 'L'Âge d'Homme' and 'La Nécessité d'esprit' also relate, in a less unobvious way, to a different theme: the attitude of the authors to 'scientificality'. After all, Leiris and Caillois were men of science (an ethnographer and a sociologist). Reading their learned analyses, one could have the impression that anthropology is a metaphor, a mask or a theatrical costume. In the case of Leiris, the onset of interest in ethnography coincided with the inauguration of work on 'L'Âge d'Homme'. This was also the moment when the author became involved in editing the avant-garde periodical 'Documents', in which anthropology and ethnography were for the first time applied as a sui generis quasi-science, a scientific discourse transferred, laid open, at times mocked and simultaneously proposed misleadingly as a scientific debate. It was precisely for the needs of 'Documents' that Leiris assumed the role of an ethnographer, and adapted himself - in the manner of one of the insects described by Caillois - to 'writing science'. For Caillois too science - sociology, anthropology - is a mask concealing the temptation to write an autobiography, a metaphor of one's existential situation. Here, the key figure is that of the praying mantis, a combination of sexuality and autobiographical qualities. Similarly to Judith, the praying mantis is connected with an autobiographical project of describing emptiness, a life not lived, whose place has been taken by science. The texts by Leiris and Callous render us helpless. We are not certain whether that which has been presented as a scientific discourse is actually one. Or is it a metaphor, a mask, a game played by textual mirrors, in whose course the authors themselves have provided the best possible keys to an interpretation of their texts that, in turn, function as perverse auto-commentaries. This is a science that, in the fashion of the headless Accphale, is always missing something, in which something is not in its proper place, but is shifted and multiplied. This is a science that resembles a cruel praying mantis, and has been created to make the naive researcher feel at loss.
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The Ear

63%
Rutkowski K.
Konteksty - Polska Sztuka Ludowa
|
2007
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vol. 61
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issue 3-4(278-279)
258-260
EN
The essay by George Bataille entitled 'La mutilation sacrificielle et l'oreille coupée de Vincent Van Gogh' was published in the last issue of the periodical 'Documents'. The author of this article presents his own version of the story by Bataille. 'Three doctors described the case of Gaston F., recounted by Bataille in his essay about an ear, and did so even more readily since Dr. Borel personally drew Bataille's attention to this case when Bataille told Dr. Borel about Vincent Van Gogh's obsession with the Sun (...) There is no reason to separate Van Gogh's ear and Gaston F.'s finger from the famous liver of Prometheus if we regard as justified an identification of the eagle the nourisher, the aetos prometheus of the Greeks, with a deity who robbed the Sun of its fire. (...) Each 'Icarus-like being' who soars towards the Sun, approaches it much too closely, or wishes to steal its fire, is a self-mutilating being: it is Vincent Van Gogh, it is Gaston F.'.
8
Content available remote

Leiris and Nerval

63%
Baranowska M.
Konteksty - Polska Sztuka Ludowa
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2007
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vol. 61
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issue 3-4(278-279)
268-269
EN
Gerard de Nerval inspired the Surrealists not only by means of his extraordinary works or alchemical interests..
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Francis Bacon: Traces of a Catastrophe

63%
Czaja D.
Konteksty - Polska Sztuka Ludowa
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2007
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vol. 61
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issue 3-4(278-279)
153-162
EN
Not surprisingly, paintings by Francis Bacon were usually commented by resorting to an instrumentarium derived from a dictionary of the history of art. The author proposed a different perception and tried to view Bacon's works thorough the prism of concepts not from the realm of aesthetics but theology. By referring to numerous statements made by assorted commentators he traced the obstinately recurring motif of evil. This is a proposal to treat Bacon's oeuvre as a painterly introduction of the presence of evil and as sui generis 'theological treatises' stressing the motif of irremovable evil in human existence, a strong presence of the infernal element in the world.
10
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THE MAUDITS (Rzeczy wyklete)

63%
Gondowicz J.
Konteksty - Polska Sztuka Ludowa
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2009
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vol. 63
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issue 3(286)
166-169
EN
The author brings the reader closer to the history of 'Collége de Sociologie', established by Georges Bataille, Roger Caillois, Michel Leiris and Jules Monnerot, and active in Paris in 1937-1939. This ambitious attempt at combining sociology, politics and life under a single guise, is assessed from the perspective of time as an epilogue of the pursuits of interwar artistic avantgardes - as the most radical attempt at merging the social sciences and art. For others, the Collége was, despite incessant attempts at transcending beyond the literary domain, the 'last group of the literary avantgarde'. The author suggested that a similar, albeit failed endeavour to 'cast light on the mysteries of the practical life' was the intention of Karol Irzykowski's periodical 'Meteor' (1898).
11
Content available remote

Dakar

51%
Czaja D.
Konteksty - Polska Sztuka Ludowa
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2007
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vol. 61
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issue 3-4(278-279)
223-225
EN
The titular 'Dakar' is not understood as a sign referring to the capital of Senegal but is treated predominantly as a word, a linguistic reality. In his demonstratively subjective text the author, inspired by some of Michel Leiris' ideas, reveals his own associations and the sound aura surrounding this word.
12
Content available remote

Lens under a Mask. On the Theatrical Aspect of Photography by Claude Cahun

51%
Holewinska J.
Konteksty - Polska Sztuka Ludowa
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2007
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vol. 61
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issue 3-4(278-279)
261-267
EN
Surrealism and photography share a fascination with duality, the mirrored reflection, and the doppelganger. The first three decades of the twentieth century were also a time when not only taking photographs but also the photograph as such, conceived as an effect of activity, assumed the features of a theatre, when photographic reflections became simultaneously theatrical thought, and when the limits of the traditional approach to assorted domains of the arts were crossed. One of the artists situated on the borderline of the arts - between the theatre and photography - was Claude Cahun, a niece of the writer Marcel Schwob, who in the theatralisation of her own person went much further than Duchamp for whom it was only a 'staged' episode. Duchamp as Rose Sélavy remained two persons, while Claude Cahun standing in front of the lens, although disguised, was still the same person ... Incessantly questioning her identity, she created an unusual photographic theatre (indistinguishable from 'life'). Who was Claude Cahun? A woman or a man? A photographer or a photographed object? An actress or a director? 'Herself' or 'the other'? Or perhaps she was Leiris' Judith?
13
Content available remote

'Documents' 1929-1930

51%
Szerszen T.
Konteksty - Polska Sztuka Ludowa
|
2007
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vol. 61
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issue 3-4(278-279)
240-249
EN
'Documents', founded in 1929 by Georges Wildenstein, was an unusual and perhaps one of the most interesting episodes in the history of the inter-war European avantgarde. The motor forces of the periodical were three extraordinary men: Carl Einstein, Georges Bataille and Michel Leiris. Their project - a combination of science and art, of that which is part of the past and the avantgarde, of the European and the non-European - remained an isolated Nietzschean attempt at 're-evaluating all'. 'Documents' was also, and this is slightly less obvious, an uncommon atlas of images. This emphasis on visual experience brought the project conceived by Bataille and Einstein close to the conceptions launched by Aby Warburg. If the Mnemosyne atlas is a sui generis 'anthropology of the memory of forms' then 'Documents' can be recognised as an 'anthropology of that which is formless'
14
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Leiris and Ethnography

51%
Kaniowska K.
Konteksty - Polska Sztuka Ludowa
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2007
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vol. 61
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issue 3-4(278-279)
270-273
EN
An attempt at perceiving the ethnography of Michel Leiris through the prism of the programme declarations of Surrealism. Leiris comprehended ethnographic writings in a manner typical for every Surrealist: writing is a form of self-expression as is ethnography. The ethnography represented by Michel Leiris concentrated on a description of the unknown discovered in the known. This is a 'reversed' ethnography since the examined object casts light on the examiner; the otherness of that which is unknown becomes a pretext for self-cognition, for discerning and describing the unknown in us. Ethnography, Leiris seemed to maintain, can (but does not have to) offer hope for discovering some sort of a way of establishing relations with the world which would assist in understanding not the order of the world but its disorder and differentiation; it is also helpful for finding balance between alien elements, mutual strangers. Ethnography is tantamount to manipulating details, Leiris wrote, shifting small registers of reality, noting down thoughts, and documenting the world on innumerable fiches. The essence of all those activities is not a reconstruction of the described. The most important value is reflection: the self-reflection of the subject.
15
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Leiris and the Alchemy of the Word

51%
Gondowicz J.
Konteksty - Polska Sztuka Ludowa
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2007
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vol. 61
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issue 3-4(278-279)
211-213
EN
All the literary and ethnological works by Michel Leiris are an autobiographical experiment. Similarly to other representatives of the Surrealistic stand Leiris made creative use of the mechanics of the play on words, elevated above comic functions according to the Freudian thesis about the connection between a joke and the subconscious. In his version, however, this meant that for years he was engaged in creating his own lexicon of associations, an instrument of self-analysis, and a pursuit of the collective mythology concealed in the recesses of the language, and studies on the limits of speech as evidence of the submission or resistance of thought towards its rules.
16
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THE EXPERIENCED THEATRE ACCORDING TO MICHEL LEIRIS (Teatr przezywany wedlug Michela Leirisa)

51%
Kolankiewicz L.
Konteksty - Polska Sztuka Ludowa
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2009
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vol. 63
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issue 3(286)
160-165
EN
A record of a lecture given in the Institute of Art at the Polish Academy of Sciences during a session on Michel Leiris. The author recalled Leiris' texts on African cults of possession, and reconstructed his comprehension of the theatrical spectacle, the ritual, and 'theatricality'. He also granted new contexts to the categories used by Leiris - 'the enacted theatre' and 'the experienced theatre'.
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