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Zaczarowanie świata na przykładzie East Side Story Igora Grubića. Lekcja z estetyki performatywności.

100%
Dzierżyc-Horniak A.
DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu
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2018
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vol. 26
150-173
EN
Enchanting the world on the example of East Side Story by Igor Grubić. A lesson on the aesthetics of performativeness. In her The Transformative Power of Performance. A New Aesthetics Erika Fischer-Lichte argues that everything which happens in a performance can be described as a repeated enchanting of the world and transforma- tion of all the participants of the event. The text is an attempt to con- sider the videoinstallation East Side Story by Igor Grubić exactly from this perspective. It discusses key concept categories utilized by the German theatre researcher, and at the same time undertakes an attempt to fit them into the installation of the Chroatian artist. The analysis points out to the bodily co-presence of the actors and the viewers, the performative production of materiality of the performance and the way in which the performance becomes an event. Questions were asked about a perfor- mance live as opposed to a mediated performance.
2
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Dzieło jako zdarzenie – performans rekonstruowany w wyobraźni

84%
Śnieciński M.
DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu
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2018
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vol. 26
52-71
EN
An artwork as an event – performance reconstructed in imagination An exceptionally interesting case of performance in contemporary art are artworks, in which artists do not present a performance itself but rather its effects. For these artists a performance is somehow included in the tissue of the artwork; it was indispensable for the artwork to be created, yet it is hidden so the viewer needs to make an effort to reconstruct this performative character of the artwork and understand (become aware of) the resulting consequences. The text analyses works by Akira Komoto (the Seeing series), the realization by Lech Twardowski (Generator Bez Maszyn), three series of works by Urszula Wilk (Niewysłane listy) as well as selected sculptures by Shen Shaomin (the Bonsai series). Although in these works we deal with various forms of performativeness, their joint feature is the fact that in each of them the viewer must discover and re- construct the hidden performance in his/her memory.
3
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Retoryka prawdy uwidocznionej: sztuka performansu

84%
Bobkowska E.
DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu
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2018
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vol. 26
86-106
EN
The rhetoric of the truth made visible: the art of performance This paper is focused on the phenomenon of the art of performance and happening, in particular by Allan Kaprow, as well as the forms of self- torture in the art of Chris Burden and Günter Brus. In their expression, performance is sincerity, the moment of truth, bringing out to light what, by the immersion in the stream of life, could remain undiscovered and veiled. The rhetoric of truth in this art is presented, inter alia, in the con- text of Heidegger’s statements on the essence of art and the function of the process. Performance is a peculiar, modern form of aestheticism, challenging time and the temporary dimension of existence, the limita- tions of one’s body and the psyche. In this way, the madness of this art comes close to the experience, which Kant describes as the sublime. The form of self-torture in this art discloses the need to escape from the suf- fering inflicted by being and the Self’s escape from itself in the philoso- phy of Emmanuel Levinas.
4
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Inhabit Janine Antoni jako metafora kobiecej twórczości

67%
Janiak E.
DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu
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2018
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vol. 26
174-185
EN
Janine Antoni’s Inhabit as a metaphor of feminine creativity The article aims to present the figure of contemporary artist Janine Antoni by discussing her most important performances. The author of the article pays particular attention to Antoni’s work Inhabit, which she interprets and analyzes in the spirit of arachnology. This strategy intends to present Inhabit as a kind of metaphor of feminine creativity.
5
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Odnajdując i tracąc miejsce. Łódzki underground wobec doświadczenia miejskiej codzienności.

67%
Filanowski B.
DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu
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2018
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vol. 26
188-202
EN
Finding and losing a place. The Łódź underground against the experience of urban everday life The Łódź underground had emerged from the punk aesthetic, yet it ab- sorbed successive genres surprisingly quickly: hardcore, industrial, later also, among others, techno and rave. It utilized diverse forms of expres- sion: most of all sound, but also projections, site-specific actions, graphic design or fashion. The article, drawing from the memories and output of several most important participants of the movement, poses the ques- tion, in what way the underground so easily absorbed new genres and aesthetic patterns on the one hand, while on the other – it remained so strongly separate. The separation is revealed in the tension between experiencing new, experimenting musical and aesthetic trends, and the overwhelming eve- ryday life of the post-industrial city. This tension was the reason why the underground movement was so intensely performative in its character, in which new knowledge and new inspirations were mostly created in action.
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