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Intermedialny język protestu i Marzec ‘68 w Polsce na przykładzie poznańskiej galerii odNOWA

100%
Jarecka D.
pl.it / rassegna italiana di argomenti polacchi
|
2018
|
issue 9
127-143
EN
The events of March 1968 in Poland have been widely studied from the point of view of political and social history. Recently, it has also become the subject of cultural studies. Yet, the research in the area of the visual arts has been neglected. In the text on the performance art in Poland around 1968 I pay special attention to the connection of art and political tensions of the era with the odNOWA Gallery in Poznań as a case study. The gallery was closed down after the happening by Andrzej Matuszewski entitled Proceeding on May 1969 and the event marked the break of the artists community with the cultural policy of the socialist state. It was too early to call their position ‘dissident’. Yet, I propose a notion of ‘distrust’, taken from Stanisław Barańczak’s writings, to define the peculiar stand of the avant-garde artists in Poland by the end of the 1960s that eventually led to dissidence in the 1980s.
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K dimenzím komunikačního pole: Galerijní animace jako výtvarná akce

63%
Svátková B.
Pedagogická orientace (Journal of the Czech Pedagogical Society)
|
2008
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vol. 18
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issue 1
72-83
EN
The dissertation research Towards the dimensions of communication field: Gallery animation as performance art is motivated by the need to fill the gap between theory and practice of contemporary gallery education and to follow the art approaches to gallery animation. The key research question is: Which factors characterize the course of gallery animation? When is gallery animation functional? The research seeks the answer via monitoring gallery animation from the perspective of its inter- activity and procedure. The research is based on three fundamental concepts: 1. The structure of art interpretation keys – alternatives of artwork interpretation and intermediation of art, taking the transformation of interpretation framework in the contemporary visual theory into account. 2.The structure of gallery animation factors in the Czech Republic, Slovakia, Austria, and France. 3. The line of approaches to gallery animation – a typology of animators.
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