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SEX AND SUBVERSION IN THE ART OF THE PEOPLE'S REPUBLIC OF POLAND (Seks i subwersja w sztuce PRL-u)

100%
Leszkowicz P.
Ikonotheka
|
2007
|
issue 20
51-85
EN
The article presents an analysis of the seditious usage of sexuality in the art of the Peoples Republic of Poland (PRL) and in relation to this criterion proposes to distinguish the alternative history of modern art in Poland after 1945. The starting point of the analysis is the sadomasochistic explosion in the drawings by Jerzy Nowosielski dating from the first half of the 1950's, which were conceived as an act of rebellion against the totalitarian rules of Socrealist imagery, against the authority and prudery. Next, the works dating from the 1970's are discussed: feminist media interventions by Natalia LL and body performances by Jerzy Beres and Ewa Partum. These lead towards the counter-culture body art and action art in the circle of the Galeria Repassage; the homosexual character of the performance by Krzysztof Jung is particularly accentuated here. Stress is put also in the influence of the sexual revolution on the independent filmmaking by directors belonging to the Amateur Film Clubs (AKF). Artists' subversive attitude to sexuality is analysed in context of governmental censorship, which repressed artistic expression through accusations of pornography; examples of exhibitions censored on these grounds are enumerated. The author points out the importance of the official aesthetic theory, enforced from the 1960's onward, which took part in creating the artistic system known as the 'Socialist Modernism'. The thesis is proposed that the Socialist Modernism was defined in opposition to pornography. The category of pornography included works of art which used sexuality subversively by introducing the element of desire and physicality and radicalising the contact with the recipient. The contrast between art and pornography was of crucial importance both to the official aesthetic theory and to the acts of censorship. The rules of the anti-pornographic Socialist Modernism were set out in the 1965 text by Stefan Morawski, which is analysed in the article. Morawski's traditional attitude is contrasted to the counter-culture theory of blurred boundary between art and pornography, introduced in 1969 by Susan Sontag; the author of the article agrees with this theory. As subversive to the socialist ethos and artistic regime, the author considers art which in times of the PRL approached the forbidden area of pornography by its directness in depicting body and sex, including genital nudity. Another element of this gender and sexual revolution is constituted by works transgressing the hetero-normative patriarchy supported by the authorities both in the PRL and after political breakthrough of the late 1980's. In this manner, sexuality was a means of political commentary as much as expression of individual freedom and intimate life. In conclusion it is pointed out that the satirically and vulgarly pornographic character of art created in the 1980's, in the output of Lódz Kaliska and Gruppa, became an expression of rejection of the old rules in the period of transformations in the political and social system. It was also an expression of the opposition to the emergent conservative ethical and patriotic ideology promoted by the Church, then newly come to power, and the political groups affiliated to it.
2
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Kwestia niesmaku. Czeski kamp

88%
Firlej A.
Bohemistyka
|
2015
|
vol. 15
|
issue 1
65 - 72
EN
In this essay I propose to consider 'kamp' style - on the example of chosen phenomena from the Czech culture - understood as a universal act of rebellion against the dictatorship of the so-called "good taste" and as a pressure of "Dionysians" on exclusive company of "aristocrats of the spirit". If the history of art is actually the history of changing taste, the 'kamp' current must be the perpetual and protean phenomenon. I propose to treat kamp as a type of avant-garde gesture in the broad sense, based on the trend of democratization, in many respects analogous to the phenomenon against which it acts (this is characteristic for each revolution and for her brother: carnival). Ostentation, mocking rejection of the canon and dismantling of the dominant determinants of taste become the methods of fight. Artistic kitsch, mannerism, parody or subversive practices are the most frequent expressions of kamp. In the essay I present the work of artists from Czechoslovakia and the Czech Republic after World War II: photographer Jan Saudek, film duo Oldrich Lipský and Jiří Brdečka, playwright David Drábek and showman Daniel Nekonečný, considering it as a socially committed acts carried out in the framework of the "revolution of disgust".
3

ČLOVEK, ZVIERA, BOH, STROJ. SUBVERZIA TELA A TELESNOSTI VO VÁLKOVOM MILOVANÍ V HUSEJ KOŽI

88%
Gavura J.
Slovenská literatúra (Slovak Literature)
|
2024
|
vol. 71
|
issue 3
291 – 310
EN
Miroslav Válek’s collection Milovanie v husej koži ([Love making in a goose skin] 1965) represents an example of an extreme confrontation of man with the pressing questions of his own mortality in the context of Slovak poetry. The author derives his doubts about the meaning of the world and of man from strictly material and rational observations, from which he excludes the presence and action of a transcendent force or being (God), and instead presents the world as a confluence of coincidences, a mechanical action at the level of physical objects and bodies, whose movement is machine-like and whose life, often reduced to the level of animals, remains enclosed in an impoverishing animal finality. The publication of the book was followed by a literary polemic which largely influenced the perception and evaluation of Válek’s human attitude and the applied philosophical concepts. However, the thematisation of the negation of the immanent transcendent principle and its replacement by a fatalistic materialistic structure of the world does not in itself degrade the artistic achievement, and in retrospect, Válek’s radical and absolute gesture expressed in the book can be understood as part of his autonomous lyric journey.
4

DEJINY NÁRODNÝCH FILOZOFIÍ V STREDOEURÓPSKOM KONTEXTE

75%
Mészáros O.
Filozofia (Philosophy)
|
2014
|
vol. 69
|
issue 9
725 – 736
EN
The article is a contribution to the discussion about the methodology of the historiography of so-called “national philosophy”. The author´s thesis is that the history of national philosophies (especially those of the 19th century) should be seen in the context of the Monarchy, while abandoning the conceptual apparatus of the traditional positivist comparative approach. This material serves to show the way the concepts like centre/periphery, subaltern position, subversion, containment, canon, pretext/post-text, transformation and imitation are being used today. In conclusion, different developments in Austrian, Czech, Hungarian, Slovak and Polish philosophies of 19th century come to the foreground.
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