Search results - CEJSH

1

Procesualność postpamięci i jej reprezentacje w literaturze oraz sztuce współczesnej

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Chruściel M.

Politeja : Pismo Wydziału Studiów Miedzynarodowych i Politycznych Uniwersytetu Jagiellońskiego

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2017

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issue 47

73-84

EN

The text is an attempt to analyze literary postmemory representation in three scenes confronted with the language of art. The subject matter are novels: Zagłada (Extinction) by Piotr Szewc, Tworki by Marek Bieńczyk and Pensjonat (Pension) by Piotr Paziński and an exhibition: Poland – Israel – Germany. Auschwitz Experience at the Museum of Contemporary Art MOCAK in Krakow. These books had their premieres at intervals of at least ten years, becoming marks of consecutive decades of duration of the concept of postmemory. Zagłada (1987), Tworki (1999) and Pensjonat (2009) could be read as another mainstream views of the postmemory and building a horizon of contemporary Polish literature. In dialogue with these novels an exhibition open on the 15th of May, 2015 in MOCAK has been submitted to analysis. The intention of the text is to point transformations in postmemory in different fields of artistic activity.

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Między empatią a naukowością dyskursu krytycznego. Młodopolskie i międzywojenne style odbioru twórczości Ksawerego Dunikowskiego

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Wasilewska D.

Estetyka i Krytyka

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2013

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issue 1(28)

219-239

EN

This article is an attempt to compare the ways of understanding and interpreting art during the late 19th and early 20th century with the art criticism of the interwar years. To this end, the author presents an array of critical texts devoted to a single artist -sculptor, Xavier Dunikowski, who was active at the junction of the two eras. The focus of attention, however, is not only on the critics' views and opinions of the artist's work, but also on the nature of their language of expression, their discourse, and their criteria of evaluation. A look at the styles of reception predominant in each era will allow the author to pinpoint the transformation of art criticism that took place after World War I, as well as the prevailing patterns in the language of interpretation. This will make it possible to paint a fuller, more complex image of the art criticism of that time

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MUZEUM SZTUKI WSPÓŁCZESNEJ W RADOMIU PO DWUDZIESTU DWÓCH LATACH

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Szewczuk M.

Muzealnictwo

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2013

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vol. 54

117-124

PL

Muzeum Sztuki Współczesnej w Radomiu jest oddziałem Muzeum im. Jacka Malczewskiego w Radomiu. Posiada dużą kolekcję polskiej sztuki II połowy XX w., powiększającą się niemal wyłącznie dzięki darom. Zostało powołane w 1990 r., w okresie transformacji ustrojowej. Przejęło zgromadzone wcześniej w muzeum zbiory sztuki powstałej po II wojnie światowej (1797 dzieł), a także kolekcję działającej w Radomiu galerii BWA (265). Jako pierwsze w Polsce otrzymało nazwę muzeum sztuki współczesnej. Jego siedzibą są dwie barokowe kamieniczki przy radomskim Rynku: Dom Esterki i Dom Gąski. Działalność rozpoczęło w maju 1991 r. Rok 2011 był rokiem jubileuszowym – Muzeum obchodziło 20-lecie działalności. Z kolei w roku 2012 minęło 20 lat od rozpoczęcia akcji gromadzenia darów, w której wzięli udział wybitni i najwybitniejsi polscy twórcy (i nieliczni zagraniczni). Jedną z ważnych kolekcji podarował Andrzej Wajda. Dzieła są starannie wybierane. Artyści i inni darczyńcy stali się współtwórcami zbiorów. Dzięki tej akcji zgromadziło ponad 2500 dzieł, ale też ukształtował się program muzeum, intelektualny i edukacyjny, decydujący o odrębności placówki. Stworzony tu obraz sztuki polskiej po II wojnie światowej najlepiej definiuje tytuł jednego z pokazów: „Kolekcja 18. Sztuka w Polsce po r. 1945. Między ideą sztuki nowoczesnej, a rzeczywistością i pamięcią” (w 2009 r.). Jedną z najważniejszych kolekcji Muzeum pokazywało pod różnymi tytułami: „Sztuka w Polsce wobec spraw publicznych”, „W drodze do wolności” i „Polityka i etyka”. Muzeum organizuje też wystawy indywidualne zaprzyjaźnionych twórców.W zbiorach muzeum jest przeszło 4500 dzieł. Są tu dzieła stworzone przez artystów kilku pokoleń, reprezentujących różne nurty sztuki – przede wszystkim prace wykonane w technikach tradycyjnych. Muzeum posiada dużą kolekcję polskiego malarstwa współczesnego; ważne są kolekcje portretów i autoportretów oraz rysunków. Są rzeźby, niewielki zbiór obiektów i instalacji, grafiki wybranych artystów i fotografie, prace artystów tworzących poza krajem (na emigracji).

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Doświadczenie estetyczne w świecie późnej nowoczesności. W horyzoncie hermeneutyki Gianniego Vattimo

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Ziółkowska-Juś A.

Estetyka i Krytyka

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2017

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issue 2(45)

155-174

EN

The article contains an analysis of the concept of aesthetic experience of Gianni Vattimo in the horizon of his hermeneutics. It refers to the views of Friedrich Nietzsche, Martin Heidegger and Walter Benjamin, from which Vattimo drew his inspirations. These considerations focus on the thesis that the aesthetic experience of contemporary art, which causes confusion and alienation, “weakens” the metaphysical way of thinking and also “reality” and human identity which are based on it. However, the impact of contemporary art seems to be positive because it gives an opportunity to develop a new kind of vulnerability that is associated with openness to all that is various, different, variables, fragile, incomplete and transient. Aesthetic experience is considered in relation to the trends that are characteristic for late modernity. In the article there is also analyzed the problem of the ambivalence of technology and the mass media in the process of “weakening” the fictional reality.

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Czy sens i znaczenie współczesnej sztuki popularnej sprowadza się do jej wartości rozrywkowych?

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Dziemidok B.

Estetyka i Krytyka

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2011

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issue 1(20)

47-63

EN

The paper is an attempt to answer a question about value of popular art and critically approach a view, that prices of popular art are only of entertaining virtue. Among massively produced works of popular art obviously ones lacking artistic values and aesthetic qualities, which do not deserve to treated as works of art. However, works of high art does not contain only masterpieces, moreover one can find pretentious kitsch or tacky pieces there too. Richard Shusterman convincingly proved, that a view generally denying works of popular art artistic status and aesthetic value is not justified. Popular art satisfies aesthetic needs of millions of consumers among whom are also cultural and competent recipients of art. Neither should one depreciate works of dominantly entertaining value. Good entertainment is important in our times to many people, since it provides relief, relaxation releases the tension and improves the spirit. As a result helps to retain or regain psychological equilibrium. Having describe the specificity of cognitive, moral and cathartic – compensatory values of art, author suggests, that good works of popular art, such as American noir crime morals (Chandler, Hammett, MacDonald) or films of Woody Allen or Francis Coppola are not devoid of such values.

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Contemporary sites of contemplation: contemplative nature of the aesthetic experience of natural and transformed landscape in Roden Crater by James Turrell and Lucid Stead by Philip K. Smith

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Issa N.

Polish Journal of Landscape Studies

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2019

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vol. 2

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issue 4-5

99-105

EN

The aim of this paper is to offer an interpretation of two contemporary art works: James Turrell’s Roden Crater and Philip K. Smith’s Lucid Stead. They are seen as projects that may be qualified as examples of art based on the artists’ playing with light. The claim being that one of the factors that engenders a contemplative attitude on behalf of the beholder is the presence of light in relation to the artwork’s structure.

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Metafizyka i synteza w sztuce współczesnej na przykładzie interpretacji dzieł Boba Wilsona, Billa Violi i Jamesa Turrella

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Solewski R.

Estetyka i Krytyka

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2011

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issue 1(20)

167-178

EN

After descriptive analysis of selected works of Bob Wilson, Bill Viola and James Turrell, the author points out the “methaphysical longing” visible during the phenomenological approach. He stresses however the necessity of hermeneutic interpretation which discovers the location of aesthetic function in poetics and deepens this way methaphysical sense or artworks, as well as it confirms the identity of receiver, according to Gadamer’s concept of Auffülen.

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Sztuka w społeczeństwie sieciowym

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Gutkowski M.

Estetyka i Krytyka

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2010

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issue 19

37-52

EN

The rise of the network society has substantially changed the structure of human experience in all important fields of life and culture. In his ground-breaking trilogy entitled The Rise of the Network Society, Manuel Castells has created a theoretical framework for understanding this new reality we live in. The article attempts to regard contemporary art as one of the global flows, which is a term coined by Castells to describe the network reality. As far as art is concerned, conclusions drawn from this analysis are unappealing.

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„Jeśli my zapomnimy, kto będzie pamiętał?”. Dzieło sztuki jako manifestacja postpamięci

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Kabrońska J.

Politeja : Pismo Wydziału Studiów Miedzynarodowych i Politycznych Uniwersytetu Jagiellońskiego

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2015

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issue 4(35)

105-122

EN

The text is an attempt to determine the relationship between post‑memory (or – in other words – “vicarious memory”) and art. Particular attention is given to visual arts. The works of artists of the younger generation, such as Libera, Bałka, Żmijewski, and to some extent Betlejewski, who explored the memory of the Shoah, were discussed. Their works can be considered a form of manifestation of post‑memory. Assuming that the analysis of artistic phenomena is not possible without reference to the social context in which art is created and its social responsibility, the works of these artists were confronted with the material traces of memory (including Jedwabne, Kolno, Jeleniewo) that shape the social background of artistic creativity, its reception and debate about it.

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MUSEUM OF CONTEMPORARY ART IN RADOM-TWENTY TWO YEARS LATER

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Szewczuk M.

Muzealnictwo

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2013

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vol. 54

117-124

EN

The Museum of Contemporary Art in Radom is a branch of the local Jacek Malczewski Museum. Its large collection of Polish art from the second half of the twentieth century increases almost exclusively thanks to donations. The Museum was established in 1990 during the phase of systemic transformation, when it took over collections created at the Museum of Art and dating from the post-Word War II period (1 797 exhibits) and a collection of the BWA Gallery in Radom (265 exhibits). It was also the first institution in Poland to be named a museum of contemporary art. The Museum is located in two Baroque town houses in the Radom Market Square: the Esterka House and the Gąska House. The Museum initiated its activity in May 1991, in 2011 it celebrated its twentieth anniversary, and the year 2012 marked two decades from the inauguration of a collection of donations, an anniversary attended by outstanding Polish artists (and several from abroad). One of the important collections was donated by Andrzej Wajda. All artworks are carefully selected, with their authors and other donors becoming the co-founders of the collection. This campaign made it possible to amass more than 2 500 exhibits and to mould the intellectual and educational programme of the Museum, decisive for the latter’s distinctness. The thus created vision of Polish post-war art is best defined by the title of one of the shows: “Collection 18. Art in Poland after 1945. Between the idea of modern art, reality and memory” (2009). The Museum displayed one of its most prominent collections under various titles: ”Art in Poland and public issues”, “Along the path towards freedom”, and ”Politics and ethics”. It also holds one-man shows of artists closely affiliated with the Radom institution. The Museum collections are composed of over 4 500 works of art created by representatives of several generations and typical for assorted currents, with pride of place given to exhibits executed in classical techniques. A large collection of Polish contemporary painting is accompanied by significant collections of portraits, self-portraits and drawings. Other exhibits include sculptures, a small collection of installations, graphic works by leading authors, photographs, and works by artists residing abroad (émigrés).

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Od syntezy sztuk do sztuki post-medialnej

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Dziamski G.

Estetyka i Krytyka

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2010

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issue 17-18

33-46

EN

Popular romantic vision of the synthesis of arts had been questioned by the modern concentration on the use of new media. The terms „intermedia” and „multimedia”, as well as the differences between mixed means media and the expression of the common cognitive horizon of various domains started to be analyzed. In multimedia performances artist participated in the reality co-created by the new technologies. On the other hand, the perception of the communication was to result in the conscious and active involvement of the recipient. The next steps to create the full unity of the reality invented by the artist and the participant are the installations emerging in the virtual reality „inside the computer” or by the telepresence. Illusion of the contact with the multidimensional, dynamic reality may be the example of contemporary total work. At the same time the artists’ choice of the medium to be used in such a communication process usually lead to involvement of other media. It is not only the example of intermedia work but rather the post-media situation, where the artistic character of the whole communication, intermedia process is intended to be studied.

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Sens, znaczenie i wartość sztuki

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Warpechowski Z.

Estetyka i Krytyka

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2011

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issue 1(20)

17-27

EN

This article proposes a critical analysis of the situation of art today in respect of its key concepts: sense, meaning and value. The author, a well-known figure in the world of performance art, argues from the standpoint of a creative artist actively seeking both to shape and to properly grasp that which is conveyed bythe ethos of avant-garde art.

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Casus kiczu we współczesnych sztukach plastycznych

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Bacińska M.

Estetyka i Krytyka

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2011

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issue 2(21)

9-24

EN

The purpose of the paper is to answer the question: “Does the post art exist an art after the „end of art‟?” and if an answer is positive to ask the second question: “what is its character”. The author redefines the term “kitsch” and tries to rehabilitate it in relation to the principals of the postmodernism. “Concious kitsching” is the notion proposed in the text, which means that the kitsch creation in the contemporary plastic arts may be a result of an intent artistic decision. The goal of the thesis is to show the complexity of the kitsch, which paradoxically may prove the high artistic value of today's works of art. In this respect the figurative painting of Lisa Yuskavage and John Currin has been interpreted and analysed.

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Profesjonalizacja wolności. Swoboda artysty w sztuce współczesnej

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Sztabiński G.

Estetyka i Krytyka

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2010

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issue 17-18

11-32

EN

The history of art is often discussed in connection with broadening the scope of artistic freedom. Such an approach is founded on the assumption that freedom is a constant, transhistorical value which may be increased or limited depending on social conditions. Invoking Boris Bernstein’s views, the author challenges this approach, which allows him to consider the singular features of freedom in contemporary art. He argues that these features are delimited by emphasizing the opposition between broadly understood totalitarianism and liberalism. Postmodernist thinkers have transferred these issues from the area of politics to the domain of culture, which has resulted in detecting a variety of freedom restrictions. As an example, the author discusses the views of Richard Rorty who opposed the model of cultural liberalism (based on scientific patterns) to „poeticized culture” (characterized by randomness, irony and individualism).

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Tym razem poświęcimy własny kościół. Sacrum w sztuce młodych artystów

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Możdżyński P.

Estetyka i Krytyka

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2013

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issue 1(28)

93-115

EN

The main topic of this article is sacrum in the art of young polish artists. The first part is focused on methodology and defining such terms as sacrum, numinosum, transgression, initiation. In the second part the author explores the art of three young artist groups: Pracownia Struktur Mentalnych, Galeria “Praca” and Galeria “Dzika 6 na 79”. Some specific pieces of art are analyzed, including body art, performances, and videos.

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Patrząc na obraz Adama Chmielowskiego Zawale

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Taranczewski P.

Estetyka i Krytyka

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2011

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issue 1(20)

179-187

EN

Using concepts drawn from the aesthetics of Ingarden, this article sets out to analyse the qualities and metaphysical values discernible in the structure of the well-known painting The Zawale, by Adam Chmielowski. The author considers what the work of art amounts to in qualitative terms, where this is taken to determine its coherence and completeness as a gestalt figure, as well as its artistic value.

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Teoria dzieła sztuki Stefana Morawskiego – próba rekonstrukcji

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Przybysz P. J.

Estetyka i Krytyka

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2013

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issue 1(28)

117-131

EN

This paper is a reconstruction of Stefan Morawski’s understanding of what a work of art is. Three fundamental aspects are taken into account, namely: the ontological status, axiological status, and hermeneutical status of a work of art. This reconstruction includes as its sources diverse papers published by Morawski invarious places – a diversity which attests to the constant modifications of his conclusions

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Identification of Attitudes of Early School Education Teachers towards Contemporary Art in Early School Education – Construction of a Research Tool by Design

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Mazepa-Domagała B.

The New Educational Review

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2023

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vol. 72

161-175

EN

This document is a continuation of the reflections on issues related to the phenomena surrounding the reception of contemporary art, initiated in the scientific study Around Art Reception. A Model of Empirical Cognition of Early School Education Teachers’ Attitudes to Modern Art – A Project Study. The article presents basic assumptions regarding the exploration of attitudes of early school education teachers towards contemporary art, and its main part is an attempt to present the author’s research tool in the form of a measure to identify the attitudes of early school education teachers towards contemporary art in the early school education process. The presented research tool consists of 50 test positions grouped in three dimensions: thoughts and beliefs about the characteristics of the object of an attitude, sensations and emotions associated with the object of an attitude, as well as actions and behaviours towards the object of an attitude, aimed at determining the attitudes of early school education teachers towards contemporary art in the early school education process within the following system: acceptance – ambivalence – rejection. The projected research tool is the initial proposal for further attempts by researchers of the subject to create their original tools for identifying audiences’ attitudes towards contemporary art.

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Examining the Boundaries of Contemporary Art: An Exploratory Study of Institutional Critique in Poland 1990–2015

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Płucienniczak P. P.

Colloquia Humanistica

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2019

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issue 8

EN

Examining the Boundaries of Contemporary Art: An Exploratory Study of Institutional Critique in Poland 1990–2015The article explores the practices of institutional critique in Polish contemporary art. A quantitative survey of cases of institutional critique reveals major problems faced by artists and their perceptions of the autonomy of the visual arts. Badanie granic sztuki współczesnej: Eksploracyjne studium krytyki instytucjonalnej w Polsce 1990-2015Artykuł prezentuje wyniki eksploracyjnych badań nad praktykami krytyki instytucjonalnej w polskiej sztuce współczesnej. Ilościowa analiza epizodów takiego rodzaju działań artystycznych ujawnia najważniejsze problemy twórców i twórczyń oraz ich percepcję autonomii sztuk wizualnych.

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Transformacja w sztuce w postkomunistycznej Europie

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Radomska M.

Artium Quaestiones

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2018

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issue 29

409-435

PL

The paper focuses on the ways of visualizing political and economic transformation in the works of artists from post-communist Europe mainly in the 1990s. Those works, which today, in a wide geographical context, may be interpreted as problematizing the idea of transformation, were often originally appropriated by such discourses of the post-transformation decade as the art of the new media and technology (Estonia), performance (Russia), feminism (Lithuania), body art (Hungary), and critical art (Poland), which marginalized the problem of transformation. Analyses of the works of artists from Lithuania, Estonia, Hungary, Bulgaria, and Russia make it possible to determine and problematize the poles of transformation in a number of ways, pointing at the inadequacy of those poles which traditionally spread from the end of totalitarian communism to democracy identified with free market economy. By the same token, they allow one to question their apparent antithetical character which connects the transformation process to the binary structures of meaning established in the period of the Cold War. The presented analyses demonstrate that the gist of the transformation was not so much the fall of communism, which is surviving in the post-1989 art of East-Central Europe due to the leftist inclinations of many artists with a Marxist intellectual background, but the collapse of the binary structure of the world. Methodologically inspired by Boris Buden, Susan Buck-Morss, Marina Gržinić, Edit András, Boris Groys, Alexander Kiossev, and Igor Zabel, they restore the revolutionary character of 1989 and, simultaneously, a dialectical approach to the accepted poles of the transformation. An example of ideological appropriation, which may be interpreted as problematizing the political transformation, is Trap. Expulsion from Paradiseby the Lithuanian artist Eglė Rakauskaitė. The first part of the paper focuses on Jaan Toomik’s May 15-June 1, 1992, interpreted in the theoretical terms proposed by Marina Gržinić and Boris Groys as a work of art that visualizes the concept of post-communism as excrement of the transformation process. Placed in the context of such works as In Fat(1998) by Eglė Rakauskaitė, 200 000 Ft(1997) by the Hungarian artist Kriszta Nagy or Corrections(1996-1998) by Rassim Krastev from Bulgaria, Toomik’s work is one of many created at that time in East-Central Europe, which thematized the transformation process with reference to the artist’s body. Krastev’s Correctionsproblematizes the transformation as a process of self-colonization by the idiom of the West, as well as a modification of the utopia of production, one aspect of which was propaganda referring to the body, changing it in an instrument that transformed the political order into a consumerist utopia where bodies exist as marketable products. The part titled, “The Poles of Transformation as a Function of the Cold War,” focuses on A Western View(1989) by the Bulgarian artist Nedko Solakov and This is my blood(2001) by Alexander Kossolapov from Russia. In a theoretical context drawn from the texts by Zabel, Buden, and Ekaterina Degot, Solakov’s work has been interpreted as problematizing the transformation understood as refashioning the world, no longer based on the bipolar division into East and West. The paper ends with an analysis of Cunyi Yashi, a work of the Hungarian artist Róbert Szabó Benke, which problematizes the collapse of the bipolar world structure in politics and the binary coding of sexual identity. In Szabó Benke’s work, the transformation is represented as rejection of the binary models of identity – as questioning their role in the emergence of meanings in culture.

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