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Rethinking landscapes in transition through an Anthropocene lens

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Pauknerová K.
Český lid: etnologický časopis (Český lid: Ethnological journal)
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2024
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vol. 111
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issue 3
271-297
EN
This article delves into the theoretical dimensions of landscapes in transition, provides a comprehensive literature review and outline summary, and contextualizes the theory within the contemporary Anthropocene framework. It is focused on synthesizing and interconnecting the theoretical approaches to landscape in transition in the articles in this special issue, the scope of which is extended by incorporating additional perspectives to supplement and enrich the understanding of the issue. Through an Anthropocene lens, the article conceptualizes landscapes as crucial intermediaries, vividly depicting the convergence of large-scale, global influences or planetary events and local occurrences. The conclusion advocates a pluralistic understanding that embraces differentiated perspectives and a more-than-human approach.
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Ha-ha. Aneks do Kontraktu rysownika

100%
Drabarczyk vel Grabarczyk P.
Konteksty - Polska Sztuka Ludowa
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2024
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vol. 347
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issue 4
115-123
EN
In the art of French and English garden landscaping a ha-ha – a moat, a ditch, a fault line – is a boundary intended to be invisible from the estate and, at the same time, to protect against intruders: animal and human. In a manner invisible to regular visitors, albeit visible to the unauthorised, the ha-ha separates the “aristocratic” from the “plebeian”, but also the “cultured” from the “natural” and the “artistic” from the “non-artistic”. Jakub Woynarowski – a visual artist – perceives the ha-ha as a figure for reflections about the world of art, which beneath the pretence of inclusiveness cherishes, in a subtly oppressive manner, its exclusiveness. The author of the article follows ha-ha figures in projects by Jakub Woynarowski while pondering on the boundary between artistic and extra-artistic reality as well as procedures aiming at this boundary’s relativization.
PL
Aha / haha to w sztuce urządzania francuskich i angielskich ogrodów granica – fosa, rów, uskok – która ma pozostać od strony posiadłości niewidoczna, a zarazem chronić przed wtargnięciem intruzów: zwierząt i ludzi. W sposób niezauważalny dla bywalców ogrodu, acz zauważalny dla niepowołanych, aha/ha-ha oddziela „arystokratyczne” od „plebejskiego”, ale także „kulturowe” od „naturalnego”, „artystyczne” od „pozaartystycznego”. Dla artysty wizualnego Jakuba Woynarowskiego ha-ha jest figurą myślenia od świecie sztuki, który pod pozorami inkluzywności w subtelnie opresyjny sposób dba o swoją inkluzywność. Autor podąża w artykule tropem figury ha-ha w projektach Jakuba Woynarowskiego, zastanawiając się nad granicą pomiędzy rzeczywistością artystyczną a pozaartystyczną oraz procedurami zmierzającymi do relatywizacji tej granicy.
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