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Asamblaż z lat sześćdziesiątych dwudziestego wieku w polskich kolekcjach muzealnych. Problem dokumentacji

100%

Rajna K.

Sztuka i Dokumentacja

2013

issue 9

93-105

The article undertakes the topic of the correct terminology for assemblages from the 1960s in the collections of the Polish National and Regional Museums. When analysing the situation of objects from the collections, the author tried to show that museum strategies which do not follow the creation of new terminology caused the works to be assigned to three earlier defined categories – painting, sculpture and graphics. Therefore three-dimensional post-modernist works were treated the same way as modernist, which allowed their inclusion in the collection. This situation, which is also sporadically and inconsequently used in the literature on the subject caused the term assemblage to be almost crossed out from the museum collection cards. Only in the case of Władysław Hasior, whose art is recognisable through the use of “tacky” items of low rank, the name assemblage was accepted. Even though neither the author of the term Jean Dubuffet (who included dried butterflies in his works) nor the key exhibition which sanctioned the use of it (The Art of Assemblage, 1961) did not use the criterion of the item of a low rank. It was rather about the creation of a work through “setting one thing beside the other without connective”, “collecting, gathering, merging” and the formal and technological development of the formula of a flat collage. Accepting such a definition allows us to see assemblages in the works of Teresa Rudowicz (with the use of lace), Danuta Urbanowicz (in which she used a fragment of a wall), Tytus Dziedzuszycki (in works with the use of metal and wood), Bronisław Kierzkowski (connecting metal and plaster) and others. In reference to the work of Tadeusz Kantor one may try to translate a term “combine painting” taken from Robert Rauschenberg’s works because the usage of traditional paint is so clear that it is used equally with other artistic materials.

Virtuelle Museen als Blick in die Zukunft

84%

Szot D.

Annales Neophilologiarum

2013

issue 7

175-181

The subject of this short analysis is the question about the structure of virtual museum. In this way appears the meaning of the modern technologies, which can be used for the better “publicity” of art. The other point is the comparison of traditional and virtual museum. Important is the question about the reception of art in this both cases. Virtual museums in Berlin are like the cosmos – approachable and open for all visitors in the world. Internet turns out as the practical instrument for the environment of art.

Artykuł zatytułowany Virtuelle Museen als Blick in die Zukunft porusza problematykę funkcjonowania multimediów w dzisiejszym świecie sztuki. Coraz bardziej popularna staje się metoda tworzenia tzw. wirtualnych muzeów, które za pomocą zaawansowanej technologii multimedialnej prezentują zbiory muzealne najsłynniejszych muzeów na świecie. Autorka szczególną uwagę poświęca berlińskim muzeom, które wykorzystując tę metodę chcą dać przedsmak tego, co widz może ujrzeć w realu.

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1 Annales Neophilologiarum

1 Sztuka i Dokumentacja

1 Rajna K.

1 Szot D.

2 2013

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Asamblaż z lat sześćdziesiątych dwudziestego wieku w polskich kolekcjach muzealnych. Problem dokumentacji

Virtuelle Museen als Blick in die Zukunft