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Od sztuki site-specific po sztukę partycypacyjną. Sztuka zaangażowana – wybrane współczesne teorie i praktyki artystyczne

100%

Urwanowicz-Rojecka E.

Pogranicze. Studia Społeczne

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2015

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vol. 26

31-47

EN

Site-specific art has been changing through the years. Firstly, it was connected with its location and directly corresponding with a given site, then critically reconfiguring it. Later it became art that served aesthetic processes in the site, and finally, art that defined the site in a very abstract way (which marked the beginnings of public and community art). Among different paradigms of artistic practices, the latter may take the form of participatory art. Miwon Kwon, Grant Kester and Claire Bishop are considered to be its key theorists. Changes within site-specific practices and their aspiration for a meaningful social context have helped to (re)define the categories of public space, community, and participation. The last of the three has become globally common for artistic practices, without regard for cultural differences, varied political contexts, or issues of funding of this genre of art. Why participatory art is so popular? What kind of impact does it have on the socio-cultural reality? The paper provides an overview of the changes that have taken place within site-specific artistic practices, showing that even a provisionary answer to the above questions cannot be found without an interdisciplinary approach.

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The Signifier Cannot Be Detached from the Body

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Dworakowska Z., Rusek M.

Didaskalia. Gazeta Teatralna

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2021

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issue English Issue 2021

90-112

EN

The text is a proposal to analyse the film Symphony of the Ursus Factory from three different perspectives: performance studies, qualitative research, and participatory art. Departing from a quote by the director, Jaśmina Wójcik, where she reminisces about her first encounters with the former employees of the factory, the author focuses on the issue of embodied knowledge. Through discussing different moments of the film and its visual and audial strategy, the author also shows how theatricality mixes with documentality in the production. The author also refers to different events and activities from the nine-year-long Factory Ursus Project to show it as a long-term process grounded on different modes of participation and collaboration, without which the movie could not have been possible and which legitimates its artistic form.

3

Znaczenia nie da się oddzielić od ciała

88%

Dworakowska Z.

Didaskalia. Gazeta Teatralna

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2021

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issue 163/164

28-51

EN

The text is a proposal to analyse the film Symphony of the Ursus Factory from three different perspectives: performance studies, qualitative research, and participatory art. Departing from a quote by the director, Jaśmina Wójcik, where she reminisces about her first encounters with the former employees of the factory, the author focuses on the issue of embodied knowledge. Through discussing different moments of the film and its visual and audial strategy, the author also shows how theatricality mixes with documentality in the production. The author also refers to different events and activities from the nine-year-long Factory Ursus Project to show it as a long-term process grounded on different modes of participation and collaboration, without which the movie could not have been possible and which legitimates its artistic form.

4

‘Downtown mosaics’ in revitalisation district in Szczecin (Poland). Reflections on the project

88%

Krawczak A.

Annales Universitatis Paedagogicae Cracoviensis. Studia de Arte et Educatione

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2022

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vol. 17

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issue 375

105-115

EN

One of the most degraded areas of Szczecin is the city center with its three housing estates: Centrum, Śródmieście Zachud and Turzyn. The City Hall has been running a revitalisation program for this area since 2017. OSWAJANIE SZTUKI Association, which has been running the ŚRODEK Śródmiejski Punkt Sąsiedzki since 2018, located in the area covered by revitalisation, is implementing the artistic and social project ‘Downtown mosaics.’ The aim of the project is to create art objects in a degenerated semi-public space and to improve the attractiveness of places that the inhabitants of the area consider unattractive and/or dangerous. Mosaics are created in cooperation with local artists, urban activists and city residents in the courtyards of tenement quarters, outside the main walking trails. Designers present proposals for three mosaics, but the final choice is made by the residents of the nearest residential buildings or the direct owner of the facility. So far, five mosaics have been created on various topics – from ‘Cosmos’ behind the former Kosmos cinema to ‘Reading room’ on the garage wall of the owner of an informal antique shop. In addition to actively joining the mosaic, the residents can provide the material for the mosaic – e.g. tiles left over from home renovation. The mosaics became an attraction not only for the closest residents, but also met with a very positive reception from all Szczecin residents who began to visit the dark corners of the city center. The article presents the process of creating neighbourly mosaics in the spirit of participatory art.

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Kwestia autorytetu, czyli wspólne problemy sztuki partycypacyjnej i badań jakościowych

88%

Dworakowska Z.

Didaskalia. Gazeta Teatralna

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2022

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issue 169-170

106-137

EN

The aim of the article is to examine possibilities of using the experience of the qualitative social research in developing more complex interpretation methods of participatory projects in theatre and performance art. Departing from the classical essay On Ethnographic Authority by James Clifford which traces different strategies that researchers use to represent the field reality in their writing, the author introduces the qualitative research trend and its reflexion. The author refers to different ways of how qualitative researchers argue with the traditional hegemony of the scientific text, its isolation from the field and from the community being researched, and the way it creates the hierarchy between them and the researcher. Such strategies from qualitative methodologies, such as grounded theory, triangulation of methods and points of views, attempts to share control on the research process with the local participants and to include polyphony in the texts are presented as inspiring for the analysis of participatory practices. The author compares the lesson learnt from qualitative research with the theses of Claire Bishop in her well-known book Artificial Hells: Participatory Art and the Politics of Spectatorship. According to the author, the perspective of qualitative research can be interpreted as a new attempt at thinking about social and artistic, ethic and aesthetic dimensions of the participatory projects, which is a crucial issue for Bishop.

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Provocateurs of Experiences, Practitioners of Traps

88%

Ogrodzka D., Mirosław R.

Didaskalia. Gazeta Teatralna

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2022

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issue English Issue 2022

95-132

EN

This article is a self-analytical description of the work of the Laboratorium Teatralno-Społeczne (Social Theatre Laboratory), an artistic collective based in Warsaw. It mainly focuses on the Theatre’s audience/participant involvement strategies and their ways of constructing theatre experiences and telling stories in a participatory style. The author discusses examples of performances, performative actions, ways of creating the dramaturgy and the type of relationships that performers establish with the audience in the work of the Laboratorium Teatralno-Społeczne collective. At the same time, she examines what kinds of challenges are faced by groups and artists who declare their willingness to create participatory art. She seeks to propose interpretative notions for naming and describing these challenges.

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Miejskie performanse Władysława Hasiora

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Figzał-Janikowska M.

Pamiętnik Teatralny

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2022

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issue 1(280)

11-32

EN

This article discusses the performative art of Władysław Hasior, particularly his actions in the urban space. Initially expressed only in his artworks, since the 1970s Hasior’s need for dialogue with the spectator took the form of very expressive artistic manifestations involving audience participation, direct involvement of spectators in the creation of the performative event, and abolition of the distance between the artist and society. Due to the ontological status of these events, their ephemeral and fleeting nature, they have been the least explored area of Hasior’s work. The article analyzes his most important urban and open-air performances, such as the Procesja sztandarów (Banner Procession) in Łącko (1973), Solspann in Södertälje (1973–1976), and finally the ceremonial Przeprowadzka (Move) from the dormitory of Antoni Kenar school of fine arts to a new atelier in Zakopane (1984). These actions are considered in the context of contemporary discussions on participatory art: Claire Bishop’s antagonistic theory of participation and Grant H. Kester’s concept of dialogical art. It is argued that Hasior’s performative projects combined two strategies of participatory art; he was able to co-create ephemeral works together with the audience, while at the same time directing the spectators’ actions.

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Prowokatorzy doświadczeń, praktyczki pułapek

88%

Ogrodzka D.

Didaskalia. Gazeta Teatralna

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2022

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issue 168

161-199

EN

The article is a self-analytical description of the activities of the Theatre and Social Laboratory (TSL) – an artistic collective operating in Warsaw. The main subjects are strategies for engaging audiences / participants, as well as ways of constructing theatrical experiences, and building and telling stories in the participatory style. The author discusses examples of performances, performative actions, ways of creating dramaturgy and the type of relationships that performers establish with the audience in the work of TSL collective. At the same time, she wonders what kinds of challenges are faced by teams or artists who declare their willingness to create participatory art. She tries to propose interpretation categories for naming and describing these challenges.

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Between Aesthetics and Politics: Socially Engaged Art on the Internet

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Winiecka E.

Poznańskie Studia Slawistyczne

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2019

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issue 17

303-319

EN

The author discusses the changes in the model of democracy that have occurred since the Internet began. The hierarchical model of representative democracy is replaced on the Web by participatory democracy. On the example of Siksa and Bread Resolution (Rozdzielczość Chleba), the author shows up the transformations of the model of literary communication on the Internet. She also indicates ethic role engaged art takes in the contemporary society. Artists that produce socially engaged art do it in the name of those who do not exist in public space, those whose voice is not heard and who cannot defend themselves. Nevertheless, the author comes to the conclusion that the real democratic revolution can only take place outside the Web.

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Szczególne potrzeby współpracy. Proces powstawania „Pokoju nieobecnych” w ramach Cricoteki otwartej

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Kwaśniewska M.

Didaskalia. Gazeta Teatralna

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2022

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issue 169-170

138-180

EN

The article analyses the process of workshops and the staging of the performance Room of absentees (Pokój nieobecnych) directed by Joanna Pawlik within the framework of Cricoteka otwarta in collaboration with people (artists and non-artists) with and without disabilities. The article is based on the author’s participant observation. She analyses it in relation to many theories, such as participatory art, devised theatre, disability studies, art by artists with disabilities, art therapy, and crip time. The author shows how the same working conditions affect differently people with different bodies or senses, and how the rules have to be changed in the process to accommodate different needs. The relationship between the institutional framework and the status of the artist is also one of the topics. The article ends with a call for establishing an institution where Joanna Pawlik could work with her team on a regular basis rather than from project to project.

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Концерт для слушателя с оркестром. Пути развития партиципаторного музыкального искусства

63%

Цветковская Т.

Ars inter Culturas

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2020

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issue 9

111-124

EN

The article is devoted to participatory musical works created in collaboration with the pub-lic. Listeners act as a composer’s creative partners – co-authors and performers. Comparative analysis of different interpretations of the concepts of “musical participation” and “partici-patory music” allows us to highlight the key characteristics of this phenomenon. In addition, the author believes that it is important to substantiate the legitimacy of using the term “partici-patory art” outside of any specific genre, stylistic, or time frames.The study of participatory works leads to understanding of the various tasks that are achie-ved in the process of collective creation. The interaction between the composer and the audien-ce strengthens interpersonal relationships. Listeners are meant to receive a role through which they could show their individuality most clearly; and this condition stimulates the search for new expressive means. As a result, peculiar genre forms emerge. At the same time, listeners comprehend the inner logic of musical art themselves.It is noted that composers retain the traditional genre classification, not deeming it ne-cessary to emphasize audience participation. However, compositions with the participation of the public are becoming a noticeable phenomenon of modern musical life. This generates a pressing challenge – to establish the correspondence of the techniques used in working with the audience to the artistic concept, and to propose a typology of participatory works. Some compositions emerge as an artistic experiment. Others are part of educational projects. Some works are aimed at studying the benefits of cooperation between the composer and the public. Along with the practices considered in the article, there are a number of prospective opportuni-ties that can ensure the fruitful involvement of the public in the creative process. All this allows us to hope that participatory musical art will enjoy further successful development

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Spotkania. Współpraca Michała Borczucha z dziećmi oraz osobami niepełnosprawnymi

51%

Berendt Z.

Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura

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2019

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issue 11(2) "Teatr w edukacji, terapii i profilaktyce"

114-122

PL

Zuzanna Berendt w swoim artykule omawia trzy spektakle zrealizowane przez reżysera Michała Borczucha we współpracy z dziećmi i osobami niepełnosprawnymi: Lepiej tam nie idź (2013), Zostań, zostań (2015), Paradiso (2014). Autorka skupia się na instytucjonalnym kontekście współpracy reżysera zawodowego z aktorami nieprofesjonalnymi oraz na jego metodach pracy. Współpracę pomiędzy Borczuchem a dziećmi i niepełnosprawnymi ocenia jako przynoszącą wiele korzyści obu stronom i pozytywnie wpływającą na praktykę reżysera w pracy z aktorami zawodowymi.

EN

The aim of this article is to present three performances by a theatre director Michał Borczuch that were created in cooperation with children and disabled people: You Better Not Go There (2013), Stay, Stay (2015), Paradiso (2014). The author focuses on the institutional context of the cooperation between Borczuch, who is a professional, and non-professional actors, as well as the methods he uses. According to the author, such collaboration is valuable for both sides and positively influences the director's work with professional actors.

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Sztuka Partycypacyjna i Dizajn Partycypacyjny: Źródła, Definicje i Wartości

51%

Wołodźko A.

Sztuka i Dokumentacja

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2020

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issue 23

161-174

EN

Over the past two decades, a demand for audience participation in creative and design processes has been increasingly felt. A profound transformation of the field of art is a consequence of its timeliness. The desideratum of participation of recipients and users as creators is not limited to the sphere of art, but also applies to city development processes, common spaces or digital culture. This is a result of the observed transformation of attitudes of both artists and designers who now want to expand the spectrum of their social presence to act as responsible citizens. However, today's proliferation of projects incorporating unprofessional and vernacular activities has not resulted in a broader analysis of this phenomenon in the field of art history. In this situation, a theoretical reflection that will follow the changes taking place seems to be an important need. The deficit of the correct understanding of the concepts of participatory art and participatory design translates into practical consequences in a situation where the slogan of participation is readily picked up by local authorities, referring to it during processes of urban tissue transformation and revitalization of neglected quarters. Therefore, the role of the following text is first of all – an indication of the sources of art and participatory design and the values associated with them, and secondly – a review and ordering of existing definitions. In this way, it has a chance to become an opportunity for rethinking what the phenomena actually are.

PL

W ciągu ostatnich dwóch dekad postulat partycypacji publiczności w procesach twórczych i projektowych coraz silniej daje o sobie znać. Konsekwencją jego aktualności jest gruntowne przeobrażenie pola sztuki. Dezyderat uczestnictwa odbiorców i użytkowników w roli twórców nie ogranicza się zresztą do sfery sztuki, lecz dotyczy również m.in. procesów rozwoju miast, przestrzeni wspólnych czy kultury cyfrowej. To wynik obserwowanego przekształcania się postaw zarówno artystów jak i projektantów, którzy obecnie pragną poszerzać spektrum swej społecznej obecności by występować w roli odpowiedzialnych obywateli. Jednak dzisiejsze upowszechnienie się projektów włączających działania nieprofesjonalne i wernakularne nie poskutkowało podjęciem szerszej analizy tego zjawiska na polu historii sztuki. W tej sytuacji istotną potrzebą wydaje się refleksja teoretyczna, która podążać będzie w ślad za zachodzącymi przemianami. Deficyt prawidłowego rozumienia pojęć sztuki partycypacyjnej i dizajnu partycypacyjnego przekłada się bowiem na konsekwencje praktyczne w sytuacji, gdy hasło partycypacji zostaje chętnie podchwycone przez władze lokalne, odwołujące się do niego przy okazji przeprowadzanych procesów przekształceń tkanki urbanistycznej i rewitalizacji zaniedbanych kwartałów. Dlatego rolą poniższego tekstu jest po pierwsze – wskazanie na źródła sztuki i dizajnu partycypacyjnego oraz powiązane z nimi wartości, a po drugie – przegląd i uporządkowanie funkcjonujących już definicji. W ten sposób ma on szansę stać się okazją do ponownego przemyślenia, czym są w istocie przywołane zjawiska.

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Czy sztuka partycypacyjna może zaistnieć w internecie?

23%

Fausek-Kaczanowska A.

inAW Journal – Multidisciplinary Academic magazine

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2020

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vol. 1

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issue 1

EN

The article presents the objectives, concepts, methods and characteristics of the artistic and social action known as “#givethanksfor”, pursued through social media, based on the assumptions of participatory art. The article describes the components of the action, how it was created and importance of the artistic work done, which is the finale of the action. The artist asks questions: “Can participatory art exist online?” and “Will the artist’s actions based on participatory art allow to awaken and show a feeling of gratitude in a group of people?” Answers were attempted based on considerations of participatory art, gratitude and online artistic activity.

PL

Artykuł przedstawia cele, koncepcje i metody działania oraz charakterystykę przebiegu akcji artystyczno-społecznej „#dziękujza” w mediach społecznościowych w oparciu o założenia sztuki partycypacyjnej. Opisuje jej elementy składowe, sposób powstania i znaczenie wykonanej pracy artystycznej będącej finałem akcji. Artysta stawia pytania: „Czy sztuka partycypacyjna może zaistnieć w internecie?” i „Czy działania artysty oparte na sztuce partycypacyjnej pozwolą rozbudzić i unaocznić uczucie wdzięczności w grupie ludzi?”. Odpowiedzi próbowano uzyskać na podstawie rozważań o sztuce partycypacyjnej, wdzięczności oraz przeprowadzonego działania artystycznego w internecie.

Refine search results

Od sztuki site-specific po sztukę partycypacyjną. Sztuka zaangażowana – wybrane współczesne teorie i praktyki artystyczne

The Signifier Cannot Be Detached from the Body

Znaczenia nie da się oddzielić od ciała

‘Downtown mosaics’ in revitalisation district in Szczecin (Poland). Reflections on the project

Kwestia autorytetu, czyli wspólne problemy sztuki partycypacyjnej i badań jakościowych

Provocateurs of Experiences, Practitioners of Traps

Miejskie performanse Władysława Hasiora

Prowokatorzy doświadczeń, praktyczki pułapek

Between Aesthetics and Politics: Socially Engaged Art on the Internet

Szczególne potrzeby współpracy. Proces powstawania „Pokoju nieobecnych” w ramach Cricoteki otwartej

Концерт для слушателя с оркестром. Пути развития партиципаторного музыкального искусства

Spotkania. Współpraca Michała Borczucha z dziećmi oraz osobami niepełnosprawnymi

Sztuka Partycypacyjna i Dizajn Partycypacyjny: Źródła, Definicje i Wartości

Czy sztuka partycypacyjna może zaistnieć w internecie?