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Sztuka, postsztuka, autosztuka i ...

100%
Wnuk K.
Ogrody Nauk i Sztuk
|
2011
|
issue 1
PL
Celem sztuki staje się dążenie do eliminacji wszystkiego, napiętnowanie wszelkiej niesprawiedliwości. Dzieła demaskują wszelkie postawy i często wykraczają poza formy, konwencje sztuki, pozostają bezradne i akceptują taką sytuację. Pojawia się przy tym stwierdzenie, że artyści podejmują przewrotną i dywersyjną grę przeciwko komercji i lansowaniu. Skutek jest dokładnie odwrotny. Powstaje zjawisko postsztuki (forma uczestniczenia w grze o dominację kolejnych kulturowych aktualności. Artefakt postsztuki to spektakl, wydarzenie, produkt), którą można zdefiniować jako to, co wypada, by było sztuką ze względu na jej aktualne uwarunkowania zewnętrzne, czyli dzisiejsze rynkowo-medialne wydarzenia. Jest to zjawisko odmienne od sztuki, kieruje się inną celowością, innymi środkami.
EN
The purpose of art is to aim at eliminating everything, branding injustice. The art works uncover al attitudes and often cross the forms and conventions, become helpless and accept such situation. Artists are said to play a diversionary game against lancing and commercialisation. But the result is completely opposite. The phenomenon of postart appears (the form of participation in a game for domination of following cultural actualities. Postart artifact are: events, performance, products). Postart can be defined as that what must be called art because of market trends. It is a different phenomenon than art, which follows different rules and methods.
2
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Obrazy „z odzysku” w postkinowych realiach

84%
Radkiewicz M.
Kultura Współczesna. Teoria. Interpretacje. Praktyka
|
2022
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vol. 121
|
issue 1
46-55
EN
The text examines selected art projects that use re-cycled visual materials excluded from media circulation because of poor quality, physical damages or incompatibility with aesthetic standards or media norms. In many cases exclusion of certain representations is a part of much more complex mechanisms of social or cultural exclusion of artists themselves and/or of people represented in re-cycled images. These processes of exclusion are analyzed in terms of post-cinema and post-art research focused on the transformation of the process of representation and operation of audiovisual culture. The suggested approach is connected to discussions regarding old and new media regimes, and ongoing changes in visual communication due to technological development and aesthetic evolution. The analysis is conducted on selected works of these artists who have deliberately re-cycled visual materials of different kinds, re-working them digitally and mechanically. At the same time all these artists have negotiated the methods of exhibiting and perceiving the re-cycled images in galleries or in selected media. For artists such as Mahshid Mahboubifar, Gideon Mendel and Richard Mosse it is important to combine found-footage technique with post-digital tools to expose human and non-human aspects of re-created images.
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