Search results

1

Kreacja / destabilizacja miejskiej przestrzeni publicznej przez sztukę

100%

Fołta M.

Studia Etnologiczne i Antropologiczne

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2015

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vol. 15

35-47

EN

This article presents a creative and destabilising function of art created in urban public space. This public space is here seen according to the view of belgian philosopher Chantal Mouffe as agon - battleground and confrontation of hegemonic projects. Public art is one approach to take the floor in a public debate this is why it has a political character. Krzysztof Wodiczko is a creator of this type of art who postulates creation through democratic public space art and promotes public domain. This article particularly shows his concept contained in “The Abolition of War” publication.

2

Praktyki crowdfundingu w sztuce publicznej

100%

Białous M.

Pogranicze. Studia Społeczne

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2015

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vol. 26

75-88

EN

Crowdfunding is a form of funding projects (business, scientific, social, artistic, etc.) based on small but numerous payments, collected mainly through Internet communities. The article presents the current state of interest in this form of public art funding, both in Poland, and abroad. The analysis of crowdfunding websites shows several features of this mechanism used for public art funding. It encourages artists to engage in more active participation on the Internet, especially on social networks’ level, which is particularly important in the all-or-nothing financing system. Crowdfunding also encourages people to be more active citizens, as financial support for specific projects in the field of public art is not only an endorsement, but also a real act of participation in the processes of creation of public space. On the other hand, crowdfunding has very limited ability to control and influence the artistic and social value of projects. Reliance on the “wisdom of the crowd” may therefore lead to the promotion of mediocre initiatives, neither presenting a high aesthetic value, nor bonded to the space in which they are to be found. There are also other risks associated with crowdfunding of public art, such as the risk of rollover of such initiatives from public institutions (e.g. local governments) solely on the shoulders of citizens, or the lack of intellectual property protection.

3

Lustmord Jenny Holzer jako kontrhegemoniczna praktyka artystyczna

88%

Adamska-Kijko M.

Estetyka i Krytyka

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2017

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issue 1(44)

7-24

EN

According to Chantal Mouffe’s conception of agonistic pluralism I will analyse the role which one of Jenny Holzer artwork plays in hegemonic struggle. Lustmord. is the work produced in 1993 as an example of undermining the memory discourse about military action during Bosnian War. The artist places violence against women into the centre of war strategy thereby giving voice to the victims rather than to the winner. I hope to find out if Lustmord creates an agonistic dimension of public space.

4

Liminal museum. Artistic installations at the threshold of public realm

88%

Resta G., Dicuonzo F.

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

73-89

EN

The concept of liminal museum looks at the potential of public art in the liminal space of exhibition venues, in between urban realm and the interior of public buildings, as an innovative locus of social engagement. More specifically, we study the status of artistic interventions that take place on the façade through the definition of three fields of investigation: juxtaposition, ephemerality, media. We present the case study of a curatorial project developed in Altamura, Italy, within the dimension of living labs used for citizens’ engagement in art production and education. This leads to the issue of co-habitation of museum institutions with surrounding neighbourhoods, interpreting the façade as a symbolic interface that mediates values and languages of art.

5

STREET ART AND GUERRILLA MARKETING AS ATTEMPTS TO CREATE A PUBLIC SPACE

88%

Grotowska S.

Studia Humanistyczne AGH

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2012

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vol. 11

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issue 3

EN

This article addresses a problem of the social functions of street art. The starting point is the assumption that art (not just street art) is present in all spheres of life - in a political propaganda, religious portraits, objects of trade, media, collective memory, etc. Explicitly or implicitly art supports the morale, co-creates the sense of community, social solidarity, can be used for - supporting the social order as well as for its criticism. The text consists of 4 subsections. The first summarises the origins of street art, inthe second one street art is considered as fram¬ing, in the third - street art has been analysed as a tool for building awareness of opposition, and the fourth one discusses the use of aesthetics of street art in the market games based on the example of guerrilla marketing and marketing activities of public institutions. The paper ends with a conclusion that street art is the art involved, the role of which in a public debatę relies on the production and maintaining awareness of opposition, although there are several factors that hinder the initiation of social change: a lack of understanding by the local com¬munity, limited freedom of speech, blurring the boundary between street art and street art aesthetics used for other purposes (such as guerrilla marketing).

6

Przestrzeń pożydowska

88%

Matyjaszek K.

Studia Litteraria et Historica

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2013

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issue 2

EN

The Post-Jewish SpaceThe paper offers a critical analysis of a prevalently used contemporary Polish design strategy of alteration and modification, practiced on the former Jewish districts in Poland. A majority of these districts’ urban substance consists of property once belonging to Polish Jews, and appropriated by non-Jewish Poles during the Holocaust and after 1945. Such property and its urban space are described in Polish language as a ‘post-Jewish’ ones (mienie pożydowskie).The article analyses two parallel cultural processes of contemporary adaptation of this urban space. First of these processes is focused on the concept of Jewish Space, a social idea proposed in 1999 by Diana Pinto. The Jewish Space, envisaged as a cultural and material space of an encounter between European Jews and non-Jews, in its Polish interpretation becomes free from any requirement of a Jewish presence. A social practice resulting from such interpretation differs radically from Pinto’s original idea.The second reviewed process concerns the physical construction of thus defined ‘space of encounter’. Its practice is analysed on an example of Oxygenator, an urban intervention by Joanna Rajkowska, installed in Warsaw in 2007. This work, one of first Polish attempts to create a physical space of encounter, despite of its altruistic principles could not fully go beyond the boundaries of the Polish discourse on the exclusivist ‘dialogue’. Consequently, a cultural vocabulary it allowed remains limited to meanings more likely to result with exclusion than with a possibility of participation. Przestrzeń pożydowskaArtykuł zawiera krytyczną analizę współczesnych strategii zmian oraz modyfikacji w pożydowskich dzielnicach w Polsce. Większość substancji miejskiej w tych rejonach składa się z nieruchomości wcześniej należących do polskich Żydów, a później przywłaszczonych przez Polaków nieżydowskiego pochodzenia podczas Holokaustu oraz po roku 1945. Tego typu nieruchomości nazywa się obecnie „mieniem pożydowskim”.Autor analizuje dwa równolegle działające procesy adaptacji tej przestrzeni miejskiej. Pierwszy z nich zasadza się na koncepcji „przestrzeni żydowskiej”, przedstawionej w 1999 roku przez Dianę Pinto. „Przestrzeń żydowska”, pierwotnie zdefiniowana jako kulturalne i materialne miejsce spotkań europejskich Żydów oraz ludności pochodzenia nieżydowskiego, w polskim kontekście nie wymaga realnej obecności Żydów. Co za tym idzie, praktyki społeczne wynikające z tej interpretacji idei „przestrzeni żydowskiej” daleko odbiegają od pierwotnego zamysłu Pinto.Drugi proces opisany w artykule dotyczy fizycznej realizacji tak zdefiniowanego „miejsca spotkań”. Analizowany jest on na przykładzie Dotleniacza – instalacji miejskiej z 2007 roku autorstwa Joanny Rajkowskiej. Praca Rajkowskiej była jedną z pierwszych prób stworzenia fizycznego miejsca spotkań w Polsce. Pomimo altruistycznych założeń, które legły u podstaw projektu, nie mógł on w pełni wyrwać się z okowów dyskursu na temat „dialogu” ekskluzywistycznego. Tak więc kulturowa interpretacja Dotleniacza została zawężona do znaczeń, których owocem będzie raczej wykluczenie, a nie możliwość uczestnictwa.

7

Glimmers of Interspecies Resurgence in Public Art: A Reinterpretation of Joanna Rajkowska’s Oxygenator

75%

Kowalewska A.

Eidos. A Journal for Philosophy of Culture

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2023

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vol. 7

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issue 2

17-26

EN

The article proposes a new, interspecies interpretation of Joanna Rajkowska’s Oxygenator. Read as what Anna Tsing calls latent commons and problematized through Chantal Mouffe’s concept of agonistic spaces, the canonical piece of public art is shown to have been an experimental site of more-than-human resurgence.

8

Does Philosophy Require De-Transcendentalization? Habermas, Apel, and the Role of Transcendentals in Philosophical Discourse and Social-Scientific Explanation

75%

Michalska A.

Acta Universitatis Lodziensis. Folia Philosophica. Ethica – Aesthetica – Practica

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2019

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issue 34

11-30

EN

The heritage of transcendental philosophy, and more specifically its viability when it comes to the problematic of the philosophy of social sciences, has been a key point of dissensus between Jürgen Habermas and Karl-Otto Apel. Whereas Apel has explicitly aimed at a transcendental-pragmatic transformation of philosophy, Habermas has consequently insisted that his formal pragmatics, and the theory of communicative action which is erected upon it, radically de-transcendentalizes the subject. In a word, the disagreement concerns whether transcendental entities have any substantial role to play in philosophical discourse and social-scientific explanations. My aim is to reconstruct how Apel establishes a connection between transcendentals, qua the ideal communicative community and the possibility of non-objectifying self-reflection. As I shall demonstrate, the principles that transcendental pragmatics sees as underlying social actions are not to be understood in a strictly judicial way, as “supernorms.” Rather, they should be conceptualized and used as a means for action regulation and mutual action coordination. Against this backdrop, I show that the concept of the ideal community provides the necessary underpinnings for Habermas’ schema of validity claims and the project of reconstructive sciences.

9

Twenty Years Working with Neighbours. Citizen Participation, Is It Possible? What We Have Learned in 20 Years

75%

Remesar A.

Acta Universitatis Lodziensis. Folia Philosophica. Ethica – Aesthetica – Practica

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2019

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issue 33

11-36

EN

In 1999, the Governing Council of the Universitat de Barcelona approved the creation of the POLIS Research Center. Later, in 2016, the Center was ratified after passing an assessment of the Catalan Accreditation Agency (AGAUR). The Centre has an interdisciplinary vocation and brings together researchers from different research groups at the University of Barcelona and cooperates with nine European and Ibero-American universities in the fields of Arts, Architecture and Human and Social Sciences. Academically, the Centre has promoted the doctoral program Public Space and Urban Regeneration (1998–2017) and the Master’s Degree in Urban Design: Art, City, Society (since 2007) and the publication of the journal On the w@terfront. The research object of the Centre is the city and its public space and, more specifically, the role of citizens in the production of Public Art and Urban Design. For this reason, the work of the Centre covers the topics related to Urban Regeneration, Sustainability, Urban Governance, Civic Remembrance, Heritage. Throughout its twenty-year history, the Centre has developed a series of projects for citizen participation in various areas of the periphery of Barcelona: River Besòs (municipality of Sant Adrià de Besòs) La Mina neighbourhood (municipality of Sant Adrià de Besòs) and the Barcelona’s neighbourhoods of Baró de Viver and Bon Pastor. A characteristic of the work of the centre has been, and is, the endorsement of citizen participation, through an innovative approach based on enabling the creative empowerment of the neighbours within the framework of Participatory Action Research. This approach is based on a project methodology, as it is understood in various project disciplines from Art to Architecture, from Design to Engineering. This article, associated with the itinerant exhibition “20 years working with neighbours,” reviews the founding project carried out by the Centre, “Social Uses of the River Besòs” (1997–1999), analysing the lessons learned, with the aim of clarifying the research criteria that the Centre follows for the development of citizen participation projects.

10

SZTUKA W OTWARTEJ PRZESTRZENI PUBLICZNEJ I UPAMIĘTNIANIE OFIAR CYWILNYCH II WOJNY ŚWIATOWEJ – COVENTRY 1940–2015

75%

Taborska H.

Zeszyty Naukowe PUNO

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2016

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issue 4

25-38

EN

The article presents commemorative works of public art in Coventry, dedicated to the civilian victims of the Second World War killed in aerial bombings carried out by the German air force, the Luftwaffe. Coventry, an important industrial city in the West Midlands, was largely destroyed in a devastating Blitz carpet bombing carried out on the night of 14/15 November 1940, during which the medieval Cathedral of St Michael was burned to the ground. The first part of the text is focused on the formation within its ruins of an open sacral plane, and on the works of contemporary art which were placed there between the years 1946–2012. This is followed, in the second part, by a presentation of an unusual installation, composed from free-standing corten steel walls, commemorating people who through the centuries lived on one street, Bayley Lane, which was completely destroyed in the November Blitz. Consecutively, the urban design and selected works of public art brought into the city centre in the XXI century have been considered, and the two works: „Future Monument” and „Public Bench” of the German artist Jochen Gerz scrutinised in detail. Gerz’s works were made in collaboration with the general public, and exemplify in this paper one of the strands of public art, designed and produced by artists in close consultation with members of their prospective mass audience.

11

Manifest sztuki opieki

71%

Laderman Ukeles M.

Praktyka Teoretyczna

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2019

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vol. 32

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issue 2

37-45

EN

Maintenance Art by Mierle Laderman Ukeles from 1969, in which she discusses the problem of social exclusion in its multiple forms, i.e. exclusion of women from the art world; exclusion of reproductive and care labor etc. It is preceded by the Artist's Introduction from 2014, where she discusses her artwork from the 1970s, conducted in the New York City Department of Sanitation and the Introduction by the Translator, situating the Manifesto and subsequent artistic practice in the theoretical and political context.

PL

Niniejsza publikacja składa się z trzech części. Najstarsza i najważniejsza to artystyczny manifest Mierle Laderman Ukeles Sztuka opieki [Maintenance Art] z 1969 roku, w którym autorka podejmuje problem wykluczenia w jego różnych postaciach: kobiet ze świata sztuki, prac reprodukcyjnych i opiekuńczych z obszaru pracy etc. Poprzedza go „Wstęp artystki” z 2014 roku, gdzie opisuje ona przeprowadzone w latach siedemdziesiątych projekty artystyczne – swoje rezydencje w Wydziale Oczyszczania Miasta Nowy Jork. Całość otwiera „Wprowadzenie” tłumaczki, sytuujące ten manifest w szerszym, teoretyczno-politycznym kontekście.

12

Exposure and Disclosure of Artworks

51%

Sassower R.

Roczniki Kulturoznawcze

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2021

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vol. 12

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issue 1

145-148

EN

The artworld’s ongoing imbrication in and complicity with the ever-growing web of hypercapitalism is evident in the United States. Any pretense to the contrary exposes hypocritical conduct on the fronts of artistic production, distribution, and consumption. Only public engagement with and support of the art community writ large can offer potential protection against the unwarranted and unwanted financial and political intrusion.

PL

Ekspozycja i ujawnienie dzieła sztuki W Stanach Zjednoczonych widoczne jest ciągłe uwikłanie i współudział świata artystycznego w stale rozrastającej się sieci hiperkapitalizmu. Jakiekolwiek udawanie, że jest inaczej, obnaża hipokryzję na frontach produkcji, dystrybucji i konsumpcji sztuki. Jedynie publiczne zaangażowanie i wsparcie społeczności artystycznej jako takiej może zaoferować potencjalną ochronę przed nieuzasadnioną i niechcianą ingerencją finansową i polityczną.

13

Arteterapia czy edukacja plastyczna. Recenzja książki "Arteterapia. Przestrzeń i miejsce", Wiesław Karolak, Barbara Karolak.

51%

Szałajski M.

Studia z Teorii Wychowania

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2022

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vol. XIII(3 (40))

359-363

PL

Niniejsza recenzja dotyczy książki autorstwa Wiesława Karolaka i Barbary Karolak "Arteterapia. Przestrzeń i miejsce". Publikacja ta koncertuje się na działaniach plastycznych w różnych przestrzeniach i różnych miejscach. Popularna nazwa tych działań to public art i street art. Wybranie tej publikacji wynika z mojego osobistego zainteresowania sztuką, jej potencjałem edukacyjnym, wychowawczym i terapeutycznym. Arteterapia jest ważnym obszarem terapii, szczególnie dziś, gdy często doświadczamy kryzysu wartości, rozpadu więzi rodzinnych, społecznych i negatywnego oddziaływania różnego rodzaju mediów. Dlatego problematyka podjęta przez Wiesława i Barbarę Karolaków jest bardzo ważna, a ich książka, pomimo skromnej objętości, stanowi ciekawą i pouczającą lekturę, którą warto polecić innym. Podejmuję się oceny książki zarówno pod względem formalnym, merytorycznym, jak i edytorskim. Mam świadomość, że mierzę się z osobami za którymi stoi wiele lat pracy, doświadczenia i liczne publikacje dotyczące sztuki i arteterapii. Z pokorą i bezstronnością postaram się podołać temu zadaniu.

Refine search results

Kreacja / destabilizacja miejskiej przestrzeni publicznej przez sztukę

Praktyki crowdfundingu w sztuce publicznej

Lustmord Jenny Holzer jako kontrhegemoniczna praktyka artystyczna

Liminal museum. Artistic installations at the threshold of public realm

STREET ART AND GUERRILLA MARKETING AS ATTEMPTS TO CREATE A PUBLIC SPACE

Przestrzeń pożydowska

Glimmers of Interspecies Resurgence in Public Art: A Reinterpretation of Joanna Rajkowska’s Oxygenator

Does Philosophy Require De-Transcendentalization? Habermas, Apel, and the Role of Transcendentals in Philosophical Discourse and Social-Scientific Explanation

Twenty Years Working with Neighbours. Citizen Participation, Is It Possible? What We Have Learned in 20 Years

SZTUKA W OTWARTEJ PRZESTRZENI PUBLICZNEJ I UPAMIĘTNIANIE OFIAR CYWILNYCH II WOJNY ŚWIATOWEJ – COVENTRY 1940–2015

Manifest sztuki opieki

Exposure and Disclosure of Artworks

Arteterapia czy edukacja plastyczna. Recenzja książki "Arteterapia. Przestrzeń i miejsce", Wiesław Karolak, Barbara Karolak.