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Sztuka jako narzędzie społecznej inkluzji. Perspektywa socjologiczna

100%
Niziołek K.
Pogranicze. Studia Społeczne
|
2014
|
vol. 23
41-64
PL
Artykuł przygotowano w ramach projektu badawczego „Sztuka społeczna w Polsce. Badanie jakościowe”, realizowanego w latach 2010–2012 w związku z pracą doktorską Sztuka społeczna. Obywatelski wymiar działań społeczno-artystycznych i sfinansowanego ze środków Narodowego Centrum Nauki. Wykorzystano w nim fragmenty rozprawy doktorskiej.
EN
The article is focused on the civic practices that fall into the category of social art. Applying sociological perspective, in particular closure theory (as introduced by Max Weber, and developed by Frank Parkin), and referring to the modern concept of cultural democracy, the authoress compares three artistic projects: "Universal" (led by Grzegorz Drozd), "Guma" (Paweł Althamer), and "Import/ Export" (Michał Stankiewicz), in order to assess the capability of social art to transform the processes of social closure. The three projects not only differ in terms of artistic means (mural, sculpture, theatre), but also present varied strategies of “usurpation”, that is of affecting the rules of social inclusion (incorporation) and exclusion (marginalisation): from disturbance of the society’s symbolic order, through articulation of local collective identity, to intercultural (and, at the same time, interpersonal) encounter. The cases, which reveal both possibilities, and limits (or traps) of social art, have been selected so as to create points of critical reference for a more reflective and self-conscious social practice. Hence, at the end, the authoress provides a list of practical recommendations to be used by artists, activists and educators who are willing to resort to social art as a means of social inclusion.
2
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Czy street art jest sztuką społeczną? Kulturotwórczy i obywatelski sens sztuki ulicznej w perspektywie koncepcji społecznych enklaw

100%
Niziołek K.
Pogranicze. Studia Społeczne
|
2015
|
vol. 26
49-73
EN
In spite of its apparently growing popularity, street art still remains largely unexplored both in its aesthetic, and social dimension. The article is an attempt to capture the hybrid socio-artistic sense of this global phenomenon with the use of the concept of social enclaves. For that purpose, the authoress looks into its relation to the art world, on one hand, and civil society, on the other. She shortly presents the origins of street art, as well as its artistic repertoire and social reception. She provides an insight into the present-day processes of its institutionalization and commercialization, which, however, do not seem to weaken the street artists’ primary motivation for bringing changes in their aesthetic and social surrounding. Also some other features of street art, such as: anti-elitism, grassroots and dialogical quality, not infrequently – participation, and above all – attachment to civil values, allow her to classify this practice as social art, that is art with a public-good aim.
3
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Art and Civil Society: From Protest to Cooperation

63%
Niziołek K.
Limes. Cultural Regionalistics
|
2010
|
vol. 3
|
issue 2
145-160
EN
In the article, adopting the democratic transformation perspective, the author focuses on art as a specific area of civil society. With an eye on Poland, various forms of artistic activism are analyzed and compared, from artistic vanguard and protest art of the communist period, to the practices of cultural democracy and social art of the present day. In particular, the concept of social art is explained and exemplified with three model projects, each set in a different context - of an open public space, local community and minority group, and each representing a different set of social functions.
LT
Straipsnyje, laikydamasi demokratinės transformacijos perspektyvos, autorė susitelkia į meną kaip specifinę pilietinės visuomenės sritį. Analizuojamos ir lyginamos įvairios meninio aktyvumo formos, pasitaikančios Lenkijoje - nuo komunistinio laikotarpio meninio avangardo ir protestinio meno iki šių dienų kultūrinės demokratijos bei socialinio meno praktikos. Daug dėmesio skiriama socialinio meno sampratai, kuri čia aiškinama pateikiant trijų modelių pavyzdžius ir kiekvieną iš jų tiriant skirtinguose kontekstuose - atviroje viešojoje erdvėje, vietinėje bendruomenėje ir mažumos grupėje. Visi šie kontekstai straipsnyje pristatomi kaip skirtingų socialinių funkcijų visumos.
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