Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Results found: 5

first rewind previous Page / 1 next fast forward last

Search results

Search:
in the keywords:  socially engaged art
help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
1
Publication available in full text mode
Content available

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

100%
Urwanowicz-Rojecka E.
Pogranicze. Studia Społeczne
|
2015
|
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.
2

Being an artist: a profession or a vocation? Socially engaged art by Joanna Rajkowska

88%
Kulig J.
Zeszyty Naukowe Wyższej Szkoły Finansów i Prawa w Bielsku-Białej
|
2018
|
issue 2
24-28
EN
The problem of the condition of artists in Poland is rarely addressed in public debate, which is particularly surprising in the world of growing disproportion between rapid development of the art market (the number of galleries, rising prices of auctioning) and still financially unstable and difficult situation of artists. The paper attempts to look at the economic and social status of Polish artists through the analysis of the artistic work of a Polish artist Joanna Rajkowska who tries to find her position in the socio-economic system, without giving up her creative activity. At the end of the paper the author will try to answer the question whether socially engaged art can bring about major changes in the system of financing art.
3
Publication available in full text mode
Content available

Between Aesthetics and Politics: Socially Engaged Art on the Internet

75%
Winiecka E.
Poznańskie Studia Slawistyczne
|
2019
|
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.
4
Publication available in full text mode
Content available

Rozmowa z Nadą Prlją

75%
Waślicka Z., Prlja N.
Studia Litteraria et Historica
|
2013
|
issue 2
EN
An interview with Nada Prlja Nada Prlja is an artist who works in the public space and tackles the issues of social inequalities and exclusion. During the 7th Berlin Biennale for Contemporary Art, she built a Peace Wall across Friedrichstrasse and thus she blocked the passage between the northern part of the street, which is a tourist attraction, and where expensive shops and restaurants are located; and its southern part, which is inhabited mainly by immigrants, who live in council flats. Nada Prjla tried to visualise the symbolic divide between the rich and the poor part of the street by putting the wall up, whose name alludes to the peace walls that split Protestants and Catholics in Northern Ireland. Rozmowa z Nadą PrljąNada Prlja to artystka działająca w przestrzeni publicznej, podejmująca kwestie nierówności społecznych i wykluczenia. W ramach 7. Berlińskiego Biennale Sztuki Współczesnej w 2012 roku Prlja zbudowała Peace Wall (‘Mur Pokoju’) w poprzek jezdni na Friedrichstrasse w Berlinie. Zablokowała w ten sposób ruch między turystyczną, północną częścią tej ulicy z eleganckimi restauracjami i sklepami a jej południową częścią, gdzie znajduje się zamieszkane głównie przez imigrantów osiedle budynków socjalnych. Nada Prlja postanowiła uwidocznić tę symboliczną granicę między bogatą a biedną częścią ulicy i ustawiła tam mur. Jego nazwa nawiązuje do „murów pokoju” (peace walls) oddzielających od siebie protestantów i katolików w Irlandii Północnej.
5
Publication available in full text mode
Content available

Aesthetics and the political turn in art

51%
Czekaj R.
Art Inquiry. Recherches sur les arts
|
2015
|
vol. XVII (XXVI)
83-92
EN
It was observed as early as the mid-twentieth century that aesthetics as a philosophical theory of art differs from its objects. The products of contemporary artistic practice go beyond the horizon of traditional aesthetics. Artists are involved increasingly often and on a wide scale in the actions aimed at transforming and constructing the common space. In the face of such activities as took place, for example, as part of the 7th Berlin Biennale for Contemporary Art in 2012, traditional aesthetics seems to be helpless. That is why, if art is to continue to be the focus of aesthetic investigations, it must, as it were, redefine itself. Jacques Rancière is one of the authors who have outlined the new horizon of aesthetics. In my paper I will briefly present his conception. It provides some theoretical tools which I will use for the description and interpretation of some selected examples of contemporary socially engaged artistic practices. I will show that his distinction of the „aesthetic regime“ of the interpretation of art reveals the competence that combines all artistic practices, past and present, into one concept of art: art as politics. The foundations for setting such perspective were already provided by Schiller and Kant – the classics of modern philosophical aesthetics.
PL
Już w początkach XX wieku dostrzeżono, że przedmiot badań estetyki – jako dziedziny filozoficznej – stał się nieoczywisty. Także i dzisiaj produkty praktyk artystyczny wykraczają daleko poza horyzont tradycyjnej estetyki, a artyści coraz częściej angażują się w konstruowanie i kształtowanie przestrzeni społecznej. W obliczu praktyk artystycznych, jakich nagromadzeniem stało się na przykład 7. Berlińskie Biennale sztuki współczesnej, tradycyjna estetyka wydaje się bezradna. Jeśli nadal chce utrzymać w swoim polu badawczym przedmioty sztuki, musi niejako na nowo zdefiniować swoje granice. Jednym ze współczesnych teoretyków, którzy kreślą nowy horyzont tego, co estetyczne, jest Jaques Rancière. W tekście przedstawiam jego koncepcję “estetyki jako polityki” i wydobywam z niej narzędzia teoretyczne, które posłużą mi do opisu i interpretacji wybranych przykładów praktyk artystycznych zaangażowanych społecznie. Pokażę, że Rancierowski “reżim estetyczny” pozwala umieścić całość dorobku sztuki w jednym pojęciu: sztuki jako polityki. A uzasadnienie takiego ujęcia znajdziemy także u takich klasyków nowożytnej estetyki jak Schiller i Kant.
first rewind previous Page / 1 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.