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Narratives - stories of stones and humans

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Szyjkowska-Piotrowska A.

Art Inquiry. Recherches sur les arts

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2020

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vol. 22

27-37

PL

W przypadku sztuk wizualnych kwestia narracyjności napotyka istotny problem: jak można analizować wyodrębnioną całość, taką jak chociażby płótno, instalacja czy rzeźba, w kategoriach sekwencji? Chciałabym pokazać, że problem sekwencji wobec wyizolowanego przedmiotu w sztukach wizualnych można rozwiązać poprzez przewidywanie przyszłości i rozpoznanie przeszłości. Oznacza to, że chociaż trudno jest rozważać strukturę sekwencji dotyczącą pojedynczego przedmiotu, takiego jak płótno lub instalacja, można o nim myśleć jako o bardziej abstrakcyjnej sekwencji, w której dzieło sztuki jest ‘chwilą’ pomiędzy przeszłością i przyszłością implicite w nim obecnymi. Chciałabym również argumentować, że najważniejszą częścią tego, co jest narracją, nie tyle stanowi techniczny aspekt jej struktury związanej z sekwencją, ale raczej ten, który nie jest obecny w definicji narracji: przede wszystkim narracja ukazuje kompulsywną potrzebę tworzenia sensu świata.

EN

When considering the notion of narrative in the visual arts, a rather important problem is encountered: how can an isolated whole like a canvas, an installation or a sculpture be analyzed in terms of narrative and, hence, in terms of a sequence? The article aims to show that the problem of a sequence versus an isolated item in the visual arts can be solved through the mode of implicit anticipation of the future and implicit recognition of the past. That is to say, although it is difficult to consider a sequence structure concerning an isolated item like a canvas or an installation, it is possible to think of it as embedded in a more abstract sequence, wherein the work of art is a ‘moment’ between the past and the future implicitly present in it. I would also like to argue that the most important part of narrative is not so much the technical aspect of its sequence-bound structure, but rather that which is implicit to the definition of narrative: that, above all, narrative is a symptom of a compulsion to make sense of the world.

2

Antyportret w wersji literackiej

100%

Szyjkowska-Piotrowska A.

Schulz/Forum

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2015

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issue 6

34-42

PL

In The Cinnamon Shops reader can find both echoes of the classic images of faces, referring to the tradition of physiognomy and tradition of portrait painting, as well as images of faces belonging to the species of antiportrait, scuffing the boundary between inside and outside. They can be treated as a treatments designed for breaking mimesis, as well as questioning the possibility of expression. Without the division on the interior and the exterior can not be said about extracting internal outside – what is after all the essence of expression. Sometimes treatments developed by Schulz can be perceived as a game of interpenetrating appearances, another time – as a sense of omnipresence of meaning.

3

Schulz w kilku tropach

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Szyjkowska-Piotrowska A.

Schulz/Forum

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2017

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issue 9

PL

Schulz’s fiction is methodologically as radical as writing on the boundary of the conscious and the unconscious can be. But does it make sense to talk about Schulz’s methodology? If the answer is yes, one may use for that purpose such concepts as metaphor, analogy, logos, oxymoron, and metamorphosis. They may help us discover the logic of Schulz’s stories, which is logic in a broad sense of the term, more the movement of the logos than a theory of making statements. The concepts mentioned above are not labels: they describe elegant and impressive ways of escaping from reason, taken with its help. All this can be etymologically motivated: the ancient Greek concept of logos refers to reason, speech, and discourse. It is ambiguous since the root verb légein means (1) to connect, to bring together; (2) to select, to calculate.

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Narratives - stories of stones and humans

Antyportret w wersji literackiej

Schulz w kilku tropach