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1
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Lynchowskie przestrzenie sztuki obrazu

100%
Lipiński K.
Kultura Współczesna. Teoria. Interpretacje. Praktyka
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2019
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vol. 107
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issue 4
188-193
2
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Rewizja idei repatriacji w świetle postulatu Marcusa Garveya i postkolonialnych transformacji

100%
Lipiński K.
Człowiek i Społeczeństwo
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2014
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vol. 37
EN
The paper examines the transformations of the idea of repatriation raised by Marcus Garvey’s postulate and which subsequently emerged from the Rastafari movement and developed within reggae and dub lyrics. The mentioned idea has been analyzed in terms of widespread undergoing processes of its dissemination within glocal diasporas and the creation of post-colonial mimicry. Drawing on the so called doctrine of “ethiopianism” described by Marcus Garvey as a return to the “promised land” in the aftermath of the coronation of Haile Selassie I for the King of Ethiopia, it became the main leading concept in the settlement of the “Pinnacle” enclave in the early 1930s. By spreading consequently this directive within two waves of persecution and re-settlement of the movement in the downtown area of Kingston in the early 1950s, it stimulated the emergence of entrepreneurship and the organization of the urban Sound Systems designed for the lowest social class and triggered the development of its doctrine in the vast array of lyrical forms. These premises of anti-colonial liberation and the improvement of life conditions were initially articulated in the form of a native, Jamaican, creolized “patois” dialect, i.e. by Louise Bennett and subsequently by reggae artists, as well as “dub poets”, such as Linton Kwesi Johnson, Oku Onuora, and Mutabaruka. As a result of the dispersion of the idea within glocal diasporas, it was gradually in-rooted into music genres and proliferated within a diversified industry. Thus, the unfinished project of utopian return has been rearticulated in the stratified distribution market, gaining a trans-local revival thanks to the ability of its transformation within new industrial conditions.
3
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In-between. Cultures of Communication. Omówienie konferencji zorganizowanej przez NECS, Poczdam, 26–31 lipca 2016

100%
Lipiński K.
Kultura Współczesna. Teoria. Interpretacje. Praktyka
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2017
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vol. 94
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issue 1
207-213
4
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Obraz odwróconej narracji. Przypadek Nieodwracalne

100%
Lipiński K.
Przegląd Kulturoznawczy
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2014
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issue 1(19)
PL
The Image of Reversed Narrative. The Case of IrreversibleThe article analyses the case of reversed narration in the film Irreversible by Gaspar Noé as a one of the examples of group of films produced in the 1990’s based on the reversed narration and complex, modern construction of the sujet. The author stresses that temporal aspects of metonymic contiguity shows parallels with displacement of one event on the axis of chronology and the transitions between erzählte Zeit and Erzählzeit. Narratological reading of retrospective events provides dating back in time from primary narrative as a result of the use of i.e. the internal analepsa showing the time span in the story told. The shift from present and past goes beyond the linear and causal order by drawing on a comparison between J.W. Dunne’s various forms of theory of time and the Moebius strip. The group of events arranged in the causal but discontinuous order show the parallels that precede climax event and initiate the secondary narrative dating back in time.
5
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Regards comparés. Obrazy trzeciego okresu kolonialnej Jawy

100%
Lipiński K.
Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura
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2020
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vol. 12
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issue 1
107-121
EN
The purpose of this article is to analyse the chronicles of home films in Java in terms of Péter Forgács realized in the third colonial period included in the film installation entitled Looming Fire. Stories from the Dutch Indies (2013). The detailed analysis of the connections between micro- and macrohistory presents an in-depth study of film transformations looking for the relationship between colonizers and indigenous inhabitants living in Java. Among the most important social mechanisms between them are mimicry and cultural métissage. Accompanied by a strongly outlined representation plan of the colonial elites and royal families, the film episodes reveal the backstage of physical work performed on plantations and factories by indigenous people. The author pays particular attention to the specificity of elite meetings in the salons and the ethnic customs of the Javanese people cultivating their tradition.
PL
Celem niniejszego artykułu jest przeanalizowanie kronik filmów domowych na Jawie w ujęciu Pétera Forgácsa zrealizowanych w trzecim okresie kolonialnym, wchodzących w skład instalacji filmowej zatytułowanej Looming Fire. Stories from the Dutch Indies (2013). Szczegółowa analiza powiązań mikro- i makrohistorii przedstawia wnikliwe studium przeobrażeń filmów, szukając relacji zachodzącej między kolonizatorami a autochtonicznymi mieszkańcami żyjącymi na Jawie. Do najważniejszych mechanizmów społecznych zachodzących między nimi należy zaliczyć mimikrę i metisaż kulturowy. Wraz z mocno zarysowanym planem reprezentacyjnym elit kolonialnych i rodzin królewskich filmowe epizody uchylają kulisy prac fizycznych wykonywanych na plantacjach i w fabrykach przez ludność tubylczą. Ze szczególnym pietyzmem zarysowane zostały specyfika spotkań elit na salonach oraz etniczne obyczaje ludności jawajskiej kultywującej swoją tradycję.
6
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Tele-kiss. Nam-June Paik’s expanded media in the light of Zen Buddhism

100%
Lipiński K.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2020
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vol. 28
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issue 37
308-316
PL
The article offers a broad overview of Nam-June Paik’s ideas of the expansion of video arts interpreted in the light of Zen Buddhism. His works recognized as the most significant examples of his marriage between the art theory and practice are marked by a thought-provoking vision of participatory culture, communicated in-between the networks in the post-industrial society. Our purpose is to reexamine his attitude to TV culture in the oscillation between Western and Eastern gaze considered in connection to the problems of emptiness and meditation drawn from Zen religious beliefs. In discussing his installations there is special stress to reconstruct his inner-insight into the subject of seeing and watching inscribed in a closed-circuit of the communication network.
7
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Migracje iluzji w pejzażu estetycznym

100%
Lipiński K.
Kultura Współczesna. Teoria. Interpretacje. Praktyka
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2018
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vol. 101
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issue 2
193-201
8
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Ambiwalentny obraz faweli Santa Marta na tle przemian pacyfikacyjnych

100%
Lipiński K.
Przegląd Krytyczny
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2021
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vol. 3
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issue 1
51-64
EN
The article seeks to create an approach that would challenge the description of transformations of Santa Marta favela in Rio de Janeiro, which presents the ambivalent image of this space born after its pacification and seen in the prism of Edward Soja’s post-industrial analysis. In pursuing this, the author discusses the potential threats triggered by separation from the other parts of the city, gatekeeping, incrimination.  Finally, the text shows how urban restructuration Santa Marta favela articulates new solutions, despite its criminal history, through raising the interest of visitors by colouring the facades of residential houses at the foot of the hill in the framework of the project Oh Morro by Jeroen Koolhaas and Dre Urhahn.
PL
Celem niniejszego artykułu jest rzucenie wyzwania opisu przemian faweli Santa Marta w Rio de Janeiro, ambiwalentnego obrazu tej przestrzeni zrodzonego po jej pacyfikacji i widzianego przez pryzmat postindustrialnej analizy Edwarda Soji. W tym celu autor omawia potencjalne zagrożenia związane z separacją jej od innych części miasta, gatekeepingiem i inkryminacją. Ostatnie uwagi dotyczą zaś tego, jak restrukturyzacja faweli Santa Marta, pomimo swojej kryminalnej historii, artykułuje nowe rozwiązania poprzez wzbudzenie zainteresowania zwiedzających  wraz z wielobarwnym kolorowaniem fasad domów mieszkalnych u stóp wzgórza w ramach projektu Oh Morro Jeroena Koolhaasa i Dre Urhahna.
9
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Obraz przestrzeni dowolnej według Gilles’a Deleuze’a

100%
Lipiński K.
Przestrzenie Teorii
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2019
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issue 31
262-270
EN
The subject matter of the article is Gilles Deleuze’s considerations on the concept of “any-space whatever” and its application in the cinema and the theater. This space is an outcome of the sensorimotor crisis as the development of Henri Bergson’s conception of duration to determine the potential transformations of modern cinema in the post-war period. It is expressed by a potential singularity that finds its locus in pure optical and sound situations. This conception reveals the correlation between the real and virtual connections defined by a genetic sign which relies upon differentiation. As a space characterized by an affection – image is experienced from its inside to define both disjoint and empty spaces. Such affect often emerges in a range of colors to outline the places marked by emptiness. It is strictly associated with “geometrical” orientation actualizing itself via the qualisign. Thus, this article defines the space in terms of the circuit of virtuality and actuality in time-image which crystallizes both in the cinema and TV dramas of potential exhaustion of three languages in theater performances. Namely, the first one is disruptive and enumerative; the second language consists of voices and combinative flows and the third one reunites the previous ones as the language of images, sounds, and coloring which is a movement between words.
10
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Splot kultur, splot obrazów. Fotograficzna „tkanina” pamięci Dinh Q. Lê

100%
Lipiński K.
Kultura i Edukacja
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2024
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issue 2(144)
263-276
PL
Niniejsze rozważania mają na celu przybliżyć problematykę postpamięci wyrastającą z prac fotograficznych i wideo-artowych Dinh Q Lê. Swoistą technika, jaką posługuje się amerykańsko-wietnamski artysta, można określić jako „tkaninę” ze względu na postmedialną obróbkę w postaci poprzeplatanych pasm fotograficznych połączonych ze sobą, aby stworzyć innowacyjną kombinację poświęconą związkom Wschodu i Zachodu, sacrum i profanum, kontrastom barwnym. Dekonstrukcja wyjściowego materiału buduje niekonwencjonalne zestawienia ikonograficzne zacierające jasne znaczenia zapisane w obrazie celem ich wtórnej rekonfiguracji, naznaczonej częstokroć traumatycznymi zdarzeniami wojennymi. Osobliwa forma wyrazu jawi się oddawać dynamikę skomplikowanej formy, niejednoznaczności, aluzyjności niebędącej już wyłącznie automatyczną reprodukcją rzeczywistości, lecz twórczym polem przekształceń, tkania, uwikłania wątków nakładających różne sfery odniesień, animacji znaczeń słów przeobrażonych w ruchome obrazy stające się ich odzwierciedleniem. Przedmiotem rozważań zarysowanym w niniejszym szkicu będzie ekspozycja pt. Dinh Q.Lê. Le fil de la mémoire et autres photographies zorganizowana w dniach między 8 lutego a 20 listopada 2022 roku w Musée de Quai Branly.
EN
The paper aims to present the issues of post-memory arising from the photographic and video art works of Dinh Q Lę. The specific technique used by the American-Vietnamese artist can be described as “fabric” due to the post-media processing in the form of interwoven photographic strips connected to create an innovative combination dedicated to the connections between East and West, the sacred and the profane, and colour contrasts. Deconstruction of the initial material creates unconventional iconographic combinations that blur the clear meanings recorded in the image, with the aim of their secondary reconfiguration, often marked by traumatic war events. The peculiar form of expression seems to reflect the dynamics of a complex form, ambiguity, and allusion, which is no longer just an automatic reproduction of reality, but a creative field of transformations, weaving, entanglement of threads overlapping various spheres of reference, animation of the meanings of words transformed into moving images that reflect them. The subject of the considerations outlined in this article is an exhibition entitled Dinh Q.Lę. Le fil de la mémoire et autres photographs organised between February 8 and November 20, 2022 at the Musée de Quai Branly.
11
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Echo of everyday life or “wu-es-be” in experimental animation

100%
Lipiński K.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2022
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vol. 31
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issue 40
177-186
EN
The article discusses animated works by Wojciech Bąkowski and the broader context of their origins addressing Jean-Luc Nancy’s philosophy of division of voices and its hermeneutical implications. Making explicit reference to these theoretical considerations, the author analyzes “Speaking Movies” by Bąkowski and his new productions for art galleries, employing digital tools to reinvestigate their meaning and interpret his autotelic recitation. The analysis follows several distinctive examples that highlight, via different experimental techniques, the interplay between verbal articulations, echo-like effects, and reverberations in the production of a differentiated audiovisual landscape.
12
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Appleiness of the Apple or the Dualism in Deleuzian Sensation

100%
Lipiński K.
Przegląd Kulturoznawczy
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2022
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issue 2 (52) Bio-aktywne rumowisko historii cz. I
222-234
EN
This article addresses the figural dimension of Gilles Deleuze’s thought in terms of the twofold relation of forces aligned with the dualism of figures emerging in the visual image. The drive towards the differentiation of haptic figures provides an insight into the anti-representative approach to figurative cliché of painting to reveal the crucial tropes of figural presence and the profound understanding of Deleuzian decentration by addressing the inner context of his writings and external writings commenting on his thought. In this essay, I review Deleuze’s argument, his use and critique of Riegl, the central place of what he calls hapticity in this vision, and consider his attempt to illustrate what this “sensation” might be.
13
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O rodzimą ekonomię polityczną (recenzja z: Krzysztof Jasiecki, Kapitalizm po polsku. Między modernizacją a peryferiami Unii Europejskiej)

63%
Lipiński K., Strzelecki J.
Studia Socjologiczne
|
2015
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issue 1(216)
331-340
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