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Humor jako element strategii artystycznej - Erwi Wurn i jego dzieła

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Śnieciński M.
DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu
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2015
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vol. 19
130-144
EN
Humor is in the very center of E. Wurm’s art strategy. He believes that ‘humor is a weapon’. It is the weapon that allows us to see the world and ourselves without pomposity and solemnity masking the real problems. Humor forms the distance to a variety of phenomena, myths and stereo-types which model modern life. Laughter always includes the form of self-distance (H.G. Gadamer). The text analyzes a series of sculpture-events entitled ‘One Minute Sculptures’ and other works by the Austrian artist produced in traditional carving techniques. They include such elements of humor as ludus and locus (G. Agamben). The text also analyzes the artist’s actions that undermine subjective – objective diagram inscribed in creation and art perception (W. Welsch). It is not without significance that Wurm’s humor and irony are not directed only toward his environment, but also toward himself (self-irony).
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Obrazy na wygnaniu? Literackie reinterpretacje dzieł malarskich

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Śnieciński M.
DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu
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2015
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vol. 20
140-157
EN
IMAGES IN EXILE? – Literary Reinterpretations of Paintings Śnieciński highlighted and analyzed three different strategies of using and reinterpreting images described by prominent contemporary writers. In novels entitled In Praise of the Stepmother and Don Rigobert’s Papers by M.V. Llosa, paintings are considered as catalyst for literary narration. Llosa takes organizes a game with dual nature images; he plays with the relationship between mental images and the media. P. Quignard’s strategy is ‘thinking with images’. His Night Sex is based on quotes from concrete paintings. He combines text with visual narration. The internal dialogue between ‘quoted’ images allows the writer to formulate his questions about sources of imagery. G. Perec’s novel entitled Life: User’s Manual includes images, which are an important element in life-project of one of the characters; they only considered as a form of literary scenario. The scenario for life includes commentary on many phenomena and trends in contemporary art (eg. conceptualism, minimalism, performance art). In all of three strategies, paintings did not lose their identity, although they have been deprived of their roots in materiality. Images gained different potential for action, a new form of existence.
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Dzieło jako zdarzenie – performans rekonstruowany w wyobraźni

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Śnieciński M.
DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu
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2018
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vol. 26
52-71
EN
An artwork as an event – performance reconstructed in imagination An exceptionally interesting case of performance in contemporary art are artworks, in which artists do not present a performance itself but rather its effects. For these artists a performance is somehow included in the tissue of the artwork; it was indispensable for the artwork to be created, yet it is hidden so the viewer needs to make an effort to reconstruct this performative character of the artwork and understand (become aware of) the resulting consequences. The text analyses works by Akira Komoto (the Seeing series), the realization by Lech Twardowski (Generator Bez Maszyn), three series of works by Urszula Wilk (Niewysłane listy) as well as selected sculptures by Shen Shaomin (the Bonsai series). Although in these works we deal with various forms of performativeness, their joint feature is the fact that in each of them the viewer must discover and re- construct the hidden performance in his/her memory.
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Die Abstraktion in der modernen Kunst – Bild-„Motiv“ oder künstlerische Strategie?

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Śnieciński M.
DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu
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2014
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vol. 18
112-131
EN
At the beginning of the twentieth century, artists interested in abstract art had to make, in a sense, an ideological choice – abstraction was one of the important strategic projects of modernism. The goal of abstract artists was to produce abstract paintings which were not connected with historic tradition of imaging; i.e. the paintings, which did not match the mimetic nature of art. As the result of their attitudes, which still prevailed in a few decades after World War II, slowly lost its momentum; disputes and debates about abstract painting became less and less loud. In postmodernist era, abstraction was no longer connected with choosing ideas or ideology (or artistic trend); it is not an artistic acknowledgement of faith. Abstract art is one of many possible trends which artists may follow. A good example of changing attitudes are so called abstract paintings by G. Richter, an eminent painter, who is mostly interested in figurative art. For Richter, the connection between the reality and pictures is of secondary importance. He said: My paintings include no objects, they themselves are the objects. The analysis of his works and a number of his statements shows that there is no fundamental difference between the figurative and abstract painting. Richter reaches for abstraction as if reaching for another motif, which is well-established among other classical motifs. Abstract painting already played its ideological deconstructive role and it doesn’t function today as universal idea or artistic strategy; only in connection with the medium of photography, abstraction seems to still play that role. Lambert Wiesing, a German philosopher who writes on the theories of images, analyzes artistic strategies associated with abstraction in photography and theoretical assumptions on which they are based. He writes about abstracts images directly connected with ‘photographic production process’, which primarily belongs to the history of photography (photograms). Also, he writes about ‘abstraction in the photographic product’. Here, he indicates three possible (and the most important from his point of view) artistic strategies, which still remain valid: abstraction of the way of seeing, abstraction of visilibity and abstraction in object’s art. He believes that in all the cases artists’ intentions play the key role and that artists have certain ideas that guide them, so they want to reveal them in their work.
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ARTYSTYCZNE GRY ZE ŚMIERCIĄ WE WSPÓŁCZESNEJ SZTUCE

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Śnieciński M.
DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu
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2017
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vol. 24
18-35
EN
The text emphasizes the difference between two artistic approaches. The first one of them is rare and comprises various kinds of artistic games with death undertaken by the artists, whereas the second one depends on playing with the subject of death, where death plays the part of an „embellishment” or some kind of attraction, which should draw the attention of the viewer. The text concentrates on such artistic realizations, in which the first of the mentioned approaches is visible. The selected „games with death” in the works by, among others, K. Kozyra, A. Szapocznikow, R. Opałka and Ch. Boltanski, are analysed. The analyses make use of theoretical works by, among others, H.G. Gadamer, P. Ariès, H. Belting, R. Barthes and G. Steiner.
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PROBLEM NAGOŚCI, TOŻSAMOŚCI I DORASTANIA (W DZIEŁACH WSPÓŁCZESNYCH ARTYSTEK)

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Śnieciński M.
DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu
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2018
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vol. 25
68-87
EN
The Problem of Nakedness, Identity and Growing up (in the works by contemporary female artists) The text discusses the oeuvre of the selected contemporary female art- ists, who in their works analyse the problem of nakedness, treated as a costume, metaphor or event, as well as those, who deal with issues of identity, processes of creating it and the visual (media) identity masks. The works by such artists as Alba d’Urbano, Vanessa Beecroft, Katarzyna Kozyra, Alina Szapocznikow, Herlinde Koelbl, Tina Bara, Eva Bertram, Ur- sula Rogg and Tanja Ostojič are analysed. The text includes theoretical considerations by Lynda Nead, Agata Jakubowska, Giorgio Agamben and Hans Belting.
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