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Kilka uwag o sztuce performance

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Dziamski G.

Sztuka i Dokumentacja

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2019

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issue 21

9 - 16

PL

Artykuł nawiązuje do wcześniejszych, pionierskich w Polsce, badań dotyczących recepcji sztuki performance w końcu lat siedemdziesiątych. Ostatnio prowadzone badania i pisane krytyki sztuki, tak jak teksty Łukasza Guzka, cytowane tutaj, dowodzą tego, że sztuka performance zmienia się, rozwija, jest żywym zjawiskiem sztuki współczesnej. Młodzi artyści podejmują wyzwanie jakim jest akcja na żywo, zmieniają formy performance (w relacji do tych z lat siedemdziesiątych). Rozwija się performance studies w nowy paradygmat nauki, nie tylko o kulturze i nie tylko w sztuce, ale całości aktywności człowieka w świecie, co znajduje wyraz w badaniach Eriki Fischer-Lichte która opisała „zwrot performatywny.” W ten sposób poprzez performance sztuka wraca do człowieka, do nowoczesnego humanizmu.

EN

The article refers to earlier, pioneering research on performance in Poland in the late Seventies. Recent research and written art criticism, such as the texts of Łukasz Guzek cited here, prove that performance art is changing, developing, and is a living phenomenon of contemporary art. Young artists take on the challenge of live action, and change performance forms (in relation to those of the Seventies). Performance studies develops into a new paradigm of science, not only about culture and not only in art, but about the whole of human activity in the world, which is reflected in the research of Erika Fischer-Lichte, who described the 'performative turn.' In this way, through performance, art returns to man, to modern humanism.

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POLITYKA GLOBALNEGO ŚWIATA SZTUKI

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Dziamski G.

DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu

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2016

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vol. 21

20-34

EN

POLITICS OF GLOBAL ARTWORLD The term ‘art world’ (Artworld) was not used before the 1960’, and if – rather rarely and without consequences. It was only in 1964 that Arthur Danto has made the term one of the key concepts of contemporary reflection on art. The artworld has come to mean the discourse accompanying art. The world of art should not be equated with art market, although today the Western artworld is increasingly subordinated to the market. Can market replace politics? Can it become policy? Is this the way of post-political policy? Is the market always connected with some policies and always requires some assistance from politics? Today’s global art world wants to combine what is global with what is local; it combines global discourses and local practices. It contributes to global circulation of what is local. Very often, what is local, turn to subaltern art, younger art, lower, worse.

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Neoawangarda; wprowadzenie do sztuki współczesnej

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Dziamski G.

DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu

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2014

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vol. 17

28-47

EN

Grzegorz Dziamski analyzes two concepts of neo-avant-guard theoreticians: by Frank Popper and Jerzy Ludwiński. They both shared a belief in avantguard’s theology. They believed that avant-guard had a goal: it aimed, more or less consciously, to some purpose or—to put it slightly differently—that it was subordinated to some historic logic which we can identify and describe. They tried to reveal logic in the changes of the neoavant- guard and they assumed that there was a meta-narrative in the conversion of neo-avant-guard which would explain the changes. When neo-avant-guard achieved its goal, its history came to an end and thus it lost its explanatory metanarrative. Here we encounter a wellknown figure by Hegel: neo-avant-guard art contributed to the formation of the goal in art thus art became self-aware. Ludwiński said that ‘art knows that anything can be art’, therefore it can use different forms, styles, languages, media and it does not have to make every effort to distinguish itself from non- art. There is one common feature of the two avant-guard theories: both theories are formed ex post, from the out-side point of view, assumed when the process came to its end. Popper and Ludwiński’s theories can be cosidered as post-modern theories because they both analyzed avantgaurd from external position and they formed the distance to the avantguard and its narrativ. Also, they belive that all neo-avant-guard categories of description and criteria of evaluation of art have lost their meaning.

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Zejście z cokołu. Sztuka jako żart. Od Francisa Picabii do Maurizio Cattelana

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Dziamski G.

DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu

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2015

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vol. 19

64-88

XX

Dada movement stripped art of seriousness, turned art into a joke, a sophisticated fun. Where there were Dadaists, there was laughter, as Hans Richter once said. Dadaists formed an opposition: bour-geois false values, over which hovered the stench of death and money – versus life. They stood on the side of life; on the side of art stripped of bourgeois seriousness. But the Dadaists also found liberated joke – a joke that served no purpose, fought against nothing and attacked nothing. ‘Entracte’ by Francis Picabia and ready-mades by Marcel Duchamp were in fact the jokes, which formed a new concept of art – art liberated from the domination of taste. Readymades had all the attributes of artwork : author, title, year of creation, audience, critics, etc., but did they become works of art? The artists are the ones who choose and force us to follow their choices, who reject good taste and that is the way they take control over art – by separating good art from bad. The joke is changing the way we think about art, pointing to the ambivalence adopted by our assumptions about the world. In an interview, Duchamp said that the public treated very seriously contemporary art. Did he want to say that it was too serious? Fluxus developed dada-like ambiguity. Where the audience expected to see art, often they received something that could be perceived as joke. The ambiguity was attributed not only to Fluxus, but virtually to the entire art of the 1960’s, as evidenced by the Kamp aesthetics. Kamp is ‘the seriousness that fails’. Kamp means a change with respect to bad art and it shows that we can play with it. In the 1960’s and the 1970’s, in the second wave of feminism, laughter returns as a weapon, as a tool to combat patriarchal culture.

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Performatywny charakter estetyki

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Dziamski G.

DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu

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2018

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vol. 26

32-50

EN

The performative character of aesthetics Many lecturers of aesthetics feel that the subject of their lectures is not necessarily aesthetics, but history of aesthetics, the aesthetic views of Plato and Aristotle, Kant and Hegel, Hume and Burke, the British philoso- phers of taste and German romanticists. Does that mean that aesthetics feeds on its own past, is nurtured by reinterpretations of its classics, defends concepts and categories that inspire no one and do not open new cognitive perspectives? Does it mean that aesthetics is dead today, like Latin or Sanskrit, while its vision of art and beauty is outdated, invalid and totally useless? Aesthetics is a polysemous concept, which has never been sufficient- ly defined. It can determine a way of perceiving and experiencing the world that is specific for a given community, in other words, taste, yet it can also mean certain countries’ or regions’ contribution to aesthetic thought, to the aesthetic self-knowledge of man. Thus its dimension is practical, cultural and philosophical. Today aesthetics faces new challenges that it has to live up to; its ma- jor tasks include the defence of popular art, polishing the concept of aes- thetic experience, aestheticization of everyday life and de-aestheticiza- tion of art, transcultural aesthetics and its approach to national cultures. In the book “Aesthetics: the Big Questions” (1998) Carolyn Korsmeyer reduces the main issues of contemporary aesthetics to six questions. The first question, old but valid, is a question about the definition of art. What is art? Nowadays everything can be art because art has shed all limita- tions, even the limitations of its own definition, and has gained absolute freedom. It has become absolute, as Boris Groys says. It has become absolute, because it has made anti-art a full-fledged part of art, and it has not been possible either to question or negate art since, as even the negation of 50 Grzegorz Dziamski art is art, legitimized by a more than 100 year long tradition, going back to the first ready-made by Marcel Duchamp in 1913. Today making art can be art and not making art can be art, as well, art is art and anti-art is art. The old question: “What is art?” loses its sense, and so does Nel- son Goodman’s question: “When art?”. When does something become art? These questions are substituted by new ones: “What is art for you?”, “What do you expect from art?”. There can be a lot of answers, because defining art has a performative character. Louise Bourgeois has ex- pressed the performative character of defining art in an even better way: “Art is whatever we believe to be art”. And for some reasons, which we do not fully realize ourselves, we want to make others share our belief. The text in an introduction to a new book on contemporary aesthetics by Grzegorz Dziamski.

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Od syntezy sztuk do sztuki post-medialnej

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Dziamski G.

Estetyka i Krytyka

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2010

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issue 17-18

33-46

EN

Popular romantic vision of the synthesis of arts had been questioned by the modern concentration on the use of new media. The terms „intermedia” and „multimedia”, as well as the differences between mixed means media and the expression of the common cognitive horizon of various domains started to be analyzed. In multimedia performances artist participated in the reality co-created by the new technologies. On the other hand, the perception of the communication was to result in the conscious and active involvement of the recipient. The next steps to create the full unity of the reality invented by the artist and the participant are the installations emerging in the virtual reality „inside the computer” or by the telepresence. Illusion of the contact with the multidimensional, dynamic reality may be the example of contemporary total work. At the same time the artists’ choice of the medium to be used in such a communication process usually lead to involvement of other media. It is not only the example of intermedia work but rather the post-media situation, where the artistic character of the whole communication, intermedia process is intended to be studied.

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ESTETYKA WOBEC FEMINIZMU

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Dziamski G.

DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu

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2018

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vol. 25

40-66

EN

Aesthetics Against Feminism When we talk today about women’s art, we think about three phemonena, quite loosely related. We think about feminist art, about the way that the feminist’s statements and demands were expressed in the creativity of Judy Chicago and Nancy Spero, Carolee Scheemann and Valie Export, Miriam Schapiro and Mary Kelly, and in Poland in the creativity of Maria Pinińska-Bereś, Natalia LL or Ewa Partum. We think about female art, the forgotten, abandoned, neglected artists brought back to memory by the feminists with thousands of exhibitions and reinterpretations. Lastly, we think about the art created by women – women’s art. However, we do not know and will never know, whether the latter two phenomena would develop without the feminist movement. What is more, it is about the first wave of feminism called “the equality feminism”, as well as the dominating in the second wave – “the difference feminism”. The feminist art was in the beginning a critique of the patriarchal world of art. In a sense it remains as such (see: the Guerilla Girls), yet today we are more interested in the feminist deconstruction of thinking about art, and thus the question arises: should feminism create its own aesthetics – the feminist aesthetics, or should it develop the gender aesthetics, and as a result introduce the gender point of view to thinking about art? In this moment the androgynous feminism regains its importance, one represented by Virginia Woolf, and referring – in the theoretical layer – to Freud as read by Lucy Irigaray. Freudism, which the feminists became aware of in the 1970s, is the only philosophical movement, which assumes a dual subject, that is, in the starting point assumes the existence of two subjects – man and woman, even if the woman is defined in a purely negative way, by the deficit, as a “not a man”. Freudism replaces the Cartesian thinking subject (consciousness) by the corporeal and sexual being, and forces us to re-think the Enlightenment beginnings of the European aesthetics.

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NOWOCZESNOŚĆ W REFLEKSJI NAD SZTUKĄ

100%

Dziamski G.

DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu

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2016

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vol. 22

6-18

XX

The twentieth century has developed three models for describing contemporary art. Three narratives dominated in the 1930’s and the 1940’s: Paris-French, German-Expressionist and avant-garde-international. In the 1950’s and the 1960’s, avant-garde-centrist model included two basic phases or formations in the art of the twentieth century. Historical avantgarde period covered the years 1905–1930. Neo-avant-garde lasted from 1955 to 1970. To a pair of avant-garde – neo-avant-garde, some authors add yet proto-avant-garde they considered as the nineteenth century artistic trends leading to the birth of the historical avant-garde - romanticism, realism of Courbet, impressionism, post-impressionism and on the other hand post-avant-garde, or art after the fall of the avant-garde. In the 1980’s and the 1990’s, avant-garde model was superseded by a model operating the opposition modernism - postmodernism. According to that model, the twentieth century art include two cultural and artistic formations: modernist and postmodernist formations. The first experienced its climax around 1910, when abstract art was born; the second in the 1980’s. Modernism and postmodernism can be considered as two codes that define literary (artistic) codes, but there is a significant difference between them. The modernist code reveals modernist essentialist attitude, the trend of looking for essence, individuality, specificity of art, trying to melt pure art, while postmodernist code refers to the avant-garde and the expanded field of art, focusing on the relationship of art and life.

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6 DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu

1 Estetyka i Krytyka

1 Sztuka i Dokumentacja

8 Dziamski G.

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Kilka uwag o sztuce performance

POLITYKA GLOBALNEGO ŚWIATA SZTUKI

Neoawangarda; wprowadzenie do sztuki współczesnej

Zejście z cokołu. Sztuka jako żart. Od Francisa Picabii do Maurizio Cattelana

Performatywny charakter estetyki

Od syntezy sztuk do sztuki post-medialnej

ESTETYKA WOBEC FEMINIZMU

NOWOCZESNOŚĆ W REFLEKSJI NAD SZTUKĄ