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Plastyka w Kościele w latach 1981–1989. Trwałe przymierze czy epizod?

100%

Gralińska-Toborek A.

Pamięć i Sprawiedliwość

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2005

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issue 1(7)

181-201

EN

The article describes art under the patronage of parish churches in the years 1982–1989 as an important element of independent culture and as a unique phenomenon not only in Polish art but also in Church history. Some of the reasons for this movement are on the one hand the dying out of the avante guarde movement, with its strong criticism and the search for new avenues of expression and, on the other hand, the socio-political changes in the country and the Church’s opening up to culture. The beginning of this phenomenon was the activity of the Polish Artists’ Union in the years 1980–1981 and its taking the side of the Independent Self-governing Trade Union “Solidarity”. And later, on the introduction of martial law, their boycott of officially sponsored cultural life. It consolidated a large proportion of the community and made the independent circulation of art easier. The Catholic Church played an important part in this through rendering available its institutions – diocesan museums, Church premises and other accommodation in which galleries and exhibitions were organised. At the same time priests would “spread the word” in the artistic community and create chaplaincies to serve that community. community and create chaplaincies to serve that community. The Church-sponsored art movement created its own iconography (political-patriotic and religious), its own forms and styles of display (among others in the premises of the Churches), it had its own theorists and critics as well as its audience. It also had its opponents who sought to undermine its independence and artistic value. The reason this movement died out at the end of the eighties was the weariness of both parties: the artists and Church representatives, the arrival of a new generation of artists, the end of the boycott of official galleries and museums, finally the changes in Poland in 1989. The Church-sponsored artistic movement is hence, an important, but closed chapter in Polish post-war art. The Church, thanks to its involvement in independent culture renewed its contact with artists, but did not acquire modern religious art, which could permanently take root in places of worship.

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Dual Place of Street Art – the City vs the Internet

100%

Gralińska-Toborek A.

Acta Universitatis Lodziensis. Folia Philosophica. Ethica – Aesthetica – Practica

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2017

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issue 30

99-109

EN

Street art (or more broadly urban art), as the name suggests, has its own specific place, which is the street. However one would be mistaken to think that this type of art can only be seen there. Most street art lovers know the works of their favourite artists primarily through the Internet, not only because this kind of art is ephemeral or not easily accessible (for example, due to its dangerous or exotic locations), but because it is perhaps the best documented art that has been created in the world. For artists and lovers of street art, the Internet has become a common space to share photos. More often than not, the Internet also becomes the only place where artistic ideas exist. Paradoxically, such art, which was supposed to be the nearest to the viewer in the physical sense, has become the nearest in the virtual sense. One can, however, hope that neither consumers of art. nor artists will have to give up their direct experience of art that builds our polysensory sensitivity.

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Preface

63%

Kazimierska-Jerzyk W., Gralińska-Toborek A.

Acta Universitatis Lodziensis. Folia Philosophica. Ethica – Aesthetica – Practica

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2017

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issue 30

7-8

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2 Acta Universitatis Lodziensis. Folia Philosophica. Ethica – Aesthetica – Practica

1 Pamięć i Sprawiedliwość

3 Gralińska-Toborek A.

1 Kazimierska-Jerzyk W.

2 2017

1 2005

Plastyka w Kościele w latach 1981–1989. Trwałe przymierze czy epizod?

Dual Place of Street Art – the City vs the Internet

Preface