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UP TO THE LIMITS. OLGA TOKARCZUK AND WLADYSLAW STRZEMINSKI (Do granic. Olga Tokarczuk i Wladyslaw Strzeminski)

100%
Balus W.
Teksty Drugie (Second Texts)
|
2009
|
issue 3(117)
103-120
EN
In chapter 1 of Olga Tokarczuk's novel 'Bieguni', as well as in Wladyslaw Strzeminski's concept of unism in painting, the axis of considerations is a tension between what is singular, individual, and the totality of impersonal being. In his theory of unism, Strzeminski expressed a modernist experience that revolved around modern aspects of reality being built by man. His focus was reasonability of the modern world and its technological organisation as well as a determinable pure essence of individual artistic genres. For Tokarczuk, the life of post-modern man is spread between impersonality of objectified being and incessant journey through non-places (railway stations, airports, hotels) - a journey that somehow builds the existence but this existence is shredded in the manner the novel 'Bieguni' is itself fragmentary and non-continuous. Impersonal being is a threat, much in the manner the 'il-y-a' is for Lévinas; restless existence becomes, in turn, a rescue inasmuch as eternal elopement of man before the murmur of thickening stagnation. Regardless of the differences between the two authors in question, both have expressed the same conviction. Namely, if one is willing to touch something common, a form of being is reached for which is an undifferentiated, continual and impersonal being.
2
Content available remote

'WE'RE BUILDING A NEW HOME... ' ('Budujemy nowy dom...')

100%
Balus W.
Konteksty - Polska Sztuka Ludowa
|
2010
|
vol. 64
|
issue 2-3(289-290)
227-232
EN
The presented text demonstrates an unprecedented phenomenon that started to function on an increasing scale since the 1980s: corporations had rendered art a business venture, treating it as one of the most effective marketing instruments. The intentional pursuit of art has become a new form of financial investment, accompanied by a marketing strategy of creating a new image. The appearance of a private corporation sector in a domain that in Europe had been almost exclusively public has become a feature of a novel artistic awareness. Moreover, the widely delineated and effective application of marketing by the corporations has affected the approach towards marketing on the part of the temples of art - the museums. Corporation models of institutional activity and management became increasingly often models of functioning for museums. The article discusses factors that influence the transformation of traditional art museums into cultural malls as well as the increased number of renowned museums (so-called super stars) and their expansion across the world. The author analyses a process in which commercial organisations, on the one hand, develop their own forms and strategies of a cultural policy (e. g. by creating art collections) in order to retain and expand the sphere of influence while, on the other had, art institutions adopt and modify corporation strategies so as guarantee public recognition and financial stabilisation. New forms of cultural promotion and mediation have developed as a result of those concurrent interests. Both the corporations and the art institutions seek legitimisation and acceptance, at the same time emphasising the benefits enjoyed by the public/clients from establishing inter-institutional relations. By gradually taking over impact over the museums, the corporations significantly alter the functioning of those institutions and art itself, and by displaying art in their interiors they re-define the discourse, especially the one dealing with contemporary art.
3
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EXIT FROM THE SHADOW (Wyjscie z cienia)

100%
Balus W.
Konteksty - Polska Sztuka Ludowa
|
2009
|
vol. 63
|
issue 3(286)
32-35
EN
As a rule, it is difficult to capture the traces of a decision made by a young artist about his entry into the 'adult' world of art. 'Veranda' by Wyspianski - his early, 'borderline' work - encourages the reader to delve deeper. The interior of Wyspianski's veranda is secure and tamed but leaving it carries some sort of a threat. Crossing the threshold denotes a step into the unknown. Perhaps this will be the beginning of a march into the realm of light and warmth or of something quite the opposite - a fall into a precipice...
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