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Przestrzeń otwarta – kształt, symetria i dynamiczna narracja w rzeźbie abstrakcyjnej

100%
Bandura A.
DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu
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2014
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vol. 17
222-236
EN
E. Chillida once said that nobody knew what space exactly was. I try to describe a new idea of space that is emerging from theoretical texts on contemporary sculpture written by Kobro, Morris and Chillida. At the same time I want to establish more precise meaning of what the abstraction in sculpture might be. Among the other factors that could help define abstract sculpture are the following factors: analysis of shape or form (geometric as well as non-geometric or so called „geometrized” forms), symmetry (or ‘relative symmetry’) of composition, and finally research on space and its perception (including not only a scientific notion of space but also a natural, perceptual or artistic one). Processes of geometrization and asymmetrization, evident in Kobro’s, Morris’ and Chillida’s works, let the artists articulate the most basic function of sculpture, that is to open space (to change our idea and perception of space). Abstract sculpture enters the space and, at the same time, makes on-lookers move into the space. It unifies inner (generally subjective) and outer (objective) images of space. In my analysis of abstract sculpture I emphasize the role of shape (form, figure) in abstract pieces of art. Also, from the other side, I try to legitimize a relationship between abstraction and representation. I believe that we cannot consider non-representative and/or non-figurative sculpture as abstract sculpture because abstract sculpture includes its own object of perception, representation and reflection, I mean: space. For me, abstract sculpture (artworks by Kobro, Morris or Chillida) is a form of narration about space which is real and concrete in a more strict sense than any representation.
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Abstrakcyjne wariacje na kształt. O procesach, zasadach i teoriach abstrahowania w percepcji zmysłowej

100%
Bandura A.
DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu
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2014
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vol. 18
59-71
EN
Although perception or so called sensual cognition used to be treated as essentially irrational in the philosophical tradition, contemporary sciences of perception (as the phenomenology of the sensuous, the anthropology of the senses, the psychology of vision or psychology of aesthetic perception, Gestalttheorie, psychoaesthetics etc.) focus on some kind of logos implied in perception. Quasi-rational modalities of sensual (visual) perception – such as imagnation, memory, intuition and so on – work on visual sensory data reducing or/ and completing (filling in) them. The results of those processes can be called “abstractions”. The processes of abstracting are here defined by the idea of simplicity – on the one hand concerned as generalisation of the concrete and on the other as presentation of the specific qualities of the object. I would like to take into consideration different concepts of so called visual “notions” or “ideas”, to compare them and finally to put forward a risk hypothesis that a visual shape of abstract art (e.g. square) is a kind of a “notion” of visual perception.
3
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W oparach absurdu. Przedmiot surrealistyczny

100%
Bandura A.
DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu
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2015
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vol. 19
114-127
EN
Due to the limitations of the subjective (own competence) and the objective (article’s volume), I decided to focus on the phenomenon or rather a sense of humor and surrealism. I understand humor as a spe-cifically human power, sensitivity and individual way of feeling different comic phenomena (including absurd and ironic phenomena). Surrealism in visual arts (broadly – in the art of interlaced threads of the surreal) in the right way is testing the recipient’s (as creator) sense of humor. Surreal humor suspended between intellect, emotions and pleasure rarely becomes frustrating; more often – cathartic. It does not include any depreciating properties of laughter which may arise when there is a sense of superiority over the others. Humor contributes to taming the absurd, which is, nolens volens, an integral part of our lives. I search for answers to the following question: ‘What does surrealistic humor purifies in us?’. I analyze functions (anti-functions?) in surrealist objects by Man Ray, Marcel Duchamp, Meret Oppenheim, Oscar Dominguez, Marcel Jean, Marcel Marien and others.
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