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Granice (nie)ludzkiego w sztuce współczesnej

100%
Małecka A.
Prace Kulturoznawcze
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2012
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vol. 14
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issue 2
121-135
EN
Contemporary art has undoubtedly been showing a growing interest in animals, the position of human beings and their struggle with their own identity as a species. Art works constitute a significant and critical contribution to this discussion, held, among others, by philosophers and biologists. J. Ullrich, pointing to thorough transformations in our approach to our relations with other animals, goes even as far as to call it an animal turn. Artists express the boundaries of the (non)human in many different ways: by creating inter-species works (B. Rothhaar, Bee Project), enabling us to recognise ourselves in the non-human Other (C. Höller, Orang-outang) and pondering over the status of biological hybrids (Art Orienté objet, Que le cheval vive en moi). It is interesting, too, that human interference (creation of transgenic animals) proves to be helpful in realising the vagueness of the boundaries between species (K. High, Embracing Animal). An analysis of the above mentioned works undermines the basis of the binary division into the human and the animal, which also forces us to the reinterpret the culture-nature relation.
2
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RAFAŁ WOJACZEK’S “SICKNESS UNTO NON‑EXISTENCE”

100%
Małecka A.
Studia Humanistyczne AGH
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2018
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vol. 17
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issue 3
EN
The paper focuses upon the philosophical message rendered by Rafał Wojaczek’s poetry. The author regards the issue of non‑existence as the central theme of Wojaczek’s creative output, and analyses it in the context of existentialist philosophy, referring to Martin Heidegger’s concepts in particular. The following four aspects of the leading idea of non‑existence are identified and discussed in the article: non‑existence understood as death which not only constitutes everyone’s destiny but also validates individual life; non‑existence as nothingness which is disclosed in anxiety, with the retreat of being in its entirety; non‑existence as a blurred personal identity; and, finally, non‑existence as a condition of creativity. The unique form and style of this poetry are considered to play an essential role in conveying the metaphysical content.
3
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Styl i znaczenie w architekturze (Gaudi, Gehry, Libeskind)

100%
Małecka A.
Stylistyka
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2008
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vol. 17
41-48
EN
The paper discusses the problem o f meaning in architecture and its relation to style. First, Roman Ingarden’s aesthetic theory is referred to. It is concluded that the architectonic object can be considered a valuable realisation in the sphere o f art only if it combines artistic values with so-called “metaphysical qualities”, i.e. symbolic reference to the ultimate reality. This artistic and metaphysical mission o f architecture is fulfilled primarily by the medieval cathedral regarded as “imitation o f the cathedral that is in heaven”. The beauty o f church based on harmonic proportion symbolises God’s perfection. The main part o f the paper is devoted to discussion o f three original architects: Antonio Gaudi, the representative o f modernism, and postmodern deconstructivists: Frank O. Gehry and Daniel Libeskind. The work o f the “divine architect” Antonio Gaudi is considered as a revival o f gothic tradition, embodied in eclectic and highly decorative style, with its characteristic organicist elements. For Gaudi, architecture consists in the following o f natural principles, thus pointing to God as the creator o f nature. Frank O. Gehry, on the other hand, dismantles and reconstructs architectural forms in a new and shocking way, introducing contrast with the environment. His works may be regarded a purely formal game, thus indicating the decline of meaningful culture. They are considered as Baudrillard’s simulacra, pointing only at themselves. The other o f analysed deconstructivists, Daniel Libeskind, reintroduces the idea o f architecture as a domain o f deeper meanings. His best known masterpiece, the Jewish Museum in Berlin, provides the visitors with an opportunity o f symbolic participation in suffering o f Jews, which is the purpose achieved by architectural means. His works are characterized by a lack o f one univocal meaning; and are open to ever new involvement o f the subject, who is to constitute the meaning within their own aesthetic experience, in the discourse between history and the present.
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