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Destrukcja dzieł sztuki a prawo w ujęciu historycznym

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Bieczyński M. M.
Studia Politologiczne
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2018
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vol. 50
217-236
EN
This article is focusing on the issue of the destruction of art works regulated by law in different historical periods. This overview is intended to demonstrate the continuity of the problems associated with the need to determine the legal status of older art in the transitional period between the following political and social systems. This elaboration draws the attention to the relationship between law, the preservation of art works, and the change of opinion on the role of religion as a regulator of social relations. Additionally, this article outlines the historical transformation of the way in which law regulated visual arts. It shows the connection between today’s disputes about images in the context of international war conflicts with the earlier religious changes on the European continent.
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„Piękno nie służy sztuce” – o nieprzydatności kryterium estetycznego dla prawnej oceny dzieł sztuki

100%
Bieczyński M. M.
Themis Polska Nova
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2016
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issue 2(11)
5-32
EN
The main purpose of this article is to develop a dogmatic reflection about the significance of the aesthetic criteria in juridical decision-making. Main focus concentrates on the case-law, in which the aesthetic evaluation was revoked as an argument in the courtroom. Research is directed on establishing of a dogmatic frame for the future investigation of that topic. It offers a non systematic typology of cases. To realize this objective, at least on a basic level, consideration the following aspects is required. Firstly, it seems necessary to show examples of situations in which non- -legal, aesthetic arguments have been ‚smuggled’ into the court discourse by the lawyers themselves – including judges. Secondly, it seems necessary to build a general frame for the philosophical, art-critical and social conditions of the close relationship of law and aesthetics. The tendency for lawyers to ‚serve’ the aesthetic theories in argumentative situations of uncertainty appears to be historically conditioned – it finds its roots in the common law and the philosophical foundations of art, in the tradition of European culture. Thirdly, it seems reasonable to identify those cases that were ‘noble exceptions’ to the rule of lack of lawyers’ consciousness of problems connected to art history and aesthetics. Although the concern of this article is not a reconstruction of the historical evolution of the relationship between law and aesthetics, but the analysis of the modern aspects of their relation, the reference to the cases from the nineteenth and twentieth centuries, in which the issue was under consideration, appears to be useful for demonstrating continuity of the problem described. Fourthly, this article attempts to assess the socio-cultural conditions of the ‘legal escape’ into aesthetic argumentation in situations of uncertainty about the meaning of art. It appears that the formula of aesthetic reasoning adopted as the basis for the legal assessment of artworks is not without culturally conditioned meanings – it is no a procedure, which is neutral and free of politics. Fifthly, it is impossible to ignore questions about possible alternatives to the theory of aesthetic as a criterion for assessing the value of the artworks in science and law. The rejection of aesthetics and the related thesis proclaiming that art always serves beauty, requires the submission of proposals for the adoption of another operative alternative solutions, which would fill ‚argumentative void’ and also save the object (art) from having no point of argumentative reference in the legal argumentation
3
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Między prawem a faktem – wewnątrz-instytucjonalna cenzura sztuki nieobyczajnej

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Bieczyński M. M.
Santander Art and Culture Law Review
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2018
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vol. 4
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issue 1
45-62
EN
This article deals with the subject of intra-institutional censorship; that is, with cases restricting the freedom of artistic expression through the decisions of managing bodies in cultural institutions. The aim of this study is to draw attention to the problem of determining the actual scope of freedom of artistic creation through intra-institutional practice. It presents examples of such limitations as well as the basic legal and practical problems connected with them.
PL
W artykule podjęto temat cenzury wewnątrz-instytucjonalnej, czyli przypadków ograniczania wolności sztuki przez decyzje organów zarządzających instytucjami kultury. Celem opracowania jest zwrócenie uwagi na problem wyznaczania faktycznego zakresu wolności twórczości artystycznej przez praktykę wewnątrz instytucjonalną. Przedstawiono w nim przykłady takich ograniczeń oraz podstawowe problemy prawne i praktyczne z nimi związane.
4
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The Nicosia Convention 2017: A New International Instrument Regarding Criminal Offences against Cultural Property

100%
Bieczyński M. M.
Santander Art and Culture Law Review
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2017
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vol. 3
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issue 2
255-274
EN
This article introduces a new treaty on the protection of cultural property: the Council of Europe’s Convention on Offences relating to Cultural Property (“the Nicosia Convention”), sometimes referred to as the “Blood Antiquities Convention”. Opened for signature on 19 May 2017, it is considered to be an expression of hopes regarding the prevention of destruction and illicit trade of cultural objects. The Nicosia Convention obliges its State Parties to implement common standards in criminal law in relation to cultural property. The recognition and implementation of equal measures for criminal offences can fill the gap in international cooperation in that field, particularly in times of instability or conflict. The treaty opens a new perspective, but its effectiveness depends however on the readiness of States to sign and effectively implement its regime in their respective domestic legal systems. This article focuses on the basic questions regarding the conditions of effectiveness of this treaty, the context of its adoption, and its envisaged consequences for the protection of cultural property.
5
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“Einstein’s Dentist” (Hans Sachs) and Restitution Claims Concerning a Nazi-Looted Poster Collection

100%
Bieczyński M. M.
Santander Art and Culture Law Review
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2024
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vol. 10
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issue 2
283-294
EN
This article delves into the ongoing issues surrounding the restitution of artwork stolen by the Nazi regime during the Second World War. It highlights the less-explored case of German dentist Hans Sachs and his extensive poster collection, shedding light on the challenges faced by heirs of Nazi-looted art and revealing the stance of German cultural institutions and courts. It traces the history of Sachs’ collection, its significance in cultural heritage, and the subsequent attempts to recover it. The focus then shifts to Peter Sachs, the collector’s son, and his pursuit of justice through legal means, detailing the various court decisions that marked the progress of the case. Through this comprehensive analysis the article provides insights into the broader issues of art restitution, the complexities of legal battles involving Nazi-looted art, and the implications for cultural heritage preservation. It concludes with a summary of the key findings and the implications of the Hans Sachs case.
6
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Muzea w internecie w odpowiedzi na „kulturowy szok” pandemii COVID-19

100%
Bieczyński M. M.
Ochrona ludności i dziedzictwa kulturowego
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2023
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vol. 2
121-144
EN
The impact of the Covid-19 pandemic on the cultural sector worldwide has been severe. From the beginning, it became clear that the changes resulting from the restrictions would not be without an impact on the operations of museums and galleries. According to UNESCO’s May 2020 projections, 10% of the museums affected by the pandemic were not expected to reopen. This included a huge number of 8,550 museums that might never open. The collision of cultural institutions with the new reality was described as “dramatic” and called a “culture shock.” Museums had to react quickly to the unexpected. Covid-19 highlighted many organizational and infrastructural weaknesses throughout the sector. One of them was the absence or only a small presence of museums on the Internet. Meanwhile, it was the Internet that, in the face of the “forced closure” of public buildings, became the only possible channel to maintain the continuity of the business of making collections public. As a result of the transformation of many previously planned cultural events into their virtual versions, the digital transit of museums seems to be the main effect of the pandemic’s impact on museum institutions in the field of their cultural activities.
PL
Wpływ pandemii COVID-19 na sektor kultury na całym świecie był bardzo silny. Od samego początku stało się jasne, że zmiany wynikające z wprowadzonych ograniczeń nie pozostaną obojętne dla działalności muzeów i galerii. Według przewidywań UNESCO z maja 2020 roku 10% muzeów dotkniętych skutkami pandemii miało nie zostać ponownie otwartych. To dotyczyło ogromnej liczby 8 550 muzeów, które mogły nigdy się nie otworzyć. Zderzenie instytucji kultury z nową rzeczywistością określono jako „dramatyczne” i nazwano „szokiem kulturowym”. Muzea musiały szybko zareagować na niespodziewane wydarzenia. COVID-19 uwypuklił wiele słabości organizacyjnych i infrastrukturalnych całego sektora. Jedną z nich była nieobecność lub jedynie niewielka obecność muzeów w sieci internetowej. Tymczasem to właśnie internet, w obliczu „przymusowego zamknięcia” budynków użyteczności publicznej, stał się jedynym możliwym kanałem pozwalającym na zachowanie ciągłości działalności w zakresie upubliczniania zbiorów. W wyniku przekształcenia wielu zaplanowanych wcześniej wydarzeń kulturalnych w ich wersje wirtualne cyfrowa tranzycja muzeów wydaje się głównym skutkiem oddziaływania pandemii na instytucje muzealne na polu ich kulturotwórczej działalności.
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