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Sztuka i polityka. Tekst Władysława Strzemińskiego "O sztuce rosyjskiej. Notatki" jako gest taktyczny

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Załuski T.
Powidoki
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2019
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issue 2: Re-konstruktywizm
120-125
EN
In discussions on the issue of Władysław Strzemiński's social-political views, the text ”On Russian Art. Notes” was often referred to, interpreting it as a political manifesto and an expression of the artist's anti-communism or anti-Bolshevism. In the article I claim that the text should rather be considered in terms of ”tactics”: the analysis of artists' tactics in post-revolutionary Russia should be seen in it, and the text itself should be treated as a complex tactical gesture. Strzemiński aimed at tactically separating modern art from relations and associations with ”Bolshevism”, because he wanted to build for it a cultural, social and political capital in Poland of the early 1920s, overwhelmed by a collective fear of the ”spectre of Bolshevism”.
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Umberto Eco: powtórzenie i pozaestetyczny sens awangardy

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Załuski T., Akademia Sztuk Pięknych w Łodzi
Acta Universitatis Lodziensis. Folia Philosophica. Ethica – Aesthetica – Practica
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2006
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vol. 18
EN
The subject matter of the text is an examination of the role the problem of repetition plays in cognitive, social and anthropological aspects of the artistic avant-garde as those are viewed from the standpoint of Umberto Eco's semiology. In Eco's "The Open Work" and "The Absent Structure" the above-mentioned problem takes the form of the concept of redundancy. The latter must be analysed in its relation with the concept of information, as they constitute each other; additionally, they shape Eco's approach to the world of signs, being therefore a kind of conceptual infrastructure of his discourse. The author demonstrates that there are in Eco two interpretations of the relation between information and redundancy. According to the one that Eco himself calls "dialectical", the two concepts, although purported to be inextricably linked, remain opposed to each other: information is held to be a function of challenging established communicational codes, thus opening up a possibility of multiple interpretations of signifying structures, whereas redundancy does not question those codes and guarantees communication of single univocal meaning. As for the other, more complex interpretation, the author maintains that a sketch of it can be found on the margins of Eco's discourse. It is largely implicit there and the author makes an attempt to throw it into relief under the name of ostentatious redundancy. The latter oscillates, in a highly ambiguous manner, between confirming and challenging communicational codes. By the same token it can be regarded not as opposing information but as creating it, or even as being, paradoxically, informative in itself. The tension between the two interpretations shapes Eco's internally divided approach to the question of the avant-garde and its cognitive, social and anthropological aspects. Discussing these aspects, the author indicates that Eco has recourse, obliquely, to ostentatious redundancy every time the dialectical interpretation, which i san explicit driving force of his discourse, poses serious difficulties and starts to undermine itself. Ostentatious redundancy is therefore shown to play an important role in all the avant-garde's aspects as well as to govern Eco's reinterpretation of the concept of "avant-garde" itself and his critical re-examination of modernist aesthetics. Finally, it has a strong connection with Eco's theory of the open work. Advocating a further development of the concept of ostentatious redundancy, the author argues that it may and should, with all its necessary internal complexity, be used for analysing contemporary artistic practices.
3
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Kilka uwag o pomysłowości (wit) u Locke'a

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Załuski T., Akademia Sztuk Pięknych w Łodzi
Acta Universitatis Lodziensis. Folia Philosophica. Ethica – Aesthetica – Practica
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2004
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vol. 16
EN
The subject matter of the paper is an analysis of the role of 'wit' in J. Locke's "An Essay Concerning Human Understanding". The analysis shows that this apparently marginal issue plays in Locke's text ambivalent role. Interpreted by Locke as assemblage of ideas on the basis of their similarity, wit is, on the one hand, explicitly excluded from the domain of philosophy and situated within the sphere of aesthetic pleasure. On the other hand wit is an implicit constitutive element of a number of "Essay's" important philosophical issues, especially those of mind and of ideas formation. The analysis of wit may also be regarded as a contribution to the history of the philosophical treatment of wit and some related problems, such as inventiveness.
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Sztuka jako ontologiczny eksperyment

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Załuski T.
Estetyka i Krytyka
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2011
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issue 2(21)
187-197
EN
In the text which is an exercise in the genealogy of the contemporary I raise the issue of using art as a „model” for the ontology of the world. I look at how art functions in this way within the tradition extending from Immanuel Kant, through German Idealism, Jena Romanticism and Martin Heidegger, to Gilles Deleuze and Jean Luc Nancy. A turning point in this tradition is the shift from conceiving of the work of art and consequently of the world as such in terms of a closed upon itself, „organic” whole, towards treating it as an event and describing in terms of a set of relations, an experiment and a presentation of presentation. This tradition is one of the transformative paths of philosophy, one of the ways which have led us towhere we are „today”.
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Sztuka bycia poza sobą

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Załuski T.
Estetyka i Krytyka
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2013
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issue 3(30)
157-171
XX
„The end of art” means that art is marked by finitude, thrown into finitude and given over to its presentation. Finitude implies a lack of totality, the impossiblity of closing one's being in oneself, and, therefore, the necessity of being in relation, of being outside of oneself. Art that presents finitude is an art of being outside of itself. This means that every time there is art, it exists as something other than itself. This structure of „being-as” seems to be one of the main effects and meanings of “the end of art”. These theses are developed by way of an analysis of Hegel, the Jena Romantics, Danto and Kosuth's text Art after Philosophy.
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Kobieta walcząca o pozycję w polu produkcji artystycznej Samoidentyfikacja, samoorganizacja i samoemancypacja według Ewy Partum

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Załuski T.
Zagadnienia Rodzajów Literackich
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2018
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vol. 61
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issue 2(126)
75-89
EN
Ewa Partum’s conceptual art of the early 1970s consisted in creating a new artistic language but at the same time it bore some traits of feminism and was marked by the figure of what might be called “the touch of a woman”. The artist's self-organizational activities which took the form of establishing and running of an alternative art gallery called “Adres” can be also considered as self-emancipatory feminist practice. The gallery was instrumental in Partum’s attempts at producing symbolic capital for herself and taking a position in the field of Polish and international neo-avant-garde.
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Wstęp

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Ilnicki R., Załuski T., Uniwersytet im. Adama Mickiewicza w Poznaniu, Łódzki U.
Internetowy Magazyn Filozoficzny Hybris
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2015
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vol. 31 (4)
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