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Sztuka bogactwem Afryki? Wpływ rynku antykwarycznego na życie codzienne mieszkańców Afryki Zachodniej

100%

Podyma K.

Forum Politologiczne

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2011

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vol. 12 - Problemy bogactwa i biedy we współczesnej Afryce

611-628

EN

Could art, be a part of culture, be perceived as Africa's wealth? Could art dealing become the basis for the change of status of people who reproduce it? Or is it merely a cliche, referring to the general concept of art being able to spiritually enrich people? It was the European approach to the value of an object that gave African artefacts an entirely new financial dimension. Thus, culture became interwoven with economy, with which traditionally it had very little in common. Through the growth of the antiquarian market, this co-relation has created an entirely new direction of development of the parts of culture involved and a new approach guided by the dynamics of global economy. According to these dynamics, anything could become an object of trade. In practice, demand started to dictate the scale of the reproductiveness of non-art, and its value began to grow in a disproportionate and totally random manner. Culture, a part of the economic puzzle, became entangled in a network of mutual intercultural reactions stimulated solely by demand and supply. This mutual interest shaped the changes which took place within the local cultures, and which were driven by tourism and the demands of the antiquarian market. Art, a part of culture - the most measurable and tangible one - has clearly found its place in the commercial marketplace shaped by the interests of the non-African world. The uniqueness, distinctiveness, and the aesthetic and religious aspects of African artefacts have created a base for investment, whose roots can be traced back to the times of the Cubist discovery.

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Sztuka Białych w południowej Afryce - od ubóstwa do bogactwa?

100%

Żukowski A.

Forum Politologiczne

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2011

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vol. 12 - Problemy bogactwa i biedy we współczesnej Afryce

587-594

EN

The South African art is not uniform. It expresses cultural and civilization diversity of the country. In characterization of the art of white people in South Africa the article focuses above all on the fine arts (on painting and sculpture) but architecture, theatre and music were as taken into consideration. The art of white people in South Africa was being created and formed in specific conditions, far away from Europe. Although the art was powerfully influenced by Europe, especially in the initial period. In the beginning it was also very elite and quite impenetrable. It was not almost opened to the cultural heritage of the other inhabitants of South Africa. Together with the industrialization, increasing prosperity of white population, especially in the 20th century, significant development of the art of white people in this country occurred. At that time, artists derived inspirations as well from the African art. This art was creating its own and genuine style and some trends were strongly supported by authorities in Pretoria.

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African contemporary art and the curatorial turn

63%

Pawłowska A.

Art Inquiry. Recherches sur les arts

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2015

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vol. XVII (XXVI)

219-237

EN

During the fifty year period of the second half of the 20th century the field of African Art History, as well as the forms of art studies and art exhibitions have changed considerably. This article considers the evolution of the idea of African identity in contemporary arts. I would like to examine the different forms of art representation and interviewing of African fine arts in the last three decades. In order to illustrate the dynamic changes in the European approach to African Art, it is simply enough to recall the famous remarks of Carl Einstein and Roy Sieber on that subject or William Rubin’s controversial exhibition Primitivism in 20th Century Art at the Museum of Modern Art in New York (1984). It seems that the visibly growing practice of engaging curators of African origin in the creation of exhibitions of modern African art, particularly as a strategy to incorporate the voices of those represented, is one of the most important aspects of the “curatorial turn” of the 21st century.

PL

W II połowie XX wieku podejście do historii sztuki afrykańskiej jako dziedziny naukowej jak też formy studiów artystycznych oraz wystaw tejże sztuki znacznie się zmieniły. Celem artykułu jest zobrazowanie ewolucji idei tożsamości współczesnej sztuki afrykańskiej poprzez prezentację sposobów ekspozycji tej sztuki w ciągu ostatnich trzech dekad. Aby pojąć dynamikę zmian w europejskim podejściu do sztuki afrykańskiej, wystarczy przypomnieć słynne uwag Carla Einsteina i Roya Siebera z I połowy XX w. na ten temat lub kontrowersyjną wystawę Williama Rubina w Muzeum Sztuki Nowoczesnej w Nowym Jorku (1984), pt. Primitivism in 20th Century Art. Wydaje się, że obecnie proces przemian w postrzeganiu i prezentowaniu współczesnej sztuki afrykańskiej pogłębia się. Jednocześnie rośnie udział kuratorów pochodzenia afrykańskiego, co pozwala na stworzenie nowej strategii kuratorskiej – prawdziwego „zwrotu kuratorskiego” z początku XXI w., który pozwala odzyskać głos uprzednio jedynie reprezentowanym Afrykanom.

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2 Forum Politologiczne

1 Art Inquiry. Recherches sur les arts

1 2015

2 2011

1 Pawłowska A.

1 Podyma K.

1 Żukowski A.

Sztuka bogactwem Afryki? Wpływ rynku antykwarycznego na życie codzienne mieszkańców Afryki Zachodniej

Sztuka Białych w południowej Afryce - od ubóstwa do bogactwa?

African contemporary art and the curatorial turn