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„Czynić widzialnym”. Film jako poszerzone, wirtualne pole dzieła sztuki

100%
Lipiński F.
Kwartalnik Filmowy
|
2017
|
issue 97-98 Wędrujące motywy
250-262
PL
Artykuł stanowi propozycję odczytania wybranych polskich filmów o sztuce (m.in. „Wielość rzeczywistości Leona Chwistka”, reż. R. Waśko; „Ślad”, reż. H. Włodarczyk; „Sen” i „Obraz”, reż. B. Dziworski; „Bykowi chwała”, reż. A. Papuziński) jako specyficznie pojmowanego laboratorium dzieła sztuki. W środowisku filmowym dochodzi do interpretacyjnej wizualizacji jego poszerzonego, wirtualnego pola, czyli czynienia widzialnym i „sprawdzania” tego, co dotychczas pozostawało w sferze intuicyjnego responsu, dyskursywnie eksplikowanej interpretacyjnej projekcji ze strony widza/historyka sztuki czy też domniemanego horyzontu wyobrażeniowego twórcy. W pierwszej części artykułu autor zakreśla teoretyczne przesłanki takiego myślenia o typie „dokumentu kreacyjnego” w obszarze tego gatunku oraz wyjaśnia swoje rozumienie tytułowych pojęć „poszerzonego pola” oraz „wirtualności”. Kolejne dwie części tekstu stanowią analizy wybranych filmów ze szczególnym uwzględnieniem dwóch problemów: wizualizacji „życia” oraz „nieświadomości” dzieła sztuki.
EN
The article provides an opportunity to reconsider selected Polish films about art (e.g. “Multiple Realities of Leon Chwistek”, dir. R. Waśko; “A Trace”, dir. H. Włodarczyk; “Dream and Image”, dir. B. Dziworski; “Praise the Bull”, dir. A. Papuziński) as a specifically conceived laboratory of the work of art. In the film environment an interpretative visualisation takes place of its expanded, virtual field – that is making visible and “testing” that, which up till now remained in the intuitive responsive sphere, the discursively explicated interpretative projection of the viewer/historian of art, or the imaginary horizon of the artist. In the first part of the article, the author outlines the theoretical basis for thinking about the type of “creative document” in the area of this genre and explains his understanding of the terms “expanded field” and “virtuality”. The next two parts of the text are analyses of selected films with particular focus on two issues: visualisation of “life” and “unconsciousness” of a work of art.
2
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University Art History in Slovakia after WWII and its Sovietization in 1950s

38%
Kolbiarz Chmelinová K.
Artium Quaestiones
|
2019
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issue 30
161-190
EN
In post-WWII Slovakia, art history was available only as a university field of study at Bratislava University (in 1954 regaining its name Comenius University) at the Seminár pre dejiny umenia / Seminar of Art History, a separate part of the Faculty of Arts of the university, where art history had been taught as an independent discipline since 1923 before its conversion to a department. Post-war changes in state structures and the new political system radically affected Slovak society and the education system in the country. This article is the very first attempt to present in detail the extent and character of changes in university art history instruction in the part of the socialist era of the Czechoslovak Republic. It is based on the study and comparison of previously unprocessed sources from various university and state archives and their classification in the context of known historical facts. This contribution represents an in-depth probe into the post-war efforts to build a new university foundation and system of art history instruction in Slovakia within the Czechoslovak Republic, and its Sovietization as well. The text analyzes the university environment, the curriculum, the study program of art history and the relevant changes resulting from political pressure from 1945 to 1960. They were the consequence of two directly related, significant moments in the history of Slovakia: the establishment of the Third Czechoslovak Republic in 1945 and the communist coup in 1948, which was followed by the most totalitarian period in the history of the state. The article also discusses the personal changes in the art history staff forced by the political situation (J. Dubnický, V. Wagner, V. Mencl, A. Güntherová-Mayerová, R. Matuštík, T. Štrauss, K. Kahoun). After a brief presentation of the situation in Czechoslovakia at the time, the article first deals with the ad hoc activities and efforts of scientists seeking to maintain art history studies in Slovakia at the university level immediately after the end of the war. The central issue in the article is the changes in the way of teaching resulting from the political upheaval in February 1948. Against the background of political and social changes, the new law on higher education (Act No. 58/1950), which forces significant organizational transformations, is discussed. As part of the process of Sovietization of university education in Slovakia, the modified Seminar of Art History lost its independent status for a long time, and its staff was largely replaced. At the same time, throughout this period, there was a visible tendency to stabilize the teaching system and attempts to become independent again and to develop discipline, undertaken contrary to the imposed system. The 1950s, with their new rhetoric and propaganda optimism, appear to be a decade devoid of internal consistency. It started the most totalitarian period, which lasted until Stalin’s death in 1953, but was followed by a short thaw and then by a new wave of repression after 1957, which chose victims even at the beginning of the next decade. The article focuses on two sides of the 1950s – centralization and the dominant ideological control of the Communist Party, on one hand, and on the other, the obvious effort to unify and professionalize the teaching of the discipline. The factual material presented here shows the scale of changes interpreted in the context of the political and social changes of that time. The case study provides an analysis of system efforts made in the 1940s and 1950s to establish new principles of university teaching for the history of art in Slovakia as part of the Czechoslovak Republic. It aims to broaden the factual basis and existing overview of knowledge of art history in Slovakia and supplement existing studies on the history of art history in the country (J. Bakoš, I. Ciulisová, B. Koklesová).
3
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Bez teorie a bez absolventů: ke dvěma normalizačním hrozbám dějin umění

32%
Johanidesová T.
Slovo a smysl - Word & Sense
|
2020
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vol. 17
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issue 35
67-80
EN
This study analyzes the methodological manipulation of the field of art history and its personnel at Charles University and the Academy of Sciences during the 1970s and 1980s, tracing the consequences of public declarations of support for adopting Marxism Leninism as foundation for all theoretical approaches to the work of art. Adoption of this framework was advanced as the only appropriate response to the widespread application of non Marxist ideas and methods in the field of art history, seen by agents of normalisation as a dangerous hotbed of revisionism. The study also considers the consequences of reducing the admission of art history students and staff during the period of normalisation to those who would be willing to work exclusively within the Marxist framework. The author follows these issues in the larger context of the field of art history and with an analytical focus on the history of fine arts. He also considers the implications of these practices for the current state of the field.
4
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Monety z Apamei Kibotos. Najstarsza ikonografia Arki Noego

26%
Kiełczewska A.
Vox Patrum
|
2008
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vol. 52
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issue 1
455-470
EN
Author of the article presents the series of six coins minted in ancient city of Apamea Kibotos in Phrygia during the reign of emperors Septimus Severus (193- 211), Macrinus (217-218), Alexander Severus (222-235), Gordian III (238-244), Philip the Arab (244-249) and Trebonius Gallus (251-253). The coins depict Noah’s Ark and were connected with Jewish community of the city. The article introduces a short history of Apamea and Jewish settlers in this region. The main part of the article presents the description of the scenes on the coins and tries to explain the circumstances of their appearance in ancient Roman city. An attempt to explain the meaning of the Greek nickname for Apamea - Kibotos, is also significant. In the end of the article author makes the comparison with depictions of Noah’s Ark in early Christian art.
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