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1

The Thaw, or Warming in Cracow’s Artistic Community Relations with the West, and Consequences to Art

100%

Stano B.

Sztuka i Dokumentacja

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2022

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issue 27

11-23

2

THE CURRENT STATE OF LANGUAGE IN CONTEMPORARY ART AND CINEMA: FROM WILLIAM WORDSWORTH AND HUGO VON HOFMANNSTHAL TO JEAN LUC-GODARD AND MILOSZ ODOBROVIC

84%

Vaso J.

Świat Tekstów. Rocznik Słupski

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2019

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vol. 17

21-30

PL

Zdolność języka do pełnego uchwycenia ludzkiego doświadczenia lub objęcia nieograniczonej natury została zakwestionowana przed 1900 rokiem. W „Liście lorda Chandosa” Hugo von Hofmannsthala pisarz Lord Chandos dręczy się brakiem głębi języka, starając się myśleć „w bardziej bezpośredni sposób, bardziej płynny, jaśniejszy niż słowa”. Od tego czasu era cyfrowa przyniosła takie uproszczenie języka – z akronimami, emotikonami, rozmowami online i zwiększoną zależnością od obrazów – które bez całkowitego zrzeczenia się języka, nieumyślnie przenosi ludzkość w kierunku pewnego rodzaju cichego istnienia. Czy jest to znak apokalipsy języka, akceptacja jego nieadekwatności, czy tylko faza transformacyjna?

EN

The ability of language to fully capture the human experience or encompass nature’s limitlessness has been questioned since before the 1900’s. “O nature, and O soul of man! how far beyond all utterance are your linked analogies” writes Herman Melville in 1851’s Moby Dick. In Hugo von Hofmannsthal’s The Letter of Lord Chandos, the former writer Lord Chandos agonizes over language’s lack of profundity, seeking to think “in a medium more immediate, more liquid, more glowing than words.” Lord Chandos indeed describes a future “with a language that is no language and that, until this language is found, the only possibility is silence” (Richard Sheppard, Modernism: A Guide to European Literature), echoing Ludwig Wittgenstein’s words: “what can be said at all can be said clearly, and what we cannot talk about we must pass over in silence”. Since then, the digital age has brought on such a simplification of language – with acronyms, emoticons, chatting, and an increased reliance on images – that without entirely relinquishing language, is unintentionally moving humanity towards a kind of silent existence. Is this a sign of the apocalypse of language, an acceptance of its inadequacy or merely a transformational phase? In Invisible Cities, Italo Calvino attributes the undoing of language to the cyclical nature of communication, as Marco Polo and Kublai Khan shift from simplistic gestures to descriptive language and vice versa, failures of one leading to the reintroduction of the other. As contemporary art and cinema illustrate (specifically Jean Luc-Godard’s recent film Goodbye to Language as well as the works of modern artists like Milosz Odobrovic, among others) we find ourselves confronting the failures of language but not yet equipped to fathom a world without it.

3

Coincidentia oppositorum: The Works of Giovanni Anselmo between the Visible and the Invisible

59%

Tiberi B.

Annales Universitatis Paedagogicae Cracoviensis. Studia de Arte et Educatione

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2018

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vol. 13

66-67

EN

The Italian artist Giovanni Anselmo (b. Borgofranco d’Ivrea, 1934) was a member of Arte Povera group, which was put together by Germano Celant back in 1967. Anselmo has addressed the invisible in art since the beginning of his activity, mainly with projections ofwords that play with the idea of the visible and the invisible, with the true (or multiple) meanings of language, and with the very nature of art. He refers to universal and eternal concepts and opposite pairs, such as the visible and the invisible, the finite and the infinite, the close and the open, the clear and the blurred, the being and the non-being. In the works discussed in the paper, the intangible element of the light beam is made visible only through the projection. It is always the projection of something immaterial on something material, an entity that participates in the dimension of non-being that is projected onto the world of being.

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1 Annales Universitatis Paedagogicae Cracoviensis. Studia de Arte et Educatione

1 Sztuka i Dokumentacja

1 Świat Tekstów. Rocznik Słupski

1 2022

1 2020

1 2018

1 Stano B.

1 Tiberi B.

1 Vaso J.

The Thaw, or Warming in Cracow’s Artistic Community Relations with the West, and Consequences to Art

THE CURRENT STATE OF LANGUAGE IN CONTEMPORARY ART AND CINEMA: FROM WILLIAM WORDSWORTH AND HUGO VON HOFMANNSTHAL TO JEAN LUC-GODARD AND MILOSZ ODOBROVIC

Coincidentia oppositorum: The Works of Giovanni Anselmo between the Visible and the Invisible