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WSPÓLCZESNY FOLKLORYZM

100%
Hajduk-Nijakowska J.
Etnologické rozpravy (Ethnological Disputes)
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2018
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vol. 25
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issue 1
72 – 96
EN
A carnival stands not only for the festive time set by the religious calendar, but also for all games and shows which are part of the urban pop culture. Theoretical reflection on carnivalisation, i. e. a specific model of participation in culture, was initiated by Mikhail Bakhtin. The process of progressive carnivalisation of the urban space is associated with the development of spectator folklorism on the one hand and desementisation of the folk rituals on the other, i. e. with the expansion of festive events, which create common festive activity. The author brings up examples of carnivalisation of the public space in Polish towns from the middle ages until the contemporary times when the said process was joined by local government institutions, cultural institutions and foundations, whose interaction is to expose the emotional bonds with the promoted values among participants of a common, open, street „immediate theatre“.
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Michael Fried and Beholding Video Art

100%
Wilder K.
Estetika: The Central European Journal of Aesthetics
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2012
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vol. 49
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issue 1
5-26
EN
In this article, I consider Michael Fried’s recent contribution to the debate about the experience of video art, made in relation to the work of Douglas Gordon. Fried speculates that issues of antitheatricality may in fact be key to specifying the medium of video installation. While Fried’s position on awork’s to-be-seenness offers a useful way of framing the relation with the beholder in video art, I question his notion of ‘overcoming’ theatricality – preferring to see the theatrical/antitheatrical dichotomy as a dynamic at play within individual works. I welcome what seems to be an explicit acknowledgment from Fried that the position of the spectator is a contributory factor in what he terms empathic projection, but relate this to the notion of a figural presence. I argue that video art, as a spatial practice, offers a distinct mode of reception by problematizing the position of the spectator in relation to two-dimensional figurative space to which she is excluded.
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