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1
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“1945” as a Turning Point in German Art History? Challenging the Paradigm of Rupture and Discontinuity

100%
Fuhrmeister C.
Artium Quaestiones
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2019
|
issue 30
123-135
EN
The historiographical article looks at “1945” as a turning point, inquiring whether the end of both the Second World War and National Socialism also implied a radical break for art history in Germany. In evaluating both contemporary perspectives (like Herbert von Einem’s opening lecture of the First German Art Historians Meeting in 1948) and recent historiographical studies, the paper questions the concept of “Stunde Null” or “hour zero,” and intends to challenge the established paradigm of rupture and discontinuity. Arguing for a more nuanced and holistic understanding of the transformation processes in the postwar situation, three major reasons are identified why simplistic categorizations often prevail: (1) a very narrow definition of the art historian in the history of art history, (2) the disjunction between the humanities and the larger political context, which allow the individual to imagine himself/herself untainted and uncompromised by ideology, and (3) the high degree of continuity, in particular if compared to the radical changes that took place in 1933. The article thus resumes that the idea of “turning points” deserves further differentiation, and calls for the integration of the political dimension into historiography. Essentially, the challenge remains to distinguish between factual processes, false or fraudulent labelling, and symbolic gestures.
2
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Happenings-Events-Performances in Poland: Intermingling Histories of Art and Politics

100%
Guzek Ł.
Sztuka i Dokumentacja
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2020
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issue 22
89-101
PL
Artykuł interpretuje wybrane dzieła sztuki akcji w Polsce, jednak w kontekście ich relacji - mniej lub bardziej bezpośredniej - do sytuacji politycznej w Polsce pod rządami regime totalitarnego w latach 1945-1989. Zwrócenie uwagi na polityczny aspekt dzieł sztuki performance pozwala na ich porównanie z dziełami artystów Koreańskich, tworzących dzieła akcji również w warunkach regime totalitarnego, chociaż o odmiennej naturze. Sztuka akcji okazuje się skutecznym sposobem praktykowania wolnej ekspresji twórczej, gdyż trudno jest władzy totalitarnej stosować cenzurę prewencyjną wobec sztuki efemerycznej. Choć władza stosuje rozmaite represje wobec artystów na miejscu w trakcie akcji i ex post. Mimo dystansu geograficznego pomiędzy Koreą a Polską, mimo różnic kulturowych i społecznych, a także pomimo braku bezpośrednich kontaktów personalnych pomiędzy artystami - formy sztuki akcji i ich kontekst tworzenia oraz jej cele krytyczne są podobne i podobnie są skuteczne w warunkach istniejących w obu krajów.
EN
The article interprets selected works of action art in Poland, but in the context of their relationship - more or less direct - to the political situation in Poland under the rule of the totalitarian regime in 1945-1989. Paying attention to the political aspect of the works of performance art allows them to be compared with the works of Korean artists who create works of action also in totalitarian regime conditions, although of a different nature. Action art turns out to be an effective way of practicing free creative expression, because it is difficult for totalitarian authorities to apply preventive censorship against ephemeral art. Although the authorities use various repressions against artists on the spot during the action and ex post. Despite the geographical distance between Korea and Poland, despite the cultural and social differences, as well as the lack of direct personal contacts between the artists - the forms of action art and their context of creation and its critical goals are similar and are similarly effective in the conditions existing in both countries.
3
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Artur Żmijewski, elogio del corpo imperfetto

100%
Quercioli Mincer L.
pl.it / rassegna italiana di argomenti polacchi
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2021
|
issue 12
54-74
EN
The artistic work of Artur Żmijewski, one of the best-known contemporary Polish artists, is often bold and provocative, playing with the strongest emotions with brutality and at the same time proposing itself as a political and ethical action. The protagonists of Żmijewski’s video and photographic installations are fragile, imperfect, mutilated bodies (Oko za oko), annihilated by suffering (Karolina), old people singing in hospital beds (Nasz śpiewnik), and people occupied with something impossible and incongruous (Lekcja śpiewu). The artistic scenario presented reflects somehow both the world and Poland, it is archaic and contemporary, and characterised by an almost religious pietas combined with a form of poetic insubordination and a ruthless critique of the forms of politics and biopolitics.
4

"Dubultā koda" pazīmes ortodoksālā socreālisma posma tēlotājā mākslā Latvijā

86%
Kļaviņš E.
Makslas Vesture un Teorija
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2022
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vol. 26
52-65
EN
The phases of orthodox Socialist Realism art in Latvia (1940–1941, 1945–1956) are already researched and interpreted in many publications of Latvian art historians. They reveal the robust suppression of local art life by the totalitarian regime during the Soviet occupation, the force of the ideological pressure on artists and describe the considerable body of artworks named Socialist Realism. The prescribed themes for art production were given together with the dogma of Socialist Realism and examples to be followed. For all that, in the course of the first post-war years artists managed to escape in the realm of politically neutral genres and images; landscapes dominated exhibitions, the legitimate and desirable compositions with images of the so-called working people (labourers, farmers) were made according to the tradition of the 1930s without unquestionable features of Soviet life (paintings of Eduards Kalniņš, Ārijs Skride, Jānis Liepiņš, Ģederts Eliass). The youngest generation (students of the Art Academy) acquired another double-coded concept. Painters, who composed conventional scenes with farmers’ work or with happy children, had to create the obligatory optimistic mood not only by postures and facial expressions but also by sunlight effects. Therefore, volumes were modelled using colours dependent on the light of plein air. The role of brushwork increased. Sometimes elementary narratives were reduced to the simple fixation of depicted figures and their dynamics. This development towards Impressionism resulted in a mutation of Socialist Realism and could be called “Socialist Impressionism”. Historical Impressionism was rejected by the authorities of the orthodox Socialist Realism, nevertheless, its elements were integrated into some individual versions of the style, including the achievements of some leading Soviet representatives of it (Yuri Pimenov, Arkady Plastov, Tatyana Yablonskaya). In Latvia two graduation works of Art Academy students Bruno Celmiņš and Zigurds Kampars are good examples of “Socialist Impressionism” (both 1954, LNMA), the best was an urban plein air scene “At a Book Table” (1955, Latvian Art Academy) by Gunārs Cīlītis. The trend continued in the next years (notable were the paintings of Edgars Iltners, Rita Valnere, et al.) during the so-called political “thaw” and led to further mutations of local Socialist Realism.
5
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Korean Avant-garde Performance Art from the 1960s to the 1980s in the Trajectory of the South Korean Democratization

86%
Lee A.-Y.
Sztuka i Dokumentacja
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2020
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issue 22
63-77
PL
Artykuł opisuje warunki polityczno-społeczne w Korei Południowej, począwszy od połowy lat sześćdziesiątych i okresu dyktatury militarnej. Był to zarazem czas industrializacji i cywilizacyjnego rozwoju kraju, a wraz z trendami modernizacyjnymi pojawiły się nowe formy sztuki. Zostały one zaadoptowane do wyrażania napięć społecznych związanych z rozwojem kraju. Nowa sztuka przyjmowała formy konceptualne i akcyjne, happeningowe. Historia walki i przezwyciężenia dyktatury wojskowej i nie-demokratycznego regime jest związana z rozwojem sztuki współczesnej. I to, co należy podkreślić, jej najbardziej progresywnych, radykalnych artystycznie form ekspresji.
EN
The article describes the political and social conditions in South Korea from the mid-1960s and the period of the military dictatorship. It was also a time of industrialization and civilization development of the country, and along with the modernization trends, new forms of art appeared. They have been adapted to express social tensions related to the country's development. The new art took conceptual, action, happening forms. The history of the struggle and overcoming the military dictatorship and the non-democratic regime is related to the development of modern art. And what should be emphasized is its most progressive, artistically radical forms of expression.
6
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Polish contemporary art to the anti-semitism of Poles and its political significance

72%
Minkner K.
Przegląd Narodowościowy – Review of Nationalities
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2016
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issue 6
195–221
EN
This article presents artistic creativity which worked through the problem of Polish anti-Semitism Almost all discussed works, performances, films, projects appeared after 2000, when Jan Tomasz Gross published his book Neighbors, in which he described the massacre in the village of Jedwabne (1941) launching a public debate about the responsibility of Poles in the Holocaust of the Jews In the text, I showed as art, which is conventionally called “post-Jedwabne” was part of this debate Its political status on possibly general level was associated primarily with the revision of conventionalized historical memory and national identity formed on romantic patterns The text shows that the debate with the participation of artists formed part of the rules of socalled ritual chaos, so the highly polarized positions, in which anti-Semitism was considered as an obvious and determining such events as the ones in Jedwabne (the opinion was adopted by artists), or it was denied Even those works that sought to break away from this dichotomy, as Ida by Paweł Pawlikowski were placed secondarily in it as a part of the public debate In the text, I explained that the post-Jedwabne art worked through primarily so-called secondary anti-Semitism The political potential of these gestures was related to the disclosure of social antagonisms and tensions arising from the fact that Poles denied phenomenon of their own anti-Semitism and put the blame on the Jews for the fate, which they met A very important aspect (political as well) also proved the psychotherapeutic function of post-Jedwabne art In this perspective, events such as the pogrom in Jedwabne appear like trauma, which disintegrates the national identity Translating it into artistic strategies many artists applied measures that were to deprive the viewer the secure role of an observer in favor of an active, working through participant.
7

Ieskats Aivara Gulbja radošajā darbībā. Monumentālās un monumentāli dekoratīvās skulptūras

72%
Bremša L.
Makslas Vesture un Teorija
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2022
|
vol. 26
66-80
EN
The article deals with monumental and decorative compositions by the Latvian sculptor Aivars Gulbis (b. 1933). The artist developed a modernist-inspired style in monumental and small-scale sculpture. After the restoration of Latvia’s independence, he mainly created exhibition sculptures influenced by geometrical modernism. Gulbis’ first independent composition – a small sunken-relief monument commemorating revolutions in Valka (1963) – was also realised in granite. This monument started his “severe style” language seen in some exhibition works of the time. In 1969, Gulbis together with sculptors Jānis Karlovs and Juris Mauriņš organised an exhibition at the Artists’ House where Gulbis exhibited an innovative composition for the time titled “Perpetuum mobile”. It was actually the first kinetic sculpture, also painted red. Afterwards Gulbis created several decorative compositions that add much to this field – the reliefs “Man” and “Woman” (1969), the sculpture “Apple” (1989) and a sculpture in the round “Tree of Life” (1983). The motif of flight is realised in the composition “Muse of Revolution” (1971, Rainis Cemetery). From this work on, Gulbis developed his sculptural interests towards Romanticism, capturing movement in a three-dimensional volume. Gulbis’ most important monumental work, also the largest and most original grave monument in Soviet-period sculpture, is installed in the Forest Cemetery in Riga, dedicated to writer and Soviet state official Vilis Lācis. Gulbis took part in the 1977 competition for the Riga Victory Monument. The tripartite composition (opened in 1985) was formally eclectic. Gulbis created a 10 m high bronze image of Mother Homeland and child meeting the Red Army soldiers. After Russia’s aggression against Ukraine in 2022, the Parliament of the Republic of Latvia voted to dismantle the Victory Monument. Aivars Gulbis developed his talent under Soviet rule, choosing decorative sculpture as a greater opportunity to work with modernised forms and solve the themes of space and movement. Agreeing to create an ideological monument, he had to encounter rivalry, censorship and also critical attitudes of the public later.
8

Kristapa Ģelža daiļrades tēmu analīze: no sociālpolitiski kritiskā līdz poētiskajam

72%
Birzaka-Priekule L.
Makslas Vesture un Teorija
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2022
|
vol. 26
81-93
EN
The goal of this article is an in-depth analysis of subject matter in Kristaps Ģelzis’s (1962) oeuvre, attempting to specify important trajectories in the artist’s development. Ģelzis is considered a master of Latvian contemporary art whose career dates back to the 1980s. He has participated in both local and international exhibitions. Ģelzis is one of the so-called trespassers’ generation of artists along with Oļegs Tillbergs (1956), Ojārs Pētersons (1956), Sarmīte Māliņa (1960), Andris Breže (1958) and others known for their different artistic means of expression and broadening the concept of art in Latvia. Ģelzis also belongs to the so-called first generation of conceptualists whose manifestations were characterised by expansive and imaginative installations, large-scale serigraphs as well as meticulously refined procedural works. The range of media used by Ģelzis is almost unlimited. He expresses himself in any available material or medium; what matters is that the specific medium resonates with and executes the artist’s sharp-eyed and typically witty insights. Therefore, this article focuses on the growing significance of the content-based dimension of Ģelzis’s work, which is becoming a major point of reference for any analysis of specific stages of his oeuvre, placing thematic analysis centre stage. Assessing Ģelzis’s oeuvre over time, one must conclude that socio-political critique thematically prevails. In the context of Latvian contemporary art, Ģelzis is among the few whose artistic output is also notable for a sharp, candid, ironic and critical reaction to the events of the day in both local and international contexts. Ģelzis utilises individual history and experience (the environment, state, political events and consequences arising from systemic changes) to introduce his observations and to speak candidly and ironically about the nature of socio-political transformations and their impact on society. He possesses a sensitive command of symbolic elements of the local environment, which he masterfully integrates into his works, reflecting on the societal issues of the day. Oftentimes, Ģelzis’s works are characterised by the presence of humour and paradox in which the observation or image of a specific event fit into the broader logic of events.
9
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Inkluzje spraw polityczno-społecznych i światopoglądowych w badaniach z zakresu historii sztuki średniowiecznej. Studia przypadku

58%
Waszak P.
Świat Idei i Polityki
|
2016
|
issue 15
477-491
PL
Sztuka średniowieczna nierzadko pełniła funkcje polityczne. Po nakreśleniu zakresu i przykładu aspektów politycznych w iluminatorstwie ottońskim następuje analiza ujęć sztuki średniowiecznej. Podejście do architektury romańskiej może być nacechowane światopoglądem charakterystycznym dla danej epoki. Tym ważniejsze są szeroko zakrojone, przeprowadzane badania obejmujące architekturę romańską w Polsce. Podejmowane są próby demitologizacji sztuki i odideologizowania podejścia do niej. Omówiono dwa odmienne przykłady upolitycznienia odbioru dwóch bardzo znanych gotyckich statui. Rozważania, których celem było wskazanie aspektów politycznych w podejściu do dzieł sztuki w ich analizach, prowadzą do wniosku o konieczności uwzględniania zmiennego czynnika politycznego, ale też zwracania uwagi na dzieła sztuki po prostu jako obiekty artystyczne.
EN
Medieval art frequently had political functions. After depicting the scope of political aspects and an example of political thoughts in Ottonian illuminated manuscripts there is an analysis of perspectives on medieval art. For example, point of view at Romanesque architecture can be marked in terms of outlook typical for a particular period. All the more important is the large-scale recent research on Romanesque architecture in Poland. There are attempts at demythologization of art and attempts to free the approach to art from ideology. Two different examples of well-known Gothic equestrian statues were discussed. Approaches to both sculptures and reception of them became politicized. The aim of discussions in this article was to point the political aspects in approach to works of art and in analyses of them. One of the conclusions is that the changing within the space of time political factor should be in many cases taken into consideration. In addition to that, the works of art should always be treated first of all as aesthetic, artistic objects.
10
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The Ego and the Outside

58%
von Blittersdorff T.
Sztuka i Dokumentacja
|
2017
|
issue 16
159-161
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