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Miejsca do myślenia– bienalle architektury w Wenecji, odtworzone chaty filozofów i dioramy Marka Rileya

100%

Taborska H.

Zeszyty Naukowe PUNO

2020

vol. 8

issue 1

175-191

The article opens with a short presentation of the Architecture Biennale 2018 in Venice, followed by an introduction of its main theme, „Freespace”, proposed by two chief curators of the Biennale, distinguished Irish architects Yvonne Farrell and Shelley McNamara. The „Freespace” project has been exemplied in the text by an unusual exposition named Island, presented in the British Pavilion, which is located in the National Pavilions area at Giardini della Biennale. The second, international exhibition, named „Places for thinking” („Machines á Penser”), positioned on two floors of the 18th century palace Ca’ Corner della Regina, was devoted mostly to the reimagined huts of philosophers and masterminded by Fondazione Prada, an Italian institution dedicated to contemporary art and culture. Out of a multitude of diverse objects and works of art to be viewed in „the huts”, three dioramas of the British artist Mark Riley – sculptor, writer, gi¡ed photographer and academic teacher – have been chosen for closer scrutiny. His diverse activities: journeys to the sites of philosophers’ dwellings, meticulously documented with field notes, location maps, drawings, photographs and – back home – architectural drawings, constructed models of reimagined huts, followed by the time-consuming, resourceful making of beautifully crafted dioramas, are presented in the article. These notations of the various stages of preparatory and artistic processes gain invaluable support from photographs provided by the artist.

„Kordian” i panoramy

75%

Tomasik W.

Pamiętnik Literacki

2019

vol. 110

issue 4

225-253

Kiedy w sierpniu 1831 Juliusz Słowacki odwiedził Londyn, w mieście działały różne formy rozrywki, które zapewniały odbywanie podróży wirtualnych. Popularnym celem takich podróży były Alpy. Słowacki mógł widzieć te góry w panoramach, dioramach i kosmoramach. Z modą na panoramy spotkał się poeta także w Paryżu, gdzie podziw wzbudzała nowa technika: łączenia obrazu z prawdziwymi przedmiotami. Technikę tę zastosował m.in. Louis Daguerre w dioramie „Widok Mont Blanc z doliny Chamonix”. W „Kordianie” monolog głównego bohatera na Mont Blanc i scena z „Przygotowania” noszą wyraźne ślady spotkań Słowackiego z malarstwem panoramicznym.

In August 1831 Juliusz Słowacki visited London, the city in which various forms of entertainment that ensured virtual journeys took place. A popular destination of such journeys were the Alps. Słowacki might have seen the Alps in panoramas, dioramas, and cosmoramas. The poet met the fashion for panoramas also in Paris where admiration for new technology, namely linking images with real objects, was raised. The technique was used by, inter alia, Louis Daguerre in his diorama “Vue du Mont-Blanc, prise de la vallée de Chamouny” (“A View of Mont Blanc from Chamonix Valley”). In Kordian, the main protagonist’s monologue on Mont Blanc and the scene from the initial part of the drama, “Przygotowanie” (“Preparation”), show clear signs of Słowacki’s encounters with panoramic painting.

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Miejsca do myślenia– bienalle architektury w Wenecji, odtworzone chaty filozofów i dioramy Marka Rileya

„Kordian” i panoramy