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Muzeum Józefa Szajny i synteza sztuk: dokumentacja kontekstu wielomedialnego dzieła sztuki – ochroną jego idei

100%

Andrzejewska N.

Sztuka i Dokumentacja

2013

issue 8

21-26

The preservation of the identity of a complex work of modern art is a difficult challenge for the curator and conservator. The aim of this text is to demonstrate the preservation of a complex work of modern art, through the documentation of its context. The case study concerns the environment Replika created by Józef Szajna in 1971. The preparation of the documentation of the object is preceded by research intended to investigate and define the full significance of this sort of Gesamkunstwerk. The work of Szajna is an example of Total Art. The concept of his environment involves the combination of the material artwork and its message (including the use of readymades), the creation of a theatrical space with the use of lighting and a special atmosphere. The entire combination of the work is necessary in case of its re-exhibition. Conservation through documentation is a solution to the problem of maintaining the authenticity of a work of art which displays features of a Gesamtkunstwerk. In the past museums or galleries were collections of material objects, while today they are collections of works of art distant from the traditional “fine arts” disciplines: hybrid, comprehensive works of art, including those partially or entirely ephemeral. This problem is followed by the issue of the presentation of works of art in a way which includes the ideological and social context and the Artist’s creative individuality. A lot has been achieved throughout the last decade as far as the issue of documentation of works of art integrating various media is concerned. The issue, however, is still a challenge for a conservator-curator. The documentation procedures are facilitated thanks to the creation of various initiatives’ networks and further development of models, standards and tools as well as by the organisation of training sessions. The documentation forms that include various strategies for the protection of interdisciplinary and ephemeral works of art (reconstruction, re-enactment, emulation and reinterpretation) gradually enter the repertoire of methods used to protect world cultural heritage. The language of Szajna’s art gives full expression to this artist’s total creative personality. The moment when a work of art that integrates various media is displayed again is a key test for the effectiveness of its protection strategies. This problem is followed by the issue of the presentation of an artwork in a way which includes the ideological and social context and the artist’s creative individuality. The documentation programs developed by scientists, conservators and artists show the ways to display works of a complex nature, connected with a given space and which aim to engage the viewer. The reception and interaction of the viewer must lead first to the emotional and then the intellectual levels. Its role in fulfilling the meaning of the work leads the viewer through free interpretation. In phenomenological interpretations, the reaction of the viewer is a component element of the work. Therefore is it important that the complex and multi-componential works are each time re-installed in accordance with the original intention of the author which is expressed in the documentation. In my work as conservator and curator I wish to show the necessity of treating the work and the means of preserving its integrity in an homogeneous manner.

Geumgang Nature Art Biennale 2017–2018 – studium przypadku

100%

Wesołowski P.

Architectus

2019

issue 3(59)

113-126

W artykule omówiono wystawę prac plastycznych zrealizowanych bądź opublikowanych w ramach biennale sztuki przyrody Geumgang Nature Art Biennale w latach 2017–2018 w Gongju (Korea Płd.). Celem opracowania jest zaprezentowanie wyników analizy form przestrzennych z pogranicza kreacji artystycznej i architektonicznej. Autor, który sam brał udział w tej wystawie, wyszedł z założenia, że taka analiza projektów i realizacji pozwoli ukazać możliwość twórczej konfrontacji różnych postaw artystów wobec problemu obecności człowieka w naturalnym środowisku. Przed architektami i artystami postawiono zadanie stworzenia schronienia-szałasu w środowisku przyrodniczym (las). Temat stał się pretekstem do poszukiwania formalnej, artystycznej i estetycznej odpowiedzi na pytanie o współczesne relacje człowieka i przyrody w kontekście rozwijającego się nurtu ekoestetyki. Analiza objęła 147 projektów oraz 11 zrealizowanych prac. Za materiał badawczy posłużyła dokumentacja fotograficzna oraz obszerny katalog. Badania metodą porównawczą dotyczyły formy, funkcji, konstrukcji oraz symboliki zawartej w zaproponowanych obiektach. Analiza ukazała przede wszystkim szerokie spektrum kształtów szałasów – od form abstrakcyjnych po biomorficzne, zoomorficzne, a nawet antropomorficzne – wpisanych w naturalne środowisko. Zdecydowana większość autorów zaproponowała naturalne i biodegradowalne tworzywa. Tym samym takie obiekty o założonej ograniczonej trwałości weszły w obszar sztuki efemerycznej. W podsumowaniu artykułu zostały sformułowane wnioski mówiące o twórczym przenikaniu się idei artystycznych i architektonicznych w eksperymentalnej formule biennale. Podkreślono również fakt podejmowania przez twórców w artystycznej konfrontacji ważnych współczesnych problemów dotyczących stanu naturalnego środowiska i obecności w nim człowieka.

In the article the exhibition of works of art realized or publish in the biennale of the art of nature Geumgang Nature Art Biennale in the years 2017–2018 in Gongju (South Korea) have been discussed. The aim of this work is the presentation of the results of the analysis of spatial forms on the border line of artistic and architectonic creation. The author, who took part in this exhibition assumed that such an analysis of projects and realization will allow presenting the possibility of creative confrontation of various attitudes of artists towards the problem of the presence of man in the natural environment. The task of creating a shelter-hut in the natural environment (forest) was set before the artists. The topic became an excuse for searching for a formal, artistic and aesthetic answer to the question about contemporary human and nature relations in the context of the developing trend of eco-aesthetics. The analysis of 147 submitted projects and 11 works that were completed in the 1st stage of the biennale concerned the form, function and symbolism contained in the proposed objects. The research material was composed of photographic documentation and comprehensive catalogue. What draws attention above all is the wide spectrum of shapes of shelters – from abstract forms to biomorphic, zoomorphic and even anthropomorphic ones being part of the natural environment. In the project descriptions artists declared simple functions – from the role of shelter protecting from atmospheric influences, through observatories, to places for meditation. Some artists emphasized the possible role of the shelter as a refuge for forest fauna as well. The vast majority of authors proposed natural and biodegradable materials. Thus, such objects with assumed limited durability have entered the field of ephemeral art. In the summing up part of the article, conclusions have been formulated regarding both the creative permeation of artistic and architectural ideas in such an experimental form, as well as the undertaking of important contemporary problems in the artistic confrontation, regarding the state of the natural environment and the presence of man in it.

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Muzeum Józefa Szajny i synteza sztuk: dokumentacja kontekstu wielomedialnego dzieła sztuki – ochroną jego idei

Geumgang Nature Art Biennale 2017–2018 – studium przypadku