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1

The Passing: obrazy z soli i pieprzu

100%

Pitrus A.

Media – Kultura – Komunikacja Społeczna

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2013

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issue 9

163-171

EN

This article focuses on analysis and interpretation of Bill Viola’s The Passing. The author of the article deals with autobiographical aspects of the work, but also tries link them to the most important topics of Viola’s previous works. In The Passing the American artist explores the problem of perception – one of the most crucial motives in his career. Andrzej Pitrus looks at the balance between emotional and “conceptual” aspects of the work and discusses this with other authors who tried to interpret the video. Viola’s work is presented as the most personal work of the artist.

2

POZA GRANICE PERCEPCJI: „MEMORY SURFACES AND MENTAL PRAYERS” BILLA VIOLI

88%

PITRUS A.

Civitas et Lex

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2014

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issue 1

7-14

EN

Andrzej Pitrus analyzes and interprets Bill Viola’s tape „Memory Surfaces and Mental Prayers” (1977). The cycle was created as one of the earlier works by Viola, and deals with the issue of perception. The artist also refers to his fascination with cultures, philosophy, and religions of the East. All three pieces included in the tape are discussed: „The Wheel of Becoming”, „The Morning After the Night of Power” and „Sweet Light”. Each of them uses different techniques and creative strategies to explore the medium, which was a relatively new artistic tool in the second part of the seventies. Bill Viola’s work seems to be quite unique as it combines explorations of technology with musings about the very nature of human perception. The artist is quite convinced that a human being is not able to see the world as it really is. His perception is limited both by his own senses, and technologies he creates and uses.

3

Theatrical documentary of performance art

88%

Podmaková D.

Human Affairs

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2013

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vol. 23

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issue 1

81-90

EN

M.H.L. is a theatrical production dedicated to the first Slovak professional female director Magda Husáková-Lokvencová, which combines documentary theatre and performance. Sláva Daubnerová wrote the script and scene concept and is director and plays the sole character in the play. She portrays the private and professional life of M.H.L. in a chronologically sequenced and mosaic-like fashion. M.H.L. is portrayed as an educated, broad-minded and intelligent woman who knows her own mind. She graduated in law and then took up theatre direction. Her private and professional life represented a series of ups and downs. Initially happy at the side of her husband, Gustáv Husák-successful early on as a politician, and flourishing in the theatre, she later had to struggle to survive and make a comeback to the theatre. Performer Daubnerová, enhanced the performance by using video art and sound design as important elements in the production.

4

Pętla obrazów. Wideo według Mariny Abramović

75%

Krawczak M.

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

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2009

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vol. 7

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issue 13-14

235-241

EN

The connection between video art and performance art has been inseparable since 1967, when the first commercial camera Sony Portapak appeared on the American market. The development of video art and performance art has been parallel. On the one hand, autonomous languages which used different discourses were created, on the other hand, the interaction was inextricable, long-lasting and very stimulating. Marina Abramović, recording her activities as a performer on video and then placing them in the space of her installations, gained a high level of energy in the picture, which became transcendent, a sign of body and life, a meditation. Abramović consciously sacralizes her art and highlights its meditational character. In that way the art became a loop of a video sequence, a multifaceted icon.

PL

The Loop of Images. Video According to Marina Abramowić The connection between video art and performance art has been inseparable since 1967, when the first commercial camera Sony Portapak appeared on the American market. The development of video art and performance art has been parallel. On the one hand, autonomous languages which used different discourses were created, on the other hand, the interaction was inextricable, long-lasting and very stimulating. Marina Abramović, recording her activities as a performer on video and then placing them in the space of her installations, gained a high level of energy in the picture, which became transcendent, a sign of body and life, a meditation. Abramović consciously sacralizes her art and highlights its meditational character. In that way the art became a loop of a video sequence, a multifaceted icon.

5

Guerilla Tv i wideo art jako narzędzia w walce z telewizyjnym establishmentem Stanów Zjednoczonych

75%

GIEC M.

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

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2016

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vol. 18

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issue 27

185-198

EN

Guerilla Tv and video art as a tool in the fight against the television establishment in USA An article is based on the issue of the main mediated model of one-way communication connected with the mass media and looks at the problem of television networks in USA in the 1960s and 70s, which was highly influential. This political and cultural situation had been developing out of techni- cal innovations and become a point of departure for considering alternative video communication, which stood up against the institutionalized television regime. At this time, video art and especially Guerilla Tv were the bearers of the new communication order, at the same time breaking the imposed socio-political discourse.

PL

Guerilla Tv and video art as a tool in the fi ght against the television establishment in USA An article is based on the issue of the main mediated model of one-way communication connected with the mass media and looks at the problem of television networks in USA in the 1960s and 70s, which was highly influential. This political and cultural situation had been developing out of techni- cal innovations and become a point of departure for considering alternative video communication, which stood up against the institutionalized television regime. At this time, video art and especially Guerilla Tv were the bearers of the new communication order, at the same time breaking the imposed socio-political discourse.

6

Tamara Sorbian-Kasprzycka, 1952-2020. Pożegnanie

75%

Giżycki M.

Kwartalnik Filmowy

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2020

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issue 112 Polski dokument, polska animacja

227-231

PL

Artykuł jest wspomnieniem o Tamarze Sorbian-Kasprzyckiej – znanej animatorce, która zmarła w styczniu 2020 r. Studiowała psychologię oraz historię sztuki w Poznaniu i uczęszczała na zajęcia Mirosława Kijowicza z filmu animowanego w PWSFTviT w Łodzi. Zrealizowała kilka pięknie zaprojektowanych filmów, głównie inspirowanych twórczością znanych malarzy, oraz przygotowywała się do zrobienia pełnego metrażu o ostatnim dniu życia Brunona Schulza.

EN

This is a tribute to Tamara Sorbian-Kasprzycka, a well-known Polish animator who died in January 2020. She studied psychology and art history in Poznań, and attended Mirosław Kijowicz’s course in animation at the Film School in Lodz. She made a number of visually striking films, mostly inspired by well-known painters. She was working on a feature film about the last day of life of Bruno Schulz.

7

Sensations of Dysphoria in the Encounter of Failing Bodies: The Cases of Karaoke by Donigan Cumming, Last Days by Gus Van Sant, and Drunk by Gillian Wearing

63%

Tremblay É.

Acta Universitatis Sapientiae, Film and Media Studies

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2013

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vol. 7

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issue 1

127-139

EN

The essay examines films and video installations that present the figures of suffering bodies and trigger strong dysphoric sensations through empathy: Karaoke (1998) by Donigan Cumming, Last Days (2005) by Gus Van Sant, and Drunk (2000) by Gillian Wearing. In addition to strong pathemic strategies that intensify the reception of the image, these artworks also contain counter-pathemic elements that distance the viewer from pathos. These long, moving, close examinations of pathemic physical states not only project the viewer into a frozen, insistent, and fascinated gaze at the suffering body and place him or her in a mirrored passive position but also offer an opportunity to move from sensation to sentiment, and then to sensitivity toward and experience of various stages of the empathetic response.

8

Smartfon – tryumf Eisensteina

51%

Giżycki M.

Kwartalnik Filmowy

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2020

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issue 112 Polski dokument, polska animacja

232-240

PL

Smartfony stały się tak powszechne, że niemal wszystko jest nimi rejestrowane. Nawet tak nieoczekiwane wydarzenie, jak eksplozja w Bejrucie, która obróciła w gruzy prawie połowę miasta, została uchwycona przez kilkoro posiadaczy telefonów komórkowych. Większość z tych rejestracji ma jedną cechę wspólną: są zapisane w pionie. Było to już wielokrotnie ośmieszane przez filmowców i satyryków, ale popularność wertykalnych filmów się nie zmniejszyła. Znajdują one nawet coraz więcej obrońców, także w kręgach akademickich. W niniejszym artykule autor podsumowuje te głosy i przypomina, że poziomy kadr nie zawsze był regułą w czasach przed Edisonem oraz w świecie wideo-artu i kina rozszerzonego, a także że jednym z prekursorów pionowego ekranu był Siergiej Eisenstein.

EN

Smartphones have become so popular that almost every event gets recorded. Even such an unexpected occurrence as the explosion in Beirut, which turned nearly half of the city into rubble, was caught on several smartphones. Most of these videos have one characteristic in common – they are vertical. This fact has been ridiculed by filmmakers and satirists many times. Despite this, the popularity of vertical films does not seem to diminish. They even find more and more defenders, also within academic circles. In this article the author sums up these voices and reminds that the landscape orientation of the moving image was not always the rule before Edison nor in the realm of video art and expanded cinema, and that one of the precursors of the vertical screen was Sergei Eisenstein.

9

John Cage, Fluxus and the Musicality of Nam June Paik

51%

Ballengee O.

Roczniki Humanistyczne

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2020

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vol. 68

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issue 12

155-164

EN

In this paper, I offer an analysis of the performance art of Nam June Paik that suggests his works, especially those from the 1960s, are essentially “musical” when viewed through the influence of John Cage’s notion of music-as-action. In Paik’s work aural, visual, and theatrical elements are integrated such that performance becomes a unifying and meaning-generating force. I conclude by suggesting that Cage’s influence set the tone for Paik’s expansion into the experiments with television and video that would occupy him for the remainder of his career.

PL

John Cage, Fluxus i muzykalność Nam June Paika Niniejszy artykuł poświęcony jest analizie performance’u Nam June Paika. Autorka sugeruje, iż twórczość Paika, szczególnie po roku 1960, można uznać za wyjątkowo „muzyczną,” jeżeli spojrzy się na nią przez pryzmat Cage’owskiej muzyki-jako-działania. U Paika elementy słuchowe, wizualne i teatralne są zespolone w taki sposób, że performance staje się siłą jednoczącą i nadającą znaczenie. Autorka kończy artykuł argumentem, iż wpływ Cage’a był kluczowy, jeśli chodzi o rozwój dorobku twórczego Paika, skierowany w stronę eksperymentów w zakresie telewizji i wideo.

10

Игра с драматургическими традициями в пьесе Анны Кашиной „Дума”

51%

Sikora-Krizhevska P.

Acta Universitatis Lodziensis. Folia Litteraria Rossica

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2019

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issue 12

241-249

EN

The article deals with the combination of classical and innovative artistic techniques in the play Duma by Anna Kashina. Playing with the dramaturgical tradition on different levels is described and it is shown to embrace the system of characters, the content of the stage directions (the insertion of video projections, moving the action to auditorium) and also the composition of the play. Kashina’s play is discussed by the author as a work whose poetics is determined by the aesthetics of modern visual media as well as by the literary tradition.

RU

В статье анализируется сочетание классических и новаторских художественных приемов в пьесе Анны Кашиной Дума. Описывается игра с драматургической традицией, осуществляющаяся на уровнях: системы персонажей, изложенного в ремарках изобразительного ряда (введения видеопроекций, перенесения действия в зрительный зал), а также композиции произведения. Автор рассматривает пьесу А. Кашиной как произведение, поэтика которого детерминирована как эстетикой современных визуальных медиа, так и литературной традицией.

11

On Foreclosure and Fresh Cherries

45%

Ajder T.

Art Inquiry. Recherches sur les arts

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2013

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vol. XV (XXIV)

89-106

EN

This is an attempt to put a video artwork – Świeże wiśnie [Fresh cherries] by Anna Baumgart to a critical test proposed by the film critic Serge Daney. Daney formulated it while discussing a number of films that emerged in Europe as a result of the Holocaust experience. He claims that first, an author creating a film dealing with such a theme should not place beauty before the just; second, the author should honestly acknowledge the impossibility of telling the story – the stopping point in the course of history, when storytelling freezes or runs idle, and finally, such a film should not be talking about amnesia or repression, but rather about foreclosure, that is a hallucinatory return to the reality of something upon which it was impossible to place a ’judgment of reality’.

PL

Artykuł stanowi próbę poddania pracy wideo, zatytułowanej Świeże wiśnie autorstwa Anny Baumgart, krytycznemu testowi zaproponowanemu przez krytyka filmowego Serge’a Daney’a. Daney sformułował go w czasie omawiania szeregu filmów, które powstały w Europie w wy-niku doświadczeń Holocaustu. Twierdzi on, że po pierwsze, autor/ka tworząc film o takim temacie nie powinien/na stawiać piękna nad słusznością, po drugie, powinien/na nadać filmo-wi szczerość, która uniemożliwiłaby opowiadanie fabuły. Jest to moment, w którym opowia-danie toczy się na jałowym biegu lub ulega zawieszeniu. Film taki nie powinien mówić w związku z tym o amnezji lub represji, lecz raczej o wykluczeniu, o halucynacyjnym powro-cie do prawdziwości czegoś, czego nie można było osądzić „orzeczeniem rzeczywistości”.

12

Dialog architektury i sztuki w twórczości pracowni Herzog & de Meuron

32%

Haduch B.

Państwo i Społeczeństwo

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2018

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issue 2

83-93

EN

Rich and diverse portfolio of works by Herzog & de Meuron is an unique example of a vast potential of combining contemporary art and architecture. Instead of basing on usual scheme of a work of art and its neutral background, described activities, rooted in Jacques Herzog’s artistic experiences, broaden standard definitions of both disciplines. Numerous a empts of collaboration between the architects and the artists (e.g. Rémy Zaugg, Thomas Ruff, Ai Weiwei, Olafur Eliasson and occasionaly even extended in a larger scale. Works by Herzog & de Meuron may be treated as a barometer of contemporary time – showing, interpreting, or even stimulating certaing architectural trends and tendencies.

PL

Bogata i różnorodna twórczość pracowni Herzog & de Meuron jest unikalnym przykładem olbrzymiego potencjału łączenia współczesnej architektury i sztuki. Nie chodzi tu jednak o tradycyjny schemat dzieła i neutralnego tła. Działania zakorzenione w doświadczeniach artystycznych Jacques’a Herzoga dają efekty wykraczające poza standardowe rozumienie obu dziedzin. Liczne próby współpracy architektów z artystami (byli to m.in. Rémy Zaugg, Thomas Ruff, Ai Weiwei, Olafur Eliasson i Anish Kapoor) poszerzają granice sztuki i architektury, dając czasem prekursorskie rozwiązania, kontynuowane i rozwijane później w szerszej skali. Twórczość Herzoga i de Meurona można traktować jako swoisty barometr współczesności – ukazujący, interpretujący bądź wyprzedzający i stymulujący pewne trendy i tendencje w architekturze.

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The Passing: obrazy z soli i pieprzu

POZA GRANICE PERCEPCJI: „MEMORY SURFACES AND MENTAL PRAYERS” BILLA VIOLI

Theatrical documentary of performance art

Pętla obrazów. Wideo według Mariny Abramović

Guerilla Tv i wideo art jako narzędzia w walce z telewizyjnym establishmentem Stanów Zjednoczonych

Tamara Sorbian-Kasprzycka, 1952-2020. Pożegnanie

Sensations of Dysphoria in the Encounter of Failing Bodies: The Cases of Karaoke by Donigan Cumming, Last Days by Gus Van Sant, and Drunk by Gillian Wearing

Smartfon – tryumf Eisensteina

John Cage, Fluxus and the Musicality of Nam June Paik

Игра с драматургическими традициями в пьесе Анны Кашиной „Дума”

On Foreclosure and Fresh Cherries

Dialog architektury i sztuki w twórczości pracowni Herzog & de Meuron