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2015 | 19 | 64-88

Article title

Zejście z cokołu. Sztuka jako żart. Od Francisa Picabii do Maurizio Cattelana

Content

Title variants

EN
Art as a Joke. From Francis Picabia to Maurizio Cattelan

Languages of publication

PL

Abstracts

Dada movement stripped art of seriousness, turned art into a joke, a sophisticated fun. Where there were Dadaists, there was laughter, as Hans Richter once said. Dadaists formed an opposition: bour-geois false values, over which hovered the stench of death and money – versus life. They stood on the side of life; on the side of art stripped of bourgeois seriousness. But the Dadaists also found liberated joke – a joke that served no purpose, fought against nothing and attacked nothing. ‘Entracte’ by Francis Picabia and ready-mades by Marcel Duchamp were in fact the jokes, which formed a new concept of art – art liberated from the domination of taste. Readymades had all the attributes of artwork : author, title, year of creation, audience, critics, etc., but did they become works of art? The artists are the ones who choose and force us to follow their choices, who reject good taste and that is the way they take control over art – by separating good art from bad. The joke is changing the way we think about art, pointing to the ambivalence adopted by our assumptions about the world. In an interview, Duchamp said that the public treated very seriously contemporary art. Did he want to say that it was too serious? Fluxus developed dada-like ambiguity. Where the audience expected to see art, often they received something that could be perceived as joke. The ambiguity was attributed not only to Fluxus, but virtually to the entire art of the 1960’s, as evidenced by the Kamp aesthetics. Kamp is ‘the seriousness that fails’. Kamp means a change with respect to bad art and it shows that we can play with it. In the 1960’s and the 1970’s, in the second wave of feminism, laughter returns as a weapon, as a tool to combat patriarchal culture.

Keywords

Year

Volume

19

Pages

64-88

Physical description

Dates

published
2015

Contributors

References

  • F. Picabia, Manifeste Cannibale Dada (1920). Cytuję za: Dada 1916–1966 (ed. H. Richter), Köln 1969, s. 41.
  • H. Richter, Dadaizm (przekł. J. Buras), Warszawa 1983, s. 107.
  • H. Arp, On My Way, New York 1948. Cytuję za: D. Ades, Dadaizm i surrealizm, [w:] Kierunki i tendencje sztuki nowoczesnej (red. T. Richardson i N. Stangos), Warszawa 1980, s. 188.
  • C. Tomkins, Duchamp. Biografia (przekł. I. Chlewińska), Poznań 2001, s. 122.
  • Marcel Duchamp: ready-mades etc. (ed. B. Dyson), Calgary 1979, s. 24.
  • N. Bourriaud, The Radicant, New York 2009, s. 147.
  • B. Wood, I Shock Myself. The Autobiography of Beatrice Wood (1985). Cytuję za: C. Tomkins, Duchamp. Biografia, dz. cyt. s. 167.
  • M. Duchamp, Apropos of readymades (1961). Cytuję za: Esthetics Contemporary (ed. R. Kostelanetz), New York 1978, s. 93
  • B. Blistene, Francis Picabia: in Praise of the Contemptible, “Flash Art” (International), 1983, Summer, s. 31.
  • C. Tomkins, Duchamp. Biografia, dz. cyt., s. 208.
  • J. Higgie, Introduction/All Masks Welcome, [w:] The Artist’s Joke (ed. J. Higgie), London Cambridge Mass, 2007, s. 12.
  • J. Cage, Silence, Middletown 1961, s. 85.
  • C. Oldenburg, I am for an art, [w:] The Artist’s Joke, dz. cyt., s. 59.
  • S. Sontag, Notatki o kampie (przekł. W. Wertenstein), „Literatura na świecie”, 1979, nr 9, s. 319.
  • C. Schneemann, Interior Scroll, [w:]The Artist’s Joke, dz. cyt., s. 92–94.
  • T. Moi, Helen Cixous; an imaginary utopia, [w:] Sexual/Textual Politics: Feminist Literary Theory, London – New York 1985
  • L. Irigaray, The Question of the Other (Democracy Begins Between the Two), [w:] French Women Philosophers. A Contemporary Reader (ed. Ch. Howells), London – New York 2004, s. 83.
  • G. Dziamski, Przełom konceptualny, dz. cyt., s. 216–217.
  • A. Wiśniewski, Centrum Sztuki (Pręgierz), [w:] Sympozjum Plastyczne Wrocław ’70 (red. D. Dziedzic, Z. Makarewicz), Wrocław 1983, s. 141.
  • T. Morton, Maurizio Cattelan; Infinite Jester, [w:] The Artist’s Joke, dz. cyt.
  • K. Piotrowski, Dowcip i władza sądzenia (asteizm w Polsce), CSW, Warszawa 2007.

Document Type

Publication order reference

Identifiers

YADDA identifier

bwmeta1.element.desklight-a13d708c-d279-43d9-b5b5-afc69f692b65
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