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Nagie ciało architektury. Pawilon „Praca Kobiet” na Powszechnej Wystawie Krajowej

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Leśniakowska M.
Biuletyn Historii Sztuki
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2009
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vol. 71
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issue 4
501-527
EN
The ‘Women’s Labour’ Pavilion represents the debut of female architect Anatolia Hryniewiecka-Piotrowska (1896-1989). The pavilion was supposed to represent an architectural visualization of the so-called ‘women question’ in Poland, designed by a ‘woman engineer’ and carried out with funds collected by women. The paper discusses this design into the field of current art-historic research, which is critical towards the cannonised and mythologised history of modernism as cultural practice.
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The Power of the Gazę - the Power of the Language. Juliusz Starzyńskis Vision of Art and its History

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Leśniakowska M.
Modus. Prace z historii sztuki
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2013
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vol. 12-13
27-52
EN
The paper analyses the scholarly activity of Juliusz Starzyński, a preeminent personality in Polish twentieth-century art history, and shows the role Starzyński had played in the institutional and theoretical functioning of the discipline. Starzyńskis scholarly and organisational activities exemplified the realities of the times of his life: in the communist period he included art in the theses of dogmatic Marxist ideology mixed with modernist utopiasj and while striving at realising a utopian, modernist vision of an institution based on the Orphic unity of arts, he had outlined the directions of art-historical research and formatted its organisational structures. The hermeneutics of his output is focused on the communist period, and an attempt has been madę at reconstructing the model of Starzyńskis approach to art history and the strategies of ‘using’ art history present in his concepts by means of specially programmed ‘new mernory’, as a part of the Peoples Republic of Poland doctrine of tradition management. On the basis of the Warsaw scholarly milieu, Starzyński had created in succession three of Polands most important institutions whose purpose was the research on the fine arts and which in fact embodied the Foucauldian power (before 1939 it was the Institute for the Promotion of the Arts; after the war: the State Art Institute and the Art Institute of the Polish Academy of Sciences). His professional activity was interrupted by the war, yet the dividing linę that this fact had drawn between his ‘beforehand’ and afterward’ ideological attitudes was only superficial. In the authors opinion, these historiosophic projects were only superficially contrasting, as both of them belonged to the common area of Starzyńskis understanding of art and its presence in the social space as a function of the politics of history. The paper is based on a detailed hermeneutics of all of Starzyńskis published texts. It shows how Starzyńskis genetically modernist understanding of the function of art history as a codifier of knowledge, producer of a ‘knowledgeable beholder’ and its guardian, is only one of many cultural conventions created by the discourse, whose degree of mythologizing can only
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Karska & Went & Duszeńko. O dwoistej naturze monumentu i jego wystawiania

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Leśniakowska M.
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2014
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vol. 68
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issue 3-4(306-307)
307-312
EN
With the concepts of mise-en-scène, event (Mieke Bal), archival turn, and preposterousness as its points of departure the text embarks upon an extensive interpretation of the newest project by Alicja Karska and Aleksandra Went, who working together often undertake the problem of recovering for culture that which is forgotten, omitted, and excluded. The author took into consideration the fact that the performative dimension of the art studio is included into the museological order together with its ritual of forgetting and recalling: the studio is a repository of objects awaiting their disclosure and introduction into social space, ergo, to be given a new life. The Karska & Went project: Franciszek Duszeńko – Monuments is about an unknown sequence in the oeuvre of Franciszek Duszeńko (1925-2008). The authors of the exhibition extracted from his studio-refuge a dozen small abstract sculpture forms and by treating them as a sui generis archaeological finding transferred them into a specially constructed architectural space, i.e. models imitating museum or gallery interiors of the white cube type. In this way, they staged a mise-en-scène: a model of a museum/exposition situation in which a fragment of the artist’s studio conceived as non-space, i.e. that which is found on the peripheries of the existing orders, has been subjected to institutionalisation and engaged in a construction of a fictional museum/gallery. The essence of the applied artistic strategy is preposterousness: (neo)avantgarde sculptures, traces, documents, and relics pertaining to a certain moment in the artist’s oeuvre are seen from a present-day perspective and subsequently cited. In this fashion they become a contemporary product, causal for making another work of art. Applied/cited in present-day artistic praxis they attempt to solve the way in which, and reason why works of art from the past are always perceived as re-vision mediated by the horizon of contemporaneity. The quotation strategy employed in this assemblage is associated with interpretation and thus with conceptualisation. In other words, it is preposterous. This is also the objective of the Karska & Went project: the creation of a trans-historical artistic (cultural) situation that rejects the radicalism of divisions and severances in the history of art. The diverse strategies applied by Karska & Went: anachronism, preposterousness, mise-en-scène, mise-en-abyme, montage, collage, and quotation served the establishment of a new relation between the history of art and its present-day experiencing.
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Porządek identyfikacji. Indeksalność kolekcji / archiwum Józefa Robakowskiego

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Leśniakowska M.
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2014
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vol. 68
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issue 3-4(306-307)
297-306
EN
This text deals with the “archival turn“ and discusses one of the most important Polish private collections of avantgarde art formed since the 1950s by the leading conceptual artist Józef Robakowski. The author’s point of departure is the assumption that the purpose of collecting is the creation of a canon of cultural values, and thus that collecting is the outcome of selecting and systematising facts/objects according to a priori established rules; for this reason it only ostensibly possesses all the features of neutrality. Actually, no collection is neutral since it personifies power inscribed into accumulating, collecting, and gathering as well as encyclopaedic order and rules of the language (Alan Sekula). Private art collections are the effect and image of individual passions, predilections, sometimes manias and obsessions, and build closed and stable testimonies of cultural identity. Archives-collections established by artists are a special case since they are part of artistic strategy, are enrooted in art, and perform work associated with creativity. This fact discloses a certain performative quality of the collection/archive linked with the generation of a private iconosphere, a Derridean “domesticated” archive that constitutes the discourse of the artist-collector with, and about art, also within the domain of “pure” art, which is already only one of the possibilities of artistic strategy. The discussed exhibition was the product of the “domesticated” art collection amassed by Robakowski, and in this manner it builds inter-textual space, ambiguous and connected with its re-[de]-contextualisation. The Robakowski private collection/archive is a conceptual game played with cultural paradigms, originating from the conceptual art of the 1960s and its anti-authoritarian stands conceived as the “great refusal”. The manner of its distribution is part of the conceptual order as a form of artistic organisation and production. At this stage essential questions are yielded by the comprehension of conceptualism by artists living in communist Eastern Europe, where the purpose of conceptualism was not “refusal“ but the involvement of art as a critique of the regime in which it was embedded. This is why the “museum-archival” project proposed by Józef Robakowski, and entailing the collection of objets d’art and documents, focused on memory and history, together with faith in the reanimation ability to “revive” the source and “recreate” the inaccessible past.
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Równoczesna nierównoczesność w fotograficznej weducie

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Leśniakowska M.
Konteksty - Polska Sztuka Ludowa
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2020
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vol. 74
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issue 1-2 (328-329)
268-276
PL
Tekst analizuje cykl fotografii autorstwa dwojga artystów: Agaty Pankiewicz i Marcina Przybyłko poświęcony dzisiejszemu pejzażowi architektonicznemu/kulturowemu miasteczek Dolnego Śląska. Fotografie te odnoszą się do kilku kluczowych dla współczesnych praktyk artystycznych problemów: nurtu nowych dokumentalistów, zwrotu antropologicznego i fotografii antropologicznej/ etnograficznej (fotograf-artysta jako antropolog), antropologicznie zorientowanego zwrotu do rzeczy. Tematem cyklu jest architektura i fotografia. Projekt jest ufundowany na idei nowego dokumentalizmu, że “przedstawienie pejzażu należy raczej stworzyć, niż po prostu zarejestrować” (G. Defferre), oraz że nie należy odtwarzać tego, co widzialne, lecz czynić widzialnym (Paul Klee). Cykl dolnośląski przedstawia kulturowe zderzenie/konflikt (clash of cultures), której uczestnikami i ofiarami jest architektura, efekty złożonych procesów społeczno-kulturowych będących wynikiem zetknięcia się po wojnie odmiennych kultur na terenach nazwanych po wojnie Ziemiami Odzyskanymi. Dzisiejszy pejzaż architektoniczny Ziem Odzyskanych jest widoczna w sposób szczególnie dobitny jako obraz zapośredniczony w obrazie fotograficznym. Ponieważ to fotografię, i tylko ją, cechuje czasowość zawierająca przeszłość, jej rozkład i przyszłość. Dzięki temu w cyklu dolnośląskim uruchamiana jest obrazowość określona jako „archeologia współczesnej przeszłości” (Michael Shanks).
EN
Analysis of a cycle of photographs taken by two artists: Agata Pankiewicz and Marcin Przybyłko, dedicated to the contemporary architectural / cultural landscape of small towns in Lower Silesia. The photographs refer to several problems of key importance for contemporary artistic practices: the current of new documentalists, the anthropological turnabout, and anthropological/ethnographic photography (the photographer-artist as an anthropologist), as well as the anthropologically oriented turn towards the object. The theme of the cycle is architecture and the photograph. The project is based on the idea of new documentalism, namely, that the presentation of a landscape should create rather than simply register (G. Defferre), and that “Art does not reproduce the visible; rather it makes visible” (Paul Klee). The Lower Silesian cycle presents a culture clash whose participants and victims include architecture, as well as the effects of complex socio-cultural processes – the outcome of the post-war contact of different cultures in terrains known after World War II as the Regained Territories. The present-day architectural landscape of the Regained Territories is particularly clearly visible as an image mediated in the photographic image since the characteristic feature of the photograph, and the photograph alone, is temporality containing the past, its dissolution, and the future. Due to this feature, the Lower Silesian cycle sets into motion figurativeness described as “the archaeology of the contemporary past” (Michael Shanks).
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