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1
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Given – rozmowa z Jeremym Millarem

100%
Gliński M.
Konteksty - Polska Sztuka Ludowa
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2014
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vol. 68
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issue 3-4(306-307)
371-376
EN
A record of a conversation, with Given, the Jeremy Millar exhibition at the National Maritime Museum in Greenwich, as the point of departure.
2
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Łotewska Łotwa? Sztuka łotewska w Drugiej Rzeczypospolitej

100%
Kossowska I.
Konteksty - Polska Sztuka Ludowa
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2014
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vol. 68
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issue 3-4(306-307)
351-460
EN
The article discusses the critical reception of an exhibition of contemporary Latvian art opened on 28 March 1936 in the showrooms of the Society for the Encouragement of Fine Arts in Warsaw (Zachęta). The Latvian show was part of a sequence of official art exhibitions of national states, which during the interwar decades functioned faultlessly and linked the central and peripheral centres of the Old Continent into a thick network of exchange. Its reception by Polish authors of reviews exemplified a striving characteristic for the cultural discourse of the 1930s, aimed at capturing in the fine arts certain symptoms of national identity. The presented text is based on a confrontation of several viewpoints concerning the exposition: the perception of Warsaw commentators unfamiliar with the details of transformations transpiring at the time on the Latvian art scene, reflections by Latvian theoreticians of art during the 1930s, and narrations by contemporary historians of Latvian art. An analysis of the exhibition scenario (determined by the cultural policy of the then recently politically constituted Baltic country) and the semantic and morphological qualities of the works on show at the Zachęta defines “national art” and “national style”, and verifies the possibilities of translating critical-theatrical rhetoric into purely art values.
3
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Imagine perversa i tożsamość narracyjna. Kilka uwag o „obrazach niewłaściwych” z perspektywy kultur dawnych

100%
Borowicz S.
Konteksty - Polska Sztuka Ludowa
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2014
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vol. 68
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issue 3-4(306-307)
320-334
EN
Anus ebria is an image founded on anti-ideas, clichés that break or openly violate the cultural taboo, such as women’s drunkenness, sexual freedom, or emancipation from norms moulded by tradition. In its capacity as a jeering and comic “divulger” of norms and principles it becomes one of the more characteristic signs of the “eschatology of inebriation”. This is the case not so much of an “old drunk” as of an “old rebel”. In its visual and logistic dimension it assumes the form of a lascivious and old drunken woman, whose vulgar behaviour is a distinct reversal of the natural state of being desired by society.
4
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Porządek identyfikacji. Indeksalność kolekcji / archiwum Józefa Robakowskiego

100%
Leśniakowska M.
Konteksty - Polska Sztuka Ludowa
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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.
5
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Literatura niezdefiniowana. Życie w niepewności. Rozmowa o Sebaldzie w Norwich

88%
Scott C., Hyde G. M., Sady M.
Konteksty - Polska Sztuka Ludowa
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2014
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vol. 68
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issue 3-4(306-307)
73-75
6
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Przekaz fotograficzny

88%
Barthes R., Michera W.
Konteksty - Polska Sztuka Ludowa
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2014
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vol. 68
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issue 3-4(306-307)
212-217
EN
A translation of a classical text: Le message photographique, originally published in “Communications” in 1961.
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Pierścienie Saturna

88%
Hyde G. M., Sady M.
Konteksty - Polska Sztuka Ludowa
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2014
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vol. 68
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issue 3-4(306-307)
57-61
EN
Max’s enemy everywhere is the totalising overview. His art is designed to correct or subvert this kind of cognitive aberration which can be so misleading and dangerous. His narratives of East Anglia offer melancholy fragments with a wide historical and cultural range of possibilities. I begin this essay with an example of my own from a masterpiece of German culture in order to frame my account suggestively in relation to Max’s own lifelong struggle with the land that bore him and which he felt impelled to reject, while acknowledging its colossal contribution to human knowledge and experience. Like Walter Benjamin Max values most the kind of quincunx-links that arise intuitively and spontaneously (as in the work of Sir Thomas Browne, the great Norwich writer and thinker) between domains of experience that cannot be connected by a totalising overview. The vivid images that his works embody are similarly at odds with the ever-sharper digitised perceptions that we now experience on a daily basis but which lack any kind of depth of field and so have no experienced life in them. My only quarrel with Max’s way of working is that in his pursuit of his “illuminations” he is inclined to set aside what may already have been thought and said by other writers. The effect of this is a foreshortening that may be a kind of distortion. A historian once said to me that despite his fascination with history Max was not a historian. For me this does not constitute a weakness, but I think it is a fact.
8
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Camera obscura

88%
Swoboda T.
Konteksty - Polska Sztuka Ludowa
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2014
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vol. 68
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issue 3-4(306-307)
218-226
EN
This essay endeavours to decipher the closing years of Roland Barthes as a photograph. Contrary to the title of his last book, Barthes wrote and constructed more of an existential camera obscura whose mechanism served the task of mourning, i.e. La Chambre claire, as well as disclosed the fundamental figures devised in his imagination, namely, darkness and enclosure. The biography of Barthes’ last years proves to be a counterpart of an initiation–like transition towards darkness, the digging of one’s grave, and a reversed version of illumination.
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Dziewięćdziesiąt jeden słów. O 'Zapomnianych słowach' – więcej

88%
Benedyktowicz Z.
Konteksty - Polska Sztuka Ludowa
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2014
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vol. 68
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issue 3-4(306-307)
294-296
10
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Zapomniane słowa: Krachla i sztolwerek – serwus, serwus..., Kristi-Kotka Szamaliner!

88%
Benedyktowicz Z.
Konteksty - Polska Sztuka Ludowa
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2014
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vol. 68
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issue 3-4(306-307)
281-290
11
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Karska & Went & Duszeńko. O dwoistej naturze monumentu i jego wystawiania

88%
Leśniakowska M.
Konteksty - Polska Sztuka Ludowa
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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.
12
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Skandale na przełomie wieków

88%
Kossowski Ł.
Konteksty - Polska Sztuka Ludowa
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2014
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vol. 68
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issue 3-4(306-307)
313-319
EN
The objective of this text is to demonstrate fundamental differences in comprehending a scandal at the end of the nineteenth century (E. Munch, Madonna) and the scandal strategy in contemporary art (M. Cattelan, La Nona Ora / The Ninth Hour). In the first case an unintended scandal was the outcome of a philosophical stance adopted by artists questioning Cartesian tradition as well as of the use of Expressionist means, considered shocking at the time. In the second instance, the deliberate creation of the scandal strategy assumed the relegation from the discourse about the artwork of all aesthetic and formal deliberations as well as stirring a barren publicistic dispute, which only creates the appearances of a philosophical clash. A context indispensable for the success of such a devised provocation is the ritual chaos prevailing in the media and a milieu of art critics dominated by “political correctness”.
13
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Posągi-instalacje Igora Mitoraja: między antykiem, renesansem i postmodernizmem

88%
Biasio B. d.
Konteksty - Polska Sztuka Ludowa
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2014
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vol. 68
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issue 3-4(306-307)
335-342
EN
Sculptures by Igor Mitoraj comprise a sui generis bridge spanning over more than 25 centuries of European art. The pillars of this bridge are composed of a great triad of figures: Doryphoros by Polyclitus, designed as a demonstration of the artist’s Canon, David by Michelangelo, and Icarus by Mitoraj. In aesthetics the pillars of this edifice are philosophers representing three different epochs of reflection on art: Plato, Plotinus, Ficino and contemporary postmodernists. Three statues and three different conceptions of beauty captured in stone symbolise three epochs in the history of art: antiquity, the Renaissance, and contemporary art from the turn of the twentieth century.
14
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Ateny nad Izarą. Malarstwo monachijskie

88%
Sztachelska J.
Konteksty - Polska Sztuka Ludowa
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2014
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vol. 68
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issue 3-4(306-307)
343-350
EN
The book: Ateny nad Izarą. Malarstwo monachijskie recalls the role played by the Munich centre in the history of Polish culture at the turn of the nineteenth century. In doing so, J. Sztachelska stressed, above all, those features of the Royal Academy of Fine Arts, which in view of the absence of Polish counterparts guaranteed numerous Polish artists unhampered and comprehensive development, contact with European art and culture, and even – by way of a special paradox - rendered more profound their interest in specific Polish motifs: history and Nature, thus inclining them towards the pursuit of national art. It would also be difficult to exaggerate the significance of Munich in paving the path for Polish art towards general awareness due to the commercial successes of such artists as Maksymilian and Aleksander Gierymski, Alfred Wierusz-Kowalski, Władysław Czachórski, Józef Brandt and many others. The art market flourishing in Bavaria became for many the onset of intellectual acclaim. The book edited by Eliza Ptaszyńska brings the reader closer to the schooling of Polish artists in Munich, depicts their daily life, contributes to familiarity with the question of female artists, leads to painters’ studios, discusses the market mechanisms of their success and, finally, interprets their artistic accomplishments and progress. In doing so, the author portrays the Munich milieu, producing an image both complete and free of all prejudices.
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Mikrohistorie. Mapy bez legendy

88%
Czaja D.
Konteksty - Polska Sztuka Ludowa
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2014
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vol. 68
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issue 3-4(306-307)
236-240
EN
A text accompanying Invisible Maps, a book by the photographer Andrzej Kramarz.
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Publication available in full text mode
Content available

De la technoculture vers les mutations de l'anthropologie digitale

75%
Chermeleu A.
Studia Ekonomiczne
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2013
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vol. 149
21-31
EN
In the recent years, one can observe a growing interest in the creativity and its role in local and regional development. Creative businesses, industries, cities or regions seem to be not only a new trend but simply a fashion among both researchers and policy makers. Also the city of Łódź did not resist the desire to base a development on creative industries. Thus, in 2011, a strategy of building a brand of creative city was launched. After two years, a time for monitoring the first effects of the strategy has come. This paper is a description of the results of a interview-based research conducted among the dwellers of agglomeration of Łódź, aiming at verification of the reconcilability of new city brand and thusan effectiveness and efficacy of this new direction of promoting the city of Łódź.
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Melancholie. Tryptyk muzyczny

75%
Czaja D.
Konteksty - Polska Sztuka Ludowa
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2014
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vol. 68
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issue 3-4(306-307)
254-264
EN
Three essays from a book about Baroque music (Kwintesencje. Pasaże barokowe) deal with the “dark semantics” of compositions by John Rowland, Carl Gould, and Matthias Beckmann. The author portrayed Baroque music as a “speech of sounds” and followed its expression potential, in particular as regards the capacity to convey extreme states and emotions (sadness, despair, melancholy and death).
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Żal mi tropików…

75%
Sztaba W.
Konteksty - Polska Sztuka Ludowa
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2014
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vol. 68
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issue 3-4(306-307)
377-382
EN
The text follows the traces of the journey to the tropics made by Bronisław Malinowski and Stanisław Ignacy Witkiewicz.
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Nuta człowiecza. Uwagi na marginesie 'Asymetrii'

75%
Próchniak P.
Konteksty - Polska Sztuka Ludowa
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2014
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vol. 68
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issue 3-4(306-307)
249-253
EN
The author conducted a thorough analysis and interpretation of poems from 'Asymetria', a volume by Adam Zagajewski (2014). In order to better extract and enhance the prime motifs and motives of Zagajewski’s poetry their meanings were depicted against the backdrop of statements made by W. G. Sebald about the potential and tasks of literature. Zagajewski has a high regard for Sebald’s prose but vehemently protested against the pessimistic vision of the world contained in his books. While accentuating the significant differences in both writers’ perception of reality, the article ultimately draws attention to a prominent issue shared by them: a dream of literature conceived as restitution.
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Zamknięci w powietrzu

75%
Dillon B., Olechnowicz E.
Konteksty - Polska Sztuka Ludowa
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2014
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vol. 68
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issue 3-4(306-307)
203-206
EN
The text comes from the catalogue: Waterlog. Journeys Around An Exhibition (ed. Steven Bode, Jeremy Millar, Nina Ernst, Film and Video Umbrella, London 2007).
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