Search results

1

SPEKTAKULÁRNA TAKOSŤ PERFORMANCIÍ MILANA ADAMČIAKA

100%

Fujak J.

Slovenské divadlo (Slovak Theatre)

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2022

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vol. 70

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issue 4

390 - 403

EN

This paper is focused on some aspects of the specific and unique concept of Milan Adamčiak’s (1946–2017) performance art, which embodies not only conscious references to the contemporary postmodern avant-garde of (neo-)Fluxus or conceptual art, but also certain spectacularly presented, sui generis dimensions of earthiness, surprising playfulness, and humorous controversy. Besides a selective, model presentation of his solo and collective performances and happenings, the author discusses the specificity of the inter-medial poetics of Adamčiak’s performance art in references to the ideas of Jozef Cseres and Peter Faltin, who specializes in music semiotics (works of art as totems) about shifts in the understanding of the ontological status of postmodern works of art.

2

Obrus. O definicji performansu

85%

Solski Z. W.

DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu

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2018

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vol. 26

6-29

EN

Tablecloth. On the definitions of performance From its very beginning the development of performatics was influenced by two kinds of performance activities: performance art and theatre. In Po- land theatrologists became proponents of performatics. The translation of Schechner’s book about performance studies was used to homogenise Polish performative vocabulary: the translator reached for the polonized word “performans” and created a new term: “performatyka”. Thanks to Schechner’s general definition – performances are actions, while the sub- ject of performatics are behaviours – the concept of “performans” proved to be very useful because the Polish language lacks such “transparent tool of description”. When in the U.S.A. the researchers dealing with per- formance studies radically broadened the area of performative activities, their representative in Poland, Jacek Wachowski, became involved in the process of limiting the notion of “performans” and theatre’s influence on performatics. This article is devoted to his innovative proposal.

3

Hommage a Jan Świdziński. Próba wprowadzenia do sztuki jako sztuki kontekstualnej

70%

Piotrowski K.

Sztuka i Dokumentacja

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2009

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issue 1

5-20

EN

Jan Swidzinski (b. 1923) has been the one of the main representatives of the post-conceptual movement since mid-seventies. His artistic doctrine Art as Contextual Art (published in February 1976), considered in confrontation with Joseph Kosuth's tautological model of art, makes it possible to appreciate Swidzinski's contribution to overcome the hegemony of conceptualism and New York. Swidzinski was right to indicate that conceptualism of the Art and Language group and Kosuth, although it did try to bring back the profound meaning of art (art is a meaning, not decoration) by introducing non-artistic considerations (self-consciousness), but in fact replaced the traditional formalism of art with the formalism of the neo-positivistic philosophy which was hard to maintain. Kosuth's thesis that the works of art are analytical and tautological sentences - was a mistake because Wittgenstein's theory of meaning as a method of expression, implied an entropy of meaning in art and revealed a need for some sort of verification of the theory of the meaning itself. The tautological model as a relativistic one, while assuming a self-reflection in the autonomous context of art, did not answer the question: why is the term 'art' used this way and not in a different way? So, in 1975 Swidzinski compared the artifacts not to analytical sentences but to sentences comprising intensional functors (their veracity depends upon the contents replacing the variables). The intensionality of artistic statements, that is to say, the presence of functors in them (I know, I believe, I suppose, I must etc.) studied by the epistemological or deontological logic, indicates that they are restricted by the pragmatic moment of experience. Swidzinski declared that Art as Contextual Art is an opposition to the multiplication of meaning, and thus to relativism, and at the same time he recognized the dissimilarity and changeability of contexts, stating that what is real in one context is not real in another, and therefore he tried to sanction relativism. This is the perspective shown in his book Art, Society and Self-consciousness (1979) in which he attempted to define the structure of intensionality as the antagonistic one. In the global context there coexist various logics that regulate our image of the world: the logic of norms, the logic of freedom, the epistemological logic and the logic of a game. The awareness of the intensional structure of the context requires from us today to work out a model of culture, different from the absolutistic and relativistic one, a model in which the repressive opposition of absolutism and relativism have lost significance. It is a question: what society should be? The book is an introduction to Swidzinski's Freedom and Limitation - The Anatomy of Postmodernism (1987). Today, in my opinion, Swidzinski does not resemble the old contextualist who would foster the intentions of a traveller-researcher. He is more of a neo-pragmatic contextualist-tourist. But his doctrine is very important for our understanding of the present art and culture, though the debate between Kosuth's conceptualism and Swidzinski's contextualism appears only to be a case of the history of conceptism and, last but not least, wit (ingenium comparans).

4

BREAKING AWAY FROM EGOCENTRISM. POST-HUMANISM AS A WAY OF CONTEMPLATING NON-HUMAN MATTERS ON STAGE

70%

Juráni M.

Slovenské divadlo (Slovak Theatre)

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2020

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vol. 68

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issue 3

239 – 252

EN

Anthropocentrism is one of the key concepts associated with a broken relationship between humans, or human society, and the natural world. An excessive focus on the human is among the debated shortcomings that exacerbates environmental crises. In environmental humanities, it is especially addressed by environmental ethics. Anthropocentrism as a problem also steps into the expert debate on environmental or ecologically oriented theatre and performing arts. These media are historically understood as media focused on the human, human society, human relationships, events, and history. In the presented paper, some of the starting points of post-humanist philosophy that could enrich contemporary theories of theatre and performance art are considered, to help broaden their scope of attention to a group of specific works. These are various works of art confronting anthropocentrism, or using approaches that mediate non-anthropocentric and post-anthropocentric knowledge. From a theatrological point of view, they are identified in the framework of works which Hans-Thies Lehmann calls post-dramatic theatre, however, from the perspective of philosophy, they are in a certain relation with the essential ideas of post-humanism as defined by Francesca Ferrando and Rosi Braidotti, to give an example. The study’s ambition is to provide fertile ground for a continued and more thorough perspective of a group of works that fall under performing arts (drama, theatre play, performance art), which primarily deal with the relationship between the human and non-human nature and offer unconventional ways of representing non-human nature or reflections on the relationship between non-human nature and the human.

5

The Image Of The Artist In Performance Art: The Case Of Rudolf Schwarzkogler

70%

Jarosi S.

Sztuka i Dokumentacja

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2011

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issue 5

63-80

EN

'The Image of the Artist in Performance Art: The Case of Rudolf Schwarzkogler' frames an intervention into the scholarly and public discourse on the medium of performance art by revisiting the myth of Austrian artist Rudolf Schwarzkogler's purported death by auto-castration, which was supposedly 'documented' in a series of performances in the mid 1960s. The myth was most famously propagated in 1972 by the Time Magazine critic Robert Hughes, and, despite a public recantation by Hughes in 1996 and a number of scholarly studies and exhibitions that have exposed the myth's fallacy, it continues to demonstrably inflect the reception not only of Schwarzkogler's work but also of contemporary performance art more broadly. Jarosi's central arguments are concerned with examining the perpetuation of the Schwarzkogler myth through a series of examples all drawn from the last five years. Each of the examples revolves around the construction of an image of 'the performance artist' and what is determined to be true, proper, or detrimental to the practice of performance art. Together the examples underscore the persistent power of the myth in the representation of contemporary performance - a power that can readily exceed the historical record. The author theorizes her claims through exploration of seminal texts on the function of myth by Roland Barthes and by Ernst Kris and Otto Kurz. Having asserted the theoretical mechanics by which the Schwarzkogler myth holds such sway, Jarosi expands the scope of her essay to consider its negative impact on the scholarly reception and public perception of performance art, ultimately pointing to the ethical stakes raised by the myth's absorption into the assumed critical expectations for what the medium of performance art entails.

6

Bronzas cilveks un bezpajumtnieks: Performance Latvija toreiz un tagad

70%

Bryzgel A.

Materiali Latvijas makslas vesturei

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2012

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vol. 8

213-225

EN

In 1987, Miervaldis Polis donned a bronze suit and hat, and stepped out into the streets of Riga with his face and hands painted bronze as well - he was a living, breathing statue. This performance came at a pivotal moment in Latvian history, following on the heels of the Latvian Independence Movement and Gorbachev’s policies of perestroika and glasnost. The effect of a statue that could walk and move, and was convincing as an object when immobile, prompted viewers to question the truth behind the character’s appearance, at a time when Latvian citizens were beginning to do the same with regard to the history of their country and its unlawful incorporation into the Soviet Union. Nearly twenty years after the Bronze Man graced Riga’s city centre with his presence, a new man emerged - not only on the streets of Latvia, but also on television screens and in radio broadcasts throughout the country, in the homes of everyday people. Gints Gabrans’s ‘Starix’ project (2000-2004) was a challenge to the media in post-Soviet Latvia. The task: to take a homeless man from the streets of Riga and turn him into a TV star. The project foresaw the boom of reality television series in Latvia in the same way that Andy Warhol had predicted the proliferation of mass media in the 1960s. Just as Polis’s performance did during the era of perestroika, Gabrans’s post-Soviet project reminds viewers that the man behind the suit may not be all that he appears to be. Although Polis believed that the Bronze Man had no place in Latvia after the country regained independence, indeed Gabrans’s project reveals that the concept still has relevance in contemporary Latvian society. Whereas the Bronze Man underscored the fact that the Soviet idols, along with their ideology, were more artifice than not, Starix presents a cautionary tale about fame and fortune in post-Soviet Latvia, a statement that is even more poignant in light of the economic crisis in the country that followed his rise to fame. In the post-Soviet period it is not only the appearance of wealth and prosperity that can be found false, but also fame and popularity that can be exposed as essentially unwarranted. This essay examines the manner in which the two artists have constructed similar narratives around the question of truth and appearance, both at different historical moments, and each in their own unique manner.

7

Funkcja dokumentacji w sztuce współczesnej

70%

Guzek Ł.

Sztuka i Dokumentacja

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2010

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issue 3

5-14

EN

This text is an attempt to outline the status of documentation in contemporary art and to describe the process of how the role of documentation has changed within the last decade. Simply speaking, documentation has gained the independent status of a work of art. Documentation as an artistic phenomenon can be considered on two levels: formally as a way to create new works of art, and this is what interests me most here; contextually (socially), when issues arising from documentation are discussed institutionally from the point of view of curators, institutions or political decision makers. The most general category which covers the whole phenomenon of documentation as art is a category of the artistic means of expression created by Peter Burger. For him it replaced the traditional category of style in dealing with the 'non-organic' character of artworks created by the dada and surrealistic avant-garde. Its artistic heirs: conceptual art, action art and time-based installations are a starting point for this particular new role of documentation as art. In art history the existing standards outlining the relationship between the original and a repetition, (like Benjamin's aura, a dialectic combination of media such as Higgins's intermedia card), are not entirely applicable here. As in the works based on documentation, the problem of originality does not exist and the intermediality is currently made of several media. Therefore, although they somehow may serve as general patterns of thinking, they are, however, not sufficient to describe and interpret the specific works of art. Ankersmit's theory of history offers a pattern of a narration rooted in facts. Art based on documentation is in opposition to 'literature' created by curators and the contextual studies, into which art history has fallen. This text is illustrated with examples from the main exhibition of the festival 'Art and Documentation 2010' based on open submission and showing the works from last year.

8

Model logiki logika modelu. Kilka uwag krytycznych na marginesie teorii "sztuki jako sztuki kontekstualnej"

70%

Łukasiewicz B.

Sztuka i Dokumentacja

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2010

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issue 2

5-25

EN

The aim of this article is to critically analyse the theory of 'art as contextual art' by Jan Swidzinski. The theory of 'art as contextual art' has not been reconstructed sufficiently in terms of its logical constitution, or its formal assumptions. The area that should be analysed, through the means of logic, becomes analysed per analogiam: that is through searching until we find the simplest and the most obvious comparisons with other contemporary, or past art theories. Swidzinski claims that the logic of the game described by him, is a useful depiction of processes that take place in the reality that surrounds us, whereas the theory of 'art as contextual art' itself contains a set of events referred to as 'the logic of a game'. This text attempts to answer the following question: What do we need to verify the above assertion? (as well as others posted by Swidzinski.) Swidzinski attempts to employ the models outlined in the essay to reveal the conflicts brought on by the misunderstandings of concepts used to describe the worlds we live in. As such, models are inscribed in the long tradition going back to Hegel. They are also present in the writings of Marquard, Habermas, Welsch and Foucault; this is irrespective of the fact that the scopes of their conceptualisation differ within the writings of these writers. The models are the one of many ways in which reality may be encompassed. Their usability is determined by some particular aims. Finally, the models serve for Swidzinski to rationalise the crisis in art. It seems rather obvious that the ability to verify them is periodical – the facts, inasmuch, may both support and refute them. The essay tries to find an answer to a question: what if the categories used by the theory of 'art as contextual art' have the ability to describe reality, but only in relation to the past which is being negated and refuted by them? Doing so, they do not directly determine what the current state is, but what it is not, in relation to what has become to be accepted as such. This is a deductive method and what is more, a negative one (it is defined by negation). In this approach the theory of 'art as contextual art' turns out to be yet another archive, another collection of truths and norms. The worst that we could have done is to treat it as true. It will never be true, it will never be fully refuted, just like in the case of truths, aspiring to the status of righteousness, which will never be verified. Perhaps, what matters here is simply to remember to never accept anything as true by belief or habit. And perhaps persistently refute, verify and redefine those truths.

9

Tranzicija i figuralno/tekstualno telo u vizuelnoj umetnosti i poeziji: Tanja Ostojić i Ažinova škola poezije i teorije

61%

Durić D.

Slavica Wratislaviensia

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2011

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vol. 153

151-160

EN

In the article I discuss the work of visual artist Tanja Ostojić and experimental poetry produced by the Awin’s group of feminist poets in the context of globalism and Serbian transition. Pointing to the transformations of the field of art and field of poetry in the last tree decades, I outline the broader artistic contexts by Nicolas Bourriaud’s term “relational aesthetics” and Miško Šuvaković's term “art in the age of culture.” Considerig the broader concepts of the “body,” I refer to the body as object, body as subject, and body as performance, which includes considering the power relations and dominant social discourses. Focussing my attention at Ostojić’s work Looking for a Husband with EU Passport I deal with the migrant body which symbolizes “otherness” of democracy. Shifting the focuss to the work of Awin’s group of poets, I discuss the possibilities of experimental poetry practice in postsocialism, and the figural/textual body as an index of identity and ethnicity (Jelena Savić), procreative body and technologies of motherhood (Ljiljana Jovanović), procreative body and surveillance technologies (Snežana Roksandić-Karan), body of the Muse of a female poet as hybrid body (Danica Pavlović), and the function of dirty words in the postsocialist feminist poetry (Maja Solar).

10

Re-enactment, czyli niekonserwatywna konserwacja sztuki performance

61%

Wysocka E.

Sztuka i Dokumentacja

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2010

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issue 3

17-24

EN

The conservation of performance art sounds like an oxymoron. How can we conserve works whose base of existence is being ephemeral, unique and an unrepeatable dialogue with the spectator? The generally accepted method of preservation is obviously documentation which witnesses the occurrence of the act of art. However, what is to be done if the documentation seems insufficient or inadequate in the process of passing on the piece of work to next generations? One of the ways to revive an ephemeral act of art is the re-enactment. Re-enactment as a method of conservation of performance art is part of a broader strategy for the preservation of ephemeral art and other genres generally referred to as 'time-based art'. Many examples of contemporary art employ performative elements and are often based on interaction. Before, (apart from 'live art') they used to be referred to as kinetic art, installation, and more recently computer and video installations or net art. None of them is conservable in the traditional meaning of the word, which pushes the conservators to look for new ways : a re-interpretation, re-creation, migration or emulation. This article is an attempt to outline and evaluate the effectiveness of such activities based on a case of re-enactment of the performance 'Change. My problem is the Problem of a Woman' by Ewa Partum from 1974. Thirty-six years after the performance took place, a conservator repeated this performance with the help of new make-up artists, as a conservator's experiment. The re-enactment strategy used in this piece was meant to enable the experiencing of it anew. A conservator's workshop has always had the task to preserve and maintain a piece of art but in the context of a piece of a performative artwork the task seems to be unusual. Here the conservation strategy becomes a reconstruction, taking on a new, extreme form acting out the artist's role in order to reproduce the work. The conservator of performance art here uses the tools that come from the performance artist's toolkit and moves around within a framework, of not so much in the matter of the piece, but rather in the sphere of ideas, its verbalized and hidden meanings.

11

Galeria Remont. Nieznana awangarda lat siedemdziesiątych

61%

Urbańska K.

Sztuka i Dokumentacja

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2012

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issue 6

133-139

EN

The attempts to describe a history of Polish conceptualism in a systematic way, have been until now undertaken in a very similar way. The studies have concentrated mainly on outlining a few artistic centres with connections to the trend. These studies were discussed both in publications from the eighties and nineties and in more recent ones. Only Bożena Kowalska in her book Artystyczno-spoleczna problematyka zrzeszen plastykow w Polsce w latach 1946-1976 (Artistic and social problems of artistic groups in Poland in 1946-1976) (1981) presented a broader panorama of artistic trends that emerged in the seventies. The history of Polish conceptualism mostly covers a narrow circle of galleries: the Foksal Gallery in Warsaw, Pod Mona Lisa and Permafo in Wrocław, and Akumulatory2 in Poznań; a separate place is taken by film and photographic activities. The Remont Gallery in Warsaw, which was active around the same time, was not historically analysed. Its activity has always been treated as marginal. Undoubtedly this was caused by the specific atmosphere of those times, personal relationships and (often wrong) opinions which influenced the works of critics later on. What I refer to is the stance taken by the Foksal Gallery towards more and more frequent activities of the neo avant-garde, which meant that the gallery was often accused of non-uniformity, ambiguity of motives, but also aggression and mockery of the avant-garde. The creator and founder of the Remont Gallery was Henryk Gajewski. The official date when the Gallery was opened was 1.04.1972, and the date it closed was 06.11.1979. For almost seven years it hosted prominent Polish and foreign artists; it published numerous but modest publications, organised international conferences, exhibitions and activities that crossed the official boundaries of art. The gallery, from the very beginning, had little in common with the traditional concept of an art gallery. Its programme was filled with meetings with known publicists, political, social and cultural discussions and exhibitions with modern photography. Thanks to its open formula, the projects were realised by artists coming from various milieux. In the programme it was underlined, that it was not a gallery of one group or trend. What is worth noting is the fact that it showed the works of artists recognised as the leading representatives of neo avant-garde and now often linked with different art centers. The activities of the Remont Gallery can be compared to the activities of such places as Pod Mona Lisą and Permafo, where the gallery space was used for 'new media' or actions from the border of audiovisual art. The Remont Gallery in the beginning, similarly to Permafo, showed experimental photography and photo-conceptualism (Lucjan Demindowski, Krzysztof Wojciechowski, Elzbieta Tejchman, Andrzej Jorczak, Andrzej Lachowicz, Antoni Mikolajczyk, Zygmunt Rytka and Henryk Gajewski). No other gallery in Warsaw was more dynamic and with such a diversified programme, which allows us to analyse its activity from the perspective of a variety of discourses situated on the border of conceptual, contextual art, performance, mail-art, photography, installation, body art, audio-art or happenings.

12

Rola dokumentacji w procesie zachowania i konserwacji sztuki współczesnej

61%

Jadzińska M.

Sztuka i Dokumentacja

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2011

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issue 4

71-79

EN

The incredible diversity and complexity of unconventional works of contemporary art has changed the role of documentation in the process of preservation and conservation. It has become absolutely necessary for the future existence of the work, in order to further understanding, acquisition, installation, arranging, displaying, transportation, conservation and many other areas. Besides a description of the traditional history of the object, its materials and techniques used, or the conservation work which it was subjected to, the documentation is also a form of a copyright certificate, an educational base, and sometimes it may even replace the work of art. This research paper defines a new role for the importance of documentation of contemporary works of art. It focuses on what it means to 'preserve through the documentation' and on the importance of profiled interviews with artists. It describes how and when to document the work of art and how to capture its intangible aspects. Based on the example of installation art, specific methods and a current registration system are pointed out.

13

Performatywne alter ego

57%

Szuba A.

DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu

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2018

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vol. 26

108-133

EN

Performative alter ego The dynamic development of the Internet and the constant search for new ways of reaching the user bring about the availability of materials that were previously unattainable. Performance art, thanks to its special openness to new methods of expression, reaches the mass media, while showing the individual’s psyche and character of the author’s work. The set of gestures, their sequence and narration are the basis for creating performance art, understood not only as a clear alternative to conven- tional art, but also characterized by unpredictability, in which the viewer is not prepared for the way messages are received. Undoubtedly, social platforms create an illusion. “The influencer” can reach thousands of viewers and gain fame without leaving home. Without a doubt, social media have created a new entry point to the global art scene, opening way to a wide spectrum of diverse artistic activities. The method of re- cording, the non-cutaneous nature of the phenomenon makes it possible to own performative actions. The context of a performance is particularly important. It affects what can be universally recognized as art. The ques- tion arises (since we distinguish two values of the performative action: in the art gallery and on the street), what frames on the social media allow the audience to interpret it as art, and assuming that it is an art, does it change the perception of a given phenomenon?

14

Galeria jako zagadnienie artystyczne w sztuce konceptualnej

41%

Guzek Ł.

Sztuka i Dokumentacja

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2012

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issue 6

123-131

EN

The text announces a research program on the galleries that emerged in relation to conceptual art and introduces the scope and method of research. The general aim of the research is to set apart the issue of a conceptual gallery as an independent artistic phenomenon. A conceptual gallery is examined as a general artistic formula. The methodological scheme presented in the text aims at establishing a basic chronology and creating a typology of the trend. Historically, conceptual galleries emerged and were shaped in the frame of a broadly understood conceptual tendency (a leading tendency in the seventies) because at that time, there occurred a specific formal-artistic relationship between art and gallery. Until now, the conceptual gallery trend has been examined mainly in the context of the social, political and cultural conditions in which they were functioning. The research on conceptual galleries as an artistic project and a form of conceptual art causes the vector of the research to reverse. The artistic character of particular galleries could be graded into those which housed more or less radical projects. One may imagine a scale between limit points: a gallery as a work of art and a gallery as an art container and place all galleries from the seventies on it. The beginning of the conceptual gallery movement in Poland is marked by a project by Andrzej Kostolowski and Jaroslaw Kozlowski entitled NET (1971), based on a mail-art formula. It assumed not only collecting and exhibiting the works sent (which was each institution’s aim), but also creating their own specific points in the network of institutions. Thirty five galleries participated in an exhibition which summarised an activity of the BWA Gallery in Sopot in the summer of 1981. The galleries of this type functioned in the next decade, even during martial law. In the mid-nineties the gallery movement started to integrate again, however after 2000 the commercialisation of the art market caused their disappearance.

Refine search results

SPEKTAKULÁRNA TAKOSŤ PERFORMANCIÍ MILANA ADAMČIAKA

Obrus. O definicji performansu

Hommage a Jan Świdziński. Próba wprowadzenia do sztuki jako sztuki kontekstualnej

BREAKING AWAY FROM EGOCENTRISM. POST-HUMANISM AS A WAY OF CONTEMPLATING NON-HUMAN MATTERS ON STAGE

The Image Of The Artist In Performance Art: The Case Of Rudolf Schwarzkogler

Bronzas cilveks un bezpajumtnieks: Performance Latvija toreiz un tagad

Funkcja dokumentacji w sztuce współczesnej

Model logiki logika modelu. Kilka uwag krytycznych na marginesie teorii "sztuki jako sztuki kontekstualnej"

Tranzicija i figuralno/tekstualno telo u vizuelnoj umetnosti i poeziji: Tanja Ostojić i Ažinova škola poezije i teorije

Re-enactment, czyli niekonserwatywna konserwacja sztuki performance

Galeria Remont. Nieznana awangarda lat siedemdziesiątych

Rola dokumentacji w procesie zachowania i konserwacji sztuki współczesnej

Performatywne alter ego

Galeria jako zagadnienie artystyczne w sztuce konceptualnej