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Compression and riddlecraft: on Pavel Büchler's 'Small sculptures'

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Krčma E.
Umění (Art)
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2020
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vol. 68
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issue 2
154-171
EN
This article provides the first sustained exploration of an important group of works by the Czech artist, Pavel Büchler. Büchler’s ‘small sculptures’, produced between 2006 and 2015, employ remarkably modest means to bear tellingly upon a wide range of cultural, political, and philosophical problems. The works are composed of simple, everyday found objects — a pencil stub, a coin, a cigarette lighter, a discarded paint tube — all of which are inscribed with language and with traces of their former use. Enigmatic and elliptical, these works draw their significance from the shared histories, cultural traditions and social experiences to which they make reference, serving to pose precise questions regarding the meanings of such collective formations, and their relationship to art’s particular kind of work. Developing the idea of ‘compression’, a term borrowed from the analysis of poetry, the article elucidates the ways in which the ‘small sculptures’ open onto some of the most pressing problems for contemporary art: the relationship between art and aesthetic experience after the readymade and conceptualism; the transactions between visual art and literature, and particularly modern poetry; the problem of interpretation, its movements and its limits; and the tense relationship between artistic autonomy and political engagement. The ‘small sculptures,’ four of which are engaged with closely here, constitute a critique of both the reliance of much contemporary art upon big budgets and spectacular effects, and of the insistence that art directly articulate statements of ideological commitment. Drawing upon theoretical resources developed by Georges Perec, Theodor Adorno and Václav Havel, for example, the text articulates the ways in which Büchler’s works possess a strange kind of density, in the manner of a rebus or a riddle. They embody art’s capacity to speak otherwise and demonstrate how much can be done with what is apparently very little indeed.
CS
Tento článek je první systematickou analýzou důležitého souboru děl českého umělce Pavla Büchlera. Büchlerovy „malé sochy” z let 2006–2015 se s využitím minimálního množství výrazových prostředků obracejí k široké škále kulturních, politických a filozofických problémů. Základem těchto prací jsou jednoduché, nalezené předměty každodenní potřeby — zbytek tužky, mince, zapalovač, vyhozené tuby od barev, které nesou stopy svého předchozího užívání. Význam těchto enigmatických a náznakových děl vychází ze sdílených historií, kulturních tradic a společenských zkušeností, k nimž odkazují. Büchlerovy artefakty kladou přesné otázky týkající se smyslu těchto kolektivních představ a jejich vztahu k určitému druhu práce, která je vlastní umění. Text vychází z pojmu zhuštění vypůjčeného z analýz poezie a osvětluje způsoby, jimiž se tyto „malé sochy“ dotýkají některých nejaktuálnějších problémů současného umění, jako například vztahu mezi uměním a estetickou zkušeností po vynálezu ready-made a po konceptualismu, interakcí mezi výtvarným uměním a literaturou a zejména moderní poezií, problému interpretace, jejích posunů a omezení, nebo napjatého vztahu mezi uměleckou nezávislostí a politickou angažovaností. „Malé sochy“, z nichž čtyři jsou zde podrobně analyzovány, představují kritiku závislosti většiny současného umění na velkých rozpočtech a vytváření velkolepých efektů a zároveň tvrzení, že umění má přímo vyjadřovat ideologické postoje. Na základě teoretické opory o texty Georga Perece, Theodora Adorna nebo Václava Havla text zkoumá zvláštní významovou hutnost Büchlerových děl, která připomíná rébus nebo hádanku. Tato díla ztělesňují schopnost umění mluvit vlastním jazykem a ukazují, jak mnoho se dá vytvořit ze zdánlivě nepatrných zdrojů.
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The emphatic wood sculptures at the University of Benin – their cultural and philosophical contributions to Nigerian art space: an articulation of African aesthetics

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Egwali F., Ukagba G.
IDEA. Studia nad strukturą i rozwojem pojęć filozoficznych
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2016
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vol. 28/2
246-258
EN
Artists worldwide use various means and materials to realize their visual expressions. In the Department of Fine and Applied Arts, University of Benin, different types of materials can be seen used by students and lecturers alike. Some of these materials are fiberglass, bronze, metals, stone, clay and wood. Of all these materials, wood have come up as one of the most outstanding, dependable and striking. Three very evocative wood sculptures attracting attention and critical review are Life in Phases, Shame and Life is a Scuffle. These three ever powering and fascinating sculptures continue to speak volumes of the shamelessness among our greedy political office holders, the struggle to break even in our ever demanding and corrupt society. Is there any solution in sight for mankind’s daunting problems? This and more questions are what this paper seeks to answer and critically establish.
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Ancient and contemporary benin bronze – differences and similarities: the content, context and the journey so far

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Egwali F.
IDEA. Studia nad strukturą i rozwojem pojęć filozoficznych
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2016
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vol. 28/1
319-332
EN
In recent times several features have emerged as regards the contemporary sculptures of Benin. These features have either overtly or covertly created the differences between the ancient and contemporary bronze sculptures of Benin. These unfortunate features includes (1) careless finishing, (2) contemporary bronze are heavier, (3) themes are repeated, (4) lack deep storylines, (5) most times, bronze antiques are forged, and (6) most lack sensitive commanding forms. Indeed, these are the traits which made ancient Benin bronze sculptures resonate, reverberate and resound both in ancient and contemporary time. What therefore should be done to move the contemporary Benin bronze sculptures to a higher artistic level is what this paper seeks to appraise and critically establish.
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Mapping Skeuomorphic Artifacts among Polish Young Adults: A Semantic Differential Study of Sculptures at the Licheń Pilgrimage Centre

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Haładewicz-Grzelak M., Wilson A.
Polish Sociological Review
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2013
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vol. 181
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issue 1
103-128
EN
Surprisingly little is known about the religious attitudes of young adults in Poland. Existing scholarship is usually written from a prescriptive view: how young people should behave or what they should do. Quantitive studies, where the researcher’s voice is not heard, but, rather, young people have a chance ‘to speak’ for themselves, appears to be lacking. This article aims to redress this gap to some extent by quantitatively studying young adults’ attitudes to sculptures erected in Poland’s largest modern pilgrimage venue (Licheń). The paper also aims to contribute to understanding how the sacred is negotiated in a contemporary Catholic pilgrimage venue.We show how respondents actively create the sacrum dimension and how it correlates with the axes of Potency / Activity / Evaluation. We posit a semantically amorphous structure for the sculptural objects at the Licheń centre and use a semantic differential technique to extract affectively oriented dimensions in attitudes towards these skeuomorphic objects. The results highlight important implications for the understanding of religion in post-modernity and of the phenomenon of modern mega-centers of religious worship. They also support the view of secularization and sacralization as two additive concomitant processes, and of ‘sacred’ / ‘profane’ as gradient, rather than binary features. SD has been widely used as an analytical tool in sociological research to measure metaphorical meaning and societal attitudes to brands and particular products (e.g. Osgood 1981; Minato 1983). However, it has rarely been applied to investigate the boundary between the sacred and the secular, or ways of objectifying the sacred (e.g. Muthén 1977). We explore this possibility, drawing on a dataset of 100 questionnaires administered to undergraduate students in a middle-sized town in Poland in October-December 2012.We hope our research will contribute to an understanding of the wider issue of what societal products like material objects can tell us about experiencing the sacred in contemporary society.
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Znaczenie rzeźby w badaniu uzbrojenia ochronnego na terenie księstwa pomorskiego czasów nowożytnych w świetle wybranych przykładów

63%
Puławski A.
Materiały Zachodniopomorskie
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2021
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vol. 17
541-568
EN
The article presents results of the analysis of the sculptures from the territory of the former Duchy of Pomerania with special attention to their usefulness in the study of weaponology. The author has attempted to examine how the armour was depicted on the objects from the 16th century and the first half of the 17th century. Pomeranian elite used several types of plate armour in the early modern period. It was presented differently, making it sometimes impossible to identify. In the analysed material, there are simplifications and antiquating, which reduce the level of authenticity of the source. On some Pomeranian sculptures from the beginning of the early modern period plate armour is depicted with great attention to detail. In the case of epitaph from c. 1550 of Bogislaw X of Pomerania, presented details allow for identifying the real armour.
PL
Tekst prezentuje wyniki analizy rzeźb z obszaru dawnego księstwa pomorskiego pod kątem przydatności w badaniach bronioznawczych. Autor podjął się oceny stopnia odwzorowania uzbrojenia ochronnego na obiektach z XVI i 1. połowy XVII wieku. W czasach nowożytnych pomorska elita używała kilku typów zbroi płytowych. Sposób ich odwzorowania był różny, nie zawsze pozwalający na ustalenie klasyfikacji. W analizowanym materiale źródłowym występują uproszczenia i antykizowanie, przez co spada poziom autentyczności przekazu. Wśród pomorskich rzeźb z początku czasów nowożytnych znajdują się takie, które przedstawiają zbroje płytowe z dużą dbałością o szczegóły. W przypadku epitafium Bogusława X z ok. 1550 roku detale zawarte na uzbrojeniu pozwalają na identyfikację autentycznej zbroi.
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The cement nude, the (h)ero(tic)ism of the working class – the artistic programme of outdoor sculptures on the Black Sea littoral and the pro-natal, pro-family policies under communism

51%
Nasui C.
Historia Slavorum Occidentis
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2023
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issue 4(39)
13-32
EN
Controlled eroticization of the proletariat through pro-natal policies was an almost unnoticed facet of the programme of iconographic public works displayed in exceptional locations throughout the newly-built resorts along Romania’s Black Sea shore. Never previously studied on its own merits, this artistic programme of open-air sculptures that begun in the Romanian Popular Republic and continued in the Romanian Socialist Republic needs to be understood and contextualized, by way of interdisciplinary instruments, against a broader post-Eastern approach that goes beyond the established methodologies of art history.
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