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1

THE WORD OF COLLAGE

100%
Karpowicz A.
Przegląd Humanistyczny
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2005
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vol. 49
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issue 1(388)
95-108
EN
The article describes connections between collage as a picture, musical collage and literary one. The rise of the new artistic technique is a breakthrough in the whole art of the 20th century. The violent technological development at the turn of the 19th and 20th century caused its appearance. In the first part there are relations between the word and the picture, which contribute to the collage practice. The second part describes the influence of the reality and the city space on the changes of the contemporary art. The third part in turn is devoted to new media processing words and pictures as well as to the uniqueness of words featuring in the collage composition.
2

'READY MADE'. OBJECT IN MIRON BIALOSZEWSKI'S PROSE TEXTS

100%
Karpowicz A.
Pamiętnik Literacki
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2006
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vol. 97
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issue 1
125-139
EN
The article is devoted to the analysis of the function of objects in Miron Bialoszewski's prose texts. It shows an interest in every day objects as a characteristic feature of art in second half of 20th century. As a result, ready-made, amballage, assamblage and environment become the contexts of the analyzed texts. Objects create collages in the texts' descriptive layer: they are made accidentally and can be sound or visual. They are born around the narrator, since the presented literary world was identified with the space of living. The biographical element introduces another argument in favor of 'poor aesthetics' or 'attic aesthetics'. It proves to be the project of social coexistence based on the rule of voluntary giving and on recycling seen as a way of circulation of things. The attitude to objects stems from the post-war experience of the lack of various things. Objects in Bialoszewski's texts are treated as cultural signs
3
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The Collage Experiment. The Leopold Buczkowski Archive

100%
Karpowicz A.
Konteksty - Polska Sztuka Ludowa
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2007
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vol. 61
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issue 1(276)
17-40
EN
The 'ephemera of memory' comprise a category constitutive for the works of Leopold Buczkowski. Punctualistic, aleatoric non-fiction constructions create museum space in which the author tries to revive 'Rusin words-sounds', i.e. the living, dialogical and multicultural vernacular of pre-war Podolia. His stories, however, progress more in time than in space by creating simultaneously overlapping strata of myriad versions of events, myths, and imagery, enrooted in collective imagination. The homophonic quality of the ephemera corresponds to the fleeting nature of human memory. With attempts at capturing living speech and music as his point of departure, Buczkowski arrived at decontextualised records or even written down conversation when, for instance, he creates narration composed of quotations from Polish-French phrase-books. Only decontextualisation, characteristic for the written word, is regarded by the author as a tool suitable for building a memory museum; he thus endeavours to create an archive of forms no longer existent after the WW II, in this way salvaging a dying world and chronotypes doomed to oblivion. By setting up an archive of past forms of culture and art Buczkowski also conducts an in-depth analysis of modern culture based on the bourgeois ethos and writings which he holds responsible for the catastrophe of the WW II. In the 'museum of memory' writing has assumed the shape of archaeology, i.e. the extraction of the relics and forms of a vanishing world from oblivion. This is the reason why narration brings to mind a collection. It remains specific because its medium is the printed word. Just as in collections of objects, it constitutes an attempt at reaching, via material (here: the letter, the visible sign of writing), that which is invisible and impalpable -forms of a world which perished in WW II. The instruments applied by the author are close to the techniques of 20th-century art which also frequently turns into archaeology by gathering actual objects and the debris of contemporary civilisation. Prose by Buczkowski resembles a visual art collage, an assemblage executed with the help of the recycling technique.
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