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A Firecracker, a Light at the End of the Tunnel? The First Polish Programme of Residential Stays for Artists in the USA

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Białkowski Ł.
Sztuka i Dokumentacja
|
2022
|
issue 27
117-127
2
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Does the Artist Need to Be Present? The “Paradigm of Visibility” and Art Practices in Public Space

100%
Białkowski Ł.
Acta Universitatis Lodziensis. Folia Philosophica. Ethica – Aesthetica – Practica
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2017
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issue 30
111-119
EN
The thesis of my paper is that art participatory practices in public space have a paradoxical potential to avoid a paradigm of visibility. What I call the paradigm of visibility is a formula of social presence of art which is based on a necessity of occupying a certain physical or symbolical space and an effort to sustain it. This kind of public presence of art is traditionally considered to be a guarantee of its value in terms of both artistic and social legitimisation. A question arises if this formula has an alternative. It seems that participatory art practices in public space – focused on production of objects and searching for social impact and social efficacy – can formulate a different model of presence of art (of its production and distribution) than object-based art.
3
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Experiment and “Art Art”. From Uncertainty to Imitation

100%
Białkowski Ł.
Art Inquiry. Recherches sur les arts
|
2020
|
vol. 22
143-155
PL
Artykuł przedstawia trzy różne odsłony eksperymentu artystycznego. Źródłowa idea ekspery­mentu w działalności artystycznej, przedstawiona w XIX wieku przez Émila Zolę pod hasłem „powieści eksperymentalnej” a także neoawangardowe rozróżnienie na „sztukę artystyczną” i eks­perymentalną dokonane przez Allan Kaprowa w latach 60. XX wieku łączyły ściśle eksperyment z niepewnością i niewiedzą. W tym kontekście w artykule postawione zostaje pytanie, w jakiej mierze praktyki współczesnych artystów, również często określane mianem eksperymentalnych, wpisują się w historyczne rozumienie eksperymentu i czy nie stały się kolejną artystyczną stylisty­ką. Kwestia ta jest analizowana w odniesieniu do filmu Powtórzenie Artura Żmijewskiego.
EN
The article discusses three various stages of artistic experiment. Both a source concept of experiment in artistic practice, developed by Émile Zola in the 19th century under the banner of 'experimental novel', and the neo-avant-garde distinction into Art art and experimental art created by Allan Kaprow in the 1960s, established a close connection of experiment with uncer­tainty and risk. In this context, the article investigates the extent to which contemporary artists' practices, including those frequently defined as experimental, can be subsumed under the histo­rical meaning of experiment and poses a question whether they might have created another style of art. The problem is analysed in reference to Artur Żmijewski's film, Powtórzenie [Repetition].
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