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Najbardziej Efemeryczna ze Sztuk. Wczesne Realizacje z Użyciem Wideo w Lubelskich Galeriach Labirynt i BWA w Latach 1976–1984

100%

Załuski T.

Sztuka i Dokumentacja

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2022

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issue 27

181-233

EN

Previous studies on the emergence and development of video art in Poland have been generally focused on analysis of leading artists' creative concepts and poetics of their works. Such a perspective does not address a wider context of artistic culture – a configuration of material, institutional and social conditions od production, distribution and reception of these practices. This has resulted in a simplified, abstracted image of the beginnings of video art in Poland. A broaden and more historical analysis entails, therefore, re-inscribing its subject into a set of local and translocal conditions: material and technical modes of creating and presenting video works, their various forms, a topography of their production and distribution places, their circulation channels, a network of video art contacts, cooperation and exchange, and finally, the location of Poland as one of socialist countries of East Central Europe on the map of artistic and economic centres and peripheries. The task of analysing the video in such an expanded field of artistic culture also needs a broadened concept of “the work made with the use of the video.” The term refers not only to practices usually deemed to be the video art ‘proper,’ such as videotapes, videoinstallations or videoperformances, but also comprises all conceptual and documental forms of existence, distribution and presentation of video works: textual descriptions, schematic diagrams (which sometimes remain the only material form of a work), exhibition boards with photodocumentation, brochures or catalogues etc. The article offers an analysis of a series of exhibitions and projections of video works which took place at the Labirynt Gallery and Bureau of Artistic Exhibitions (BWA) in Lublin between 1976 and 1984. My approach combines in-depth archival research with the methodology of exhibition history, infrastructure and conditions of artistic production studies, and critical reception history. While doing this research ‘groundwork,’ I attempt to establish who actually participated in the discussed artistic events, describe the works which were showcased there and reflect on how they were or could have been interpreted. I take into account translocal and transnational networks of contacts of both institutions, their contributory programme, co-created by numerous artists and curators, as well as the whole of an expanded field of artistic culture: changing conditions of production, distribution and presentation of works made with the use of the video.

2

Więź do zawiązania: polityka nie-samowystarczalności według Jean-Luc Nancy’ego

100%

Załuski T.

Studia Philosophica Wratislaviensia

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2007

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vol. 2

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issue 1

87-103

EN

In the text I take a closer look at the political paradigm of self-sufficiency as outlined by French philosopher Jean-Luc Nancy. The paradigm is at work in all traditional Western political views, ideologies and practices, and can be reduced to two schematic models of politics: that of the subject, and of the citizen. The models are seen by Nancy to be no longer relevant to the urgent demands of contemporary social and political reality; they are also held to be responsible for contemporary problems and crises in, and of, democracy. Nancy tries to present an another approach to political practice and focuses on the issue of the (social) tie as one that is not given in any substantial way but always remains to be tied, always to be decided and continually reshaped in a response to unforeseeable events. As a part of a sketch of a political philosophy of relation and non-self-sufficiency, Nancy discusses the issues of singularity, incommensurability, justice and ,,equaliberty'', and stresses the need for constant invention of new forms of a democratic politics. The latter is meant as a politics of ,,democracy to-come'', democracy that always remains in statu nascendi, in the process of eventual transformation.

3

KwieKulik i konceptualizm w uwarunkowaniach PRL-u. Przyczynek do analizy problemu

100%

Załuski T.

Sztuka i Dokumentacja

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2012

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issue 6

79-88

EN

Until now, the artistic practices of a duo named KwieKulik, founded between 1971-1987 by Przemysław Kwiek and Zofia Kulik, were placed outside of conceptual art. I am not presenting here a simple thesis that KwieKulik were conceptual artists, but I attempt to formulate an introductory question about the complex relationship in which they situated themselves in response to conceptualism. In one of the interviews, the artists claimed that they could never be ‘pure conceptual artists’. I wonder, however, if the activity of the duo may be framed in a category of some ‘impure conceptualism’ whose important aspect is to be found in exposing the conditions of life and work in the People's Republic of Poland . To achieve this one needs to investigate thoroughly the artists stance towards the hegemonic term of ‘conceptualism’ whilst highlighting all of their actions that had any conceptual feature and to define a specific, individual form which appeared in the network of relationships with other elements of artistic practice. In my text I explain how one should understand ‘conceptualism’ as ‘a hegemonic term’ that organises and imposes itself onto an agonistic field of innovative art practices — not only in the West, but also in Poland. In this context, undertaking the question of “KwieKulik and conceptualism” opens a new perspective for a counter-hegemonic reinterpretation of conceptualism in the People's Republic of Poland. Without rejecting the term ‘conceptualism’, one needs to look at the questions related to it through the prism of an individual case of the KwieKulik duo. It should also allow the practices of both artists to make an imprint on ‘conceptualism’. In the last part of my text, I limit myself to a series of ‘contributive’ notes which may be treated as orientation points in an appropriate analysis of the conceptual aspects of the art of KwieKulik.

4

„Świat podzielony. Geopolityka sztuki według KwieKulik.”

44%

Załuski T.

Sztuka i Dokumentacja

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2014

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issue 11

19-41

5

"Wprowadzenie."

32%

Załuski T.

Sztuka i Dokumentacja

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2014

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issue 11

7-9

6

Foreword

26%

Załuski T.

Sztuka i Dokumentacja

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2015

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issue 12

42-43

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Najbardziej Efemeryczna ze Sztuk. Wczesne Realizacje z Użyciem Wideo w Lubelskich Galeriach Labirynt i BWA w Latach 1976–1984

Więź do zawiązania: polityka nie-samowystarczalności według Jean-Luc Nancy’ego

KwieKulik i konceptualizm w uwarunkowaniach PRL-u. Przyczynek do analizy problemu

„Świat podzielony. Geopolityka sztuki według KwieKulik.”

"Wprowadzenie."

Foreword