Tytuł pozycji:
Performatywność sztuki konceptualnej
- Tytuł:
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Performatywność sztuki konceptualnej
Performativity of Conceptual Art
- Autorzy:
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Guzek, Łukasz
- Powiązania:
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https://bibliotekanauki.pl/articles/487862.pdf
- Data publikacji:
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2014
- Wydawca:
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Akademia Sztuk Pięknych im. Eugeniusza Gepperta we Wrocławiu
- Źródło:
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DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu; 2014, 17; 188-220
1733-1528
- Język:
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polski
- Prawa:
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Wszystkie prawa zastrzeżone. Swoboda użytkownika ograniczona do ustawowego zakresu dozwolonego użytku
- Dostawca treści:
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Biblioteka Nauki
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Przejdź do źródła  Link otwiera się w nowym oknie
The first part of the text is a kind of dictionary of conceptual art. It includessuch
phrases and words associated with conceptual art as readymade,
blank sign, signifier/signified, tautology, anthropoligization, contextualism,
modernism and postmodernism. The phrases and words are more
precisely defined in the context of art’s dynamic nature. That more dynamic
forms of art is not only the result of actions and performances in
arts of the 1970’s. Also, they are influenced by the fact that the reality
was combined with art, culture, life practice, the condition of the different
people. I consider those phenomena in the contex of ‘presence’. New
artistic means contributed to an overall change in the nature of art— its
performatisation.
Examples of conceptual art discussed in the text come from Polish
art. However, they are not direct references to popular and frequently
discussed art-forms. They are shown through the prism of existing overviews
approximating the history of conceptual art in Poland. These are
the texts by Morawski and Kępińska, which attempt to summarize Polish
conceptual art in the 1970’s, and contemporary text by Dziamski on the
same subject. While analyzing the texts, I point out to the way in which
their authors dialed with problem of documentation. Documentation is
intrinsically connected with ephemeral forms, such as conceptual art and
actions, and this is the way it is considered in the listed studies.
However, as the result of subsequent evolution of post conceptual
and postmodernist forms, such as installations and performances, and
widespread complex projects embedded in a social and cultural context,
documentation has gained a new, independent role and contributed to the
emergence of transmedial forms.
This change in the role of documentation is connected with changeable
forms and processes. Art has assumed a form of critical discourse,
both artistic (inner-artistic) and non-artistic—political, social, cultural. In
this way performantization of art is connected with global performance
in all aspects of operation in the modern world (John McKenzie).