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    Wyświetlanie 1-9 z 9
    Tytuł:
    PROBLEM NAGOŚCI, TOŻSAMOŚCI I DORASTANIA (W DZIEŁACH WSPÓŁCZESNYCH ARTYSTEK)
    Autorzy:
    Śnieciński, Marek
    Powiązania:
    https://bibliotekanauki.pl/articles/487822.pdf
    Data publikacji:
    2018
    Wydawca:
    Akademia Sztuk Pięknych im. Eugeniusza Gepperta we Wrocławiu
    Tematy:
    FEMINISM
    NAKEDNESS
    IDENTITY
    FEMINIZM
    NAGOŚĆ
    TOŻSAMOŚĆ
    Opis:
    The Problem of Nakedness, Identity and Growing up (in the works by contemporary female artists) The text discusses the oeuvre of the selected contemporary female art- ists, who in their works analyse the problem of nakedness, treated as a costume, metaphor or event, as well as those, who deal with issues of identity, processes of creating it and the visual (media) identity masks. The works by such artists as Alba d’Urbano, Vanessa Beecroft, Katarzyna Kozyra, Alina Szapocznikow, Herlinde Koelbl, Tina Bara, Eva Bertram, Ur- sula Rogg and Tanja Ostojič are analysed. The text includes theoretical considerations by Lynda Nead, Agata Jakubowska, Giorgio Agamben and Hans Belting.
    Źródło:
    DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu; 2018, 25; 68-87
    1733-1528
    Pojawia się w:
    DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    ZAWOALOWANA I BEZPOŚREDNIA UWAGI O FEMINO-ŚWIATACH MARII PINIŃSKIEJ-BEREŚ I EWY PARTUM1
    Autorzy:
    Kostołowski, Andrzej
    Powiązania:
    https://bibliotekanauki.pl/articles/487740.pdf
    Data publikacji:
    2018
    Wydawca:
    Akademia Sztuk Pięknych im. Eugeniusza Gepperta we Wrocławiu
    Tematy:
    FEMINISM
    MASCULINISM
    CORPOREALITY
    PINK
    FEMINIZM
    MASKULINIZM
    KORPORALNOŚĆ
    RÓŻ
    Opis:
    Veiled and Direct. Remarks About the Feminine Worlds of Maria Pinińska-Bereś and Ewa Partum The proposals of art by the internationally known: Maria Pinińska-Bereś (1931–1999) and Ewa Partum (b. 1945) have been emerging since the 1960s and 1970s as the successive steps driving through the shell of masculine domination in art. Owing to the power and coherence of the liberation endeavours, both artists have worked out their own forms of creativity. Through the individuality of feminine approaches they mani- fested in their statements some sort of model message, and at the same time a uniqueness in the way of using artistic means of expression. For the sculpturess and “performeress” Pinińska-Bereś entangled in the mul- ti-level dualism of the patriarchal domination and neo-avant-guarde free- dom, the method depended on showing psychoanalytically filtered depths through the veiled object allusions. For the relatively early emancipated and direct in her strong performances conceptual artist, Ewa Partum, the fusion of corporal presence with critical ideas was, and still is, important.
    Źródło:
    DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu; 2018, 25; 108-135
    1733-1528
    Pojawia się w:
    DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Zejście z cokołu. Sztuka jako żart. Od Francisa Picabii do Maurizio Cattelana
    Art as a Joke. From Francis Picabia to Maurizio Cattelan
    Autorzy:
    Dziamski, Grzegorz
    Powiązania:
    https://bibliotekanauki.pl/articles/487730.pdf
    Data publikacji:
    2015
    Wydawca:
    Akademia Sztuk Pięknych im. Eugeniusza Gepperta we Wrocławiu
    Tematy:
    Dada; Fluxus
    ready-mades
    feminism
    Kamp
    irony
    joke
    Opis:
    Dada movement stripped art of seriousness, turned art into a joke, a sophisticated fun. Where there were Dadaists, there was laughter, as Hans Richter once said. Dadaists formed an opposition: bour-geois false values, over which hovered the stench of death and money – versus life. They stood on the side of life; on the side of art stripped of bourgeois seriousness. But the Dadaists also found liberated joke – a joke that served no purpose, fought against nothing and attacked nothing. ‘Entracte’ by Francis Picabia and ready-mades by Marcel Duchamp were in fact the jokes, which formed a new concept of art – art liberated from the domination of taste. Readymades had all the attributes of artwork : author, title, year of creation, audience, critics, etc., but did they become works of art? The artists are the ones who choose and force us to follow their choices, who reject good taste and that is the way they take control over art – by separating good art from bad. The joke is changing the way we think about art, pointing to the ambivalence adopted by our assumptions about the world. In an interview, Duchamp said that the public treated very seriously contemporary art. Did he want to say that it was too serious? Fluxus developed dada-like ambiguity. Where the audience expected to see art, often they received something that could be perceived as joke. The ambiguity was attributed not only to Fluxus, but virtually to the entire art of the 1960’s, as evidenced by the Kamp aesthetics. Kamp is ‘the seriousness that fails’. Kamp means a change with respect to bad art and it shows that we can play with it. In the 1960’s and the 1970’s, in the second wave of feminism, laughter returns as a weapon, as a tool to combat patriarchal culture.
    Źródło:
    DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu; 2015, 19; 64-88
    1733-1528
    Pojawia się w:
    DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Inhabit Janine Antoni jako metafora kobiecej twórczości
    Autorzy:
    Janiak, Edyta
    Powiązania:
    https://bibliotekanauki.pl/articles/487613.pdf
    Data publikacji:
    2018
    Wydawca:
    Akademia Sztuk Pięknych im. Eugeniusza Gepperta we Wrocławiu
    Tematy:
    JANINE ANTONI
    PERFORMANCE
    PHOTOGRAPHY
    FEMINISM
    ARACHNOLOGY
    INHABIT
    PERFORMANS
    FOTOGRAFIA
    FEMINIZM
    ARACHNOLOGIA
    Opis:
    Janine Antoni’s Inhabit as a metaphor of feminine creativity The article aims to present the figure of contemporary artist Janine Antoni by discussing her most important performances. The author of the article pays particular attention to Antoni’s work Inhabit, which she interprets and analyzes in the spirit of arachnology. This strategy intends to present Inhabit as a kind of metaphor of feminine creativity.
    Źródło:
    DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu; 2018, 26; 174-185
    1733-1528
    Pojawia się w:
    DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    ESTETYKA WOBEC FEMINIZMU
    Autorzy:
    Dziamski, Grzegorz
    Powiązania:
    https://bibliotekanauki.pl/articles/487985.pdf
    Data publikacji:
    2018
    Wydawca:
    Akademia Sztuk Pięknych im. Eugeniusza Gepperta we Wrocławiu
    Tematy:
    ANDROGYNE
    FEMINIST AESTHETICS
    GENDER AESTHETICS
    FEMINISM
    WOMEN’S ART
    ESTETYKA FEMINISTYCZNA
    ESTETYKA GENDEROWA
    FEMINIZM
    SZTUKA KOBIET
    Opis:
    Aesthetics Against Feminism When we talk today about women’s art, we think about three phemonena, quite loosely related. We think about feminist art, about the way that the feminist’s statements and demands were expressed in the creativity of Judy Chicago and Nancy Spero, Carolee Scheemann and Valie Export, Miriam Schapiro and Mary Kelly, and in Poland in the creativity of Maria Pinińska-Bereś, Natalia LL or Ewa Partum. We think about female art, the forgotten, abandoned, neglected artists brought back to memory by the feminists with thousands of exhibitions and reinterpretations. Lastly, we think about the art created by women – women’s art. However, we do not know and will never know, whether the latter two phenomena would develop without the feminist movement. What is more, it is about the first wave of feminism called “the equality feminism”, as well as the dominating in the second wave – “the difference feminism”. The feminist art was in the beginning a critique of the patriarchal world of art. In a sense it remains as such (see: the Guerilla Girls), yet today we are more interested in the feminist deconstruction of thinking about art, and thus the question arises: should feminism create its own aesthetics – the feminist aesthetics, or should it develop the gender aesthetics, and as a result introduce the gender point of view to thinking about art? In this moment the androgynous feminism regains its importance, one represented by Virginia Woolf, and referring – in the theoretical layer – to Freud as read by Lucy Irigaray. Freudism, which the feminists became aware of in the 1970s, is the only philosophical movement, which assumes a dual subject, that is, in the starting point assumes the existence of two subjects – man and woman, even if the woman is defined in a purely negative way, by the deficit, as a “not a man”. Freudism replaces the Cartesian thinking subject (consciousness) by the corporeal and sexual being, and forces us to re-think the Enlightenment beginnings of the European aesthetics.
    Źródło:
    DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu; 2018, 25; 40-66
    1733-1528
    Pojawia się w:
    DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    #TROPY#FEMINIZM
    Autorzy:
    Szuba, Agata
    Powiązania:
    https://bibliotekanauki.pl/articles/487810.pdf
    Data publikacji:
    2018
    Wydawca:
    Akademia Sztuk Pięknych im. Eugeniusza Gepperta we Wrocławiu
    Tematy:
    OLIMPIA
    FEMINISM
    SOCIAL MEDIA
    INSTAGRAM
    SAD GIRLS
    WOMAN RIGHTS
    BREASTS
    NIPPLE
    NINETIESWAVE
    FEMINIZM
    MEDIA SPOŁECZNOŚCIOWE
    PRAWA KOBIET
    PIERSI
    SUTKI
    Opis:
    #tropy#feminizm The contemporary media message can be perceived in two perspectives: an active one, in which women perform a role of journalists and editors, and a passive perspective, in which they become a part of media mes- sage. The latter aspect is the most controversial for many reasons. Walter Lippmann defines a stereotype as an image created in the mind which al- lows a subordination of a certain fragment of reality a priori. The media’s visible, negative influence on women has them create a reality beyond the boundaries of acceptance, presenting it in a way the audience expects. A new kind of feminism appears, i.e. one which answers the receiver’s needs (succumbing to the expectations and exposing to the view), and a question appears – whether in the time of the feminist legacy, thereby changes resulting from the development of the media, feminists should gain their own unique style? In a way this begins to happen. Due to the development of the media, women gained an unrestricted possibility to express their views, and the reception and availability of the media lifts the restrictions and causes an inconspicuous person to please and sweep the crowd and his or her voice to be impossible to be ignored in the discourse.
    Źródło:
    DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu; 2018, 25; 88-107
    1733-1528
    Pojawia się w:
    DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    KIEDY WRESZCIE PRZEMÓWI EURYDYKA?
    Autorzy:
    Więckowski, Andrzej
    Powiązania:
    https://bibliotekanauki.pl/articles/487924.pdf
    Data publikacji:
    2018
    Wydawca:
    Akademia Sztuk Pięknych im. Eugeniusza Gepperta we Wrocławiu
    Tematy:
    PATRIARCHATE
    WOMEN’S RIGHTS
    WESTERN CULTURE
    FEMINISM AND CIVILISATIONAL PROGRESS
    PATRIARCHAT
    PRAWA KOBIET
    KULTURA ZACHODU
    FEMINIZM I POSTĘP CYWILIZACYJNY
    Opis:
    For the author of the essay When Euridice will speak at last feminism is the eternally negative approach towards patriarchate, which was born with it. It is characteristic that problems mentioned in “Lysistrata” or “As- semblywomen” by Aristophanes in the 5th century BC are identical with the demands of contemporary feminism. Its successes in the 19th and 20th centuries concerning the formal emancipation of women’s rights, in the long run are both meaningful and illusory: the culture of patriarchate while granting women the voting and other rights did not change its pa- triarchal principle, it just alleviated its repressive character on a small fragment of the Western culture, though in this zone of the biggest wom- en’s freedom the forgotten disputes about the rigours of the patriarchate all the time come back to life. The paradigm of the fundamental way of thinking about the world remains unchanged, while the approach to women is just its embodiment. Patriarchate is the means of treating the world as a collection of objects to be used, it is not only an approach towards women. The contemporary culmination of the Western culture as a technological civilisation reaches its limit, whose crossing threatens with a total disaster even in the most optimistic scenarios. In this context the author of the essay perceives feminism as a huge possibility, as one of more important movements in civilisation and culture, which not only will fight for formal rights, but rather for a change of the thinking paradigm from object-oriented to sub- ject-oriented. Euridice – the silent-for-centuries subject of lost love – has to start speaking.
    Źródło:
    DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu; 2018, 25; 1-39
    1733-1528
    Pojawia się w:
    DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    FEMINISTYCZNE GRY Z AUTOBIOGRAFIĄ
    Autorzy:
    Janiak, Edyta
    Powiązania:
    https://bibliotekanauki.pl/articles/487782.pdf
    Data publikacji:
    2018
    Wydawca:
    Akademia Sztuk Pięknych im. Eugeniusza Gepperta we Wrocławiu
    Tematy:
    LITERATURE
    AUTOBIOGRAPHY
    FEMINISM
    READING STRATEGY
    FEMINIST LITERARY CRITICISM
    FEMALE AUTOBIOGRAPHY
    LITERATURA
    AUTOBIOGRAFIA
    FEMINIZM
    STRATEGIA LEKTUROWA
    LITERACKA KRYTYKA FEMINISTYCZNA
    KOBIECA AUTOBIOGRAFIA
    Opis:
    The Feminist Games with Autobiography The aim of the article is showing diverse ways of reception and descrip- tion of female autobiographies in the critical literary research. The au- thor devotes exceptional attention to the feminist researchers’ approach to these texts and the reading strategies proposed by them. Tracing the feminism – female autobiography relation makes it possible to perceive mutual influences and observe evolution of the emerging discourse of the feminist literary criticism.
    Źródło:
    DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu; 2018, 25; 152-165
    1733-1528
    Pojawia się w:
    DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    POLSKI FEMINIZM – PARADYGMATY
    Autorzy:
    Witkowska, Sylwia
    Powiązania:
    https://bibliotekanauki.pl/articles/487796.pdf
    Data publikacji:
    2018
    Wydawca:
    Akademia Sztuk Pięknych im. Eugeniusza Gepperta we Wrocławiu
    Tematy:
    POLISH FEMINISM
    IDEOLOGY
    SOCIAL STATUS
    LANGUAGE OF ARTISTIC EXPRESSION
    ENGAGED ART
    FEMINIZM POLSKI
    IDEOLOGIA
    STATUS SPOŁECZNY
    JĘZYK WYRAZU ARTYSTYCZNEGO
    SZTUKA ZAANGAŻOWANA
    Opis:
    Polish Feminism – Paradigms The issue of feminist art struggles with a great problem. In my study I focus solely on Polish artists, and thus on the genealogy of feminist art in Poland. Although all the presented activities brought up the feminist thread, in many cases a dissonance occurs on the level of the artists’ own reflections. There is a genuine reluctance of many Polish artists to use the term “feminist” about their art. They dissent from such categorization as if afraid that the very name will bring about a negative reception of their art. And here, in my opinion, a paradox appears, because despite such statements, their creativity itself is in fact undoubtedly feminist. I think that Polish artists express themselves through their art in an unambiguous way – they show their feminine „I”. The woman is displayed in their statement about themselves, about the experiences, their body, their sexuality. Feminism defined the concept of art in a new way. The state- ment that art has no gender is a myth. The activities of women-artists are broader and broader, also in Poland women become more and more noticed and appreciated. Feminist art does not feature a separate artistic language, it rather features a tendency towards realism, lent by photogra- phy or video, which reflects the autonomy of the female reception of the world. It should be stated that feminism is a socially needed phenomenon, and its critique drives successive generations of women-artists.
    Źródło:
    DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu; 2018, 25; 194-241
    1733-1528
    Pojawia się w:
    DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-9 z 9

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