Temat: Andrzej - Katalog OPAC zbiorów

Skocz do pozycji: 1.

Tytuł:: Medium czy osoba – dylematy sztuki konceptualnej na kilku przykładach
A Medium Or A Person? – Conceptual Art Dilemmas Shown By A Few Examples
Autorzy:: Sobota, Adam
Powiązania:: https://bibliotekanauki.pl/articles/424564.pdf
Data publikacji:: 2012
Wydawca:: Akademia Sztuk Pięknych w Gdańsku
Tematy:: CONTEMPORARY ART
CONCEPTUAL ART
CONCEPTUALISM
ZBIGNIEW DLUBAK
ZBIGNIEW STANIEWSKI
NATALIA LL
ANDRZEJ LACHOWICZ
ANDRZEJ DUDEK-DÜRER
FOTO-MEDIUM-ART
PHOTOMEDIALISM
Opis:: My intention is to describe essential artistic strategies associated with conceptualism mainly by highlighting examples of artists associated with the Wroclaw milieu, one of whose strategies included using so called new media, that in the 1960s and 1970s were photography, film and video. This strategy opened the concept of art to the influences of mass culture, everyday life, to the issues of broadening perception and manipulating information. Confrontations and contradictions between the use of new media and classic art forms were expressed by within the milieux and by the various generations of artists causing acute polemics in Poland in the mid-seventies. First I want to focus on the arguments supporting the analysis of photomechanical media, as an essential artistic problem. In Polish art, pioneers of such an awareness were Zbigniew Dlubak and Zbigniew Staniewski. Since 1970 it was expressed in the program of the Permafo group (Dlubak, Natalia LL, A. Lachowicz) and then within other artistic groups, including Foto-Medium-Art and by Jerzy Olek. They were in touch with similar tendencies in Lodz, Krakow and Warsaw. Photomedialism preferred an objective criteria of activities and an openness towards the rules of visuality and the laws of nature typical for documentary movies. On the other hand, it could not exist without pointing at the subject of the creator and its subjective conditions. So the criteria of media and personality interweaved in artistic practice, but also appeared as antagonistic. It was best seen in the work of Natalia LL, who pointed at the instrumental blindness of the photomedialists, even though she paid a lot of attention to media issues herself. The reduction of the role of art objects in conceptual art on behalf of a person and his/her life activities required a search of the personality which often reached the broadest cultural references, associated with philosophy, religion or mythology. It is well illustrated by the artistic activity of Natalia LL and Andrzej Dudek-Durer, anchored in conceptual art and constantly developing through the confrontation of corporality and mental power combined with the language and communication possibilities offered by media.
Źródło:: Sztuka i Dokumentacja; 2012, 6; 63-72
2080-413X
Pojawia się w:: Sztuka i Dokumentacja
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 2.

Tytuł:: Działania konceptualne w łódzkim środowisku plastycznym na przykładzie Grupy Konkret
Conceptual Activities Within The Artistic Environment Of Łódź By The Konkret Group
Autorzy:: Jabłońska, Karolina
Powiązania:: https://bibliotekanauki.pl/articles/424687.pdf
Data publikacji:: 2012
Wydawca:: Akademia Sztuk Pięknych w Gdańsku
Tematy:: CONCEPTUALISM
CONCEPTUAL ART
KONKRET GROUP
ART GROUPS
LODZ
ALEKSANDER HALAT
ROMANA HALAT
RYSZARD HUNGER
ANDRZEJ JOCZ
ZBIGNIEW KOSINSKI
ANDRZEJ NAWROT
HENRYK STRUMIŁŁO
KONRAD FREJDLICH
ANTONI SZRAM
Opis:: The Konkret Group emerged in the spring of 1970. The group exhibited three times in Łódź, and one of their exhibitions was also shown in Sieradz. The group consisted of Aleksander Halat, Romana Halat, Ryszard Hunger, Andrzej Jocz, Zbigniew Kosinski, Andrzej Nawrot, Henryk Strumillo, later accompanied by Konrad Frejdlich and Antoni Szram. Among the group members there were artists who expressed themselves in painting, sculpture and graphics, and also ones who were associated with the creative use of text and language. The group did not have a formal program. The group members agreed, that at this specific time and place one needed to turn to concrete art, that is to concentrate on the form, not forgetting, however, about its social aspect. They perceived a way to develop art by new artistic means, using the achievements of technology and science. They did not support enclosing oneself within one discipline, they rather wanted to show the convergence of the ideas of visual art and other artistic disciplines, such as poetry. The activity of the Konkret Group may be placed on the border of conceptualism and Dadaism, however, the resignation from creating a tangible artwork that happened not sooner than in the last exhibition of the group would favour the previous. Paradoxically, the lack of presence of a recognised artwork in the exhibition of 1972 was caused by the impossibility to realise a specific concrete form. On the other hand, the form that the artists wanted to show was a form of communication, therefore it dealt with a concept, not an object. The other argument to support the conceptual character of the group was the introduction of documentation to the exhibition and the elevating of this aspect to the importance of an artwork, equal to painting. On the other hand – the Dada character of the group’s activities can be seen in the fact that in their ventures they were critical towards the artistic milieu and used ready mades. This group of young artists was open to the novelty factor in art and at the same time, the newest of artistic phenomena and tendencies became for them useful tools amongst others to deepen the essence of art.
Źródło:: Sztuka i Dokumentacja; 2012, 6; 157-162
2080-413X
Pojawia się w:: Sztuka i Dokumentacja
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 3.

Tytuł:: Rewolucja Myśli, czyli Artysta Wobec Zła. Rzecz o Pieterze Hugo. Dedykowane Andrzejowi Turowskiemu
The Revolution of Thoughts, or Artists in the Face of Evil. About Pieter Hugo. Dedicated to Andrzej Turowski
Autorzy:: Nieczyporowski, Roman
Powiązania:: https://bibliotekanauki.pl/articles/424419.pdf
Data publikacji:: 2019
Wydawca:: Akademia Sztuk Pięknych w Gdańsku
Tematy:: Vestiges of a Genocide
Andrzej Turowski’s Manifesto
Pieter Hugo
Holocaust
Opis:: Na początku XX wieku świat zmieniła I wojna światowa i rewolucja rosyjska. Później nadeszła II wojna światowa i Holocaust. Od tego czasu nic nie było takie jak wcześniej. Stary system polityczny przeminął, a zaczął się rozwijać nowy sposób myślenia. Sztuka także musiała zostać zmieniona i została. Po ponad dwóch tysiącach lat tradycyjnych stylów zmienił się starożytny kanon sztuki. Nowe społeczeństwo potrzebowało nowych myśli, nowej sztuki. W swojej książce Art That Sparks Unrest: The Artistic-Political Manifesto of Particular Art, Andrzej Turowski pokazał nam, że sztuka “by immersing itself in the politicality of social and historical conflicts (…) can subvert rationalizing or false answers to contemporary questions (about war, poverty, race, difference, aspiration, justice, dreams, law, happiness, etc.). (…) The radicalism of such art knows no limits: its participation extends to the whole of the public sphere, its testimony reaches even that which is most deeply hidden in personal experience, its ethics are uncontained by any morality, its criticism does not stop at any truth, its disobedience knows no law (…).The art of the particular is the anarchic and therefore political interposition.” Teoria Turowskiego jest bardzo pomocna w zrozumieniu współczesnej sztuki. W tym tekście wykorzystano ją w dyskusji o cyklu Pietera Hugo Vestiges of a Genocide. Porównując Holokaust i ludobójstwo w Rwandzie, interpretując sztukę Pietera Hugo, autor wskazuje, że sztuka ostrzega nas, że historia lubi się powtarzać.
At the beginning of the twentieth century, the world was changed by the First World War and the Russian Revolution. Later on came the Second World War and the Holocaust. Since that time nothing was like before. The old political system had passed away and a new way of thinking started to grow. Art had to be changed, and was. After over two thousand years of traditional styles, the ancient canon of the Art became changed. A new society needed new thoughts, new Art. In his book, Art That Sparks Unrest: The Artistic-Political Manifesto of Particular Art, Andrzej Turowski shows us that art “by immersing itself in the politicality of social and historical conflicts (…) can subvert rationalizing or false answers to contemporary questions (about war, poverty, race, difference, aspiration, justice, dreams, law, happiness, etc.). (…) The radicalism of such art knows no limits: its participation extends to the whole of the public sphere, its testimony reaches even that which is most deeply hidden in personal experience, its ethics are uncontained by any morality, its criticism does not stop at any truth, its disobedience knows no law (…).The art of the particular is the anarchic and therefore political interposition.” Turowski’s theory is very helpful for understanding contemporary art. In this text it has been used in the discussion of Pieter Hugo’s Vestiges of a Genocide cycle. Comparing the Holocaust and the Rwanda Genocide, interpreting Pieter Hugo’s art, the author indicates that Art is warning us that history likes to be repeated.
Źródło:: Sztuka i Dokumentacja; 2019, 20; 147-157
2080-413X
Pojawia się w:: Sztuka i Dokumentacja
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 4.

Tytuł:: Teatr Lalek Andrzeja Pawłowskiego jako Projekt Nierealny
Andrzej Pawłowskis Puppet Theatre as an Unrealictic Project
Autorzy:: Kopania, Kamil
Powiązania:: https://bibliotekanauki.pl/articles/1015451.pdf
Data publikacji:: 2020
Wydawca:: Akademia Sztuk Pięknych w Gdańsku
Tematy:: andrzej pawłowski
teatr lalek
kineformy
sylwester drzewiecki
bauhaus
puppet theatre
kineforms
Opis:: Na początku lat 50. XX w. Andrzej Pawłowski, wychodząc od inspiracji dokonaniami Bauhausu, ale też Siergieja Obrazcowa, dyrektora Państwowego Centralnego Teatru Lalek w Moskwie, pracował nad stworzeniem lustrzanego teatru lalek. Swój projekt, w założeniu ułatwiający pracę lalkarzom i zapewniający szerszą społeczną dostępność teatru, opatentował i starał się rozwijać, podejmując próby stworzenia epidiaskopowego teatru lalek. Ostatecznie jednak jego starania spełzły na niczym z racji braku zainteresowania projektem środowiska lalkarskiego, jak też przyziemnych problemów, przede wszystkim z trudno dostępnymi w tamtym czasie precyzyjnymi narzędziami optycznymi. Niemniej jednak pochodną prowadzonych eksperymentów były ważne dla polskiej sztuki lat pięćdziesiątych i sześćdziesiątych Kineformy. Niniejszy tekst uzupełnia naszą wiedzę o lustrzanym teatrze lalek. Dzięki odnalezieniu w Archiwum Urzędu Patentowego w Warszawie jego projektu możliwym stało się dokładne zrekonstruowanie formy i zasad działania przenośnej sceny Pawłowskiego. Z kolei głębsza analiza lalkarskiego środowiska powojennej Polski, jego aspiracji, potrzeb oraz horyzontów artystycznych, pozwoliła na ustalenie, dlaczego projekt Pawłowskiego nie spotkał się z zainteresowaniem tych, dla których był stworzony.
At the beginning of the 1950s, Andrzej Pawłowski, inspired by the achievements of the Bauhaus movement and the work of Sergey Obraztsov, director of the Central State Puppet Theatre in Moscow, was engaged with creating a mirror puppet theatre. He patented his project, which was intended to facilitate the work of puppeteers and ensure wider social accessibility of the theatre, and tried to develop it by attempting to create an epidiascope puppet theater. Ultimately, however, his efforts failed due to the lack of interest in the project of the puppeteers, as well as down-to-earth problems, primarily with the precise optical tools that were difficult to access at that time. Nevertheless, the derivative of the experiments he conducted were Kineforms, important for Polish art in the 1950s and 1960s. This text completes our knowledge of the mirror puppet theater. Thanks to the discovery of its design in the archives of the Patent Office in Warsaw, it became possible to accurately reconstruct the form and principles of operation of Pawłowski’s portable stage. On the other hand, an in-depth analysis of the puppetry milieu of post-war Poland, its aspirations, needs, and artistic horizons made it possible to determine why Pawłowski's project did not meet the interest of those for whom it was created.
Źródło:: Sztuka i Dokumentacja; 2020, 23; 59-71
2080-413X
Pojawia się w:: Sztuka i Dokumentacja
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 5.

Tytuł:: GALERIA im. ANDRZEJA PIERZGALSKIEGO. Dokumenty Artystów 4. Edycja 4 – Założenia Programowe
ANDRZEJ PIERZGALSKI GALLERY. Artists’ Documents 4. Edition 4 – Program Assumptions GALERIE dédiée à ANDRZEJ PIERZGALSKI. Documents d’Artistes 4. Édition 4 – Hypothèses du Programme
Autorzy:: Brogowski, Leszek
Powiązania:: https://bibliotekanauki.pl/articles/424546.pdf
Data publikacji:: 2019
Wydawca:: Akademia Sztuk Pięknych w Gdańsku
Tematy:: galeria im. Andrzeja Pierzgalskiego
Dokumenty Artystów 4
Andrzej Pierzgalski gallery
Artists’ Documents 4
galerie dédiée à Andrzej Pierzgalski Documents d’Artistes 4
Lucy R. Lippard
Kynaston McShine
Information
Opis:: W szczególnie napiętym kontekście społecznym i politycznym w Stanach Zjednoczonych (wojna w Indochinach i ruchy walczące o prawa obywatelskie), obieg materialnie niepozornych dokumentów, zwłaszcza druków, umożliwiony popularyzacją kserokopii w latach sześćdziesiątych, pozwolił zniwelować hierarchie w debacie o sztuce i społeczeństwie, co pociągnęło za sobą przekształcenia zarówno w praktykach artystycznych, jak i w sposobie uprawiania krytyki sztuki: taką tezę postawiła Marie Adjedj w pracy doktorskiej, napisanej pod kierunkiem Evelyne Toussain i obronionej na uniwersytecie Aix Marseille w styczniu 2019 roku. W niniejszym, zaproponowanym i opracowanym przez nią artykule, został poddany analizie kluczowy dokument pochodzący z tego czasu: oryginalny przykład krytyki sztuki zredagowany z upoważnienia Lucy R. Lippard według jej instrukcji.
During a particularly tense social and political context in the United States (the war in Indochina and Civil Rights movement protests), the circulation of materially inconspicuous documents, especially prints, made possible by the popularisation of photocopying in the 1960s, helped to eliminate certain hierarchies in the debate on art and society, which attracted transformation in both artist making and the way of practicing art criticism: this is the thesis put by Marie Adjedj in her doctoral dissertation, written under the supervision of Evelyne Toussain and defended at the Aix Marseille University in January 2019. In this article, proposed and elaborated by her, a key document of that time is analysed: an original example of art criticism edited under the authority of Lucy R. Lippard according to her instructions.
Źródło:: Sztuka i Dokumentacja; 2019, 21; 192-195
2080-413X
Pojawia się w:: Sztuka i Dokumentacja
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 6.

Tytuł:: Najbardziej radykalne postawy w ruchu galerii konceptualnych lat siedemdziesiątych. Galeria 80x140 Jerzego Trelińskiego i Galeria A4 Andrzeja Pierzgalskiego
The Most Radical Attitudes Within The Movement Of 'Conceptual Galleries' In The 70s. Jerzy Trelinski's Gallery 80x140 And Andrzej Pierzgalski's Gallery A4
Autorzy:: Guzek, Lukasz
Powiązania:: https://bibliotekanauki.pl/articles/424312.pdf
Data publikacji:: 2011
Wydawca:: Akademia Sztuk Pięknych w Gdańsku
Tematy:: ANDRZEJ PIERZGALSKI
CONCEPTUAL GALLERIES
CONCEPTUALISM
GALLERY 80X140
GALLERY A4
JERZY TRELINSKI
LODZ
Opis:: The 'Gallery movement', which formed in Poland in the 70s is a world phenomenon that provides extremely rich material, in terms of diversity, as well as in quantitative terms. The galleries were created under the dominant influence of conceptual art, that is why I describe them as 'conceptual galleries'. They played the traditional role of a gallery, that is, they were places of exhibition and they functioned as an 'art container', but at the same time, they were art projects created according to the individual decision of the artist, just like the works of art. They were therefore a form of conceptual art, developed in the 70s, the conceptual art decade. One of the most radical galleries at that time was the 80x140 Gallery, founded by Jerzy Trelinski, in spring 1971 in Lodz. The Gallery operated until 1977. Initially, the gallery space was a wall surface of dimensions given in the name of the gallery (80 x 140 cm). But soon the work presented in the gallery began to develop directly into the space of the room, turning it into an installation space. Then artworks began to be realized around the city and numerous projects by J. Trelinski, as well as collaborative projects, began to be created in various locations outside Lodz, all under the facade of Gallery 80x140. In May 1972, at the 80x140 Gallery, the A4 Gallery began its activity, which was an initiative of Andrzej Pierzgalski. It was perhaps an even more radical art project in the category of 'conceptual galleries', and it was limited to a plain sheet of A4 size paper (literally, a piece of A4 paper was placed within the 80x140 Gallery). This article also announces broader research on issues arising from the 'gallery movement' and the category of 'conceptual galleries' in Polish art of the 70s. The 'gallery movement' also had a social and political dimension. Thus a network of the independent exchange of ideas was created, and it functioned well on an international scale. The patterns of self-organising initiated by the artists' community and the art procedures that were developed in the 70s on the basis of conceptual art, proved extremely useful in the 80s. Also during the economic crisis and transformation of the 90s, the model of a 'conceptual gallery' enabled the artistic community to function, despite limitations of an economic nature. This article describes the methodology of research on the 'conceptual galleries' phenomenon. It contains a detailed description of works that were created in the Gallery 80x140 and Gallery A4 (and under their auspices) throughout the time of their operation. It also presents the consequences that the initiators of these galleries have drawn from them later in their artistic practice; particularly a series of works titled Autotautologies by J. Trelinski, (the artist puts a graphic sign TRELINSKI on various objects and in various places and situations), as well as further artistic development of A. Pierzgalski.
Źródło:: Sztuka i Dokumentacja; 2011, 4; 49-68
2080-413X
Pojawia się w:: Sztuka i Dokumentacja
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 7.

Tytuł:: Protokonceptualizm polski
Polish Proto-Conceptualism
Autorzy:: Kowalska, Bożena
Powiązania:: https://bibliotekanauki.pl/articles/424612.pdf
Data publikacji:: 2012
Wydawca:: Akademia Sztuk Pięknych w Gdańsku
Tematy:: CONTEMPORARY ART
CONCEPTUAL ART
CONCEPTUALISM
PROTOCONCEPTUALISM
JOSEPH KOSUTH
SOL LEWITT
ROMAN OPALKA
RYSZARD WINIARSKI
ANDRZEJ PAWLOWSKI
JERZY ROSOLOWICZ
Opis:: By accepting one of the definitions applied to conceptualism in the research on this genre, as art that “takes the form of objects under the condition that they have a secondary function in parallel with an idea” I draw attention to an exceptional artistic case, that I call a Polish proto-conceptualism. This phenomenon occurred in the first half of the sixties, that is before Seth Siegelaub’s exhibition in New York (1969), accepted as the beginning of conceptualism, or even before Sol LeWitt’s article in Artforum entitled “Paragraphs on Conceptual Art” when the term, preceding the trend itself, was introduced into the language of art. For this reason I describe the above mentioned artistic experiments of clear conceptual characteristics, which preceded the accepted beginning of conceptualism, as protoconceptualism. I include four Polish artists in this category: Andrzej Pawlowski – an author of Cineforms (1957) that were famous in the sixties and “The concept of an energy field” (1966); Jerzy Rosolowicz – the author of the “Theory on the function of the form” (1963) and objects made of lenses and prisms that according to the artist were mere examples of his theory of neutral act; Roman Opałka with his ‘counted paintings’ (1965) that documented the idea of a fight with time; and Ryszard Winiarski inspired by the probability theory, who asked about determinism or indeterminism and treated his works not as paintings but as “Attempts of visual presentation by statistical charts”. Contrary to a typical conceptualism, (which was expressed as a record of processes, place marks, announcements, photographic documentation or mail art that was popular in Poland after 1970 and was inspired by similar activities by artists from Western Europe and the USA – the art of the described Polish proto-conceptualists was purely original and autonomous. It was precursory towards the global understanding of conceptualism and, what is very important, in their activity these artists generated an important message with which a significant concept, philosophical idea or analytic reflection was included.
Źródło:: Sztuka i Dokumentacja; 2012, 6; 15-19
2080-413X
Pojawia się w:: Sztuka i Dokumentacja
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 8.

Tytuł:: Galeria im. Andrzeja Pierzgalskiego. Dokumenty Artystów 5. Założenia programowe 5
Galerie dédiée à Andrzej Pierzgalski. Documents d’Artistes 5. Hypothèses du programme 5
Andrzej Pierzgalski Gallery. Artists’ Documents 5. Programme Assumptions 5
Autorzy:: Brogowski, Leszek
Powiązania:: https://bibliotekanauki.pl/articles/2127571.pdf
Data publikacji:: 2020
Wydawca:: Akademia Sztuk Pięknych w Gdańsku
Tematy:: artists’ books
mail art
paweł petasz
democratization of culture
do-it-yourself aesthetics
conceptual art
fluxus
andrzej pierzgalski
Opis:: Założenia programowe piątej edycji Galerii w czasopiśmie Sztuka i Dokumentacja, dotyczą książki artysty. W odróżnieniu od książek artystycznych, których podstawowym założeniem jest stworzenie unikalnej formy estetycznej, a które często są drogimi, dużymi produkcjami znanych wydawców publikacji o sztuce, książka artysty jest produkcją własną, opartą na własnych możliwościach i koncepcji wynikającej z warunków społecznych, w jakich dana publikacja jest wytwarzana. Przykładem poddanym analizie i opracowaniu w tym wydaniu Galerii jest działalność artystyczna Polskiego artysty sztuki konceptualnej i mail art - Paweł Petasz. Był on twórcą prac-kolaży, a także licznych self-published swoich własnych książek artysty, oraz instigatorem magazynu Commonpress, który stał się zbiorowym dziełem artystów mail art działających na całym świecie. Celem piątej edycji Galerii jest przybliżenie dokonań artystycznych Petasza, tak aby na tej podstawie dokonać prób nowych interpretacji tego rodzaju aktywności artystycznej, reewaluacji tej formy twórczości w kontekście współczesnego świata sztuki.
The program assumptions of the fifth edition of the Gallery in the Sztuka i Dokumentacja journal concern the artist's book. Contrary to art books, the basic assumption of which is to create a unique aesthetic form, and which are often expensive, large productions of well-known publishers of art publications, the artist's book is his own production, based on his own abilities and concept resulting from the social conditions in which a given publication is produced. An example analyzed and elaborated in this edition of the Gallery is the artistic activity of the Polish artist of conceptual art and mail art - Paweł Petasz. He was the creator of collage works, as well as numerous self-published works of his own artist’s books, and the instigator of Commonpress magazines, which became a collective work of mail art artists active around the world. The aim of the fifth edition of the Gallery is to present Petasz's artistic achievements, so as to make attempts on this basis for new interpretations of this type of artistic activity, and to re-evaluate this form of creativity in the context of the contemporary art world.
Źródło:: Sztuka i Dokumentacja; 2020, 22; 184-195
2080-413X
Pojawia się w:: Sztuka i Dokumentacja
Dostawca treści:: Biblioteka Nauki

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Tytuł:: Czasoprzestrzenna. Architektura Teatralna Grupy Praesens.
Spatio-temporal. Theatrical Architecture by the Preasens Group
Autorzy:: Uchowicz, Katarzyna
Powiązania:: https://bibliotekanauki.pl/articles/1015448.pdf
Data publikacji:: 2020
Wydawca:: Akademia Sztuk Pięknych w Gdańsku
Tematy:: andrzej pronaszko
szymon syrkus
modernism
praesens
theatrical architecture
theatre simultaneous
space-time
modernizm
architektura teatralna
teatr symultaniczny
czasoprzestrzeń
Opis:: Punktem wyjścia dla omówienia architektury teatralnej grupy Praesens jest koncepcja teatru symultanicznego opracowana przez Szymona Syrkusa, Andrzeja Pronaszkę przy współpracy Zygmunta Leskiego z 1928 roku. W rekonstrukcji procesu kształtowania nowej wizji sceny teatralnej uwypuklono pierwszy chronologicznie teatr ruchomy Pronaszki (pierwsza wersja, 1927) oraz zaprezentowano dwugłos modernistów – architekta i scenografa – w ramach działalności awangardowej formacji. W tym celu przeanalizowano artystyczne biografie i skonfrontowano z materiałem źródłowym dotyczącym architektury teatralnej, co wzbogaciło dotychczasowy stan wiedzy o kanonicznym projekcie awangardy. Oś czasu powiązano z problemowym ujęciem zagadnienia architektury teatralnej Praesensu w oparciu o kluczowe kategorie modernizmu takie jak ruch, czas, czasoprzestrzeń, symultanizm, makieta, sceno-technika, twórczy dialog. Na marginesie przybliżono kilka praktyk i strategii modernistów takich jak promocja własnych dokonań za pośrednictwem dostępnych mediów czy walka o prymat pierwszeństwa w interdyscyplinarnej artystycznej sieci, które determinowały działania polskiej awangardy.
The idea of simultaneous theatre developed in 1928 by Szymon Syrkus and Andrzej Pronaszko, in cooperation with Zygmunt Leski, serves here as a starting point for discussing the projects of theatrical architecture by the group of artists called Praesens. My investigation reveals the new idea of the theatrical stage developed with particular attention paid to the first project of this type, namely Andrzej Pronaszko’s moveable theatre (the first version dated to 1927), and to the dialogue between modernist stage design and architecture within the practices of this avant-garde collective. To reconstruct the process of how the new stage was created, an analysis of the biographies of artists was made and subsequently collated with source material related to the projects of theatrical architecture. It considerably enriches the present state of knowledge of this canonical project of the avant-garde. The chronological order was also interlaced with the discussion of the theatrical architecture of Praesens, in relation to crucial ideas of modernism, such as movement, time, space-time, simultaneity, mock-up, stage design, and creative dialogue. Moreover, several other strategies were discussed, such as advertising practices employed by modernists to promote their achievements and the importance of precedence and novelty in the interdisciplinary artistic network. These strategies and practices determined the way that Polish avant-garde artists operated.
Źródło:: Sztuka i Dokumentacja; 2020, 23; 21-34
2080-413X
Pojawia się w:: Sztuka i Dokumentacja
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 10.

Tytuł:: English Summary
Autorzy:: Taunay, Corinne
Powiązania:: https://bibliotekanauki.pl/articles/424330.pdf
Data publikacji:: 2019
Wydawca:: Akademia Sztuk Pięknych w Gdańsku
Tematy:: Andrzej Pierzgalski
Leszek Brogowski
Album primaaprilisowy
Alphons Allais
Niezborni
pułapki dokumentu
monochrom
April Fools’ Day Album
Incoherents
trap of document
Opis:: Incoherent Arts and the Practice of Document(1882-1893)
Źródło:: Sztuka i Dokumentacja; 2019, 20; 290-291
2080-413X
Pojawia się w:: Sztuka i Dokumentacja
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 11.

Tytuł:: Sztuki Niezborne i Praktyka Dokumentu (1882–1893)
Sans Documents, Pas d’Incohérents
Autorzy:: Taunay, Corinne
Brogowski, Leszek
Powiązania:: https://bibliotekanauki.pl/articles/424701.pdf
Data publikacji:: 2019
Wydawca:: Akademia Sztuk Pięknych w Gdańsku
Tematy:: Andrzej Pierzgalski
Leszek Brogowski
Album primaaprilisowy
Alphons Allais
Niezborni
pułapki dokumentu
monochrom
April Fools’ Day Album
Incoherents
trap of document
Źródło:: Sztuka i Dokumentacja; 2019, 20; 254-289
2080-413X
Pojawia się w:: Sztuka i Dokumentacja
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 12.

Tytuł:: Edycja 3 – Założenia Programowe
Edition 3 – Program Assumptions / Édition 3 – Hypothèses du Programme
Autorzy:: Brogowski, Leszek
Powiązania:: https://bibliotekanauki.pl/articles/424697.pdf
Data publikacji:: 2019
Wydawca:: Akademia Sztuk Pięknych w Gdańsku
Tematy:: Andrzej Pierzgalski
Leszek Brogowski
Album primaaprilisowy
Alphons Allais
Niezborni
pułapki dokumentu
monochromom
April Fools’ Day Album
Incoherent
trap of document
monochrom
Źródło:: Sztuka i Dokumentacja; 2019, 20; 208-214
2080-413X
Pojawia się w:: Sztuka i Dokumentacja
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 13.

Tytuł:: Konceptualizm jako konceptyzm
Conceptualism As Conceptism
Autorzy:: Piotrowski, Kazimierz
Powiązania:: https://bibliotekanauki.pl/articles/424685.pdf
Data publikacji:: 2012
Wydawca:: Akademia Sztuk Pięknych w Gdańsku
Tematy:: CONTEMPORARY ART
CONCEPTUAL ART
CONCEPTUALISM
CONCEPTISM
ASTEISM
ASTEIOLOGY
INTENSION
FUNCTOR AS
PARALOGY
CEONCEPT ART
ANTROPOLOGISED ART
TRAUMA OF SENSE
WIT
ANDRZEJ PARTUM
Opis:: We know, how valuable the role of the functor ‘as’ played in conceptualism. The functor was a basic linguistic tool of conceptual art infrastructure – the minimal part of speech that allowed for the production of concepts, engaging ingenium in its primary function as ingenium comparans. The criticism of conceptualism, mainly comparison or identification of the artwork and analytic proposition revealed the fact that the tautological model of Kosuth is just one of many art concepts and remains a product of paralogical thinking. What is therefore decisive for conceptualism is an attempt to build a universal art theory: an idea, that for centuries has remained the basis for logical thinking, or the concept itself, in which paralogy cannot be eliminated. The tendency to narrow the meaning of a concept and limit art to its idea was marked in the text by Daniel Buren “Beware!” (1969-1970). How did it happen, that the formula of conceptism, used in the beginning of the decade by Henry Flynt in the text entitled “Concept Art” (1961) was replaced by conceptual art? For Flynt concept art was art whose materials were the language and concepts. According to him, a concept is a trace of an idea by Plato and means the intension of a name, but with today’s state of knowledge demanding an objective relationship between a name and its intension this meaning is incorrect. Therefore, if the relationship is subjective, then the concept as a possible opposition towards the objective idea occupies a privileged space in a language and keeps its strength. Also in Sol LeWitt’s “Paragraphs on Conceptual Art” (1967) and “Sentences on Conceptual Art” (1969), in which despite the fact that the expression ‘conceptual art’ appears explicitly, the term ‘concept’ remains an alternative to the idea, that may be simple and does not need to be complex. So according to Sol LeWitt, the concept implies a general direction, and ideas are its components. To radicalise this issue, let’s ask, if conceptualism privileges the conceptual, as its literally understood name would indicate? Or on the other hand is what is called a concept, that being something ingenial and that even though it includes a moment of ideation (abstracting and transcending sensuality, that is crossing the borders of the material paradigm of art towards the idea), it is not reduced to a conceptual element, but rather expresses sensuality or its basic modus? The text is an attempt to show the tension in the art of Polish conceptists who referred in their paralogical discourse to conceptualism, especially with reference to the example of Andrzej Partum’s work.
Źródło:: Sztuka i Dokumentacja; 2012, 6; 109-117
2080-413X
Pojawia się w:: Sztuka i Dokumentacja
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 14.

Tytuł:: Dokumentowanie sztuki jako nowa praktyka artystyczna
Documenting Art As New Artistic Practice
Autorzy:: Dziamski, Grzegorz
Powiązania:: https://bibliotekanauki.pl/articles/424336.pdf
Data publikacji:: 2012
Wydawca:: Akademia Sztuk Pięknych w Gdańsku
Tematy:: CONTEMPORARY ART
CONCEPTUAL ART
CONCEPTUALISM
ART DOCUMENTATION
DOCUMENTING
ALLOGRAPHIC ART
ZBIGNIEW DLUBAK
JAN SWIDZINSKI
JAROSLAW KOZLOWSKI
ANDRZEJ LACHOWICZ
JOZEF ROBAKOWSKI
RYSZARD WASKO
DEPICTURALISATION
Opis:: The most tangible feature of Polish conceptual art at the beginning of the seventies was the rejection of the old language of art (painting, sculpture) in order to reach out for a new medium of the visualisation of ideas. Andrzej Lachowicz saw in this process a transition from manual art to mental art. It was a departure from autographic art, in which artists produced their own individual sign, to allographic art, in which they perform operations on signs. Mechanical registration media (photography, film) made this transition easier and lead to ‘depicturalisation’, or in other words, overthrowing painting as the main medium of visual art and, at the same time, introduced a new art language — the language of semiology. Photography made it possible to talk about art through the language of signs, not through the former language of emotions, experiences and aesthetic values. That new language, that was used more or less aptly by artists of the 70s as: Zbigniew Dlubak, Jan Swidzinski, Jaroslaw Kozlowski, Andrzej Lachowicz, Jozef Robakowski and Ryszard Wasko, turned out to be a significant feature highlighting Polish conceptual art. Photography and sign mutually supported each other in the battle with the old ideas of art. A negative point of reference for the new art language became phenomenology. Phenomenologists take signs as reality, wrote Jan Swidzinski. This mistake was avoided by structuralism, which operates through a neutral and arbitral (systematic) concept of a sign. A sign has an operational character, it is used to explore reality, it also allows for the reformulation of questions posed for art. Instead of wondering about the ways in which art reflects reality, we may ask a different question: how reality is understood by art, what actions are needed to be executed for the process of understanding to take place and, finally, what limits the process? Conceptual art did not devise such a new art formula and one may doubt whether it was its aim. It changed, however, the language which we use to talk about art. It drew artists' attention to the processes of sign-posting, to how art functions in the world of signs. The artists may freely use all available signs, they may transform old signs into new ones (secondary signs), they may give them new meanings through manipulation of the context and discover more or less overt mechanisms of encoding signs that are the discourses hidden behind them. Those discoveries became a permanent contribution of conceptual art to contemporary art practice: thanks to them contemporary art appears to be different than art from before a conceptual turn. Its most important consequence, however, is replacing artworks with art documentation.
Źródło:: Sztuka i Dokumentacja; 2012, 6; 21-27
2080-413X
Pojawia się w:: Sztuka i Dokumentacja
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 15.

Tytuł:: Galeria jako zagadnienie artystyczne w sztuce konceptualnej
Gallery As An Artistic Concept In Conceptual Art
Autorzy:: Guzek, Łukasz
Powiązania:: https://bibliotekanauki.pl/articles/424714.pdf
Data publikacji:: 2012
Wydawca:: Akademia Sztuk Pięknych w Gdańsku
Tematy:: CONCEPTUALISM
CONCEPTUAL ART
CONCEPTUAL GALLERY
GALLERY MOVEMENT
GALLERY NETWORK
COUNTERCULTURE
ANTI-INSTITUTION
ARTIST RUN INITIATIVES
ARI
LIVING GALLERY
ANDRZEJ KOSTOLOWSKI
JAROSLAW KOZLOWSKI
NET ART
PERFORMANCE ART
LIVE ART
ACTION ART
Opis:: The text announces a research program on the galleries that emerged in relation to conceptual art and introduces the scope and method of research. The general aim of the research is to set apart the issue of a conceptual gallery as an independent artistic phenomenon. A conceptual gallery is examined as a general artistic formula. The methodological scheme presented in the text aims at establishing a basic chronology and creating a typology of the trend. Historically, conceptual galleries emerged and were shaped in the frame of a broadly understood conceptual tendency (a leading tendency in the seventies) because at that time, there occurred a specific formal-artistic relationship between art and gallery. Until now, the conceptual gallery trend has been examined mainly in the context of the social, political and cultural conditions in which they were functioning. The research on conceptual galleries as an artistic project and a form of conceptual art causes the vector of the research to reverse. The artistic character of particular galleries could be graded into those which housed more or less radical projects. One may imagine a scale between limit points: a gallery as a work of art and a gallery as an art container and place all galleries from the seventies on it. The beginning of the conceptual gallery movement in Poland is marked by a project by Andrzej Kostolowski and Jaroslaw Kozlowski entitled NET (1971), based on a mail-art formula. It assumed not only collecting and exhibiting the works sent (which was each institution’s aim), but also creating their own specific points in the network of institutions. Thirty five galleries participated in an exhibition which summarised an activity of the BWA Gallery in Sopot in the summer of 1981. The galleries of this type functioned in the next decade, even during martial law. In the mid-nineties the gallery movement started to integrate again, however after 2000 the commercialisation of the art market caused their disappearance.
Źródło:: Sztuka i Dokumentacja; 2012, 6; 123-131
2080-413X
Pojawia się w:: Sztuka i Dokumentacja
Dostawca treści:: Biblioteka Nauki

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