Temat: Jaroslaw - Katalog OPAC zbiorów

Skocz do pozycji: 1.

Tytuł:: Introduction and English Summaries
Autorzy:: Czarnecki, Jarosław
Cech, Grzegorz M.
Powiązania:: https://bibliotekanauki.pl/articles/424380.pdf
Data publikacji:: 2019
Wydawca:: Akademia Sztuk Pięknych w Gdańsku
Tematy:: biomedia
bio art
Akademia Sztuk Pięknych w Gdańsku
Wydział Biologii Uniwersytetu Gdańskiego
Jarosław Czarnecki aka Elvin Flamingo
Grzegorz M. Cech
Źródło:: Sztuka i Dokumentacja; 2019, 20; 138-143
2080-413X
Pojawia się w:: Sztuka i Dokumentacja
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 2.

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: 3.

Tytuł:: Tautologie konceptualistyczne
Conceptual Tautologies
Autorzy:: Sztabiński, Grzegorz
Powiązania:: https://bibliotekanauki.pl/articles/424744.pdf
Data publikacji:: 2012
Wydawca:: Akademia Sztuk Pięknych w Gdańsku
Tematy:: CONTEMPORARY ART
CONCEPTUAL ART
CONCEPTUALISM
LOGICAL TAUTOLOGY
TAUTOLOGY IN ART
JOSEPH KOSUTH
ROMAN OPALKA
JAROSLAW KOZLOWSKI
JAN CHWALCZYK
WANDA GOLKOWSKA
ZBIGNIEW DLUBAK
JERZY TRELINSKI
ZDZISLAW JURKIEWICZ
Opis:: The text is an attempt to consider the character of tautological activities undertaken in conceptual art. There are two ways the issue can be approached. The first refers to the texts of Joseph Kosuth, who wrote that an artwork is a tautology because it refers to the term ‘art’. The author develops the sense of Kosuth’s statement “a work of art is a definition of art” and states, that a part of the tautological system that makes a proposed definiens of ‘art” is available for direct perception, but the other part, which is the term ‘art’ must be recalled intellectually by the recipient. After taking into account the conceptual reference, the sense of a conceptual project with a meta-artistic character becomes noticeable. Polish examples of such works are projects by Roman Opalka, Jaroslaw Kozlowski, Jan Chwalczyk and Wanda Golkowska. The second part of the article considers conceptual projects, in which both parts of equal tautology are directly given. Conceptual works of this structure may either state what is “unquestionable and universally important” (as Alicja Kepińska wrote) or make a kind of sense “at the same time suggested and reversed” (Umberto Eco). The possibilities are considered in reference to tautological works of Zdzislaw Jurkiewicz, Jaroslaw Kozlowski, Zbigniew Dlubak and Jerzy Trelinski.
Źródło:: Sztuka i Dokumentacja; 2012, 6; 89-95
2080-413X
Pojawia się w:: Sztuka i Dokumentacja
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 4.

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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Skocz do pozycji: 5.

Tytuł:: BIOMEDIA
Autorzy:: Czarnecki, Jarosław
Cech, Grzegorz M.
Powiązania:: https://bibliotekanauki.pl/articles/424655.pdf
Data publikacji:: 2019
Wydawca:: Akademia Sztuk Pięknych w Gdańsku
Tematy:: biomedia,
bio art,
Akademia Sztuk Pięknych w Gdańsku,
Wydział Biologii Uniwersytetu Gdańskiego,
Jarosław Czarnecki aka Elvin Flamingo,
Grzegorz M. Cech
Academy of Fine Arts in Gdańsk,
Faculty of Biology,
University of Gdańsk,
Źródło:: Sztuka i Dokumentacja; 2019, 20; 48-49
2080-413X
Pojawia się w:: Sztuka i Dokumentacja
Dostawca treści:: Biblioteka Nauki

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