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    Wyświetlanie 1-6 z 6
    Tytuł:
    Rola sztuki akcji w ukształtowaniu specyfiki artystycznej grupy Łódź Kaliska
    The role of action art in shaping Kaliska Art Group
    Autorzy:
    Guzek, Łukasz
    Powiązania:
    https://bibliotekanauki.pl/articles/487583.pdf
    Data publikacji:
    2013
    Wydawca:
    Akademia Sztuk Pięknych im. Eugeniusza Gepperta we Wrocławiu
    Opis:
    Kaliska Art Group uses mainly photography and film as their medium. However, their use is "extended" according to the idea of "expanded cinema", which is the starting point of artistic exploration by the group. They concentrate on action in their production of artistic photographs and films. Action determines images and photographs. They take photographs in order to register actions, therefore photographs are considered as secondary medium. Actions are dynamic forms of expression. Also, criticism, pastiche and irony contribute to producing a momentum. Łódź Kaliska is a postmodernist art group. Guzek analyzes their activity in the context of conceptual art and the role of action art in their artistic development. They concentrate on the deconstruction of modernist and avant-garde artistic ideas. He considers his analysis as case study of actionism and its influence on art. He describes the typology of the group including performance for photography and film (all actions are group actions), conceptual ‘performance’ in front of the camera by different members of the group, the ‘Fluxus’- kind of performance which combines art and everyday life, ‘environmental’ actions which are more open and involve people from outside of the group (friends), jokes connected with other artists and celebrities of art (not planned as art). After all, action art reveals the position of artists superior to their work and existential elements in art.
    Źródło:
    DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu; 2013, 16; 276-294
    1733-1528
    Pojawia się w:
    DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Leszek Przyjemski - "Polski sytuacjonista"
    Leszek Przyjemski – ‘Polish situationist’
    Autorzy:
    Guzek, Łukasz
    Powiązania:
    https://bibliotekanauki.pl/articles/487621.pdf
    Data publikacji:
    2015
    Wydawca:
    Akademia Sztuk Pięknych im. Eugeniusza Gepperta we Wrocławiu
    Tematy:
    Przyjemski
    Parisian May
    detournament
    grotes que
    ‘Tak ’ Gallery
    Opis:
    I analyze detournament in the work by Leszek (Leonard) Przyjemski – one of the basic strategy by situa-tionists. Przyjemski graduated from the Academy of Fine Arts in Gdansk in 1968 – in the year of the student revolt in Paris, where the Situationists celebrated their strategies as the biggest triumph. There is no hard evidence (the artist does not provide any) that he was directly inspired by those events. The analysis is therefore based on the similarity of the results. This revolt was directed against authority and oppression in both the capitalist and communist systems. The situational strategy was used by many artists, including for example Przemysław Kwiek, Marek Konieczny, Pawel Freisler, and Anastasius Wisniewski who cooperated with Przyjemski at the beginning of their careers. It was Przyjemski, though, who considered the situationist strategy as the basis of his artistic method which he used throughout his career. Situationist strategy includes the reversal of the vector of meanings. Detournament reveals itself also (but not only) through the use of comedy – through incompatibility of ideas and reality, most often through the reduction ad absurdum. In his artwork, humor is associated with reflec-tion. I describe the most important artwork by Przyjemski, and I analyze it in the context of detournament strategy. I also describe the significant shift in Przyjemski’s detournament in connection with the activities by other Situationists. The most important difference is the lack of set goals – social, general – in Przyjemski’s artwork (other Polish artists followed the same idea). It was their response to the situation in which they found themselves in Poland.
    Źródło:
    DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu; 2015, 19; 178-191
    1733-1528
    Pojawia się w:
    DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    WŁADZA VS. SZTUKA W PRL-U I DZIŚ
    POWER VERSUS ART IN POLISH PEOPLE’S REPUBLIC AND TODAY
    Autorzy:
    Guzek, Łukasz
    Powiązania:
    https://bibliotekanauki.pl/articles/487714.pdf
    Data publikacji:
    2017-11-07
    Wydawca:
    Akademia Sztuk Pięknych im. Eugeniusza Gepperta we Wrocławiu
    Tematy:
    TOTALITARIANISM
    DEMOCRACY
    STALINISM, THAW
    REPRESSION
    MAREK WLODARCZYK
    CONCEPTUALISM
    CONTEXTUALISM
    POLISH CONTEMPORARY ART
    ELECTIONS 2015
    TOTALITARYZM,
    DEMOKRACJA
    STALINIZM
    ODWILŻ
    REPRESJA
    MAREK WŁODARCZYK,KONCEPTUALIZM
    KONTEKSTUALIZM
    POLSKA SZTUKA WSPÓŁCZESNA
    WYBORY 2015
    Opis:
    POWER VERSUS ART IN POLISH PEOPLE’S REPUBLIC AND TODAY The basis of this study is Mark Wlodarczyk’s paper on research methodology of art history in Polish People’s Republic, especially in the 1950’s. Włodarczyk put the thesis that power in that decade, standing under the banner of Stalinism, introduced elements of a thaw in the art, but at the same time they continued the policy of repression. Meltdown was an immanent part of policy. However, policy enforcement can be seen in the pragmatics of government throughout the entire period of communism. Hence the thesis of this article on the dialectics of thaw and repression as the dominant instrument of power used in art, as this area of power relations is discussed here. Among the examples, there are mainly those from the seventies, for a period of domination of conceptual art is considered a period when artists concentrated on the autonomy of art, and abandoned their social engagement in order to avoid repression. That consensus with the government, however, was apparent. Artists still challenged the tolerance of power and thus triggered a dialectic of thaw and repression, and the government showed its totalitarian face. After 1989, the power in a democratic system is distributed, therefore the dialectic of thaw and repression loses its functionality. Also, Włodarczyk described the situation in Poland after the elections of 2015. He believes that political and totalitarian method of governance brings back functionality of dialectic thaw and repression against contemporary art.
    Źródło:
    DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu; 2016, 21; 36-47
    1733-1528
    Pojawia się w:
    DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Informel i sztuka mediów. Na przykładach twórczości Józefa Robakowskiego
    Informel art and media art based on Joseph Robakowski’s work
    Autorzy:
    Guzek, Łukasz
    Powiązania:
    https://bibliotekanauki.pl/articles/487726.pdf
    Data publikacji:
    2014
    Wydawca:
    Akademia Sztuk Pięknych im. Eugeniusza Gepperta we Wrocławiu
    Opis:
    In the second half of the 1950’s, abstract expressionist Informel became the leading trend in Polish art and it kept that position throughout the decade of the 1960’s. Informel lost its dominant position only the only under the influence of conceptualism, rising from the beginning of the seventies, but even in the 1970’s, it was still the mainstream in official art. Photo-film media played the key role in the emergence of conceptual art as a separate mainstream media. One of the most important artists who greatly contributed to the development of conceptual art in Poland in early seventies, was Józef Robakowski. However, his artistic path begins at the end of the 1950’s and it coincides with the chronology of the reception of Informel and later conceptual art. Initially, Robakowski concentrated on photography. He produced luxographies and chemigraphies, however, he also developed his own technical procedures. He was interested in self-production of images (automatic creative process) – the process that was beyond the control of an artist. He used photographic methods, although visual forms produced that way were connected with Informel. His photographic experiments from the beginning of the 1970’s were connected with structural trend in photography and film. Structuralism was considered as the study of the internal structure of artwork and extracting its formal and technical components as independent artistic issues. The most important structural issues was to expose the creative process, i.e. revealing the performative character of artwork. Visual expression and the expression of gesture, action, also belong to basic Informel issues. Films by Robakowski are also based on direct action. The camera operates in isolation from eyes and images are formed beyond conscious control of the artist. Just like in the photography, the essence of creativity moves from the image onto the process. The artist is an important element of art. His physical and psychological condition becomes the basis of cinematographic images. Interpretation of images is connected with a person. Robakowski concentrates on light effects. It is a structural problem (because it still is the basis of the creative process in film and photography), but also it is a sign of expression or image energy, as Robakowski often said. He considers ‘Eenergy’ as the key-word in photography, film, performance and his paintings. Image as a sign of the expression is the key to understanding and interpreting of Informel painting. For Robakowski – a media artist, Informel became a kind of ready made art. Informel painting was not important to him; it only indicated the problems of media art in his work.
    Źródło:
    DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu; 2014, 18; 148-163
    1733-1528
    Pojawia się w:
    DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Obraz-Tekst. Struktury obrazowe oparte na tekście w konceptualnych i postkonceptualnych pracach Josepha Kosutha i Jana Świdzińskiego
    Image-text. The Structures of Images Based on Conceptual and Post- -conceptual Art-pieces by Joseph Kosuth and Jan Świdziński.
    Autorzy:
    Guzek, Łukasz
    Powiązania:
    https://bibliotekanauki.pl/articles/487928.pdf
    Data publikacji:
    2011
    Wydawca:
    Akademia Sztuk Pięknych im. Eugeniusza Gepperta we Wrocławiu
    Opis:
    Kosuth uses printed texts in his textual art-pieces. He believes that his art-pieces become objective and stable by the way of his using of ready made forms. The square form of ‘Definition’ plays the same role. According to dictionaries, fonts copy letter forms. In his out-door installations, Kosuth uses script fonts, that are both similar to industrial and hand-written characters. His neon signs and signs lighted from underneath look liketechnical forms. The changes in text-images mirror different theoretical approach between Art after Philosophy and Artists as Anthropologists, i.e. between scientific objectivism and dynamic social life. Texts by Świdziński are almost without exception hand-written texts. The artist himself writes the texts. They can be considered in the context of ‘performances’. Sometimes, writing becomes a performance (videoperformance), which includes the images of direct presence of the artist (on the same basis documents and artifacts are proofs of actions). Hand-written texts do not attack on-lookers, they do not look official, they are not order-like, they do not persuade, and they do not form distance,hierarchies that contribute to ‘discriminate between those who know and those who should be taught’*. This is the reason Kosuth uses fonts that resemble hand-written letters. Kosuth and Świdziński meet with each other on external and internal platform based on a pattern designed according to the metaphor of tourist. Together with other formal features, image-texts reveal the presence factor: existing in the reality as existing in art.
    Źródło:
    DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu; 2011, 12; 154-177
    1733-1528
    Pojawia się w:
    DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Performatywność sztuki konceptualnej
    Performativity of Conceptual Art
    Autorzy:
    Guzek, Łukasz
    Powiązania:
    https://bibliotekanauki.pl/articles/487862.pdf
    Data publikacji:
    2014
    Wydawca:
    Akademia Sztuk Pięknych im. Eugeniusza Gepperta we Wrocławiu
    Opis:
    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).
    Źródło:
    DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu; 2014, 17; 188-220
    1733-1528
    Pojawia się w:
    DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-6 z 6

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