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Tytuł:
Galeria Remont. Nieznana awangarda lat siedemdziesiątych
Remont Gallery. The Unknown Avant-Garde Of The Seventies
Autorzy:
Urbańska, Katarzyna
Powiązania:
https://bibliotekanauki.pl/articles/424716.pdf
Data publikacji:
2012
Wydawca:
Akademia Sztuk Pięknych w Gdańsku
Tematy:
CONCEPTUALISM
CONCEPTUAL ART
HENRYK GAJEWSKI
REMONT GALLERY
PHOTO-CONCEPTUALISM
PERFORMANCE ART
Opis:
The attempts to describe a history of Polish conceptualism in a systematic way, have been until now undertaken in a very similar way. The studies have concentrated mainly on outlining a few artistic centres with connections to the trend. These studies were discussed both in publications from the eighties and nineties and in more recent ones. Only Bożena Kowalska in her book Artystyczno-spoleczna problematyka zrzeszen plastykow w Polsce w latach 1946-1976 (Artistic and social problems of artistic groups in Poland in 1946-1976) (1981) presented a broader panorama of artistic trends that emerged in the seventies. The history of Polish conceptualism mostly covers a narrow circle of galleries: the Foksal Gallery in Warsaw, Pod Mona Lisa and Permafo in Wrocław, and Akumulatory2 in Poznań; a separate place is taken by film and photographic activities. The Remont Gallery in Warsaw, which was active around the same time, was not historically analysed. Its activity has always been treated as marginal. Undoubtedly this was caused by the specific atmosphere of those times, personal relationships and (often wrong) opinions which influenced the works of critics later on. What I refer to is the stance taken by the Foksal Gallery towards more and more frequent activities of the neo avant-garde, which meant that the gallery was often accused of non-uniformity, ambiguity of motives, but also aggression and mockery of the avant-garde. The creator and founder of the Remont Gallery was Henryk Gajewski. The official date when the Gallery was opened was 1.04.1972, and the date it closed was 06.11.1979. For almost seven years it hosted prominent Polish and foreign artists; it published numerous but modest publications, organised international conferences, exhibitions and activities that crossed the official boundaries of art. The gallery, from the very beginning, had little in common with the traditional concept of an art gallery. Its programme was filled with meetings with known publicists, political, social and cultural discussions and exhibitions with modern photography. Thanks to its open formula, the projects were realised by artists coming from various milieux. In the programme it was underlined, that it was not a gallery of one group or trend. What is worth noting is the fact that it showed the works of artists recognised as the leading representatives of neo avant-garde and now often linked with different art centers. The activities of the Remont Gallery can be compared to the activities of such places as Pod Mona Lisą and Permafo, where the gallery space was used for 'new media' or actions from the border of audiovisual art. The Remont Gallery in the beginning, similarly to Permafo, showed experimental photography and photo-conceptualism (Lucjan Demindowski, Krzysztof Wojciechowski, Elzbieta Tejchman, Andrzej Jorczak, Andrzej Lachowicz, Antoni Mikolajczyk, Zygmunt Rytka and Henryk Gajewski). No other gallery in Warsaw was more dynamic and with such a diversified programme, which allows us to analyse its activity from the perspective of a variety of discourses situated on the border of conceptual, contextual art, performance, mail-art, photography, installation, body art, audio-art or happenings.
Źródło:
Sztuka i Dokumentacja; 2012, 6; 133-139
2080-413X
Pojawia się w:
Sztuka i Dokumentacja
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Sztuka jako wyraz świadomości artysty
Art As An Expression Of The Artist’s Awareness
Autorzy:
Zagrodzki, Janusz
Powiązania:
https://bibliotekanauki.pl/articles/424492.pdf
Data publikacji:
2012
Wydawca:
Akademia Sztuk Pięknych w Gdańsku
Tematy:
CONTEMPORARY ART
CONCEPTUAL ART
CONCEPTUALISM
Opis:
Considerations upon the awareness that previously had been identified as the power of God's creation, a universal mind that binds all terrestrial matters together, are the source of an ancient thought. The term conceptualism — conceptus, defining a thought, a concept, an imagination—was inherited from the Latin, but as an idea it emerged in philosophical discussions long before Socrates. The idea of conceptual perception may be found in Plato's philosophy; the definition of creative awareness was not, however, precisely defined by him. It was only Aristotle who assumed that a condition for art to exist is “a permanent disposition capable of producing something with reason”. This direction of research was undertaken by Friedrich Wilhelm Joseph Schelling, one of the first philosophers examining consciousness, the author of the treatise entitled “Philosophy of Art”. The power of Schelling's thought was an emphasis on using symbols in art. Confronting hidden meanings with the literality of concepts based on tangible aspects of knowledge mean that his opinions are still of interest for researchers. The concept of a self-awareness we owe to the establishments of René Descartes. His principle “I think therefore I am” did not remove and in fact even highlighted the doubts that arise during creative activity. What is contemporary art?— a discipline which attempts to understand the power of the human mind, which enables artists to use the knowledge they possess in action. It is an inborn predisposition, or perhaps it is a disposition to produce something material with a thought and therefore it is conceptual in nature. The values in art result from the essence of a message, and the methods of transmitting and receiving are, in a natural way, linked to the intellectual process and it does not matter, which form of the ‘conceptualisation’ of the world the artist chose. Art understood as a concept is often identified as utopian. Utopia, on the other hand, is most often understood as an intentional attitude that exists in one’s consciousness, an idea which cannot be realised. The question arises: what is an artwork completed as an artistic fact. This apparent antinomy between the notions of reality, utopia and concept in art results from an assumption that something is possible and other things are not and that all arguments depend on the assumed point of reference. It is often claimed in colloquial sentences that a project turned out to be utopian. But what does it mean? Can art be utopian? Has any art program ever been fully completed? Can ideas stemming from one’s artistic statement, in their full complexity, demanding a lot of harmonious circumstances, ever be realised? So called utopian or conceptual thought is the basis of all meaningful art achievements, contrary to intentions thought to be realistic, which by their very down-to-earth nature, lack fantasy and therefore have little in common with art. The emergence of an art concept is parallel to the possibilities of its realisation. Not sooner does art exist for real, then as a result a conflict between creative ideas and changing reality appears. Sometimes artistic objectives do not develop further beyond the project stage, sometimes they turn into concrete objects, events or processes. The fact that their incarnations exist, does not determine the meanings. The essence of artistic work is to sustain the idea created. If it takes the form of a registered project then it automatically turns into a tangible object, an item, a phenomenon which can be a base for further actions. So, when the artist questions the rules of the surrounding reality, it is not a conceptual utopia that emerges, but new realities.
Źródło:
Sztuka i Dokumentacja; 2012, 6; 119-122
2080-413X
Pojawia się w:
Sztuka i Dokumentacja
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Sztuka zamiast filozofii
Art Instead Of Philosophy
Autorzy:
Jasiński, Bogusław
Powiązania:
https://bibliotekanauki.pl/articles/424367.pdf
Data publikacji:
2012
Wydawca:
Akademia Sztuk Pięknych w Gdańsku
Tematy:
CONTEMPORARY ART
CONCEPTUAL ART
CONCEPTUALISM
AESTHETICS
ETHOSOPHY
EXISTENCE
Opis:
The aim of this text is to show the cognitive function of the art later referred to as conceptual. Conceptualism was particularly predisposed to express abstract messages which included philosophical ones. The basic question I would like to pose in this text is: can a conceptual art toolbox express in its own way that which had been formerly expressed by philosophy? How, with the usage of means suggested by conceptual art, may one build a general image of the world – comparable to that which philosophy had previously given? Perhaps a full answer to the above question leads us into the areas of art which ceased to fill the boundaries of conceptualism, or post-conceptualism and heads straightforward to action, which Grotowski called an ‘active culture’ — that is a place where art is not sufficient anymore.
Źródło:
Sztuka i Dokumentacja; 2012, 6; 97-107
2080-413X
Pojawia się w:
Sztuka i Dokumentacja
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Idea a obraz. Ikonoklastyczny aspekt konceptualizmu
An Idea And An Image. The Iconoclastic Aspect Of Conceptualism
Autorzy:
Gralińska–Toborek, Agnieszka
Powiązania:
https://bibliotekanauki.pl/articles/424426.pdf
Data publikacji:
2012
Wydawca:
Akademia Sztuk Pięknych w Gdańsku
Tematy:
CONTEMPORARY ART
MODERN ART
CONCEPTUAL ART
CONCEPTUALISM
ICONOCLASM
IDOLATRY
JOSEPH KOSUTH
Opis:
Conceptualism, as the art of an idea, placed itself beyond aesthetic and sensual experience. As a rule, it did not produce art objects which could be pleasing or that would represent reality. This rejection of an image places conceptualism in a broadly understood iconoclastic movement. When we examine various historical iconoclastic movements (religious and political) we may reconstruct the most important features of iconoclastic awareness and compare them with the essential postulates of conceptualism. The result of this comparison is a striking similarity of both phenomena. To mention just a few linking features of conceptualism and iconoclasm, we may enumerate: a doubt in the adequacy of the relationship between an idea and image, a fear of an idolatrous belief in a material art object, a drive to demystify art and artists, a concentration on a word instead of an image. Iconoclastic mentality can also be characterised by analytic thinking, progressive attitude and irony. However, the question arises if iconoclasm can exist without idolatry; or if conceptualism could have developed without a material object? Even if it rejected it, then the art world (museum, critics, audiences) that shows a progressively stronger tendency to contextualise, flung conceptualism out of “art’s orbit into the ‘infinite space’ of the human condition” (to use the words of J. Kosuth).
Źródło:
Sztuka i Dokumentacja; 2012, 6; 41-64
2080-413X
Pojawia się w:
Sztuka i Dokumentacja
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Konceptualizm i sztuka interaktywna. Analiza polskich przykładow
Conceptualism And Interactive Art. The Analysis Of Polish Examples
Autorzy:
Kluszczyński, Ryszard W.
Powiązania:
https://bibliotekanauki.pl/articles/424339.pdf
Data publikacji:
2012
Wydawca:
Akademia Sztuk Pięknych w Gdańsku
Tematy:
CONTEMPORARY ART
CONCEPTUAL ART
CONCEPTUALISM
WOJCIECH BRUSZEWSKI
JÓZEF ROBAKOWSKI
DIGITAL ART
INTERACTIVE ART
Opis:
Contemporary interactive art, which is created through digital computer technologies, has its roots in the artistic trends of a new avant-garde that developed at the end of the 1950s. Conceptual art played a significant and specific role in this process along with kinetic art, action art, installation and electronic media art. It formed not only a deep logic and framework for neo avant-garde tendencies in art, but also a favourable context to develop participatory tendencies and to prepare the conceptual ground for interactive art. In this complex field of artistic genres of that time, many artworks created had features which allow us to consider them in relation to interactive art. Amongst them, we can find works of such artists as Wojciech Bruszewski and Jozef Robakowski. Their numerous installations and objects from the seventies link conceptual and analytical attitudes with interactive characteristics.
Źródło:
Sztuka i Dokumentacja; 2012, 6; 73-78
2080-413X
Pojawia się w:
Sztuka i Dokumentacja
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Obraz a idea. Estetyczno-antropologiczne paradoksy sztuki konceptualnej (implikacje ikonoklastyczne)
Image and Idea. Aesthetic and Anthropological Paradoxes of Conceptual Art (Iconoclastic Implications)
Autorzy:
Kazimierska–Jerzyk, Wioletta
Powiązania:
https://bibliotekanauki.pl/articles/424511.pdf
Data publikacji:
2012
Wydawca:
Akademia Sztuk Pięknych w Gdańsku
Tematy:
CONTEMPORARY ART
CONCEPTUAL ART
CONCEPTUALISM
ICONOCLASM
ICONOPHILISM
ICONODULISM
IDOLATRY
JOSEPH KOSUTH
JAN BERDYSZAK
GRZEGORZ SZTABINSKI
Opis:
When taking into account the iconoclastic implications of conceptualism, we may observe its close but at the same time, warped relationship with aesthetics. I developed this thought after reflecting on Arnold Berleant. Such a view allows one to support the idea of a wider understanding of the notion of conceptual art, which accepts the presence of an art object not only in the form of art documentation, but also as an object included in an aesthetic awareness. One of its main aspects is the problem of the effect (power) of images. The problem of an aesthetic awareness was developed by Joseph Kosuth through a suggestive formula of ‘art as anthropology’. I treat this as a consequence of previous ideas developed by the artist, not as a total turn away from them. As a consequence one may consider as conceptual the attitudes and projects that keep the image in its physical sense and make the creating of images problematic in such a way that the most important seem to be reflections on the notion of art (image). In the article I consider two examples of Polish artists – Jan Berdyszak and Grzegorz Sztabinski. I underline how their activities are involved in certain iconoclastic practices (typical for conceptualism) and with which means they articulate the need to overcome them.
Źródło:
Sztuka i Dokumentacja; 2012, 6; 47-54
2080-413X
Pojawia się w:
Sztuka i Dokumentacja
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
KwieKulik i konceptualizm w uwarunkowaniach PRL-u. Przyczynek do analizy problemu
Kwiekulik And Conceptualism In The Peoples Republic Of Poland (Prl). A Contribution To The Problem Analysis
Autorzy:
Załuski, Tomasz
Powiązania:
https://bibliotekanauki.pl/articles/424689.pdf
Data publikacji:
2012
Wydawca:
Akademia Sztuk Pięknych w Gdańsku
Tematy:
CONTEMPORARY ART
CONCEPTUAL ART
CONCEPTUALISM
CONTEXTUALISM
KWIEKULIK
PRZEMYSLAW KWIEK
ZOFIA KULIK
OPEN FORM
PRAXEOLOGY
ARTISTIC GEOGRAPHY
Opis:
Until now, the artistic practices of a duo named KwieKulik, founded between 1971-1987 by Przemysław Kwiek and Zofia Kulik, were placed outside of conceptual art. I am not presenting here a simple thesis that KwieKulik were conceptual artists, but I attempt to formulate an introductory question about the complex relationship in which they situated themselves in response to conceptualism. In one of the interviews, the artists claimed that they could never be ‘pure conceptual artists’. I wonder, however, if the activity of the duo may be framed in a category of some ‘impure conceptualism’ whose important aspect is to be found in exposing the conditions of life and work in the People's Republic of Poland . To achieve this one needs to investigate thoroughly the artists stance towards the hegemonic term of ‘conceptualism’ whilst highlighting all of their actions that had any conceptual feature and to define a specific, individual form which appeared in the network of relationships with other elements of artistic practice. In my text I explain how one should understand ‘conceptualism’ as ‘a hegemonic term’ that organises and imposes itself onto an agonistic field of innovative art practices — not only in the West, but also in Poland. In this context, undertaking the question of “KwieKulik and conceptualism” opens a new perspective for a counter-hegemonic reinterpretation of conceptualism in the People's Republic of Poland. Without rejecting the term ‘conceptualism’, one needs to look at the questions related to it through the prism of an individual case of the KwieKulik duo. It should also allow the practices of both artists to make an imprint on ‘conceptualism’. In the last part of my text, I limit myself to a series of ‘contributive’ notes which may be treated as orientation points in an appropriate analysis of the conceptual aspects of the art of KwieKulik.
Źródło:
Sztuka i Dokumentacja; 2012, 6; 79-88
2080-413X
Pojawia się w:
Sztuka i Dokumentacja
Dostawca treści:
Biblioteka Nauki
Artykuł
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
Artykuł
Tytuł:
Czy polska sztuka konceptualna ma płeć?
What Is The Gender Of Polish Conceptual Art?
Autorzy:
Hussakowska, Maria
Powiązania:
https://bibliotekanauki.pl/articles/424259.pdf
Data publikacji:
2012
Wydawca:
Akademia Sztuk Pięknych w Gdańsku
Tematy:
CONTEMPORARY ART
CONCEPTUAL ART
CONCEPTUALISM
GENDER
NATALIA LL
EWA PARTUM
FEMINIST ART
FEMALE ART
MODERN ART
FEMINISM AND ART
Opis:
The essay was inspired by Pawel Dybel’s book The secret of the "other gender". Disputes around the sexual differences in psychoanalysis and feminism, in which he asked a question about the gender of logos. My – less ambitious – attempt was to try to describe the potential of gender in Polish conceptual art. The question is ahistorical, but there are a number of reasons to ask it. Many female artists that were very active during the time of conceptual incitation are invisible. Polish conceptualism which was formed be some artistic couples, historically has lost female faces. Some of these contributors – like Natalia LL or Ewa Partum – we can find out about in the discourse among first Polish feminist artists, but the question of women’s input into conceptualism is still open and does not attract enough interest of scholars. Maybe this is because of the fragile and delicate matter of an artistic partnership in contrast with the heroic notion of artistic individuality that is still attractive for conceptual artists. Maybe this is because of dangerous stereotypes about masculinity and femininity and male and female roles in artistic couples. There are very few scholars who are interested in examining the notion of collaboration in its very complex form. Much of the contemporary discourse on Polish conceptual art has been conveyed through exhibitions. This tactic may be seen as paying respect to the form of an exhibition – a specific, ideal medium to consider works of art not individually, but as they interact with each other. The specifics of conceptual works that were generally visually unattractive in the early seventies has changed, partly because of the most recent generation. The new face of Polish conceptualism is very conservative with regard to the lack of input by women. Unfortunately the belief popular among scholars and curators that women do not do ‘serious’ work still persist, but fortunately for those women artists who are active and visible – they found a useful label in the discourse. Placing them within the feminist movement, one should not forget their conceptual roots, and should delete the question as to whether their works were serious.
Źródło:
Sztuka i Dokumentacja; 2012, 6; 29-40
2080-413X
Pojawia się w:
Sztuka i Dokumentacja
Dostawca treści:
Biblioteka Nauki
Artykuł
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
Artykuł
Tytuł:
Foto-medium-art
Foto-Medium-Art
Autorzy:
Olek, Jerzy
Powiązania:
https://bibliotekanauki.pl/articles/424752.pdf
Data publikacji:
2012
Wydawca:
Akademia Sztuk Pięknych w Gdańsku
Tematy:
CONCEPTUALISM
CONCEPTUAL ART
GALLERY MOVEMENT
PHOTOGRAPHY
META-FORM
MULTIMEDIA
ELEMENTARY PHOTOGRAPHY
POST AVANT-GARDE
METAPHOTOGRAPHY
DIGITAL HYPERREALISM
GALLERY-MEDIUM
MEDIA ART
Opis:
The Foto-Medium-Art Gallery has worked continuously since 1977. For twenty years it was based in Wroclaw and since 2007 in Krakow. During that time, an emphasis was placed on various issues which were reflected by the programme and the way it acted. After the analytical and new media period (in the seventies) there was a time of ‘elementary photography’ (the eighties). However, photography was not the only medium that was exhibited there. Often the expositions, installations and projections were presented according to a programme, such as a series entitled “presence among the stones”. An important initiative was Photoconferences East-West “European exchange” that has taken place since 1989. The largest one happened in 1991. It consisted of an international exhibition “New spaces of photography” and a conference “The ethos of photography”. A dozen or so years ago “Foto-Medium-Art” lost its space and it became a mobile gallery, organising exhibitions and meetings in various friendly places. Finally F-M-A settled in Krakow and at this time important questions arouse: how to find a place for the programme developed over the years in the changing cultural climate especially in times when the most widely used media has changed (digital media replaced analogue)? Is any form of continuation possible, when the former economy of means of the art form of photography has been replaced by developed multimedia and multi-layered image structures? It seems that after the media and elementary periods, F.M.A. has entered an era that is in the process of shaping. In an era, that started after ‘neos’ and ‘posts’, when linear narrations are replaced with mosaic structures of databases, structures consisting of elements that are independent of one another, it is time to reformulate the programme.
Źródło:
Sztuka i Dokumentacja; 2012, 6; 149-156
2080-413X
Pojawia się w:
Sztuka i Dokumentacja
Dostawca treści:
Biblioteka Nauki
Artykuł
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
Artykuł
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
Artykuł
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
Artykuł
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
Artykuł
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