Temat: Józef Robakowski - Katalog OPAC zbiorów

Skocz do pozycji: 1.

Tytuł:: Dokumentacja a horyzontalny sposób pojmowania twórczości artystycznej
Documentation And The Horizontal Way Of Understanding Art
Autorzy:: Sztabiński, Grzegorz
Powiązania:: https://bibliotekanauki.pl/articles/424324.pdf
Data publikacji:: 2011
Wydawca:: Akademia Sztuk Pięknych w Gdańsku
Tematy:: CONCEPTUAL ART
CONTEMPORARY ART
DOCUMENTARY TURN
DOCUMENTATION
ETHNOGRAPHIC TURN
JOZEF ROBAKOWSKI
LAND ART
MOCK-DOCUMENTARY
POP ART
YVES KLEIN
ZBIGNIEW LIBERA
Opis:: The 'horisontalism' of artistic activity and reflection on art is connected with current life and surrounding reality. Their elements flow into works of art. Artworks are not examined historically (according to the history of a medium, style or individual creative evolution) but as a reaction to the network of object arrangements and functioning discourses that surround artists. Such comprehension of art has made Sztabinski introduce the concept of a 'documental turn'. Moreover, it has been depicted by him that the idea of 'documentation' is getting extended. Therefore, 'transdocumentation' appears. The term allows us to notice the specifics of such contemporary phenomena in which documentation does not only perform an informative function but also gives feedback upon what is documented. It is possible to distinguish many artistic approaches and practices within transdocumentation. One of them is a 'mock-documentary' - an ironic documentation that refers to documentary stereotypes and the audience's trust in the reliability of documents. 'Transdocumentation' as a practice and theoretical scheme, possible when understanding art 'horizontally', reveals a great potential for artistic activities and the critical practice.
Źródło:: Sztuka i Dokumentacja; 2011, 5; 6-15
2080-413X
Pojawia się w:: Sztuka i Dokumentacja
Dostawca treści:: Biblioteka Nauki

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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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