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    Tytuł:
    Pismo "Formiści" i początki międzynarodowych kontaktów polskiej awangardy (1919-1921)
    The Periodical "Formiści" and the beginnings of the Polish avant-gardes international relations (1919-1921)
    Autorzy:
    Strożek, Przemysław
    Powiązania:
    https://bibliotekanauki.pl/articles/707087.pdf
    Data publikacji:
    2013
    Wydawca:
    Polska Akademia Nauk. Czytelnia Czasopism PAN
    Tematy:
    Formisci
    avant-garde
    Polska
    20th century
    Formiści
    awangarda
    Polska
    XX wiek
    Opis:
    This paper emphasises the importance of the periodical Formisci, published in 1919-1921, within the context of the early Polish avant-garde. The journal was the publishing body of a group of Kraków artists who in 1919 declared themselves Formists; its profile was established mainly by its editor, Tytus Czyewski. Over two years, only six issues were published, featuring theoretical statements by group members, Formist and futuristic poetry, and reproductions of Formist works. This is where the future publishers of futuristic fl yers, Czyewski, Bruno Jasienski, Stanisław Młodoeniec, and also the publishers of subsequent avant-garde periodicals Nowa Sztuka and Zwrotnica, Anatol Stern and Tadeusz Peiper, met. Formisci was also one of the fi rst cues for promoting new Polish art abroad and for establishing contacts with other avant-garde circles. Its pages also featured articles on the latest happenings in foreign art and literature, as well as the translations and works of artists belonging to the foreign avant-garde. One of the periodical’s priorities was accessing the international network of progressive ideas represented by European avant-garde magazines. As a result, the Formists were discussed by the Munich magazine Der Ararat, Madrid’s Ultra, and Belgrade’s Misao. Formisci became a platform for the exchange of progressive ideas developed in parallel across Europe, a vehicle facilitating the fl ow of information on the latest developments in the arts on an international scale, arguing the need for a revolution in Polish culture, and adapting it to the chan ges taking place after the First World War.
    Źródło:
    Rocznik Historii Sztuki; 2013, 38; 71-86
    0080-3472
    Pojawia się w:
    Rocznik Historii Sztuki
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Gest etyczny Katarzyny Kobro
    Katarzyna Kobros ethical gesture
    Autorzy:
    Skalska, Agnieszka
    Powiązania:
    https://bibliotekanauki.pl/articles/706985.pdf
    Data publikacji:
    2013
    Wydawca:
    Polska Akademia Nauk. Czytelnia Czasopism PAN
    Tematy:
    Kobro
    avant-garde
    sculpture
    20th century
    Polska
    awangarda
    rzeźba
    XX wiek
    Polska
    Opis:
    A conversation that took place in 1945 between Katarzyna Kobro (1898–1951) and the Director of the Museum of Art in Łódz, Marian Mi-nich, provides the inspiration for this text and also the axis of its narrative. At that time, the artist had donated several of her pre-war sculptures to the Museum’s collection. The concise remarks made during the meeting referred to the functionalist theory of sculpture and to refl ections on its exposition and reception. Each of these themes will be developed in the text. The purpose of the discussion is to arrive at an understanding of what the term „ethical moment”, which Kobro used at the end of her meeting with Minich, actually means. The question of ethics relates to the shape of human relationships, the latter infl uencing not just the artist’s biography, but also the fate of her sculptures, their display in the Neoplastic Room organized by Władysław Strzeminski. The issue of the maker’s intention, following Mieke Bal, abandoned in studies of artistic output, exists however in pronouncements regarding artistic theory and its ethics, related in Kobro’s case to the idea of functionalism, social utility and the human form of sculpture. Our analysis of Kobro’s nudes and abstract sculptures is thus an attempt to discover the essence of this art’s ethical dimension. The instruments of description are terms taken from Kobro’s theoretical writings and philosophical concepts. An important reference is Martin Heidegger’s lecture “Art and Space”, in which he introduces the concept of sculpture as a body occupying a place in space, spreading itself out in the world. The theory of the relationship between truth and art, sculpture and space, that is fundamental to the Heideggerian triad of building, dwelling, thinking, becomes an important reference in the analysis of Kobro’s concept, the opening of her sculptures to space, the creating of functionalist projects. It also allows us to come closer to understanding the essence of her work’s “ethical moment”, which she called for in her conversation with Minich.
    Źródło:
    Rocznik Historii Sztuki; 2013, 38; 89-102
    0080-3472
    Pojawia się w:
    Rocznik Historii Sztuki
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Redefining the Concepts of the Avant-Garde as an Example of a Possible Return to Modernism
    Redefinicja pojęć awangardy jako przykład możliwości powrotu do modernizmu
    Autorzy:
    Jabłońska, Karolina
    Powiązania:
    https://bibliotekanauki.pl/articles/593759.pdf
    Data publikacji:
    2016
    Wydawca:
    Łódzkie Towarzystwo Naukowe
    Tematy:
    avant-garde
    autonomy of art
    art of the 20th century
    neomodernism
    awangarda
    autonomia sztuki
    sztuka XX wieku
    neomodernizm
    Opis:
    The paper is an attempt to demonstrate that expanding the definition of the terms relating to 20th century art makes it possible to return it to modernism. Such an approach is possible in relation to the issues that were topical both before the avant-garde and in postmodernism. This analysis was inspired mainly by the inconsistency of the views on the avant-garde content, further expanded by postmodern theories. Pluralism, both modernist and postmodernist, does not preclude references to the modernist ideas in contemporary scholarship. I have based my reflections on the issue of autonomy in avant-garde art. The multidimensional character of this concept and the transformation of its scope in the 20th century, as well as the 20th-century pluralization of theories, directions and concepts makes it possible to analyze the problem from different perspectives, visible today from the post-postmodern perspective. Starting from the views of Immanuel Kant and Friedrich Schiller, I take into account the views of theo-reticians as well as artists. Taking into account the many meanings and contexts in which terms are used in modernism and postmodernism provides an opportunity to reexamine them. It also allows us, as I have demonstrated, to verify some of the views on the avant-garde, such as the notion of the end of art, the tendency of the avant-garde art to self-destruct, or the association of high art with hermeticism and elitism. It also validates the discussion on neomodernism.
    W tekście tym staram się wykazać, że rozszerzenie definicji pojęć odnoszących się do sztuki w XX w. pozwala na powrót do modernizmu. Podejście takie jest możliwe w odniesieniu do tych zagadnień, które aktualne były zarówno przed awangardą, jak i w postmodernizmie. Do analizy takiej skłania przede wszystkim niespójność poglądów na awangardowe treści, pogłębiona teoriami postmodernistycznymi. Pluralizm, zarówno modernistyczny, jak i postmodernistyczny, nie wyklucza jednak możliwości odniesienia się we współczesnej nauce do idei modernistycznych. Swoje rozważania przeprowadzam na przykładzie zagadnienia autonomii w sztuce awangardowej. Wieloaspektowość tego pojęcia i transformacja jego zakresu w XX w., przy jednoczesnej dwudziestowiecznej pluralizacji teorii, kierunków i pojęć pozwala na przeanalizowanie tego problemu z różnych perspektyw, które dziś, z popostmodernistycznej pozycji, są widoczne. Wychodząc od poglądów Immanuela Kanta i Fryderyka Schillera, biorę pod uwagę poglądy zarówno teoretyków, jak i artystów. Uwzględnienie wielu znaczeń i kontekstów, w których pojawiają się pojęcia występujące w modernizmie i postmodernizmie daje możliwość ponownego odniesienia się do nich. Pozwala również, jak wykazuję, na weryfikację niektórych poglądów dotyczących awangardy m.in. tezy o końcu sztuki, o tendencji sztuki awangardowej do samounicestwienia, związanie sztuki wysokiej z hermetyzmem i elitaryzmem. Upoważnia także do mówienia o neomodernizmie.
    Źródło:
    Art Inquiry. Recherches sur les arts; 2016, 18; 37-53
    1641-9278
    Pojawia się w:
    Art Inquiry. Recherches sur les arts
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Literatura wizualna, wizualność literatury – przegląd współczesnych zjawisk i tendencji
    Visual literature, visuality of literature – a review of contemporary phenomena and trends
    Autorzy:
    Pawłowska, Aneta
    Powiązania:
    https://bibliotekanauki.pl/articles/1197964.pdf
    Data publikacji:
    2019-06-30
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    typografia
    awangarda
    literatura
    sztuka polska XX w.
    literatura elektroniczna
    typography
    avant-garde
    liberature
    20th century Polish art
    electronic literature
    Opis:
    Celem artykułu jest prezentacja przeglądu najistotniejszych nurtów, jakim przez ostatnie stulecie podlegał tekst literacki o walorach wizualnych. Z punkt wyjścia przyjęto okres przełomu XIX i XX wieku, gdy pod wpływem działań artystów awangardowych (Guillaume Apollinaire, Stéphane Mallarmé) nastąpiły zmiany w postrzeganiu semantycznego znaczenia poezji, co doprowadziło do sytuacji, w której wizualna struktura tekstu stała się istotna (wspomniane zostały prace m.in.: F.T. Marinettiego, T. Czyżewskigo, L. Chwistka). Zainteresowanie nowoczesną typografią wykazywali w okresie tuż po I wojnie światowej i w międzywojennym okresie wielkiej awangardy artyści związani z dadaizmem i polską grupą „a.r”. Kolejny istotny moment we wzajemnych relacjach tekstu i plastyki to okres lat 60. XX wieku i „poezji konkretnej” (E. Gomringer, bracia de Campos czy S. Dróżdż, tworzący tak zwane „pojęciokształty”). W XXI wieku emanacja działań łączących ściśle poezję ze sztukami wizualnymi to literatura elektroniczna, czyli electronic literature, określana mianem cyfrowej lub HTML, oraz liberatura (K. Bazarnik, Z. Fajfer, R. Nowakowski).
    The aim of the article is to present a review of the most important trends that the literary text on visual values has been subject to in the last century. The starting point was the turn of the 19th and 20th centuries, when under the influence of avant-garde artists (Guillaume Apollinaire, Stéphane Mallarmé) there were changes in the perception of the semantic meaning of poetry, which led to a situation in which the text’s visual structure became relevant (the works of.in.: FT Marinetti, T. Czyżewski, L. Chwistek). In the period immediately after World War I and in the inter-war period of the great avant-garde, artists associated with dadaism and the Polish group “a.r” showed interest in modern typography. Another important moment in the mutual relations of text and visual arts is the 1960s and ‘concrete poetry’ (E. Gomringer, brothers de Campos and S. Dróżdż, creating so-called ‘conceptual shapes’). In the 21st century, the emanation of activities that closely connect poetry with visual arts is electronic literature, referred to as digital or HTML, and liberature (K. Bazarnik, Z. Fajfer, R. Nowakowski).
    Źródło:
    TECHNE. Seria Nowa; 2019, 3; 153-170
    2084-851X
    Pojawia się w:
    TECHNE. Seria Nowa
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Burzyć, mieszkać, produkować. Ideowe podstawy urbanistycznej teorii awangardy rosyjskiej lat 20. i 30. XX wieku w projekcie Socgorodu Nikołaja Milutina
    Demolishing, dwelling, producing. Ideological foundations of Russian avant -garde urban planning theories in the 1920s and 1930s in Nikolay Milyutin’s project of Socgorod
    Autorzy:
    Juszkiewicz, Piotr
    Powiązania:
    https://bibliotekanauki.pl/articles/707073.pdf
    Data publikacji:
    2014
    Wydawca:
    Polska Akademia Nauk. Czytelnia Czasopism PAN
    Tematy:
    Milyutin
    Sotsgorod
    theory of architecture
    theory of city planning
    avant-garde
    Russia
    20th century
    Milutin
    Socgorod
    teoria architektury
    teoria urbanistyki
    awangarda
    Rosja
    XX wiek
    Opis:
    The project of the socialist city devised by Nikolay Milyutin is presented in this article as the end point of Russian avant-garde urban planning in the 1920s and 1930s. Milyutin’s book Sotsgorod: The Problem of Building Socialist Cities, published in 1930, contains the main topics which the discussions and design practices of Russian urban planners centred on in those years. At the same time it was an attempt at a comprehensive formulation of the principles of designing contemporary forms of habitation, which according to Milyutin were to answer the needs and potential of a new revolutionary society. The essential demands that Milyutin formulated regarding required design practices that were in accordance with avant-garde ideas derived from ideological premises, related to a kind of structural formation of a settlement that effaced the differences between urban and rural areas and maximized its functionality. This meant having recourse to the concept of a linear city, with a functionally diverse system of building bands spaced along the main communication line. Like the avant-garde architects and planners, Milyutin argued that this would improve transport between the home and workplace, or areas with services or of recreation. The linear structure would also improve the condition of the dwellings, making them healthier to live in, and provide residents with equal access to all points of the settlement structure. Albeit less rigorously than members of the avant-garde, Milyutin also associated the nature of the linear socialist city with the project of anthropological revolution, on the strength of which, through dismantling of the family, the fundamental reconstruction of the social system was to take place. The functions fulfilled by the family were to be subjected to a strenuous process of socialization. However, Milyutin was more radical in terms of functionalization of the urban layout, choosing the process of continuous-flow manufacturing as a model of efficiency for the organization of the settlement, as well as emphasizing the need to recognize the temporary nature of new urban systems – both due to financial constraints (he advised putting up light wooden structures) and macroeconomic factors – related, for example, to the necessity of dismantling a city due to economic requirements (for example, the depletion of existing mineral deposits, or changes in the methods of production of certain goods).
    Źródło:
    Rocznik Historii Sztuki; 2014, 39; 143-155
    0080-3472
    Pojawia się w:
    Rocznik Historii Sztuki
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    A transcultural mosaic: Stanisław Jaworski’s theory of the avant-garde
    Transkulturowa mozaika. Teoria awangardy Stanisława Jaworskiego
    Autorzy:
    Kmiecik, Michalina
    Powiązania:
    https://bibliotekanauki.pl/articles/2089551.pdf
    Data publikacji:
    2018
    Wydawca:
    Polska Akademia Nauk. Czytelnia Czasopism PAN
    Tematy:
    Polish literary criticism of the late 20th century
    theory of literature
    modernism
    history of the avant-garde
    Stanisław Jaworski (1934–2018)
    awangarda
    Stanisław Jaworski
    teoria tekstu
    teoria literatury
    Opis:
    This article presents a profi le of Stanisław Jaworski as a literary scholar with a life-long involvement in avant-garde literature. He defi nes the avant-garde as a mosaic of diverse trends with no common aesthetic or ideological denominator and, at the same time, as a transcultural network of artists apparently unrelated artists. Focusing on his major studies (Foundations of the Avant-garde, Tadeusz Peiper: Writer and Theoretician, Between the Avant-garde and Surrealism, and The Avant-garde) the article reconstructs Jaworski’s insights and theoretical constructs in the context of contemporary network studies and reassesses his commitment to both history and theory of literature.
    Źródło:
    Ruch Literacki; 2018, 5; 497-504
    0035-9602
    Pojawia się w:
    Ruch Literacki
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    AWANGARDA, TOTALITARYZM, GLOBALIZACJA: WSPÓLNE DOŚWIADCZENIE? WYBRANE ZAGADNIENIA SZTUKI XX WIEKU NA UKRAINIE I W POLSCE
    AVANT GARDE, TOTALITARIANISM, GLOBALISATION: COMMON EXPERIENCE? SELECTED ISSUES OF XX CENTURY ART IN UKRAINE AND POLAND
    Autorzy:
    Kal, Elżbieta
    Powiązania:
    https://bibliotekanauki.pl/articles/566468.pdf
    Data publikacji:
    2019-01-23
    Wydawca:
    Akademia Pomorska w Słupsku
    Tematy:
    sztuka Ukrainy
    malarstwo XX wieku
    awangarda
    socrealizm
    globalizacja
    inspiracje artystyczne
    ecykling kulturowy
    Ukrainian art
    painting of 20th century
    avant garde
    social realism
    globalisation
    artistic inspirations
    cultural recycling
    Opis:
    The text constitutes a reference to the article on applying social realism discourse in pop-art and modern popular culture (“Ars inter Culturas” 5 (2016): 209-239) and an elaboration by means of including Ukrainian art. It reminds about Ukrainian artists’ contribution to the development of the avant garde of the first half of 20th century and social realism ideas of involvement, “growing of art into” life as well as its presence in various areas of social practice. It also recalls the mediatory role of Władysław Strzemiński between Russian and Polish avant garde. Furthermore, on the basis of examples the author analyses formal strategies adopted from avant garde by the output of social realism, points to iconographic patterns of Ukrainian works from which Polish artists got inspiration according to their programme and critics’ recommendations. Also, differences resulting from the relations between patternmutation are important, as well as the duration of the doctrine which was in force from the first half of the 30s to the end of the 80s of the 20th century in Russia while in Poland in the years of 1949/50-1954/55. In both countries, it had important but different consequences, which results in different attitudes to realism as a general artistic strategy. Contemporary communication and globalisation processes have led to standardisation of visual language also in post-soviet countries, and internet memes play a significant role in it. In the world of the Internet, the elements of social realism discourse become memes detached from old meanings, lose their historical and political sense, become an element of entertaining exoticism which enhances forgetting about an oppressive character of the doctrine which, especially in Ukraine, has led not only to the exclusion but also to the extermination of artists.
    Źródło:
    Ars inter Culturas; 2018, 7; 145-188
    2083-1226
    Pojawia się w:
    Ars inter Culturas
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    A previously unknown poem by Jalu Kurek
    Nieznany wiersz Jalu Kurka
    Autorzy:
    Wójtowicz, Aleksander
    Powiązania:
    https://bibliotekanauki.pl/articles/2088446.pdf
    Data publikacji:
    2019
    Wydawca:
    Polska Akademia Nauk. Czytelnia Czasopism PAN
    Tematy:
    Polish literature of the early 20th century
    futurism and avant-garde
    poetic magazine New Art (Warsaw 1921–1922)
    Jalu Kurek (1904–1983)
    Jalu Kurek
    awangarda
    futuryzm
    Nowa Sztuka
    juwenilia
    Opis:
    The article presents a previously unknown poem by Jalu Kurek, found in the Józef Czechowicz Museum of Literature in Lublin. The youthful poem titled Nostalgia shows Kurek’s breaking away from the spell of futurism and edging towards an avant-garde poetics with a great deal of juxtaposition.
    Źródło:
    Ruch Literacki; 2019, 2; 249-255
    0035-9602
    Pojawia się w:
    Ruch Literacki
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
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