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    Tytuł:
    Performatywny charakter estetyki
    Autorzy:
    Dziamski, Grzegorz
    Powiązania:
    https://bibliotekanauki.pl/articles/487587.pdf
    Data publikacji:
    2018
    Wydawca:
    Akademia Sztuk Pięknych im. Eugeniusza Gepperta we Wrocławiu
    Tematy:
    AESTHETICS
    AESTHETICS OF POPULAR ART
    AESTHETIC EXPERIENCE, ARTISTIC VALUES
    AESTHETIC VALUES
    FINE ARTS
    INSTITUTIONAL ART
    AESTHETIC ART
    DEFINING ART
    ABSOLUTE ART
    ANTI-ART
    ESTETYKA
    ESTETYKA SZTUKI POPULARNEJ
    DOŚWIADCZENIE ESTETYCZNE
    WARTOŚCI ARTYSTYCZNE
    WARTOŚCI ESTETYCZNE SZTUKI PIĘKNE
    SZTUKA INSTYTUCJONALNA
    SZTUKA ESTETYCZNA
    DEFINIOWANIE SZTUKI
    SZTUKA ABSOLUTNA
    ANTYSZTUKA
    Opis:
    The performative character of aesthetics Many lecturers of aesthetics feel that the subject of their lectures is not necessarily aesthetics, but history of aesthetics, the aesthetic views of Plato and Aristotle, Kant and Hegel, Hume and Burke, the British philoso- phers of taste and German romanticists. Does that mean that aesthetics feeds on its own past, is nurtured by reinterpretations of its classics, defends concepts and categories that inspire no one and do not open new cognitive perspectives? Does it mean that aesthetics is dead today, like Latin or Sanskrit, while its vision of art and beauty is outdated, invalid and totally useless? Aesthetics is a polysemous concept, which has never been sufficient- ly defined. It can determine a way of perceiving and experiencing the world that is specific for a given community, in other words, taste, yet it can also mean certain countries’ or regions’ contribution to aesthetic thought, to the aesthetic self-knowledge of man. Thus its dimension is practical, cultural and philosophical. Today aesthetics faces new challenges that it has to live up to; its ma- jor tasks include the defence of popular art, polishing the concept of aes- thetic experience, aestheticization of everyday life and de-aestheticiza- tion of art, transcultural aesthetics and its approach to national cultures. In the book “Aesthetics: the Big Questions” (1998) Carolyn Korsmeyer reduces the main issues of contemporary aesthetics to six questions. The first question, old but valid, is a question about the definition of art. What is art? Nowadays everything can be art because art has shed all limita- tions, even the limitations of its own definition, and has gained absolute freedom. It has become absolute, as Boris Groys says. It has become absolute, because it has made anti-art a full-fledged part of art, and it has not been possible either to question or negate art since, as even the negation of 50 Grzegorz Dziamski art is art, legitimized by a more than 100 year long tradition, going back to the first ready-made by Marcel Duchamp in 1913. Today making art can be art and not making art can be art, as well, art is art and anti-art is art. The old question: “What is art?” loses its sense, and so does Nel- son Goodman’s question: “When art?”. When does something become art? These questions are substituted by new ones: “What is art for you?”, “What do you expect from art?”. There can be a lot of answers, because defining art has a performative character. Louise Bourgeois has ex- pressed the performative character of defining art in an even better way: “Art is whatever we believe to be art”. And for some reasons, which we do not fully realize ourselves, we want to make others share our belief. The text in an introduction to a new book on contemporary aesthetics by Grzegorz Dziamski.
    Źródło:
    DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu; 2018, 26; 32-50
    1733-1528
    Pojawia się w:
    DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Neoawangarda, wprowadzenie do sztuki współczesnej
    Neo-avantguard: Introduction to Contemporary Art
    Autorzy:
    Dziamski, Grzegorz
    Powiązania:
    https://bibliotekanauki.pl/articles/487681.pdf
    Data publikacji:
    2011
    Wydawca:
    Akademia Sztuk Pięknych im. Eugeniusza Gepperta we Wrocławiu
    Opis:
    Frank Popper believes that neo-avantguard of the 1960’s and the 1970’s contributed to democratization of art. Jerzy Ludwiński believes that neo-avantguard led art into post-artistic era, in which art ceased to be visually different from non-art. Both writers tried to reveal logic hidden in the changes in neo-avantguard, based on their assumption that the changes in neo-avantguard include meta-narration. When art gave up meta-narration, every thing could be considered as art. Art became absolute, total, arbitrary and it established its own borderlines and forms, because it included its own contradiction – non-art and anti-art. What does it mean, that art is now in post-historic era? Doesn’t it need explanatory meta-narration? What should be a reflection on art in posthistoric era?
    Źródło:
    DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu; 2011, 12; 6-30
    1733-1528
    Pojawia się w:
    DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Polish Files in the Lomholt Archive of Mail Art
    Polskie dokumenty w archiwum Nielsa Lomholta
    Autorzy:
    Dziamski, Grzegorz
    Powiązania:
    https://bibliotekanauki.pl/articles/593847.pdf
    Data publikacji:
    2014
    Wydawca:
    Łódzkie Towarzystwo Naukowe
    Tematy:
    mail art
    net
    network
    archive
    art documentation
    post-conceptual under-standing of art
    alternative scene
    databases
    computer culture
    narratives
    sieć
    archiwum
    dokumentacja
    pokonceptualne dzieło sztuki
    scena alternatywna
    bazy danych
    kultura komputera
    narracje
    Opis:
    This text is devoted to the archives of mail art complied by the artists and the participants of the mail art network. Mail art was one the most representative artistic phenomena of the 1970s along with feminist art, performance, video art and land art. Today, all those phenomena find their place in the official art world except for mail art, which still remains outside the official institutions of the art world, in private collections. In recent years, most of those collections have been systematized and presented to the public. We should therefore attempt to establish the artistic significance and value of those private archives. This text seeks to contribute to this project, describing in details the Polish section of the archive compiled by the Danish artist Niels Lomholt.
    Tekst dotyczy archiwów gromadzonych przez artystów mail artu i uczestników mail artowskiej sieci w latach 70. Mail art był zjawiskiem charakterystycznym dla sztuki lat 70., obok sztuki feministycznej, performance, sztuki video czy sztuki ziemi. O ile jednak wszystkie te zjawiska znalazły dzisiaj swoje miejsce w świecie sztuki, to mail art pozostał poza instytucjami świata sztuki, w rozlicznych archiwach, które są dzisiaj porządkowane i opracowywane. Jakie jest znaczenie i artystyczna wartość tych archiwów? Na to pytanie stara się odpowie-dzieć ten tekst, przyglądając się polskiej części archiwum duńskiego artysty Nielsa Lomholta.
    Źródło:
    Art Inquiry. Recherches sur les arts; 2014, 16; 138-146
    1641-9278
    Pojawia się w:
    Art Inquiry. Recherches sur les arts
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Zejście z cokołu. Sztuka jako żart. Od Francisa Picabii do Maurizio Cattelana
    Art as a Joke. From Francis Picabia to Maurizio Cattelan
    Autorzy:
    Dziamski, Grzegorz
    Powiązania:
    https://bibliotekanauki.pl/articles/487730.pdf
    Data publikacji:
    2015
    Wydawca:
    Akademia Sztuk Pięknych im. Eugeniusza Gepperta we Wrocławiu
    Tematy:
    Dada; Fluxus
    ready-mades
    feminism
    Kamp
    irony
    joke
    Opis:
    Dada movement stripped art of seriousness, turned art into a joke, a sophisticated fun. Where there were Dadaists, there was laughter, as Hans Richter once said. Dadaists formed an opposition: bour-geois false values, over which hovered the stench of death and money – versus life. They stood on the side of life; on the side of art stripped of bourgeois seriousness. But the Dadaists also found liberated joke – a joke that served no purpose, fought against nothing and attacked nothing. ‘Entracte’ by Francis Picabia and ready-mades by Marcel Duchamp were in fact the jokes, which formed a new concept of art – art liberated from the domination of taste. Readymades had all the attributes of artwork : author, title, year of creation, audience, critics, etc., but did they become works of art? The artists are the ones who choose and force us to follow their choices, who reject good taste and that is the way they take control over art – by separating good art from bad. The joke is changing the way we think about art, pointing to the ambivalence adopted by our assumptions about the world. In an interview, Duchamp said that the public treated very seriously contemporary art. Did he want to say that it was too serious? Fluxus developed dada-like ambiguity. Where the audience expected to see art, often they received something that could be perceived as joke. The ambiguity was attributed not only to Fluxus, but virtually to the entire art of the 1960’s, as evidenced by the Kamp aesthetics. Kamp is ‘the seriousness that fails’. Kamp means a change with respect to bad art and it shows that we can play with it. In the 1960’s and the 1970’s, in the second wave of feminism, laughter returns as a weapon, as a tool to combat patriarchal culture.
    Źródło:
    DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu; 2015, 19; 64-88
    1733-1528
    Pojawia się w:
    DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    POLITYKA GLOBALNEGO ŚWIATA SZTUKI
    POLITICS OF GLOBAL ARTWORLD
    Autorzy:
    Dziamski, Grzegorz
    Powiązania:
    https://bibliotekanauki.pl/articles/487934.pdf
    Data publikacji:
    2016-11-07
    Wydawca:
    Akademia Sztuk Pięknych im. Eugeniusza Gepperta we Wrocławiu
    Tematy:
    ARTWORLD
    GLOBAL ARTWORLD
    ART MARKET
    DISCOURSE
    POLITICS
    CULTURAL POLICY
    ŚWIAT SZTUKI
    RYNEK SZTUKI
    GLOBALNY ŚWIAT SZTUKI DYSKURS
    POLITYKA
    POLITYKA KULTURALNA
    Opis:
    POLITICS OF GLOBAL ARTWORLD The term ‘art world’ (Artworld) was not used before the 1960’, and if – rather rarely and without consequences. It was only in 1964 that Arthur Danto has made the term one of the key concepts of contemporary reflection on art. The artworld has come to mean the discourse accompanying art. The world of art should not be equated with art market, although today the Western artworld is increasingly subordinated to the market. Can market replace politics? Can it become policy? Is this the way of post-political policy? Is the market always connected with some policies and always requires some assistance from politics? Today’s global art world wants to combine what is global with what is local; it combines global discourses and local practices. It contributes to global circulation of what is local. Very often, what is local, turn to subaltern art, younger art, lower, worse.
    Źródło:
    DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu; 2016, 21; 20-34
    1733-1528
    Pojawia się w:
    DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Neoawangarda; wprowadzenie do sztuki współczesnej
    Neo-Avant-Guard Art as an Introduction to Postmodern Art
    Autorzy:
    Dziamski, Grzegorz
    Powiązania:
    https://bibliotekanauki.pl/articles/487898.pdf
    Data publikacji:
    2014
    Wydawca:
    Akademia Sztuk Pięknych im. Eugeniusza Gepperta we Wrocławiu
    Opis:
    Grzegorz Dziamski analyzes two concepts of neo-avant-guard theoreticians: by Frank Popper and Jerzy Ludwiński. They both shared a belief in avantguard’s theology. They believed that avant-guard had a goal: it aimed, more or less consciously, to some purpose or—to put it slightly differently—that it was subordinated to some historic logic which we can identify and describe. They tried to reveal logic in the changes of the neoavant- guard and they assumed that there was a meta-narrative in the conversion of neo-avant-guard which would explain the changes. When neo-avant-guard achieved its goal, its history came to an end and thus it lost its explanatory metanarrative. Here we encounter a wellknown figure by Hegel: neo-avant-guard art contributed to the formation of the goal in art thus art became self-aware. Ludwiński said that ‘art knows that anything can be art’, therefore it can use different forms, styles, languages, media and it does not have to make every effort to distinguish itself from non- art. There is one common feature of the two avant-guard theories: both theories are formed ex post, from the out-side point of view, assumed when the process came to its end. Popper and Ludwiński’s theories can be cosidered as post-modern theories because they both analyzed avantgaurd from external position and they formed the distance to the avantguard and its narrativ. Also, they belive that all neo-avant-guard categories of description and criteria of evaluation of art have lost their meaning.
    Źródło:
    DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu; 2014, 17; 28-47
    1733-1528
    Pojawia się w:
    DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu
    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:
    NOWOCZESNOŚĆ W REFLEKSJI NAD SZTUKĄ
    Modernity in reflection on art
    Autorzy:
    Dziamski, Grzegorz
    Powiązania:
    https://bibliotekanauki.pl/articles/487834.pdf
    Data publikacji:
    2016-12-05
    Wydawca:
    Akademia Sztuk Pięknych im. Eugeniusza Gepperta we Wrocławiu
    Tematy:
    Avant -garde
    neo -avant -garde
    modernism
    postmodernism
    language code
    literary (artistic ) code
    brand code
    artistic sociolect
    artistic idiolect
    Opis:
    The twentieth century has developed three models for describing contemporary art. Three narratives dominated in the 1930’s and the 1940’s: Paris-French, German-Expressionist and avant-garde-international. In the 1950’s and the 1960’s, avant-garde-centrist model included two basic phases or formations in the art of the twentieth century. Historical avantgarde period covered the years 1905–1930. Neo-avant-garde lasted from 1955 to 1970. To a pair of avant-garde – neo-avant-garde, some authors add yet proto-avant-garde they considered as the nineteenth century artistic trends leading to the birth of the historical avant-garde - romanticism, realism of Courbet, impressionism, post-impressionism and on the other hand post-avant-garde, or art after the fall of the avant-garde. In the 1980’s and the 1990’s, avant-garde model was superseded by a model operating the opposition modernism - postmodernism. According to that model, the twentieth century art include two cultural and artistic formations: modernist and postmodernist formations. The first experienced its climax around 1910, when abstract art was born; the second in the 1980’s. Modernism and postmodernism can be considered as two codes that define literary (artistic) codes, but there is a significant difference between them. The modernist code reveals modernist essentialist attitude, the trend of looking for essence, individuality, specificity of art, trying to melt pure art, while postmodernist code refers to the avant-garde and the expanded field of art, focusing on the relationship of art and life.
    Źródło:
    DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu; 2016, 22; 6-18
    1733-1528
    Pojawia się w:
    DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Kilka uwag o sztuce performance
    A Few Comments About the Performance Art
    Autorzy:
    Dziamski, Grzegorz
    Powiązania:
    https://bibliotekanauki.pl/articles/424411.pdf
    Data publikacji:
    2019
    Wydawca:
    Akademia Sztuk Pięknych w Gdańsku
    Tematy:
    performance
    zwrot performatywny
    sztuka performance w Polsce
    festiwal sztuki performance
    performatyka
    performative turn
    performance art. in Poland
    performance art festiwal
    performance studies
    Opis:
    Artykuł nawiązuje do wcześniejszych, pionierskich w Polsce, badań dotyczących recepcji sztuki performance w końcu lat siedemdziesiątych. Ostatnio prowadzone badania i pisane krytyki sztuki, tak jak teksty Łukasza Guzka, cytowane tutaj, dowodzą tego, że sztuka performance zmienia się, rozwija, jest żywym zjawiskiem sztuki współczesnej. Młodzi artyści podejmują wyzwanie jakim jest akcja na żywo, zmieniają formy performance (w relacji do tych z lat siedemdziesiątych). Rozwija się performance studies w nowy paradygmat nauki, nie tylko o kulturze i nie tylko w sztuce, ale całości aktywności człowieka w świecie, co znajduje wyraz w badaniach Eriki Fischer-Lichte która opisała „zwrot performatywny.” W ten sposób poprzez performance sztuka wraca do człowieka, do nowoczesnego humanizmu.
    The article refers to earlier, pioneering research on performance in Poland in the late Seventies. Recent research and written art criticism, such as the texts of Łukasz Guzek cited here, prove that performance art is changing, developing, and is a living phenomenon of contemporary art. Young artists take on the challenge of live action, and change performance forms (in relation to those of the Seventies). Performance studies develops into a new paradigm of science, not only about culture and not only in art, but about the whole of human activity in the world, which is reflected in the research of Erika Fischer-Lichte, who described the 'performative turn.' In this way, through performance, art returns to man, to modern humanism.
    Źródło:
    Sztuka i Dokumentacja; 2019, 21; 9 - 16
    2080-413X
    Pojawia się w:
    Sztuka i Dokumentacja
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    ESTETYKA WOBEC FEMINIZMU
    Autorzy:
    Dziamski, Grzegorz
    Powiązania:
    https://bibliotekanauki.pl/articles/487985.pdf
    Data publikacji:
    2018
    Wydawca:
    Akademia Sztuk Pięknych im. Eugeniusza Gepperta we Wrocławiu
    Tematy:
    ANDROGYNE
    FEMINIST AESTHETICS
    GENDER AESTHETICS
    FEMINISM
    WOMEN’S ART
    ESTETYKA FEMINISTYCZNA
    ESTETYKA GENDEROWA
    FEMINIZM
    SZTUKA KOBIET
    Opis:
    Aesthetics Against Feminism When we talk today about women’s art, we think about three phemonena, quite loosely related. We think about feminist art, about the way that the feminist’s statements and demands were expressed in the creativity of Judy Chicago and Nancy Spero, Carolee Scheemann and Valie Export, Miriam Schapiro and Mary Kelly, and in Poland in the creativity of Maria Pinińska-Bereś, Natalia LL or Ewa Partum. We think about female art, the forgotten, abandoned, neglected artists brought back to memory by the feminists with thousands of exhibitions and reinterpretations. Lastly, we think about the art created by women – women’s art. However, we do not know and will never know, whether the latter two phenomena would develop without the feminist movement. What is more, it is about the first wave of feminism called “the equality feminism”, as well as the dominating in the second wave – “the difference feminism”. The feminist art was in the beginning a critique of the patriarchal world of art. In a sense it remains as such (see: the Guerilla Girls), yet today we are more interested in the feminist deconstruction of thinking about art, and thus the question arises: should feminism create its own aesthetics – the feminist aesthetics, or should it develop the gender aesthetics, and as a result introduce the gender point of view to thinking about art? In this moment the androgynous feminism regains its importance, one represented by Virginia Woolf, and referring – in the theoretical layer – to Freud as read by Lucy Irigaray. Freudism, which the feminists became aware of in the 1970s, is the only philosophical movement, which assumes a dual subject, that is, in the starting point assumes the existence of two subjects – man and woman, even if the woman is defined in a purely negative way, by the deficit, as a “not a man”. Freudism replaces the Cartesian thinking subject (consciousness) by the corporeal and sexual being, and forces us to re-think the Enlightenment beginnings of the European aesthetics.
    Źródło:
    DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu; 2018, 25; 40-66
    1733-1528
    Pojawia się w:
    DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-10 z 10

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