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    Tytuł:
    SOCREALIZM SKONSUMOWANY. WYKORZYSTANIE DYSKURSU SOCREALIZMU W POP-ARCIE I WSPÓŁCZESNEJ KULTURZE POPULARNEJ*
    SOCIAL REALISM CONSUMED. THE DISCOURSE OF SOCIAL REALSIM IN POP-ART AND MODERN POP CULTURE
    Autorzy:
    Kal, Elżbieta
    Powiązania:
    https://bibliotekanauki.pl/articles/566391.pdf
    Data publikacji:
    2017
    Wydawca:
    Akademia Pomorska w Słupsku
    Tematy:
    socrealizm
    pop-art
    kultura popularna
    realizm kapitalistyczny
    konsumpcja kulturowa
    manipulacja znakami
    reklama
    social realism
    pop-culture
    capitalistic realism
    cultural consumption
    manipulation of signs
    advertising
    Opis:
    The article is an attempt to analyse how the code of social realism was used in two areas not necessarily but rather intertwined: in the artistic area, in the iconography of pop-art in its strategy of transforming pop-culture and industrial signs as well as in the commercial area, in the advertisement, mass entertainment and activity of places uniting consumption with play. In her analysis the author reminds J. Baudrillard theory of cultural consumption “as a practise of manipulating signs” and Ch. Pierce “unlimited semiosis” and U. Eco as well as various different concepts of memory (including that of J. Baudrillard). The text ex-plains the essence and features of Social realism reigning in the arbitrary way in Poland in the period 1949-1955 often wrongly associated with the full period of Polish Peoples Republic existence (1949-1989). The use of social realistic elements in pop-culture can be seen as a final defeat of communist doctrine that included contempt for commercial-ism and banal entertainment identified as bourgeois Western culture features. The con-tradiction results from the idea that social realistic works were supposed to appeal to the masses yet should also have easily readable form and also very high artistic quality. In the text there are examples of social realistic slogans and motives from the paintings, sculptures and posters in the modern promotional campaigns of cosmetics, in computer games, in advertisement as well as in the gadgets, restaurants and entertainment venues etc. From the earlier artistic inspirations and transformations (consumptions) of social re-alism the text includes several examples of pop-art artists’ works: A. Warhol, T. Wessel-mann or R. Lichtenstein, and also examples of the works of the artist from the German movement called capitalistic realism like K. Lueg, G. Richter, S. Polke and others. Mod-ern popular culture and commercial mass entertainment exploit art on its own terms and both social realism and pop-art nurture popular and mass culture.
    Źródło:
    Ars inter Culturas; 2016, 5; 209-240
    2083-1226
    Pojawia się w:
    Ars inter Culturas
    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:
    „Sprawa realizmu w plastyce kształtującej”. Design i jego krytyka wobec realizmu socjalistycznego
    Autorzy:
    Kal, Elżbieta
    Powiązania:
    https://bibliotekanauki.pl/articles/1186590.pdf
    Data publikacji:
    2019
    Wydawca:
    Uniwersytet Kardynała Stefana Wyszyńskiego w Warszawie
    Tematy:
    design
    social realism
    decorative arts 1950–1956
    formative art
    industrial design
    The Exhibition of Interior Architecture and Decorative
    Art in 1952
    design critique
    Janusz Bogucki
    Cepelia
    Nowa Huta
    Aleksander Wojciechowski
    Wanda Telakowska
    Opis:
    This text concerns itself with Polish design and its criticism in the period of socialist realism (1949/50–1955). The title refers to a terminological proposal by Janusz Bogucki who looked for new terms for his work in the new system. The division into ‘pure’ and ‘usable’ arts was considered as an anachronism in socialism in which all artistic fields were to fulfil social functions. As optimal, the critic considered a division of arts into the ‘imaging’ (painting, sculpture, and graphic) and ‘formative’ (shaping human surroundings and public space – architecture, decoration and interior fittings, and objects of everyday usage). An intermediate ‘semi-imaging’ form was, for example, represented with a fabric or scenography. Bogucki defined the realism of a masterpiece as something that reflects reality by the use of means other than an image – it shapes and expresses reality. By avoiding unwanted associations with functionalism or constructivism, he showed ‘realistic’ features of objects and things: perspicuity, simplicity of composition, purposefulness and the appropriate usage of material and tools, breaking away from the pre-war ornamentation and avant-garde restraint of shapes. Masterpieces of ‘formative’ art were to fulfil the postulate of a national form; hence, the inspiration with a native tradition, folk art and handcraft was recommended. Crucial propagandistic slogans concerned popularization and ‘democratization’ of art connected with both creation and reception; industrial production pursuant to the models of professional artists as well as the working class, and folk and teen ‘collectives’ managed by them. Chosen institutions served popularization and democratization of socialist art. The 1952 Exhibition of Interior Architecture and Decorative Art and especially the criticism linked with it, regarding the assumptions of socialist realism and gradual abandoning the criteria of the doctrine from around 1954, are presented in this text. Reckoning with the method: during the public thaw (1956–1957), when categories of realism and national form were replaced with the imperative of modernity, constitutes a recapitulation.
    Źródło:
    Załącznik Kulturoznawczy; 2019, 6; 121-154
    2392-2338
    Pojawia się w:
    Załącznik Kulturoznawczy
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
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