Wszystkie pola: Doroszuk, Hanna - Katalog OPAC zbiorów

Skocz do pozycji: 1.

Tytuł:: Disappearing Objects in Georges Didi‑Huberman’s Curatorial Practices
Autorzy:: Doroszuk, Hanna
Powiązania:: https://bibliotekanauki.pl/articles/485504.pdf
Data publikacji:: 2018
Wydawca:: Uniwersytet Pedagogiczny im. Komisji Edukacji Narodowej w Krakowie
Tematy:: Georges Didi‑Huberman
imprint
originality
curating
Centre Georges Pompidou
anachronism
Aby Warburg
Opis:: In this essay, I undertake an analysis of the first exhibition curated by Didi‑ Huberman, L’Empreinte (Imprint), which took place in Centre Pompidou in 1997. In this project, the French philosopher and art historian intentionally bypassed the usual products of artmaking, instead choosing to focus on what is left alongside this process. The project in Centre Pompidou transferred the technique of imprinting into the context of art of the 20th-century, investigating the tactile transmission of form from one surface to another. I will examine how Didi‑ Huberman’s attempt was influenced by the notion of survivance of forms, formulated by Aby Warburg, and how it offers an alternative to traditional approaches to original/ copy issue.
Źródło:: Annales Universitatis Paedagogicae Cracoviensis. Studia de Arte et Educatione; 2018, 13; 56-65
2081-3325
2300-5912
Pojawia się w:: Annales Universitatis Paedagogicae Cracoviensis. Studia de Arte et Educatione
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 2.

Tytuł:: Applying the Avant-Garde: Display Experience in the Exhibition of Modern Art (1948)
Autorzy:: Doroszuk, Hanna
Powiązania:: https://bibliotekanauki.pl/articles/1788561.pdf
Data publikacji:: 2020-09-13
Wydawca:: Uniwersytet Warszawski. Wydawnictwa Uniwersytetu Warszawskiego
Tematy:: Exhibition of Modern Art
Recovered Territories Exhibition
history of exhibitions
curatorial strategies
surrealism
surrealist exhibitions
environmental design
postwar art
propaganda exhibitions
Polish exhibitions
Opis:: The Exhibition of Modern Art (Wystawa Sztuki Nowoczesnej) organized in 1948 in the Palace of Art (Pałac Sztuki) in Cracow was one of the most prominent art events in Poland during the last century. It is considered one of the unprecedented moments in shaping the modernity. The exhibition was thought to be designed as a whole venture, integrating the modern art demonstration with the will to make it accessible to all the social groups. The desire of the authors was to endear the authorities, since the Stalinist repressions were approaching, and present the modern art as accessible to the society and needed in the “new socialist order”. Simultaneously, the primal context for the exhibition, underlined by its authors as well as the critics in subsequent years, were the surrealist exhibitions in Paris. This new avant-garde mode of displaying, so attractive for the Polish artists, put in the foreground not the traditional reception of art, implied by the traditional museology, but mostly focused on the spectator’s experience and used all possible kinds of tools to enhance it. These two approaches were usually presented as antagonistic and impossible to reconcile. The article attempts to analyze the tools which the display’s authors used to merge the avant-garde display with didacticism. While looking at the Recovered Territories Exhibition which took place a couple of months earlier, one might notice that the Exhibition of Modern Art was not the first display that accommodated the avant-garde solutions to the didactic and propagandistic venture.
Źródło:: Ikonotheka; 2019, 29; 229-248
0860-5769
Pojawia się w:: Ikonotheka
Dostawca treści:: Biblioteka Nauki

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