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Tytuł:
"Moim domem jest moje dzieło" (w dziesiątą rocznicę śmierci Tadeusza Kantora)
“My Work Is My Home”
Autorzy:
Dziamski, Grzegorz
Powiązania:
https://bibliotekanauki.pl/articles/467325.pdf
Data publikacji:
2001
Wydawca:
Wydawnictwo Uniwersytetu Śląskiego
Opis:
This short piece commemorates Tadeusz Kantor on the tenth anniversary of his death.
Źródło:
ER(R)GO: Teoria – Literatura – Kultura; 2001, 3
1508-6305
2544-3186
Pojawia się w:
ER(R)GO: Teoria – Literatura – Kultura
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:
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
Tytuł:
Estimation of root and shoot growth of selected grass species on the basis of seedling characterization
Autorzy:
Dziamski, Andrzej
Stypczyńska, Zofia
Żurek, Grzegorz
Powiązania:
https://bibliotekanauki.pl/articles/2199629.pdf
Data publikacji:
2012-04-19
Wydawca:
Instytut Hodowli i Aklimatyzacji Roślin
Tematy:
turf grass
root system
aboveground biomass
Opis:
Our study was designed to describe possibilities to estimate above- and below ground biomass of selected grass species by means of seedling development. Festuca  arundinacea Schreb., Festuca  rubra L.,  Lolium perenne L., Poa pratensis L., Koeleria macrantha  (Ledeb.) Schultes, Deschampsia  caespitosa  (L.) P.B. were used in our experiment. On the basis of observations and measurements, differences between species, cultivars and ecotypes were described. Significant and positive correlation was found between root: shoot ratio at seedling phase and at mature plants.
Źródło:
Plant Breeding and Seed Science; 2012, 65; 3-14
1429-3862
2083-599X
Pojawia się w:
Plant Breeding and Seed Science
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:
Kłopoty z kulturą
Autorzy:
Dziamski, Grzegorz
Powiązania:
https://bibliotekanauki.pl/articles/636702.pdf
Data publikacji:
2010
Wydawca:
Uniwersytet Jagielloński. Wydawnictwo Uniwersytetu Jagiellońskiego
Opis:
We have no problems with using the term ‘culture’ in such phrases as ‘Polish culture’, ‘German,  French,  British, Japanese  culture’. In  the  sense assigned to the  concept  of culture  by Johann  Gotffried  Herder  at the end of the 18th century – culture  is a way of life developed by some community (people,  nation).  But already in the case of the European  culture,  problem  emerges.  This is fully justified as for Herder  the  major element of culture, making it distinctive against other cultures, was language. Is the traditional  Herder’s  concept  of culture  (can  be called sociological one)  still useful in the contemporary  world where the dominant  figures are emigrants,  refugees, tourists, urban wonderers, players?   Should not we look for some other concept of culture assuming, as a starting  point,  that  the  concept  of culture  is not  merely a descriptive concept but also an operational  one and therefore  has a significant impact upon our perception  of the world and our activity in the world? In each culture we can identify three  levels of enculturation:  the deep level which naturalizes  certain ways of thinking and behaving; social level – when the culture is experienced by individuals as symbolic violence; and  finally the  level which depends  on individual choices, sometimes called a taste. This third level can be called art in opposition to culture. Art stands for whatever unique and original; culture – whatever collective and traditional.  Art is the engine of culture. This dynamic aspect of culture was not reflected in Herder’s concept of culture, while this is the  most important  feature  of today’s  global culture  prevailing in large cities where languages, habits and religions mix, where all, including native inhabitants, feel somewhat  deprived  of their  roots  and  forced  to search  for new roots,  and  who become radicant  people – artists who teach us how to live in today’s culture.
Źródło:
Przegląd Kulturoznawczy; 2010, 2(8)
1895-975X
2084-3860
Pojawia się w:
Przegląd Kulturoznawczy
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Kultura Zrzuty trzydzieści lat później
The Pitch-In Culture Thirty Years Later
Autorzy:
Dziamski, Grzegorz
Powiązania:
https://bibliotekanauki.pl/articles/424591.pdf
Data publikacji:
2012
Wydawca:
Akademia Sztuk Pięknych w Gdańsku
Tematy:
Jacek Kryszkowski
Józef Robakowski
Łódź Kaliska
relational aesthetics
Nicolas Bourriaud
Kultura Zrzuty
The Pitch-In Culture
counterculture
Łódź
Koszalin
stan wojenny
martial low in Poland
artist run initiatives
Opis:
The “Pitch-In Culture” began functioning at the end of 1981 within a circle of people connected with the Łódź Kaliska group, but very soon its strongest presence was reflected by the Artist pilgrimage, Long live art! (Łódź 2-4.09.1983). This was when two meanings of the term “Pitch-In Culture” emerged: a narrow one, meaning people connected with the Łódź Kaliska group and those whose concept of art was closely associated with the group and broader intrepretation – meaning the way the artists acted who wanted to keep their independence during the martial law. Józef Robakowski on the occasion of an exhibition organised in Belgium entitled The Polish avant-garde wrote that the Pitch-In Culture was “independent of politicians, police, church, administration and artists themselves”, it expresses in gestures and slogans, “that is why it may be everywhere, in our homes, streets, forest, bar, park, tram, queue at the butchers shop and even on the train from Łódź to Koszalin and back”. Martial law forced artists to search for new forms for their activities, but this did not blur the previous personal and artistic differences. For Józef Robakowski the Pitch-In Culture was a new form for the activities of independent artists; for Łódź Kaliska it was a new artistic form. In the first case the ‘Pitch-In Culture’ was only a means; in the second – it was an aim. Of course, the second is more interesting but it requires us to answer a question: what was the art form about? Some critics thought of Jacek Kryszkowski as one of the Pitch-In Culture leaders, although he considered that the Pitch-In Culture was supposed to break with the production model of art. Kryszkowski never explained how this post-production art shall look. Today, even though Kryszkowski would not have been happy about this, since many times he attacked the dependence of Polish criticism upon art terminology and theories worked out in the West, we could say that post-production art actually resembles the relational aesthetics of Nicolas Bourriaud.
Źródło:
Sztuka i Dokumentacja; 2012, 7; 66-69
2080-413X
Pojawia się w:
Sztuka i Dokumentacja
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Kulturoznawstwo – nowa dyscyplina czy nowy obszar badań?
Cultural studies – new discipline or new subject of research?
Autorzy:
Dziamski, Grzegorz
Powiązania:
https://bibliotekanauki.pl/articles/1029614.pdf
Data publikacji:
2020-06-15
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
cultural studies
science of culture
reform of university
Opis:
Cultural Studies is a young discipline. It appeared in academic structures in the 70s of the last century, that is when the study of culture has long been divided between older and more distinguished disciplines. Cultural studies had to somehow define in relation to existing cultural sciences. Cultural studies deconstructed opposition canonical and non-canonical art practice. Se Dealing with art outside the canon had and still has political dimension, as it draws attention to subcultures in which it sees the cultural expression of marginalized groups. We have no longer translated the English name “cultural studies” as “science of culture” or “knowledge of culture”. We do not examine culture in its numerous manifestations, high or low, but the cultural nature of various phenomena, for example gender. Three generations of researchers can be indicated in the not too long, nearly half century of Polish cultural studies. Cultural studies already has a certain academic tradition and it is still difficult for us to decide whether it is more of a new scientific discipline or new area of research?
Źródło:
Człowiek i Społeczeństwo; 2020, 49
0239-3271
Pojawia się w:
Człowiek i Społeczeństwo
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Narodziny nowej humanistyki z ducha gender
The Birth of the New Human Sciences from the Spirit of Gender
Autorzy:
Dziamski, Grzegorz
Powiązania:
https://bibliotekanauki.pl/articles/1029926.pdf
Data publikacji:
2020-07-29
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
pl
Opis:
If we accept the distinction between sex and gender, introduced by the Second Wave of Feminism, and if we agree that gender does not have to be limited to two sexes, we will enter the terrain of the queer, the world of labile, liquid sexuality where the borders between men and women get blurred and the space opens for creating various human hybrids. In Poland, the middle of 1990 saw the launch of the women’s studies, gay and lesbian studies, gender studies, queer, LGBT, opening new domains and new methods of human studies. We can call them post-feminist and cultural studies because they stem from the feminist distinction between sex and gender and are focused on gender, i.e. on cultural rather than biological determinants of human beings. The new human sciences will have to face such new narratives of human beings, rethink the concept of objectivity (science) and commitment, learn to live in pluralistic world of many theories and more precisely many discourses, and to learn to cooperate with various groups to present their point of view. But first of all, the new human sciences will have to replace the idea of unity by idea of difference. Once we were looking for unity, now we are looking for difference.
Źródło:
Człowiek i Społeczeństwo; 2015, 39; 49-56
0239-3271
Pojawia się w:
Człowiek i Społeczeństwo
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:
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:
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:
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:
Podział świata sztuki i jego zniesienie
Autorzy:
Grzegorz, Dziamski,
Powiązania:
https://bibliotekanauki.pl/articles/487878.pdf
Data publikacji:
2019-08-04
Wydawca:
Akademia Sztuk Pięknych im. Eugeniusza Gepperta we Wrocławiu
Tematy:
WESTERN ART
EASTERN ART
THIRD GENERATION OF AVANT-GARDE
ART MARKET
SZTUKA ZACHODNIA
SZTUKA WSCHODNIA
TRZECIA GENERACJA AWANGARDY
RYNEK SZTUKI
Opis:
A starting point is the division of the world of art onto Western and East- ern, and the question whether this division is still relevant after 1989? The Western world of art was equated with the market, the Eastern with ideol- ogy. Does the Eastern art have to join the Western world of art? Will the term avant-garde of third generation allow to better describe the transi- tion of art in real socialism countries? Does avant-garde in the times of post-modernist’s pluralism exist?
Źródło:
DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu; 2019, 27; 68-87
1733-1528
Pojawia się w:
DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu
Dostawca treści:
Biblioteka Nauki
Artykuł
Wyświetlanie 1-15 z 20

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