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    Tytuł:
    Galeria Remont. Nieznana awangarda lat siedemdziesiątych
    Remont Gallery. The Unknown Avant-Garde Of The Seventies
    Autorzy:
    Urbańska, Katarzyna
    Powiązania:
    https://bibliotekanauki.pl/articles/424716.pdf
    Data publikacji:
    2012
    Wydawca:
    Akademia Sztuk Pięknych w Gdańsku
    Tematy:
    CONCEPTUALISM
    CONCEPTUAL ART
    HENRYK GAJEWSKI
    REMONT GALLERY
    PHOTO-CONCEPTUALISM
    PERFORMANCE ART
    Opis:
    The attempts to describe a history of Polish conceptualism in a systematic way, have been until now undertaken in a very similar way. The studies have concentrated mainly on outlining a few artistic centres with connections to the trend. These studies were discussed both in publications from the eighties and nineties and in more recent ones. Only Bożena Kowalska in her book Artystyczno-spoleczna problematyka zrzeszen plastykow w Polsce w latach 1946-1976 (Artistic and social problems of artistic groups in Poland in 1946-1976) (1981) presented a broader panorama of artistic trends that emerged in the seventies. The history of Polish conceptualism mostly covers a narrow circle of galleries: the Foksal Gallery in Warsaw, Pod Mona Lisa and Permafo in Wrocław, and Akumulatory2 in Poznań; a separate place is taken by film and photographic activities. The Remont Gallery in Warsaw, which was active around the same time, was not historically analysed. Its activity has always been treated as marginal. Undoubtedly this was caused by the specific atmosphere of those times, personal relationships and (often wrong) opinions which influenced the works of critics later on. What I refer to is the stance taken by the Foksal Gallery towards more and more frequent activities of the neo avant-garde, which meant that the gallery was often accused of non-uniformity, ambiguity of motives, but also aggression and mockery of the avant-garde. The creator and founder of the Remont Gallery was Henryk Gajewski. The official date when the Gallery was opened was 1.04.1972, and the date it closed was 06.11.1979. For almost seven years it hosted prominent Polish and foreign artists; it published numerous but modest publications, organised international conferences, exhibitions and activities that crossed the official boundaries of art. The gallery, from the very beginning, had little in common with the traditional concept of an art gallery. Its programme was filled with meetings with known publicists, political, social and cultural discussions and exhibitions with modern photography. Thanks to its open formula, the projects were realised by artists coming from various milieux. In the programme it was underlined, that it was not a gallery of one group or trend. What is worth noting is the fact that it showed the works of artists recognised as the leading representatives of neo avant-garde and now often linked with different art centers. The activities of the Remont Gallery can be compared to the activities of such places as Pod Mona Lisą and Permafo, where the gallery space was used for 'new media' or actions from the border of audiovisual art. The Remont Gallery in the beginning, similarly to Permafo, showed experimental photography and photo-conceptualism (Lucjan Demindowski, Krzysztof Wojciechowski, Elzbieta Tejchman, Andrzej Jorczak, Andrzej Lachowicz, Antoni Mikolajczyk, Zygmunt Rytka and Henryk Gajewski). No other gallery in Warsaw was more dynamic and with such a diversified programme, which allows us to analyse its activity from the perspective of a variety of discourses situated on the border of conceptual, contextual art, performance, mail-art, photography, installation, body art, audio-art or happenings.
    Źródło:
    Sztuka i Dokumentacja; 2012, 6; 133-139
    2080-413X
    Pojawia się w:
    Sztuka i Dokumentacja
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Foto-medium-art
    Foto-Medium-Art
    Autorzy:
    Olek, Jerzy
    Powiązania:
    https://bibliotekanauki.pl/articles/424752.pdf
    Data publikacji:
    2012
    Wydawca:
    Akademia Sztuk Pięknych w Gdańsku
    Tematy:
    CONCEPTUALISM
    CONCEPTUAL ART
    GALLERY MOVEMENT
    PHOTOGRAPHY
    META-FORM
    MULTIMEDIA
    ELEMENTARY PHOTOGRAPHY
    POST AVANT-GARDE
    METAPHOTOGRAPHY
    DIGITAL HYPERREALISM
    GALLERY-MEDIUM
    MEDIA ART
    Opis:
    The Foto-Medium-Art Gallery has worked continuously since 1977. For twenty years it was based in Wroclaw and since 2007 in Krakow. During that time, an emphasis was placed on various issues which were reflected by the programme and the way it acted. After the analytical and new media period (in the seventies) there was a time of ‘elementary photography’ (the eighties). However, photography was not the only medium that was exhibited there. Often the expositions, installations and projections were presented according to a programme, such as a series entitled “presence among the stones”. An important initiative was Photoconferences East-West “European exchange” that has taken place since 1989. The largest one happened in 1991. It consisted of an international exhibition “New spaces of photography” and a conference “The ethos of photography”. A dozen or so years ago “Foto-Medium-Art” lost its space and it became a mobile gallery, organising exhibitions and meetings in various friendly places. Finally F-M-A settled in Krakow and at this time important questions arouse: how to find a place for the programme developed over the years in the changing cultural climate especially in times when the most widely used media has changed (digital media replaced analogue)? Is any form of continuation possible, when the former economy of means of the art form of photography has been replaced by developed multimedia and multi-layered image structures? It seems that after the media and elementary periods, F.M.A. has entered an era that is in the process of shaping. In an era, that started after ‘neos’ and ‘posts’, when linear narrations are replaced with mosaic structures of databases, structures consisting of elements that are independent of one another, it is time to reformulate the programme.
    Źródło:
    Sztuka i Dokumentacja; 2012, 6; 149-156
    2080-413X
    Pojawia się w:
    Sztuka i Dokumentacja
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Colour in Contextual Play
    Autorzy:
    Guzek, Łukasz
    Powiązania:
    https://bibliotekanauki.pl/articles/424351.pdf
    Data publikacji:
    2018
    Wydawca:
    Akademia Sztuk Pięknych w Gdańsku
    Tematy:
    Mazzoleni Gallery
    Joseph Kosuth
    conceptual art
    context
    contextualizm
    sztuka konceptualna
    kontekst
    kontekstualizm
    Opis:
    Artykuł stanowi omówienie wystawy pt. Colour in Contextual Play, która miała miejsce w Mazzoleni Gallery w Londynie oraz publikacji pod tym samym tytułem. Autorem aranżacji wystawy był Joseph Kosuth. Projekt dotyczył tematyki koloru w sztuce konceptualnej. Jest to o tyle niezwykłe, iż w tekstach i wypowiedziach Kosutha często spotykamy deklarację odrzucenia ekspresjonizmu w sztuce (na rzecz pracy intelektualnej nad tworzeniem znaczeń na podstawie dział sztuki). Jednak kolor występuje tu jako ready made i w tym sensie konceptualne założenia o nie-ekspresyjnym charakterze sztuki zostają zachowane. W tekście omówienia przywołuję koncepcję kontekstualizmu Jana Świdzińskiego, dla którego kontekst stanowił istotę działalności artystycznej, podobnie jak dla Kosutha. Zebrane na wystawie prace artystów są więc usytuowane w kontekście – kontekście koloru, pojmowanego konceptualnie (jako ready made). Przywołanie Świdzińskiego pozwala jednak na skierowanie interpretacji w kierunku performatyki, współczesnego sposobu postrzegania zjawisk jako fenomenów dynamicznych, zmiennych. Kosuth, odrzucając ekspresję, odrzucał wszelką steatralizowaną praktykę artystyczną, jak performance. Natomiast Świdziński przyjął performance jako swoją główną formę pracy artystycznej. Dlatego zestawienie tych praktyk w kontekście tego projektu stanowi propozycję rozszerzania interpretacji poza ścieżki ustalone w historii sztuki. Wystawa i publikacja stanowią tym samym propozycję nowego spojrzenia na sztukę konceptualną i na sztukę artystów biorących udział w wystawie.
    Źródło:
    Sztuka i Dokumentacja; 2018, 18; 294-299
    2080-413X
    Pojawia się w:
    Sztuka i Dokumentacja
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Galeria jako zagadnienie artystyczne w sztuce konceptualnej
    Gallery As An Artistic Concept In Conceptual Art
    Autorzy:
    Guzek, Łukasz
    Powiązania:
    https://bibliotekanauki.pl/articles/424714.pdf
    Data publikacji:
    2012
    Wydawca:
    Akademia Sztuk Pięknych w Gdańsku
    Tematy:
    CONCEPTUALISM
    CONCEPTUAL ART
    CONCEPTUAL GALLERY
    GALLERY MOVEMENT
    GALLERY NETWORK
    COUNTERCULTURE
    ANTI-INSTITUTION
    ARTIST RUN INITIATIVES
    ARI
    LIVING GALLERY
    ANDRZEJ KOSTOLOWSKI
    JAROSLAW KOZLOWSKI
    NET ART
    PERFORMANCE ART
    LIVE ART
    ACTION ART
    Opis:
    The text announces a research program on the galleries that emerged in relation to conceptual art and introduces the scope and method of research. The general aim of the research is to set apart the issue of a conceptual gallery as an independent artistic phenomenon. A conceptual gallery is examined as a general artistic formula. The methodological scheme presented in the text aims at establishing a basic chronology and creating a typology of the trend. Historically, conceptual galleries emerged and were shaped in the frame of a broadly understood conceptual tendency (a leading tendency in the seventies) because at that time, there occurred a specific formal-artistic relationship between art and gallery. Until now, the conceptual gallery trend has been examined mainly in the context of the social, political and cultural conditions in which they were functioning. The research on conceptual galleries as an artistic project and a form of conceptual art causes the vector of the research to reverse. The artistic character of particular galleries could be graded into those which housed more or less radical projects. One may imagine a scale between limit points: a gallery as a work of art and a gallery as an art container and place all galleries from the seventies on it. The beginning of the conceptual gallery movement in Poland is marked by a project by Andrzej Kostolowski and Jaroslaw Kozlowski entitled NET (1971), based on a mail-art formula. It assumed not only collecting and exhibiting the works sent (which was each institution’s aim), but also creating their own specific points in the network of institutions. Thirty five galleries participated in an exhibition which summarised an activity of the BWA Gallery in Sopot in the summer of 1981. The galleries of this type functioned in the next decade, even during martial law. In the mid-nineties the gallery movement started to integrate again, however after 2000 the commercialisation of the art market caused their disappearance.
    Źródło:
    Sztuka i Dokumentacja; 2012, 6; 123-131
    2080-413X
    Pojawia się w:
    Sztuka i Dokumentacja
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Najbardziej radykalne postawy w ruchu galerii konceptualnych lat siedemdziesiątych. Galeria 80x140 Jerzego Trelińskiego i Galeria A4 Andrzeja Pierzgalskiego
    The Most Radical Attitudes Within The Movement Of 'Conceptual Galleries' In The 70s. Jerzy Trelinski's Gallery 80x140 And Andrzej Pierzgalski's Gallery A4
    Autorzy:
    Guzek, Lukasz
    Powiązania:
    https://bibliotekanauki.pl/articles/424312.pdf
    Data publikacji:
    2011
    Wydawca:
    Akademia Sztuk Pięknych w Gdańsku
    Tematy:
    ANDRZEJ PIERZGALSKI
    CONCEPTUAL GALLERIES
    CONCEPTUALISM
    GALLERY 80X140
    GALLERY A4
    JERZY TRELINSKI
    LODZ
    Opis:
    The 'Gallery movement', which formed in Poland in the 70s is a world phenomenon that provides extremely rich material, in terms of diversity, as well as in quantitative terms. The galleries were created under the dominant influence of conceptual art, that is why I describe them as 'conceptual galleries'. They played the traditional role of a gallery, that is, they were places of exhibition and they functioned as an 'art container', but at the same time, they were art projects created according to the individual decision of the artist, just like the works of art. They were therefore a form of conceptual art, developed in the 70s, the conceptual art decade. One of the most radical galleries at that time was the 80x140 Gallery, founded by Jerzy Trelinski, in spring 1971 in Lodz. The Gallery operated until 1977. Initially, the gallery space was a wall surface of dimensions given in the name of the gallery (80 x 140 cm). But soon the work presented in the gallery began to develop directly into the space of the room, turning it into an installation space. Then artworks began to be realized around the city and numerous projects by J. Trelinski, as well as collaborative projects, began to be created in various locations outside Lodz, all under the facade of Gallery 80x140. In May 1972, at the 80x140 Gallery, the A4 Gallery began its activity, which was an initiative of Andrzej Pierzgalski. It was perhaps an even more radical art project in the category of 'conceptual galleries', and it was limited to a plain sheet of A4 size paper (literally, a piece of A4 paper was placed within the 80x140 Gallery). This article also announces broader research on issues arising from the 'gallery movement' and the category of 'conceptual galleries' in Polish art of the 70s. The 'gallery movement' also had a social and political dimension. Thus a network of the independent exchange of ideas was created, and it functioned well on an international scale. The patterns of self-organising initiated by the artists' community and the art procedures that were developed in the 70s on the basis of conceptual art, proved extremely useful in the 80s. Also during the economic crisis and transformation of the 90s, the model of a 'conceptual gallery' enabled the artistic community to function, despite limitations of an economic nature. This article describes the methodology of research on the 'conceptual galleries' phenomenon. It contains a detailed description of works that were created in the Gallery 80x140 and Gallery A4 (and under their auspices) throughout the time of their operation. It also presents the consequences that the initiators of these galleries have drawn from them later in their artistic practice; particularly a series of works titled Autotautologies by J. Trelinski, (the artist puts a graphic sign TRELINSKI on various objects and in various places and situations), as well as further artistic development of A. Pierzgalski.
    Źródło:
    Sztuka i Dokumentacja; 2011, 4; 49-68
    2080-413X
    Pojawia się w:
    Sztuka i Dokumentacja
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Ruch galeryjny w Polsce. Zarys historyczny. Od lat sześćdziesiątych poprzez galerie konceptualne lat siedemdziesiątych po ich konsekwencje w latach osiemdziesiątych i dziewięćdziesiątych
    The Art Gallery Movement in Poland. A Historical Outline. From the Sixties, Through the Conceptual Galleries of the Seventies, Until Their Consequences in the Eighties and the Nineties
    Autorzy:
    Guzek, Lukasz
    Powiązania:
    https://bibliotekanauki.pl/articles/424263.pdf
    Data publikacji:
    2012
    Wydawca:
    Akademia Sztuk Pięknych w Gdańsku
    Tematy:
    conceptual art
    conceptual gallery
    conceptual galleries movement
    art gallery movemet conceptual art in Poland
    art of 70s
    Opis:
    The gallery movement was in fact an art institution in Poland. The movement created its own art world based on the principles of self-organisation and self-study. People who participated in it were artists, art professionals and art lovers, altogether so called ‘conducive people’. Around each of such institutions its circles emerged – communities that co-operated with each other within the town, the country or internationally. This is how the network of personal ties as well as artistic influences appeared. A formal-artistic feature of the movement was the great number of various action art forms or, more broadly – art based on the present-ness. The history of the movement embraces half a century of contemporary Polish art. It starts just after Stalinist times. In 1956 in Krakow there emerged the Krzysztofory Gallery founded by the Grupa Krakowska [Krakow Group] Association, that directly continued the tradition of the pre-war avant-garde. The development of the movement in the seventies was especially dynamic, forming a conceptual art decade during when the conceptual galleries movement emerged. The expansion of the definition of art by the conceptual art movement allowedfor the making of a gallery to be as significant as making art. That period was ended by the imposition of martial law on December 13th, 1981. In those extremely unfavourable conditions the gallery movement and art communities showed their strength. After the total elimination of art in the public sphere, the world of art revived quickly and relocated into the private sphere – private studios and apartments. The art community in Łódź, where the tradition of selforganisation was especially strong, was able to organise the movement throughout the whole country. It was later called the “Pitch-in Culture”. After 1989 and the fall of communism, first in Poland and then in the whole of Eastern Europe, the new social and political conditions caused changes in the way the art world began to be organised.
    Źródło:
    Sztuka i Dokumentacja; 2012, 7; 13-30
    2080-413X
    Pojawia się w:
    Sztuka i Dokumentacja
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    … prosta nieskończona… Wanda Czełkowska, Krystian Jarnuszkiewicz, Andrzej Wojciechowski
    ...A Straight Infinite Line... Wanda Czełkowska, Krystian Jaruszkiewicz, Andrzej Wojciechowski
    Autorzy:
    Grubba, Dorota
    Powiązania:
    https://bibliotekanauki.pl/articles/424728.pdf
    Data publikacji:
    2012
    Wydawca:
    Akademia Sztuk Pięknych w Gdańsku
    Tematy:
    CONCEPTUALISM
    CONCEPTUAL ART
    INSTALLATION ART
    EDINBURGH 1972
    MULTIPLE
    STRUCTURE
    SERIALISM
    MODULE
    ENVIRONMENT
    KRAKOW GROUP
    ART GROUPS
    WANDA CZELKOWSKA
    KRYSTIAN JARUSZKIEWICZ
    ANDRZEJ WOJCIECHOWSKI
    STANISŁAW DROZDZ
    KAZIMIERZ MALEWICZ
    XAWERY DUNIKOWSKI
    ROBERT MORRIS
    JERZY LUDWINSKI
    LE CORBUSIER
    ROLAND BARTHES
    MODULOR
    POD MONA LISA GALLERY
    Opis:
    In the paper, I recall three independent individuals, whose work oscillated around conceptual art. They shared a strong interest situated on the borderline of mathematics and art philosophy (including problems such as: an open space, the concept of central – axial point, infinite line etc.) and research on semantic and lexical possibilities of geometry. The work of these three extremely different artists, Wanda Czelkowska, Krystian Jaruszkiewicz, Andrzej Wojciechowski, seems to be tied together by a common element; building spatial utterances based on forms that existed on the border of contemporary and archetypical language. They evoke reflections (e.g. sociological and cultural) by the use of a strongly individualised and meta-artistic code. I analysed the following artworks: Wanda Czelkowska's Conceptual Information about a Table presented in 1972 in Edinburgh at The International Art Festival and another work entitled Absolute elimination of sculpture as a notion of shape (66 concrete slabs and 66 light points) from 1972; the project of a room independent of gravity (1959/1960), Capitel as the structure of space from 1952; Krystian Jaruszkiewicz's multi-material object entitled Sacrifice to Xawery Dunikowski (1975), that incorporated an old Polish definition of the ‘obiata’ (sacrifice) custom taken from Bogumił Linde’s dictionary in its original graphic version into an ascetic form; Andrzej Wojciechowski's works from the period when he co-operated with Stanislaw Drozdz, among them a series of photographs SALVE from 1970 (a stone with a Latin greeting found in an empty field), a model and an idea of the Self-sustaining Plinth from the Symposium “Wrocław’70”, an action entitled The Tower of Joy 23 VII 1970 built with the residents of Wrocław, and a philosophical and formal dialogue with S. Drozdz A Sphere and a stone – two perfections (1974).
    Źródło:
    Sztuka i Dokumentacja; 2012, 6; 163-169
    2080-413X
    Pojawia się w:
    Sztuka i Dokumentacja
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Paweł Petasz. Rys biograficzny
    Autorzy:
    Dzieweczyńska, Karina
    Powiązania:
    https://bibliotekanauki.pl/articles/1011649.pdf
    Data publikacji:
    2020
    Wydawca:
    Akademia Sztuk Pięknych w Gdańsku
    Tematy:
    paweł petasz
    biografia
    mail art
    sztuka konceptualna
    galeria el
    elbląg
    biography
    conceptual art
    el gallery
    Opis:
    Tekst jest pierwszą częścią rysu biograficznego Pawła Petasza, skupioną na młodzieńczym okresie życia artysty. Przywołuję w nim kolejno, w ujęciu chronologicznym: korzenie artysty (pochodzenie matki i ojca), związek z jego miastem rodzinnym – Kaliszem, studia w Państwowej Wyższej Szkole Sztuk Plastycznych w Gdańsku w latach 1969-1974, w tym pierwsze dwa lata na Wydziale Architektury Wnętrz a kolejne trzy – na Wydziale Malarstwa i Rzeźby. Następnie obszernie relacjonuję etap związany z Laboratorium Sztuki Galerią EL, w której Petasz pracował w latach 1974-1976. Opisuję zarówno genezę jego przyjazdu do tej galerii, jak i warunki, w jakich sprawował on funkcję p.o. kierownika tej placówki. W artykule szczegółowo przedstawiam okres działalności Petasza w Galerii EL: prace porządkowe i inwentaryzacyjne, założenia programowe, pierwsze wydarzenia i wystawy, współpracę z Leszkiem Przyjemskim, uczestnictwo w Ogólnopolskich Spotkaniach Twórczych w Liksajnach, a także okoliczności, które wpłynęły na jego decyzję o rezygnacji z pracy etatowej w galerii. Następnie odsłaniam kulisy zorganizowanej z jego inicjatywy i we współpracy z Markiem Duszakiem, pierwszej w Europie Centralnej wystawy mail artu zatytułowanej KÓŁKO 77. Sztuka poczty – poczta sztuki (Galeria EL, 1977). W końcowej części tekstu poddaję analizie źródła zainteresowania Petasza mail artem, przybliżam charakter jego dzieł sztuki poczty oraz ich odbiór w międzynarodowej społeczności mailartowskiej. Tekst stanowi pierwszą próbę głębszego spojrzenia na wybrane aspekty biografii Petasza, ze szczególnym uwzględnieniem korzeni rodzinnych, młodzieńczego etapu życia i warunków, w których ukształtowała się postawa twórcza i światopoglądowa artysty, a w konsekwencji jego zainteresowanie mail artem w połowie lat siedemdziesiątych. Prace nad biografią Petasza będą kontynuowane a rezultaty publikowane w osobnych artykułach.
    The text forms the first part of Paweł Petasz’s biographical note, focused on the early period of the artist’s life. I mention here successively, in chronological order: the artist’s roots (his mother and father’s origins), the relationship with his home town – Kalisz, studies at the State Higher School of Visual Arts in Gdańsk, in years 1969-1974 - two first years at the Faculty of Interior Design, and the next three at the Faculty of Painting and Sculpture. This is followed by a detailed description of his time at the EL Gallery Art Laboratory where Petasz worked in years 1974-1976. I provide the genesis of the artist’s arrival at the gallery as well as the conditions in which he acted as the director of this institution. In the article I describe, in considerable detail, Paweł Petasz’s work at the EL Gallery: ordering and taking inventory, programme assumptions, first events and exhibitions, his collaboration with Leszek Przyjemski, participation in the Polish Creative Meetings in Liksajny; as well as the circumstances which weighed on his decision to resign from the post at the gallery. Then I reveal the backstage of the first in Central Europe exhibition of mil art – organized on Petasz’s initiative, in collaboration with Marek Duszak – CIRCLE 77. Mail Art – The Art of Mail (EL Gallery, 1977). In the last part of the text I analyse the source of Petasz’s interest in mail art, I describe the character of his artistic work in this field, and its reception within the mail art environment worldwide. This text is the first attempt to profoundly analyse certain aspects of Paweł Petasz’s biography with the particular consideration of his family origins, early life, and circumstances influencing the development of his artistic attitude as well as opinions on the surrounding world, and, in consequence, his interest in mail art in the mid-seventies. The research concerning Petasz’s biography shall be continued, and its results published in separate articles.
    Źródło:
    Sztuka i Dokumentacja; 2020, 22; 197-223
    2080-413X
    Pojawia się w:
    Sztuka i Dokumentacja
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Kwadratura Koła Jedynego Polaka: Paweł Petasz (1951–2019)
    La Quadrature du Cercle de l’Unique Polonais: Pawel Petasz (1951-2019)
    Autorzy:
    Brogowski, Leszek
    Powiązania:
    https://bibliotekanauki.pl/articles/995532.pdf
    Data publikacji:
    2020
    Wydawca:
    Akademia Sztuk Pięknych w Gdańsku
    Tematy:
    paweł petasz
    mail art
    conceptual art
    el gallery
    elbląg
    artists' books
    commonpress
    potlatch
    Opis:
    Paweł Petasz - był jedynym Polskim artystą światowego ruchu mail art, który nie tylko w nim uczestniczył, ale i nadawał mu kształt, formował jego granice artystyczne, a także zakres znaczeniowy samego pojęcia mail art. Jakkolwiek znany w świecie, nie doczekał się dotąd uznania w Polsce. Materiał prezentowany w sekcji Gallery w numerze 22 czasopisma Sztuka i Dokumentacja jest pierwszych całościowym opracowaniem na temat jego pracy twórczej. Główny jego wkład w rozwój światowej sieci mail art stanowi utworzenie magazyny Commonpress, ale może przede wszystkim ustanowienie zasad, na jakich mógł on być publikowany. Commonpress mianowicie był darem Petasza-artysty konceptualnego oddanego innym twórcom, przekazanym im do dalszego użytkowania. Dalej tak może on funkcjonować, gdyż idea nie ma granic. Dlatego rozumienie i interpretacja jego dzieła może być prowadzona w oparciu o wzór idei potlatch.
    Paweł Petasz - was the only Polish artist of the global mail art movement, who not only participated in it, but also shaped it, shaped its artistic boundaries, as well as the meaning range of the concept of mail art itself. Although known in the world, it has not been recognized in Poland so far. The material presented in the Gallery section in issue 22 of the Sztuka i Dokumentacja magazine is the first comprehensive study on his creative work. His main contribution to the development of the global mail art network is the creation of the Commonpress magazine, but perhaps most of all the establishment of rules on which it could be published. Commonpress was a gift from Petasz - a conceptual artist devoted to other creators, transferred to them for further use. It can still function this way, because the idea has no limits. Therefore, the understanding and interpretation of his work can be based on the pattern of the idea of a potlatch.
    Źródło:
    Sztuka i Dokumentacja; 2020, 22; 262-301
    2080-413X
    Pojawia się w:
    Sztuka i Dokumentacja
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-9 z 9

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