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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:
    Sztuka jako wyraz świadomości artysty
    Art As An Expression Of The Artist’s Awareness
    Autorzy:
    Zagrodzki, Janusz
    Powiązania:
    https://bibliotekanauki.pl/articles/424492.pdf
    Data publikacji:
    2012
    Wydawca:
    Akademia Sztuk Pięknych w Gdańsku
    Tematy:
    CONTEMPORARY ART
    CONCEPTUAL ART
    CONCEPTUALISM
    Opis:
    Considerations upon the awareness that previously had been identified as the power of God's creation, a universal mind that binds all terrestrial matters together, are the source of an ancient thought. The term conceptualism — conceptus, defining a thought, a concept, an imagination—was inherited from the Latin, but as an idea it emerged in philosophical discussions long before Socrates. The idea of conceptual perception may be found in Plato's philosophy; the definition of creative awareness was not, however, precisely defined by him. It was only Aristotle who assumed that a condition for art to exist is “a permanent disposition capable of producing something with reason”. This direction of research was undertaken by Friedrich Wilhelm Joseph Schelling, one of the first philosophers examining consciousness, the author of the treatise entitled “Philosophy of Art”. The power of Schelling's thought was an emphasis on using symbols in art. Confronting hidden meanings with the literality of concepts based on tangible aspects of knowledge mean that his opinions are still of interest for researchers. The concept of a self-awareness we owe to the establishments of René Descartes. His principle “I think therefore I am” did not remove and in fact even highlighted the doubts that arise during creative activity. What is contemporary art?— a discipline which attempts to understand the power of the human mind, which enables artists to use the knowledge they possess in action. It is an inborn predisposition, or perhaps it is a disposition to produce something material with a thought and therefore it is conceptual in nature. The values in art result from the essence of a message, and the methods of transmitting and receiving are, in a natural way, linked to the intellectual process and it does not matter, which form of the ‘conceptualisation’ of the world the artist chose. Art understood as a concept is often identified as utopian. Utopia, on the other hand, is most often understood as an intentional attitude that exists in one’s consciousness, an idea which cannot be realised. The question arises: what is an artwork completed as an artistic fact. This apparent antinomy between the notions of reality, utopia and concept in art results from an assumption that something is possible and other things are not and that all arguments depend on the assumed point of reference. It is often claimed in colloquial sentences that a project turned out to be utopian. But what does it mean? Can art be utopian? Has any art program ever been fully completed? Can ideas stemming from one’s artistic statement, in their full complexity, demanding a lot of harmonious circumstances, ever be realised? So called utopian or conceptual thought is the basis of all meaningful art achievements, contrary to intentions thought to be realistic, which by their very down-to-earth nature, lack fantasy and therefore have little in common with art. The emergence of an art concept is parallel to the possibilities of its realisation. Not sooner does art exist for real, then as a result a conflict between creative ideas and changing reality appears. Sometimes artistic objectives do not develop further beyond the project stage, sometimes they turn into concrete objects, events or processes. The fact that their incarnations exist, does not determine the meanings. The essence of artistic work is to sustain the idea created. If it takes the form of a registered project then it automatically turns into a tangible object, an item, a phenomenon which can be a base for further actions. So, when the artist questions the rules of the surrounding reality, it is not a conceptual utopia that emerges, but new realities.
    Źródło:
    Sztuka i Dokumentacja; 2012, 6; 119-122
    2080-413X
    Pojawia się w:
    Sztuka i Dokumentacja
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Conception, Connotation, and Essential Predication: Peter Auriol’s Conceptualism to the Test in II Sententiarum, d. 9, q. 2, art. 1
    Autorzy:
    Fornasieri, Giacomo
    Powiązania:
    https://bibliotekanauki.pl/articles/1621436.pdf
    Data publikacji:
    2021
    Wydawca:
    Uniwersytet Szczeciński. Wydawnictwo Naukowe Uniwersytetu Szczecińskiego
    Tematy:
    Peter Auriol
    Connotation
    Essential Predication
    Conceptualism
    Opis:
    This paper comprises two parts. The first part is an introduction to Auriol’s moderate conceptualism, as it is presented in his Commentary on Book II of the Sentences, distinction 9, question 2, article 1. The second part is an edition of the text. In the introduction, I focus on Auriol’s use of the noetic tool of connotation. My thesis, in particular, is that connotation is a necessary prerequisite to his moderate conceptu alism. To this purpose, the first part of this introduction will be devoted to a brief presentation of Auriol’s conceptualism. In the second part, Auriol’s theory of essential predication will be presented. In the third part, I will present my claim that Auriol’s theory of essential predication can only be made sense of when read against the background of his theory of connotation as applied to intellectual cognition. Finally, I will offer a collation of Auriol’s Commentary on Book II of the Sentences, dis tinction 9, question 2, article 1, obtained by collating eight manuscripts, which hand down Auriol’s text, that is, Firenze, Biblioteca nazionale centrale, ms. Conv. Soppr. B.6.121, Firenze, ms. Conv. Soppr. A. 3.120, Napoli, Biblioteca nazionale, ms. VII.C.3, Padova, Biblioteca Antoniana, ms. 161, scaff. ix, Paris, Bibliothèque nationale de France, ms. latin 15867; Pelplin, Biblioteka Seminarium duchownego, ms. 46/85, Vaticano (Città del), Biblioteca Apostolica, ms. Borgiano 404, Vaticano (Città del), Biblioteca Apostolica, ms. Vat. lat. 942.
    Źródło:
    Analiza i Egzystencja; 2021, 54; 81-126
    1734-9923
    2300-7621
    Pojawia się w:
    Analiza i Egzystencja
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Funkcja dokumentacji w sztuce współczesnej
    The Function Of Documentation In Contemporary Art
    Autorzy:
    Guzek, Łukasz
    Powiązania:
    https://bibliotekanauki.pl/articles/424428.pdf
    Data publikacji:
    2010
    Wydawca:
    Akademia Sztuk Pięknych w Gdańsku
    Tematy:
    CONCEPTUALISM
    CONTEMPORARY ART
    DOCUMENTATION
    INTERMEDIA
    PERFORMANCE ART
    Opis:
    This text is an attempt to outline the status of documentation in contemporary art and to describe the process of how the role of documentation has changed within the last decade. Simply speaking, documentation has gained the independent status of a work of art. Documentation as an artistic phenomenon can be considered on two levels: formally as a way to create new works of art, and this is what interests me most here; contextually (socially), when issues arising from documentation are discussed institutionally from the point of view of curators, institutions or political decision makers. The most general category which covers the whole phenomenon of documentation as art is a category of the artistic means of expression created by Peter Burger. For him it replaced the traditional category of style in dealing with the 'non-organic' character of artworks created by the dada and surrealistic avant-garde. Its artistic heirs: conceptual art, action art and time-based installations are a starting point for this particular new role of documentation as art. In art history the existing standards outlining the relationship between the original and a repetition, (like Benjamin's aura, a dialectic combination of media such as Higgins's intermedia card), are not entirely applicable here. As in the works based on documentation, the problem of originality does not exist and the intermediality is currently made of several media. Therefore, although they somehow may serve as general patterns of thinking, they are, however, not sufficient to describe and interpret the specific works of art. Ankersmit's theory of history offers a pattern of a narration rooted in facts. Art based on documentation is in opposition to 'literature' created by curators and the contextual studies, into which art history has fallen. This text is illustrated with examples from the main exhibition of the festival 'Art and Documentation 2010' based on open submission and showing the works from last year.
    Źródło:
    Sztuka i Dokumentacja; 2010, 3; 5-14
    2080-413X
    Pojawia się w:
    Sztuka i Dokumentacja
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Moskiewski konceptualizm - między awangardą a postmodernizmem
    Autorzy:
    Pietraś, Elżbieta
    Powiązania:
    https://bibliotekanauki.pl/articles/444279.pdf
    Data publikacji:
    2007
    Wydawca:
    Uniwersytet Warmińsko-Mazurski w Olsztynie
    Tematy:
    conceptualism
    underground
    soc art
    avant-garde
    postmodernism
    Opis:
    The Moscov Conceptualism was one of the famous phenomena of non-official art. It showed emptiness of soviet paintings, literature, art. The Moscow underground was connected by the same feeling and need to change the soviet language poisoned by demagogy of politicians, by the falsity of official slogans and literature. It entered two influential styles in non-formal culture of the 1970s and 1980s. First of them was concentrated on a visual art and used term "soc-art" connected with series of paintings by Vitaly Komar and Alexander Malamid. It compared material forms of soviet ideology (posters, slogans, graphic art) with the profusion of Western commercial advertising products and pop art. The second circle of artists was concentrated near Ilya Kabakov and included not only painters but also great writers like Dmitry Prigov, Lev Rubinstein and Vladimir Sorokin, who used to deconstruct typical socrealistic literature by showing her absurd. This trend was called Moscow Conceptualism and was in many points connected with traditions of avant-garde art, especially futurism and OBERIU.
    Źródło:
    Acta Neophilologica; 2007, IX; 131-142
    1509-1619
    Pojawia się w:
    Acta Neophilologica
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Sztuka zamiast filozofii
    Art Instead Of Philosophy
    Autorzy:
    Jasiński, Bogusław
    Powiązania:
    https://bibliotekanauki.pl/articles/424367.pdf
    Data publikacji:
    2012
    Wydawca:
    Akademia Sztuk Pięknych w Gdańsku
    Tematy:
    CONTEMPORARY ART
    CONCEPTUAL ART
    CONCEPTUALISM
    AESTHETICS
    ETHOSOPHY
    EXISTENCE
    Opis:
    The aim of this text is to show the cognitive function of the art later referred to as conceptual. Conceptualism was particularly predisposed to express abstract messages which included philosophical ones. The basic question I would like to pose in this text is: can a conceptual art toolbox express in its own way that which had been formerly expressed by philosophy? How, with the usage of means suggested by conceptual art, may one build a general image of the world – comparable to that which philosophy had previously given? Perhaps a full answer to the above question leads us into the areas of art which ceased to fill the boundaries of conceptualism, or post-conceptualism and heads straightforward to action, which Grotowski called an ‘active culture’ — that is a place where art is not sufficient anymore.
    Źródło:
    Sztuka i Dokumentacja; 2012, 6; 97-107
    2080-413X
    Pojawia się w:
    Sztuka i Dokumentacja
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Czy konceptualizm jest wystarczającą podstawą dla odrzucenia niekonstruktywnych dowodów istnienia w matematyce?
    Is Conceptualism a Sufficient Reason for the Rejection of Non-Constructive Existence Proofs in Mathematics?
    Autorzy:
    Chlastawa, Daniel
    Powiązania:
    https://bibliotekanauki.pl/articles/690974.pdf
    Data publikacji:
    2012
    Wydawca:
    Copernicus Center Press
    Tematy:
    mathematical constructivism
    non-constructive proofs
    existence proofs
    conceptualism
    Opis:
    Non-constructive existence proofs (which prove the existence of mathematical objects of a certain kind without giving any particular examples of such objects) are rejected by constructivists, who hold a conceptualist view that mathematical objects exist only if they are constructed. In the paper it is argued that this conceptualist argument against non-constructive proofs is fallacious, because those proofs establish the existence of objects belonging to certain kinds rather than the existence of those objects per se. Moreover, to engage in proving existence theorems in a given mathematical theory one has to define all of the objects of this theory at the very beginning, which can be interpreted as establishing the existence of these objects before any theorem about them is proven. It is also argued that the constructivist may escape these objections by adopting the actualistic view, according to which a mathematical sentence is true if and only if it is established as true, but this view is very implausible, as it seems unable to explain the strictness and objectiveness of mathematics and the fact that it differs so fundamentally from, for example, fictional discourse.
    Źródło:
    Zagadnienia Filozoficzne w Nauce; 2012, 51; 116-130
    0867-8286
    2451-0602
    Pojawia się w:
    Zagadnienia Filozoficzne w Nauce
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Las Meninas – Interpretation narratives throughout centuries
    Autorzy:
    Myoo, Sidey
    Powiązania:
    https://bibliotekanauki.pl/articles/593776.pdf
    Data publikacji:
    2017
    Wydawca:
    Łódzkie Towarzystwo Naukowe
    Tematy:
    inspiration
    interpretation
    forma
    conceptualism
    transformation
    inspiracja
    interpretacja
    konceptualizm
    transormacja
    Opis:
    The purpose of this paper is to focus on the interpretations of some 20th and 21st century artworks inspired by the painting Las Meninas by Diego Velázquez. The analysis is to show the potential of artistic techniques, the inventiveness of the avant-garde and neo-avant-garde artists, and the meaningful re-readings of the original work. The author concludes that imitative artworks lacking a conceptual dimension are only historical references with no significant role in the history of art due to their submission to the influence of the Baroque model. In contrast, significant conceptualisation and creative attitude towards Las Meninas add to intentionally meaningful interpretations, showing the deeper aspects of the masterpiece, and thus becoming autonomous artworks which could be presumably created regardless of the original source of inspiration. The artworks under scrutiny have been selected with regard to their artistic techniques and their interpretative potential which served as a means to define the level of their creative autonomy.
    Celem artykułu jest zaprezentowanie interpretacji kilku XX i XXI wiecznych prac artystycznych, nawiązujących do słynnego obrazu Las Meninas Diego Velázqueza. W analizie skupiono się na potencjale warsztatu artystycznego, biorąc pod uwagę jego awangardową i neoawangardową zmienność oraz głębokość konceptualizacji. Z analizy płynie wniosek, że prace, które posiadają niewielki wymiar konceptualny, pozostają jedynie nawiązaniem historycznym, nie zyskując samodzielności w świecie sztuki, pozostając w silnym, determinującym je związku z barokowym pierwowzorem. Z kolei prace, które zostały głęboko skonceptualizowane, zawierające sens i znaczenie wynikające z inspiracji Las Meninas, takie, które intencjonalnie wykraczają poza pierwowzór, mogą być łatwiej potraktowane jako niezależne dzieła, które mogłyby nawet powstać w podobnej postaci niezależnie od historycznego oryginału. Prace wybrano do analizy uwzględniając ich cechy warsztatowe oraz potencjał interpretacyjny, co miało być głównym wyznacznikiem ich autonomiczności.
    Źródło:
    Art Inquiry. Recherches sur les arts; 2017, 19; 73-87
    1641-9278
    Pojawia się w:
    Art Inquiry. Recherches sur les arts
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Idea a obraz. Ikonoklastyczny aspekt konceptualizmu
    An Idea And An Image. The Iconoclastic Aspect Of Conceptualism
    Autorzy:
    Gralińska–Toborek, Agnieszka
    Powiązania:
    https://bibliotekanauki.pl/articles/424426.pdf
    Data publikacji:
    2012
    Wydawca:
    Akademia Sztuk Pięknych w Gdańsku
    Tematy:
    CONTEMPORARY ART
    MODERN ART
    CONCEPTUAL ART
    CONCEPTUALISM
    ICONOCLASM
    IDOLATRY
    JOSEPH KOSUTH
    Opis:
    Conceptualism, as the art of an idea, placed itself beyond aesthetic and sensual experience. As a rule, it did not produce art objects which could be pleasing or that would represent reality. This rejection of an image places conceptualism in a broadly understood iconoclastic movement. When we examine various historical iconoclastic movements (religious and political) we may reconstruct the most important features of iconoclastic awareness and compare them with the essential postulates of conceptualism. The result of this comparison is a striking similarity of both phenomena. To mention just a few linking features of conceptualism and iconoclasm, we may enumerate: a doubt in the adequacy of the relationship between an idea and image, a fear of an idolatrous belief in a material art object, a drive to demystify art and artists, a concentration on a word instead of an image. Iconoclastic mentality can also be characterised by analytic thinking, progressive attitude and irony. However, the question arises if iconoclasm can exist without idolatry; or if conceptualism could have developed without a material object? Even if it rejected it, then the art world (museum, critics, audiences) that shows a progressively stronger tendency to contextualise, flung conceptualism out of “art’s orbit into the ‘infinite space’ of the human condition” (to use the words of J. Kosuth).
    Źródło:
    Sztuka i Dokumentacja; 2012, 6; 41-64
    2080-413X
    Pojawia się w:
    Sztuka i Dokumentacja
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Leszek Przyjemski: Szaleństwo jako Praktyka Krytyczna. Neoawangarda i Polityka
    Leszek Przyjemski: Madness as a Critical Practice. Neo-avant-garde and Politics
    Autorzy:
    Wroniszewski, Maksymilian
    Powiązania:
    https://bibliotekanauki.pl/articles/1011648.pdf
    Data publikacji:
    2020
    Wydawca:
    Akademia Sztuk Pięknych w Gdańsku
    Tematy:
    leszek przyjemski
    szaleństwo
    histeria
    konceptualizm
    sztuka krytyczna
    madness
    hysteria
    conceptualism
    critical art
    Opis:
    W artykule przedstawiona została interpretacja sztuki Leszka Przyjemskiego w kontekście kategorii szaleństwa i figury szaleńca. Autor wskazuje na związek działań Przyjemskiego z przypadającym na lata siedemdziesiąte. zainteresowaniem polskiej kultury szeroko ujętym tematem szaleństwa / obłąkania / choroby psychicznej. Wyodrębnienie tego aspektu sztuki Przyjemskiego pozwala na ukazanie jego działalności jako odrębnej od głównego nurtu sztuki konceptualnej. Ponadto uwaga zostaje zwrócona na kwestię odmiennego usytuowania działań Przyjemskiego i Anastazego Wiśniewskiego (współtwórców Galerii Tak) w politycznej rzeczywistości lat siedemdziesiątych. Autor koncentruje się zwłaszcza na interpretacji podejmowanego przez artystę wątku histerii, która przedstawiona zostaje jako reakcja na neurotyczną rzeczywistość kreowaną przez oficjalną propagandę oraz efekt represji wytworzonej przez nadzorczy charakter ówczesnej władzy. Ponadto, w artykule podjęta została kwestia relacji sztuki Przyjemskiego i sztuki krytycznej lat dziewięćdziesiątych.
    The article provides an interpretation of Leszek Przyjemski’s art in relation to the category of madness and the figure of a madman. The author indicates the link between Przyjemski’s work and madness/insaneness/mental disorder – themes broadly undertaken and portrayed by the Polish culture of the 1970s. By extracting this specific aspect of Przyjemski’s art, the author is able to present the artist’s activity as separate from the mainstream conceptual art and, what is more, to highlight the distinctive position of the artistic activity by Przyjemski and AnastazyWiśniewski (both co-authors of the Gallery Tak) within the political reality of the 1970s. In particular, the author focuses on the interpretation of hysterics – an issue investigated by the artist and depicted by him as a reaction to the neurotic reality created by the official propaganda on the one hand, and on the other, as an outcome of repression resulting from the supervisory nature of the contemporary authority. Furthermore, the article tackles the relation between Przyjemski’s art and the critical art of the 1990s.
    Źródło:
    Sztuka i Dokumentacja; 2020, 22; 153-180
    2080-413X
    Pojawia się w:
    Sztuka i Dokumentacja
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Bóg i uniwersalia
    God and universals
    Autorzy:
    Judycki, Stanisław
    Powiązania:
    https://bibliotekanauki.pl/articles/1591888.pdf
    Data publikacji:
    2019
    Wydawca:
    Uniwersytet Szczeciński. Wydawnictwo Naukowe Uniwersytetu Szczecińskiego
    Tematy:
    God
    universals
    Platonism
    realism
    conceptualism
    nominalism
    Bóg
    uniwersalia
    platonizm
    realizm
    konceptualizm
    nominalizm
    Opis:
    W pierwszych dwóch częściach artykułu przedstawione są motywacje prowadzące do akceptacji istnienia uniwersaliów, jak również ich rodzaje. Dalej zostają wyróżnione cztery zasadnicze stanowiska w tzw. sporze o uniwersalia: realizm pojęciowy (platonizm), umiarkowany realizm pojęciowy, czyli rozwiązanie arystotelesowskie, konceptualizm i nominalizm (w różnych wersjach). W dalszych częściach artykułu przedstawiona jest krytyka rozwiązań nominalistycznych, arystotelesowskich i konceptualistycznych. Na tym tle autor argumentuje na rzecz teistycznego realizmu pojęciowego, ukazując, w jaki sposób należy zinterpretować relację pomiędzy ludzką świadomością semantyczną a uniwersaliami istniejącymi w umyśle Boga. W tym kontekście zostają wzięte pod uwagę zagadnienia dotyczące pojęć ewolucji kosmicznej i biologicznej oraz pojęcia stworzenia świata.
    The first two parts of the article discuss the motivations leading to acceptance of the existence of universals, as well as their types. Four main positions in the so-called the dispute about universals are presented: conceptual realism (Platonism), moderate conceptual realism, i.e. the Aristotelian solution, conceptualism and nominalism (in various versions). Further parts of the article present a critique of nominalist, Aristotelian and conceptual solutions. Against this background, the author argues in favor of theistic conceptual realism, showing how to interpret the relationship between human semantic consciousness and universals existing in God’s mind. In this context, issues related to the concepts of cosmic and biological evolution and the concept of creation are taken into account.
    Źródło:
    Colloquia Theologica Ottoniana; 2019, 2; 7-34
    1731-0555
    2353-2998
    Pojawia się w:
    Colloquia Theologica Ottoniana
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Literatura postelektroniczna? Od literatury elektronicznej do kartki papieru, czyli podróż powrotna, z bagażem nowych doświadczeń
    Postelectronic Literature? From Screen to Paper, or a Way Back with Luggage of New Experiences
    Autorzy:
    Spodaryk, Mikołaj
    Powiązania:
    https://bibliotekanauki.pl/articles/520760.pdf
    Data publikacji:
    2016
    Wydawca:
    Uniwersytet Pedagogiczny im. Komisji Edukacji Narodowej w Krakowie
    Tematy:
    hipertekst
    literatura elektroniczna
    narracja
    sieć
    konceptualizm
    hypertext
    electronic literature
    narration
    network
    conceptualism
    Opis:
    W artykule poruszam kwestie wpływu rewolucji mikrokomputerowej i doświadczenia sieci na współczesne praktyki słowne, w tym rozwój literatury elektronicznej, oraz sygnalizuję problem wpływu doświadczenia najnowszych mediów (głównie sieci WWW) na literackie strategie narracyjne widoczne w „tradycyjnym”, papierowym medium. Tytułowa literatura postelektroniczna nie jest ścisłą metodologiczną propozycją, lecz raczej zasygnalizowaną pokusą kategoryzacji zjawisk literackich, na których sieć odcisnęła swoje piętno. Stąd też, w omówieniu pojawiają się także trudne do skategoryzowania dzieła z pogranicza literatury elektronicznej i tej istniejącej w powszechnym obiegu literackim, czego przykładem są niektóre zjawiska związane ze współczesnym pisarstwem konceptualnym.
    In my paper I am focusing on the impact of microcomputer revolution and network experiences (Internet) in contemporary verbal practices, including the development of electronic literature, and problems of the impact of recent experience of the media (especially the Web) on the literary narrative strategies which could be seen in a «traditional» paper medium. The title’s postelectronic literature is not a strict methodological proposal, but rather a signaled temptation to categorize literary phenomena, on which the Internet network has left its mark. Hence, in the discussion there also appears a difficulty to categorize the works on the borderline of electronic literature and this «traditional», existing literature in wide circulation, and some phenomena associated with the contemporary conceptual writing.
    Źródło:
    Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura; 2016, 8, 2 "Cyfrowa humanistyka"; 117-129
    2083-7275
    Pojawia się w:
    Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Konceptualizm i sztuka interaktywna. Analiza polskich przykładow
    Conceptualism And Interactive Art. The Analysis Of Polish Examples
    Autorzy:
    Kluszczyński, Ryszard W.
    Powiązania:
    https://bibliotekanauki.pl/articles/424339.pdf
    Data publikacji:
    2012
    Wydawca:
    Akademia Sztuk Pięknych w Gdańsku
    Tematy:
    CONTEMPORARY ART
    CONCEPTUAL ART
    CONCEPTUALISM
    WOJCIECH BRUSZEWSKI
    JÓZEF ROBAKOWSKI
    DIGITAL ART
    INTERACTIVE ART
    Opis:
    Contemporary interactive art, which is created through digital computer technologies, has its roots in the artistic trends of a new avant-garde that developed at the end of the 1950s. Conceptual art played a significant and specific role in this process along with kinetic art, action art, installation and electronic media art. It formed not only a deep logic and framework for neo avant-garde tendencies in art, but also a favourable context to develop participatory tendencies and to prepare the conceptual ground for interactive art. In this complex field of artistic genres of that time, many artworks created had features which allow us to consider them in relation to interactive art. Amongst them, we can find works of such artists as Wojciech Bruszewski and Jozef Robakowski. Their numerous installations and objects from the seventies link conceptual and analytical attitudes with interactive characteristics.
    Źródło:
    Sztuka i Dokumentacja; 2012, 6; 73-78
    2080-413X
    Pojawia się w:
    Sztuka i Dokumentacja
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    O uzasadnianiu w matematyce
    On justification in mathematics
    Autorzy:
    Wójtowicz, Krzysztof
    Powiązania:
    https://bibliotekanauki.pl/articles/2015959.pdf
    Data publikacji:
    2002
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
    Tematy:
    filozofia matematyki
    formalizm
    instrumentalizm
    konceptualizm
    realizm
    philosophy of mathematics
    formalism
    instrumentalism
    conceptualism
    realism
    Opis:
    In this article the problem of justification of mathematical axioms (in the context of traditional standpoints in the philosophy of mathematics) is discussed. Stress is laid on the methodological analysis, which concerns the notion of “justification” itself. Concrete choices, known from mathematical practice are not discussed here. In the process of formulating an axiomatic theory, the problem of the choice of the appropriate axiom system and of the justification of this choice emerges. In particular, the following problems are connected with it:(1) The problem of the relation between the concept of “justification” and “truth” of mathematical sentences (when the classical definition of truth is assumed).(2) The problem which criteria of justification can be considered appropriate, and whether the problem of justification is well-posed.(3) The problem, whether these criteria can be applied only to axioms, in the process of constructing an axiomatic theory, or also to independent sentences (after their metamathematical status has been settled. In that case, extending a theory T by an independent sentence φ or ¬φ cannot be justified by a formal proof.) (4) The problem, whether the choice of a particular justificatory procedure is motivated philosophically; in particular, whether the problem of justification is considered well-posed. These questions are analysed in the context of classical philosophical standpoints in the philosophy of mathematics, such as: (1) strict formalism; (2) Hilbert's formalism; (3) mathematical instrumentalism; (4) intuitionism; (5) Quine's realism; (6) Gödel's realism. The standpoint of the “working mathematician” is also discussed.
    Źródło:
    Roczniki Filozoficzne; 2002, 50, 1; 527-551
    0035-7685
    Pojawia się w:
    Roczniki Filozoficzne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    The linguistic turn in Conceptualism and after
    Lingwistyczny zwrot w konceptualizmie i po nim
    Autorzy:
    Piotrowski, Kazimierz
    Powiązania:
    https://bibliotekanauki.pl/articles/593971.pdf
    Data publikacji:
    2015
    Wydawca:
    Łódzkie Towarzystwo Naukowe
    Tematy:
    conceptism
    conceptualism
    contextualism
    extension
    intension
    linguistic turn
    ekstensja
    intensja
    konceptyzm
    konceptualizm
    kontekstualizm
    lingwistyczny zwrot
    Opis:
    One of the most spectacular turns in the art of the 20th century was based on the linguistic reorientation of philosophy, whose extreme manifestation was Wittgenstein's non- denotational conception of meaning. It inspired the so-called analytical conceptualism that was trying in vain to overcome the heterogeneous nature of conceptism, from which it derived. This is reflected especially in Joseph Kosuth's confusion concerning the neo-positivist inspiration and one of the guiding themes of natural language philosophy which emphasizes the significance of metaphor and the fundamental role of the functor as in human thinking. The following article presents this process of inconsistent reduction of art to language, showing some of its consequences and its replacement by contextualism.
    Podstawą jednego z najbardziej spektakularnych zwrotów w sztuce XX wieku była lingwistyczna reorientacja filozofii, której skrajnym przejawem była niedenotacyjna koncepcja znaczenia Ludwiga Wittgensteina. Jej aplikacji dokonał tzw. analityczny konceptualizm, który w tym lingwistycznym zwrocie daremnie usiłował przezwyciężyć heterogeniczny charakter konceptyzmu, z którego notabene się wywodził. Świadczy o tym, zwłaszcza u Josepha Kosutha, pomieszanie neopozytywistycznej inspiracji z motywem filozofii języka naturalnego, który podkreśla doniosłość metaforyzacji i myślenia z pomocą funktora as [podobnie jak]. Niniejszy tekst przedstawia proces tej niezbornej redukcji sztuki do języka, ukazując niektóre jej konsekwencje oraz jej wyraźną granicę, jaką stał się kontekstualizm.
    Źródło:
    Art Inquiry. Recherches sur les arts; 2015, 17; 144-166
    1641-9278
    Pojawia się w:
    Art Inquiry. Recherches sur les arts
    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:
    Jerzy Fedorowicz: Rytm Życia, Rytm Czasu, Rytm Sztuki
    Jerzy Fedorowicz: The Rhythm of Life, the Rhythm of Time, the Rhythm of Art
    Autorzy:
    Popiel, Agnieszka
    Powiązania:
    https://bibliotekanauki.pl/articles/424585.pdf
    Data publikacji:
    2018
    Wydawca:
    Akademia Sztuk Pięknych w Gdańsku
    Tematy:
    Jerzy Fedorowicz
    Ludmiła Popiel
    Osieki
    konceptualizm
    awangarda
    akcje
    pamięć
    conceptualism
    avant-garde
    actions
    documentation
    memories
    Opis:
    W 1954 roku absolwenci krakowskiej Akademii Sztuk Pięknych – Jerzy Fedorowicz (1928–2018) i Ludmiła Popiel (1929–1988) – osiedlili się na Ziemiach Odzyskanych – w Koszalinie, mieście w osiemdziesięciu procentach zniszczonym. Zaczęli tworzyć środowisko artystyczne. W kraju pozbawionym wolności zainicjowali realizację idei wolności artystycznej – międzynarodowe Spotkania Artystów, Krytyków i Teoretyków Sztuki, z których pierwsze odbyło się w Osiekach w 1963 roku. W ciągu osiemnastu lat Fedorowicz był organizatorem i twórcą koncepcji tematycznych spotkań. W samych Osiekach, gdy odbywały się „plenery”, Popiel i Fedorowicz byli jednak przede wszystkim artystami, należącymi do ścisłego grona ówczesnej awangardy, prekursorów konceptualizmu w Polsce. Brali aktywny udział w większości znaczących wydarzeń artystycznych lat sześćdziesiątych, siedemdziesiątych i osiemdziesiątych dwudziestego wieku w naszym kraju. Rytm czasu naznaczany przez Osieki i rytm sztuki Fedorowicza i Popiel oddają dzieła, dokumentacja, lecz także notatki, wspomnienia, rękopisy. Część z nich zostanie omówiona w tym artykule.
    Źródło:
    Sztuka i Dokumentacja; 2018, 18; 155-167
    2080-413X
    Pojawia się w:
    Sztuka i Dokumentacja
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    „Тупые, дикие, идиоты” a nowy teatr w Rosji na przełomie XX i XXI wieku
    “Tupyje, dikije, idioty” vs. new theatre in Russia since the 1990s
    Autorzy:
    Osińska, Katarzyna
    Powiązania:
    https://bibliotekanauki.pl/articles/22446773.pdf
    Data publikacji:
    2013
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    new theatre in Russia
    new theatre
    Moscow Conceptualism
    “Hudozhestvennyi zhurnal”
    ‘zaum’
    absurd
    performance of laughter
    Opis:
    In the Russian theatre, especially the postmodern one, since the turn of the 80s and 90s we have been able to observe that young theatre creators tend to adopt a defiant derisive attitude – both towards reality and to texts originating from the culture of the past which often constitute the subject matter of their works. A part of phenomena that are mentioned here might be presumably called ‘performances of laughter’ (as opposed to ‘performances of violence’ – this was the way the so-called new Russian drama was named by Mark Lipovetsky and Birgit Beaumers). This kind of artistic gesture was a reaction to the fact that in the former Soviet Union art was regarded as a mission and theatre was treated as a cradle of culture. They also meant a rebellion against authority figures, also the authority of tradition, and on the other hand they were an expression of surrender in the face of challenges brought in by the new social, political and cultural situation. In the article I assume that ‘performance of laughter’ and other theatre forms, whose authors undermined the possibility of rational cognition, simultaneously enhancing such strategies as absurd, eccentricity, chaos, infantilism, showing-off (in Russian „stiob”), originated from the chronologically earlier trend of visual arts, deriving from the Moscow Conceptualism. Therefore, I begin the article presenting the contents of the magazine “Hudozhestvennyi zhurnal” (2000, 26–27) dedicated to art taming the type of consciousness which medicine diagnoses as “idiotism”.
    Źródło:
    Acta Universitatis Lodziensis. Folia Litteraria Rossica; 2013, Zeszyt specjalny 2013; 31-42
    1427-9681
    2353-4834
    Pojawia się w:
    Acta Universitatis Lodziensis. Folia Litteraria Rossica
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Obraz a idea. Estetyczno-antropologiczne paradoksy sztuki konceptualnej (implikacje ikonoklastyczne)
    Image and Idea. Aesthetic and Anthropological Paradoxes of Conceptual Art (Iconoclastic Implications)
    Autorzy:
    Kazimierska–Jerzyk, Wioletta
    Powiązania:
    https://bibliotekanauki.pl/articles/424511.pdf
    Data publikacji:
    2012
    Wydawca:
    Akademia Sztuk Pięknych w Gdańsku
    Tematy:
    CONTEMPORARY ART
    CONCEPTUAL ART
    CONCEPTUALISM
    ICONOCLASM
    ICONOPHILISM
    ICONODULISM
    IDOLATRY
    JOSEPH KOSUTH
    JAN BERDYSZAK
    GRZEGORZ SZTABINSKI
    Opis:
    When taking into account the iconoclastic implications of conceptualism, we may observe its close but at the same time, warped relationship with aesthetics. I developed this thought after reflecting on Arnold Berleant. Such a view allows one to support the idea of a wider understanding of the notion of conceptual art, which accepts the presence of an art object not only in the form of art documentation, but also as an object included in an aesthetic awareness. One of its main aspects is the problem of the effect (power) of images. The problem of an aesthetic awareness was developed by Joseph Kosuth through a suggestive formula of ‘art as anthropology’. I treat this as a consequence of previous ideas developed by the artist, not as a total turn away from them. As a consequence one may consider as conceptual the attitudes and projects that keep the image in its physical sense and make the creating of images problematic in such a way that the most important seem to be reflections on the notion of art (image). In the article I consider two examples of Polish artists – Jan Berdyszak and Grzegorz Sztabinski. I underline how their activities are involved in certain iconoclastic practices (typical for conceptualism) and with which means they articulate the need to overcome them.
    Źródło:
    Sztuka i Dokumentacja; 2012, 6; 47-54
    2080-413X
    Pojawia się w:
    Sztuka i Dokumentacja
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    KwieKulik i konceptualizm w uwarunkowaniach PRL-u. Przyczynek do analizy problemu
    Kwiekulik And Conceptualism In The Peoples Republic Of Poland (Prl). A Contribution To The Problem Analysis
    Autorzy:
    Załuski, Tomasz
    Powiązania:
    https://bibliotekanauki.pl/articles/424689.pdf
    Data publikacji:
    2012
    Wydawca:
    Akademia Sztuk Pięknych w Gdańsku
    Tematy:
    CONTEMPORARY ART
    CONCEPTUAL ART
    CONCEPTUALISM
    CONTEXTUALISM
    KWIEKULIK
    PRZEMYSLAW KWIEK
    ZOFIA KULIK
    OPEN FORM
    PRAXEOLOGY
    ARTISTIC GEOGRAPHY
    Opis:
    Until now, the artistic practices of a duo named KwieKulik, founded between 1971-1987 by Przemysław Kwiek and Zofia Kulik, were placed outside of conceptual art. I am not presenting here a simple thesis that KwieKulik were conceptual artists, but I attempt to formulate an introductory question about the complex relationship in which they situated themselves in response to conceptualism. In one of the interviews, the artists claimed that they could never be ‘pure conceptual artists’. I wonder, however, if the activity of the duo may be framed in a category of some ‘impure conceptualism’ whose important aspect is to be found in exposing the conditions of life and work in the People's Republic of Poland . To achieve this one needs to investigate thoroughly the artists stance towards the hegemonic term of ‘conceptualism’ whilst highlighting all of their actions that had any conceptual feature and to define a specific, individual form which appeared in the network of relationships with other elements of artistic practice. In my text I explain how one should understand ‘conceptualism’ as ‘a hegemonic term’ that organises and imposes itself onto an agonistic field of innovative art practices — not only in the West, but also in Poland. In this context, undertaking the question of “KwieKulik and conceptualism” opens a new perspective for a counter-hegemonic reinterpretation of conceptualism in the People's Republic of Poland. Without rejecting the term ‘conceptualism’, one needs to look at the questions related to it through the prism of an individual case of the KwieKulik duo. It should also allow the practices of both artists to make an imprint on ‘conceptualism’. In the last part of my text, I limit myself to a series of ‘contributive’ notes which may be treated as orientation points in an appropriate analysis of the conceptual aspects of the art of KwieKulik.
    Źródło:
    Sztuka i Dokumentacja; 2012, 6; 79-88
    2080-413X
    Pojawia się w:
    Sztuka i Dokumentacja
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Transcendentalizm Kanta a problem konceptualizmu we współczesnej filozofii percepcji
    Autorzy:
    Sikora, Paweł
    Powiązania:
    https://bibliotekanauki.pl/articles/644106.pdf
    Data publikacji:
    2015
    Wydawca:
    Uniwersytet Marii Curie-Skłodowskiej. Wydawnictwo Uniwersytetu Marii Curie-Skłodowskiej
    Tematy:
    Immanuel Kant
    Wahrnehmung
    sinnlicher Gehalt
    Konzeptualismus
    Realismus
    perception
    perceptual content
    conceptualism
    realism
    percepcja
    treść zmysłowa
    konceptualizm
    realizm
    Opis:
    Indem die Philosophie des Kantischen Transzendentalismus den synthetischen Charakter unserer Erkenntnis beschreibt, nimmt sie im gewissen Sinne den Standpunkt des Konzeptualismus vorweg, der heutzutage auf dem Gebiet der analytischen Wahrnehmungsphilosophie breit diskutiert wird. Ich versuche darzustellen, wie die Hauptpfeiler des Kantischen Transzendentalismus in einigen führenden Standpunkten der gegenwärtigen Wahrnehmungsphilosophie anwesend sind und in welchem Grad von der Realität der Erfahrungsgegenstände in Bezug auf die These des Konzeptualismus gesprochen werden kann. Ich versuche auch nachzuweisen, warum die These des Konzeptualismus den Kern mannigfacher Standpunkte in der Wahrnehmungsphilosophie bilden kann, unabhängig von den Unterschieden in der Auffassung des Wahrnehmungsobjekts. Den Hintergrund des gegenwärtigen Streits conceptual vs. non-conceptual content in Bezug auf die Philosophie von Kant sollen die Betrachtungen über die Realität der Dinge an sich bilden, unabhängig davon, dass für viele Standpunkte in der gegenwärtigen Wahrnehmungsphilosophie der Begriff der Realität nur für die Welt der möglichen Erfahrung vorbehalten ist. Ins Deutsche übersetzt von Anna Pastuszka
    Kantian transcendentalism describes the synthetic character of our cognition and represents the anticipation of conceptualism which is widely discussed on the field of the analytic philosophy of perception today. I will try to present the main pillars of Kant's philosophy as they are present in several key standpoints of the contemporary philosophy of the perception and I will attempt to show how we can understand the reality of the objects of experience based on the thesis of conceptualism. I will also try to show why conceptualism can make up the essence of varied positions in the philosophy of perception, independently from differences in comprehension of the object of perception. The present dispute along the lines of conceptual content vs. non-conceptual content in the reference to Kant's philosophy must also concern the problem of the reality of things itself, despite that the notion of reality for many standpoints of the philosophy of perception refers only to the world of possible experience. Summarised by Paweł Sikora
    Filozofia kantowskiego transcendentalizmu, opisująca syntetyczny charakter naszego poznania, stanowi w pewnym sensie antycypację stanowiska konceptualizmu, które jest dziś szeroko dyskutowane w analitycznej filozofii percepcji. Postaram się zaprezentować, w jaki sposób główne filary transcendentalizmu Kanta są obecne w kilku kluczowych stanowiskach współczesnej filozofii percepcji oraz w jakim stopniu można mówić o realności przedmiotów doświadczenia w oparciu o tezę konceptualizmu. Spróbuję też pokazać, dlaczego teza konceptualizmu może stanowić sedno różnorakich stanowisk w filozofii percepcji, niezależnie od różnic w pojmowaniu przedmiotu postrzeżeń. Drugim planem współczesnego sporu conceptual vs. non-conceptual content w odniesieniu do filozofii Kanta muszą być także rozważania dotyczące realności rzeczy samych w sobie, niezależnie od tego, że dla wielu stanowisk we współczesnej filozofii percepcji pojęcie realności jest zarezerwowane tylko do świata możliwego doświadczenia.
    Źródło:
    Kultura i Wartości; 2015, 15
    2299-7806
    Pojawia się w:
    Kultura i Wartości
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Protokonceptualizm polski
    Polish Proto-Conceptualism
    Autorzy:
    Kowalska, Bożena
    Powiązania:
    https://bibliotekanauki.pl/articles/424612.pdf
    Data publikacji:
    2012
    Wydawca:
    Akademia Sztuk Pięknych w Gdańsku
    Tematy:
    CONTEMPORARY ART
    CONCEPTUAL ART
    CONCEPTUALISM
    PROTOCONCEPTUALISM
    JOSEPH KOSUTH
    SOL LEWITT
    ROMAN OPALKA
    RYSZARD WINIARSKI
    ANDRZEJ PAWLOWSKI
    JERZY ROSOLOWICZ
    Opis:
    By accepting one of the definitions applied to conceptualism in the research on this genre, as art that “takes the form of objects under the condition that they have a secondary function in parallel with an idea” I draw attention to an exceptional artistic case, that I call a Polish proto-conceptualism. This phenomenon occurred in the first half of the sixties, that is before Seth Siegelaub’s exhibition in New York (1969), accepted as the beginning of conceptualism, or even before Sol LeWitt’s article in Artforum entitled “Paragraphs on Conceptual Art” when the term, preceding the trend itself, was introduced into the language of art. For this reason I describe the above mentioned artistic experiments of clear conceptual characteristics, which preceded the accepted beginning of conceptualism, as protoconceptualism. I include four Polish artists in this category: Andrzej Pawlowski – an author of Cineforms (1957) that were famous in the sixties and “The concept of an energy field” (1966); Jerzy Rosolowicz – the author of the “Theory on the function of the form” (1963) and objects made of lenses and prisms that according to the artist were mere examples of his theory of neutral act; Roman Opałka with his ‘counted paintings’ (1965) that documented the idea of a fight with time; and Ryszard Winiarski inspired by the probability theory, who asked about determinism or indeterminism and treated his works not as paintings but as “Attempts of visual presentation by statistical charts”. Contrary to a typical conceptualism, (which was expressed as a record of processes, place marks, announcements, photographic documentation or mail art that was popular in Poland after 1970 and was inspired by similar activities by artists from Western Europe and the USA – the art of the described Polish proto-conceptualists was purely original and autonomous. It was precursory towards the global understanding of conceptualism and, what is very important, in their activity these artists generated an important message with which a significant concept, philosophical idea or analytic reflection was included.
    Źródło:
    Sztuka i Dokumentacja; 2012, 6; 15-19
    2080-413X
    Pojawia się w:
    Sztuka i Dokumentacja
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Kant a problem treści percepcji
    Kant and the Content of Perceptual Experience
    Autorzy:
    Tomaszewska, Anna
    Powiązania:
    https://bibliotekanauki.pl/articles/2013025.pdf
    Data publikacji:
    2009
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
    Tematy:
    Kant
    McDowell
    konceptualizm
    treść reprezentacyjna
    niepojęciowa treść doświadczenia
    formy naoczności
    conceptualism
    representational content
    nonconceptual mental content
    forms of intuition
    Opis:
    The first part of the article discusses one of the more important issues in the contemporary philosophy of perception and mind, i.e. the problem of the relation between experience and concepts, and that against the background of the conceptualism vs. nonconceptualism debate. On the conceptualist account of empirical cognition, perceptual contents are (throughout) conceptual in the sense that concepts constitute (through and through) the contents of perceptual experience. It is a necessary condition of the ascription of an experience and an empirical belief to a subject that he or she possessed concepts figuring in the characteristic of his or her experience. The relation between experience and belief is described as rational (or logical) rather than causal. I suggest a critical approach towards the conceptualist view in that I spell out some of its inconsistencies. Further, I focus on some selected kinds of nonconceptualism supported by such theorists as Ch. Peacocke, F. Dretske and J. L. Bermúdez. In the second part of my paper, I criticize McDowell’s conceptualist reading of Kant, on which the author of the Critique of Pure Reason is considered as representing the originally conceptualist position. Some of the theses Kant argues for in the “Transcendental Aesthetic” and earlier on in his 1770 Inaugural Dissertation allow us to conclude that, on a certain interpretation of the forms of empirical cognition (space and time), perception, on Kant’s theory, could be regarded as an active but not a concept-involving cognitive process.
    Źródło:
    Roczniki Filozoficzne; 2009, 57, 2; 117-133
    0035-7685
    Pojawia się w:
    Roczniki Filozoficzne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Czy polska sztuka konceptualna ma płeć?
    What Is The Gender Of Polish Conceptual Art?
    Autorzy:
    Hussakowska, Maria
    Powiązania:
    https://bibliotekanauki.pl/articles/424259.pdf
    Data publikacji:
    2012
    Wydawca:
    Akademia Sztuk Pięknych w Gdańsku
    Tematy:
    CONTEMPORARY ART
    CONCEPTUAL ART
    CONCEPTUALISM
    GENDER
    NATALIA LL
    EWA PARTUM
    FEMINIST ART
    FEMALE ART
    MODERN ART
    FEMINISM AND ART
    Opis:
    The essay was inspired by Pawel Dybel’s book The secret of the "other gender". Disputes around the sexual differences in psychoanalysis and feminism, in which he asked a question about the gender of logos. My – less ambitious – attempt was to try to describe the potential of gender in Polish conceptual art. The question is ahistorical, but there are a number of reasons to ask it. Many female artists that were very active during the time of conceptual incitation are invisible. Polish conceptualism which was formed be some artistic couples, historically has lost female faces. Some of these contributors – like Natalia LL or Ewa Partum – we can find out about in the discourse among first Polish feminist artists, but the question of women’s input into conceptualism is still open and does not attract enough interest of scholars. Maybe this is because of the fragile and delicate matter of an artistic partnership in contrast with the heroic notion of artistic individuality that is still attractive for conceptual artists. Maybe this is because of dangerous stereotypes about masculinity and femininity and male and female roles in artistic couples. There are very few scholars who are interested in examining the notion of collaboration in its very complex form. Much of the contemporary discourse on Polish conceptual art has been conveyed through exhibitions. This tactic may be seen as paying respect to the form of an exhibition – a specific, ideal medium to consider works of art not individually, but as they interact with each other. The specifics of conceptual works that were generally visually unattractive in the early seventies has changed, partly because of the most recent generation. The new face of Polish conceptualism is very conservative with regard to the lack of input by women. Unfortunately the belief popular among scholars and curators that women do not do ‘serious’ work still persist, but fortunately for those women artists who are active and visible – they found a useful label in the discourse. Placing them within the feminist movement, one should not forget their conceptual roots, and should delete the question as to whether their works were serious.
    Źródło:
    Sztuka i Dokumentacja; 2012, 6; 29-40
    2080-413X
    Pojawia się w:
    Sztuka i Dokumentacja
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Medium czy osoba – dylematy sztuki konceptualnej na kilku przykładach
    A Medium Or A Person? – Conceptual Art Dilemmas Shown By A Few Examples
    Autorzy:
    Sobota, Adam
    Powiązania:
    https://bibliotekanauki.pl/articles/424564.pdf
    Data publikacji:
    2012
    Wydawca:
    Akademia Sztuk Pięknych w Gdańsku
    Tematy:
    CONTEMPORARY ART
    CONCEPTUAL ART
    CONCEPTUALISM
    ZBIGNIEW DLUBAK
    ZBIGNIEW STANIEWSKI
    NATALIA LL
    ANDRZEJ LACHOWICZ
    ANDRZEJ DUDEK-DÜRER
    FOTO-MEDIUM-ART
    PHOTOMEDIALISM
    Opis:
    My intention is to describe essential artistic strategies associated with conceptualism mainly by highlighting examples of artists associated with the Wroclaw milieu, one of whose strategies included using so called new media, that in the 1960s and 1970s were photography, film and video. This strategy opened the concept of art to the influences of mass culture, everyday life, to the issues of broadening perception and manipulating information. Confrontations and contradictions between the use of new media and classic art forms were expressed by within the milieux and by the various generations of artists causing acute polemics in Poland in the mid-seventies. First I want to focus on the arguments supporting the analysis of photomechanical media, as an essential artistic problem. In Polish art, pioneers of such an awareness were Zbigniew Dlubak and Zbigniew Staniewski. Since 1970 it was expressed in the program of the Permafo group (Dlubak, Natalia LL, A. Lachowicz) and then within other artistic groups, including Foto-Medium-Art and by Jerzy Olek. They were in touch with similar tendencies in Lodz, Krakow and Warsaw. Photomedialism preferred an objective criteria of activities and an openness towards the rules of visuality and the laws of nature typical for documentary movies. On the other hand, it could not exist without pointing at the subject of the creator and its subjective conditions. So the criteria of media and personality interweaved in artistic practice, but also appeared as antagonistic. It was best seen in the work of Natalia LL, who pointed at the instrumental blindness of the photomedialists, even though she paid a lot of attention to media issues herself. The reduction of the role of art objects in conceptual art on behalf of a person and his/her life activities required a search of the personality which often reached the broadest cultural references, associated with philosophy, religion or mythology. It is well illustrated by the artistic activity of Natalia LL and Andrzej Dudek-Durer, anchored in conceptual art and constantly developing through the confrontation of corporality and mental power combined with the language and communication possibilities offered by media.
    Źródło:
    Sztuka i Dokumentacja; 2012, 6; 63-72
    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:
    Konceptualizm jako konceptyzm
    Conceptualism As Conceptism
    Autorzy:
    Piotrowski, Kazimierz
    Powiązania:
    https://bibliotekanauki.pl/articles/424685.pdf
    Data publikacji:
    2012
    Wydawca:
    Akademia Sztuk Pięknych w Gdańsku
    Tematy:
    CONTEMPORARY ART
    CONCEPTUAL ART
    CONCEPTUALISM
    CONCEPTISM
    ASTEISM
    ASTEIOLOGY
    INTENSION
    FUNCTOR AS
    PARALOGY
    CEONCEPT ART
    ANTROPOLOGISED ART
    TRAUMA OF SENSE
    WIT
    ANDRZEJ PARTUM
    Opis:
    We know, how valuable the role of the functor ‘as’ played in conceptualism. The functor was a basic linguistic tool of conceptual art infrastructure – the minimal part of speech that allowed for the production of concepts, engaging ingenium in its primary function as ingenium comparans. The criticism of conceptualism, mainly comparison or identification of the artwork and analytic proposition revealed the fact that the tautological model of Kosuth is just one of many art concepts and remains a product of paralogical thinking. What is therefore decisive for conceptualism is an attempt to build a universal art theory: an idea, that for centuries has remained the basis for logical thinking, or the concept itself, in which paralogy cannot be eliminated. The tendency to narrow the meaning of a concept and limit art to its idea was marked in the text by Daniel Buren “Beware!” (1969-1970). How did it happen, that the formula of conceptism, used in the beginning of the decade by Henry Flynt in the text entitled “Concept Art” (1961) was replaced by conceptual art? For Flynt concept art was art whose materials were the language and concepts. According to him, a concept is a trace of an idea by Plato and means the intension of a name, but with today’s state of knowledge demanding an objective relationship between a name and its intension this meaning is incorrect. Therefore, if the relationship is subjective, then the concept as a possible opposition towards the objective idea occupies a privileged space in a language and keeps its strength. Also in Sol LeWitt’s “Paragraphs on Conceptual Art” (1967) and “Sentences on Conceptual Art” (1969), in which despite the fact that the expression ‘conceptual art’ appears explicitly, the term ‘concept’ remains an alternative to the idea, that may be simple and does not need to be complex. So according to Sol LeWitt, the concept implies a general direction, and ideas are its components. To radicalise this issue, let’s ask, if conceptualism privileges the conceptual, as its literally understood name would indicate? Or on the other hand is what is called a concept, that being something ingenial and that even though it includes a moment of ideation (abstracting and transcending sensuality, that is crossing the borders of the material paradigm of art towards the idea), it is not reduced to a conceptual element, but rather expresses sensuality or its basic modus? The text is an attempt to show the tension in the art of Polish conceptists who referred in their paralogical discourse to conceptualism, especially with reference to the example of Andrzej Partum’s work.
    Źródło:
    Sztuka i Dokumentacja; 2012, 6; 109-117
    2080-413X
    Pojawia się w:
    Sztuka i Dokumentacja
    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:
    Литература и человек в цифровую эпоху: стилизация vs. гибридизация литературного творчества
    Literature and people in the digital age: the styling vs hybridization of literary creativity
    Autorzy:
    Наталья, Кнэхт
    Powiązania:
    https://bibliotekanauki.pl/articles/1832501.pdf
    Data publikacji:
    2019-11-22
    Wydawca:
    Uniwersytet w Białymstoku. Wydawnictwo Uniwersytetu w Białymstoku
    Tematy:
    постструктурализм
    концептуализм
    антропология повседневности
    текстовая фотография
    автоэтнография
    литература нон-фикшн
    poststructuralism
    conceptualism
    anthropology of everyday life
    text photography
    auto-Ethnography
    non-fiction literature
    Opis:
    The author examines the work of two of the most famous writers of the Russian underground – V. Pelevin and V. Sorokin, who expressed the crisis of the great humanistic tradition. The author analyzes the reasons why V. Sorokin refuses “his” author’s style and writes through recognizable literary discourses from the XIX century to socialist realism, and in later prose – through modern media dialects. In contrast to the “male” letter, the article presents a new “female” prose – a work that carries the message of the writer’s, scientific and cultural project-book B. Orlova “Anthropology of everyday life, non-fiction”. The material of the observation is oral history of the indigenous inhabitants of the Angara region (genre of anthropological, sociological, modern historical, ethnographic studies), and the method of their arrangement is collage. This explains the genre borderline of the work, which combines everyday mythology and cultural geography of the people (man).
    Źródło:
    Studia Wschodniosłowiańskie; 2019, 19; 101-114
    1642-557X
    Pojawia się w:
    Studia Wschodniosłowiańskie
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Działania konceptualne w łódzkim środowisku plastycznym na przykładzie Grupy Konkret
    Conceptual Activities Within The Artistic Environment Of Łódź By The Konkret Group
    Autorzy:
    Jabłońska, Karolina
    Powiązania:
    https://bibliotekanauki.pl/articles/424687.pdf
    Data publikacji:
    2012
    Wydawca:
    Akademia Sztuk Pięknych w Gdańsku
    Tematy:
    CONCEPTUALISM
    CONCEPTUAL ART
    KONKRET GROUP
    ART GROUPS
    LODZ
    ALEKSANDER HALAT
    ROMANA HALAT
    RYSZARD HUNGER
    ANDRZEJ JOCZ
    ZBIGNIEW KOSINSKI
    ANDRZEJ NAWROT
    HENRYK STRUMIŁŁO
    KONRAD FREJDLICH
    ANTONI SZRAM
    Opis:
    The Konkret Group emerged in the spring of 1970. The group exhibited three times in Łódź, and one of their exhibitions was also shown in Sieradz. The group consisted of Aleksander Halat, Romana Halat, Ryszard Hunger, Andrzej Jocz, Zbigniew Kosinski, Andrzej Nawrot, Henryk Strumillo, later accompanied by Konrad Frejdlich and Antoni Szram. Among the group members there were artists who expressed themselves in painting, sculpture and graphics, and also ones who were associated with the creative use of text and language. The group did not have a formal program. The group members agreed, that at this specific time and place one needed to turn to concrete art, that is to concentrate on the form, not forgetting, however, about its social aspect. They perceived a way to develop art by new artistic means, using the achievements of technology and science. They did not support enclosing oneself within one discipline, they rather wanted to show the convergence of the ideas of visual art and other artistic disciplines, such as poetry. The activity of the Konkret Group may be placed on the border of conceptualism and Dadaism, however, the resignation from creating a tangible artwork that happened not sooner than in the last exhibition of the group would favour the previous. Paradoxically, the lack of presence of a recognised artwork in the exhibition of 1972 was caused by the impossibility to realise a specific concrete form. On the other hand, the form that the artists wanted to show was a form of communication, therefore it dealt with a concept, not an object. The other argument to support the conceptual character of the group was the introduction of documentation to the exhibition and the elevating of this aspect to the importance of an artwork, equal to painting. On the other hand – the Dada character of the group’s activities can be seen in the fact that in their ventures they were critical towards the artistic milieu and used ready mades. This group of young artists was open to the novelty factor in art and at the same time, the newest of artistic phenomena and tendencies became for them useful tools amongst others to deepen the essence of art.
    Źródło:
    Sztuka i Dokumentacja; 2012, 6; 157-162
    2080-413X
    Pojawia się w:
    Sztuka i Dokumentacja
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Tautologie konceptualistyczne
    Conceptual Tautologies
    Autorzy:
    Sztabiński, Grzegorz
    Powiązania:
    https://bibliotekanauki.pl/articles/424744.pdf
    Data publikacji:
    2012
    Wydawca:
    Akademia Sztuk Pięknych w Gdańsku
    Tematy:
    CONTEMPORARY ART
    CONCEPTUAL ART
    CONCEPTUALISM
    LOGICAL TAUTOLOGY
    TAUTOLOGY IN ART
    JOSEPH KOSUTH
    ROMAN OPALKA
    JAROSLAW KOZLOWSKI
    JAN CHWALCZYK
    WANDA GOLKOWSKA
    ZBIGNIEW DLUBAK
    JERZY TRELINSKI
    ZDZISLAW JURKIEWICZ
    Opis:
    The text is an attempt to consider the character of tautological activities undertaken in conceptual art. There are two ways the issue can be approached. The first refers to the texts of Joseph Kosuth, who wrote that an artwork is a tautology because it refers to the term ‘art’. The author develops the sense of Kosuth’s statement “a work of art is a definition of art” and states, that a part of the tautological system that makes a proposed definiens of ‘art” is available for direct perception, but the other part, which is the term ‘art’ must be recalled intellectually by the recipient. After taking into account the conceptual reference, the sense of a conceptual project with a meta-artistic character becomes noticeable. Polish examples of such works are projects by Roman Opalka, Jaroslaw Kozlowski, Jan Chwalczyk and Wanda Golkowska. The second part of the article considers conceptual projects, in which both parts of equal tautology are directly given. Conceptual works of this structure may either state what is “unquestionable and universally important” (as Alicja Kepińska wrote) or make a kind of sense “at the same time suggested and reversed” (Umberto Eco). The possibilities are considered in reference to tautological works of Zdzislaw Jurkiewicz, Jaroslaw Kozlowski, Zbigniew Dlubak and Jerzy Trelinski.
    Źródło:
    Sztuka i Dokumentacja; 2012, 6; 89-95
    2080-413X
    Pojawia się w:
    Sztuka i Dokumentacja
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    WŁADZA VS. SZTUKA W PRL-U I DZIŚ
    POWER VERSUS ART IN POLISH PEOPLE’S REPUBLIC AND TODAY
    Autorzy:
    Guzek, Łukasz
    Powiązania:
    https://bibliotekanauki.pl/articles/487714.pdf
    Data publikacji:
    2017-11-07
    Wydawca:
    Akademia Sztuk Pięknych im. Eugeniusza Gepperta we Wrocławiu
    Tematy:
    TOTALITARIANISM
    DEMOCRACY
    STALINISM, THAW
    REPRESSION
    MAREK WLODARCZYK
    CONCEPTUALISM
    CONTEXTUALISM
    POLISH CONTEMPORARY ART
    ELECTIONS 2015
    TOTALITARYZM,
    DEMOKRACJA
    STALINIZM
    ODWILŻ
    REPRESJA
    MAREK WŁODARCZYK,KONCEPTUALIZM
    KONTEKSTUALIZM
    POLSKA SZTUKA WSPÓŁCZESNA
    WYBORY 2015
    Opis:
    POWER VERSUS ART IN POLISH PEOPLE’S REPUBLIC AND TODAY The basis of this study is Mark Wlodarczyk’s paper on research methodology of art history in Polish People’s Republic, especially in the 1950’s. Włodarczyk put the thesis that power in that decade, standing under the banner of Stalinism, introduced elements of a thaw in the art, but at the same time they continued the policy of repression. Meltdown was an immanent part of policy. However, policy enforcement can be seen in the pragmatics of government throughout the entire period of communism. Hence the thesis of this article on the dialectics of thaw and repression as the dominant instrument of power used in art, as this area of power relations is discussed here. Among the examples, there are mainly those from the seventies, for a period of domination of conceptual art is considered a period when artists concentrated on the autonomy of art, and abandoned their social engagement in order to avoid repression. That consensus with the government, however, was apparent. Artists still challenged the tolerance of power and thus triggered a dialectic of thaw and repression, and the government showed its totalitarian face. After 1989, the power in a democratic system is distributed, therefore the dialectic of thaw and repression loses its functionality. Also, Włodarczyk described the situation in Poland after the elections of 2015. He believes that political and totalitarian method of governance brings back functionality of dialectic thaw and repression against contemporary art.
    Źródło:
    DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu; 2016, 21; 36-47
    1733-1528
    Pojawia się w:
    DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Wspólnota Wyobraźni Jako Dyssensus. VIII Spotkanie Artystów i Teoretyków Sztuki Świdwin/Osieki (1970)
    A Community of Imagination as Dissensus. The 8th Artists and Art Theoreticians Meeting in Świdwin/Osieki (1970)
    Autorzy:
    Nader, Luiza
    Powiązania:
    https://bibliotekanauki.pl/articles/424269.pdf
    Data publikacji:
    2018
    Wydawca:
    Akademia Sztuk Pięknych w Gdańsku
    Tematy:
    Dissensus
    postartistic era
    conceptualism
    Jerzy Ludwiński
    March 1968
    Osieki Plain Air
    Polish art after 1945
    imagination
    Dyssensus
    epoka postartystyczna
    konceptualizm
    Marzec 1968
    plenery osieckie
    sztuka w Polsce po 1945 roku
    wyobraźnia
    Opis:
    Celem tekstu jest refleksja nad znaczeniami wypowiedzi artystycznych, które przedstawiono na VIII Spotkaniu Artystów i Teoretyków Sztuki w Świdwinie i Osiekach w 1970 roku, wobec horyzontu wydarzeń roku 1968 w Polsce. Szczególnie skupię się na pierwszym wykładzie Jerzego Ludwińskiego „Epoka postartystyczna” oraz na kilku pracach artystów i artystek (m.in. Jana Chwałczyka, Wandy Gołkowskiej, Jerzego Fedorowicza, Jarosława Kozłowskiego, Natalii LL) odpowiadających i wchodzących w relację z wykładem krytyka. Przywołam również kontekst wybranych zjawisk i procesów społecznych i kulturowych około roku 1968, które plener poprzedzały, i które mu towarzyszyły. Zaproponuję, aby czas od czerwca 1967 do grudnia 1970 pojmować jako szczególny mikro-okres w historii sztuki w Polsce, charakteryzujący się z jednej strony strukturą długiego trwania, z drugiej zaś dystynktywnymi zasadami. Zastanowię się w końcu nad wyłaniającymi się z pleneru w Osiekach w 1970 roku ideami, szczególnie nad kategorią wyobraźni. Twierdzę, że posiadały one nie tyle charakter krytyki czy kontestacji, lecz raczej powinny być pojmowane jako inna, mało rozpoznana w historii sztuki w Polsce forma dyskursu oporu - dyssensus. Dyssensus w przypadku pleneru osieckiego w 1970 roku rozpatruję jako dyskursywne rozłączenie wobec obowiązującego wówczas „podziału postrzegalnego”, jako różnego rodzaju drobne, lecz znaczące konstelacje taktyk zaznaczania różnicy wobec po-marcowego świata. W przypadku prac artystów w Osiekach dyssensus ów nie osadzał się na negacji, ale na geście odbudowywania, pracy z wyobraźnią, która została znacznie osłabiona lub wręcz zniszczona, na skutek wydarzeń między czerwcem 1967 a sierpniem 1970 roku.
    Źródło:
    Sztuka i Dokumentacja; 2018, 18; 47-56
    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:
    … 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:
    Zbigniew Dłubak. Od sensu ukonstytuowanego do konstytucji sensu
    Zbigniew Dłubak. From A Constituted Sense To The Sense Constitution
    Autorzy:
    Brogowski, Leszek
    Powiązania:
    https://bibliotekanauki.pl/articles/424605.pdf
    Data publikacji:
    2012
    Wydawca:
    Akademia Sztuk Pięknych w Gdańsku
    Tematy:
    CONTEMPORARY ART
    CONCEPTUAL ART
    CONCEPTUALISM
    ZBIGNIEW DLUBAK
    ABSTRACT PAINTING
    EMPTY SIGN
    SOURCE OF MEANING
    ART IDEA
    CONCEPTUAL PHOTOGRAPHY
    POLISH ART AVANT-GARDE
    ART BEYOND MEANING
    ART BEYOND INFORMATION
    ART BEYOND EXPRESSION
    ART BEYOND ESTHETICS
    ART BEYOND STYLE
    DESYMBOLISATION
    PHENOMENOLOGY OF PAINTING
    SEMIOTICS OF ART
    TAUTOLOGY
    DIFFERANCE
    Opis:
    The article is based upon his translation of a French text published in 1994. The text was part of a catalogue featuring an individual exhibition by Zbigniew Dlubak in Maison des expositions de Genas. There were some minimal changes introduced by the author to the original work entitled “Du sens constitué à la constitution du sens.” The text highlighted the originality of the artist's inspirations: on the one hand — similarly to other conceptualists in 1960-1970 — Dłubak was interested in semiotics and linguistics. However he was more captivated by Jakobson and Mukarowsky than Ayer and Wittgenstein. On the other hand, in a similar way to some 20th century painters, he intuitively discovered the procedures of phenomenology. Dlubak's contribution to conceptual art is based on a 'structural-painterly' approach to art, which is reminiscent of Maurice Merleau-Ponty's philosophy. According to this French philosopher, language signs are 'forms in blanco'. For Dlubak, a work of art is an 'empty sign', which will acquire meaning during a process which Dlubak equaled with the work of art itself. The artist suggested an original—phenomenological—concept of aesthetic experience, which was based on the idea of stepping outside 'the world of meaning' in a search for the source where the sense of art is constituted. The discovery of the process in which the sense of art emerges and understanding its mechanisms, stand in opposition to aesthetic concepts, as these aesthetic concepts find the style as the main goal of art creation and assume that for an artist a specific style represents a specific way of thinking. Breaking away from the stylistic focus and from thinking in the categories of style, is one of the most significant elements of creation according to Dlubak; a style is an ossified and fossilised sense. One of his characteristic strategies, which is aimed at overcoming the category of style, is a parallel and concurrent use of painting and photography. He underlined the overlapping of artistic and cognitive processes and by doing so, Dlubak arrived at an original concept—not very new in the history of aesthetic thought—which sees art as ‘principle to the liveliness of one’s mind’.
    Źródło:
    Sztuka i Dokumentacja; 2012, 6; 55-62
    2080-413X
    Pojawia się w:
    Sztuka i Dokumentacja
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Pojęcie i doświadczenie czasu w polskiej sztuce konceptualnej
    The Concept And Experience Of Time In The Art Of Polish Conceptualism
    Autorzy:
    Zdanowicz, Maciej H.
    Powiązania:
    https://bibliotekanauki.pl/articles/424647.pdf
    Data publikacji:
    2012
    Wydawca:
    Akademia Sztuk Pięknych w Gdańsku
    Tematy:
    In my paper I analyse the art of selected Polish conceptual artists
    whose art and creative strategies clearly attempt to analyse the essence of time
    I consider exceptional in this context the work of Roman Opalka (Opałka 1965 /1 - ∞)
    Natalia LL's recordings (Permanent recordings of time)
    Zdzislaw Jurkiewicz's Saturn and Jupiter Ways
    and the projects by Stanisław Dróżdż (FROM TO) that touch upon various levels of time
    In the presented analyses
    I refer to the psychological and philosophical concept of perception and aperception
    as well as an anthropological understanding of time
    In my view
    conceptual art is the genre whose characteristics lie in the conscious cognition and deep intellectual analysis of the reality surrounding the artist
    With regard to the active role of the mind in the process of perception the aperception of time may be a more appropriate term
    CONCEPTUALISM
    CONCEPTUAL ART
    ROMAN OPALKA
    NATALIA LL
    ZDZISLAW JURKIEWICZ
    STANISLAW DROZDZ
    PERCEPTION
    APERCEPTION
    TIME
    SPACETIME
    NOTATION
    RECONSTRUCTION
    DOCUMENTATION
    Opis:
    In my paper I analyse the art of selected Polish conceptual artists, whose art and creative strategies clearly attempt to analyse the essence of time. I consider exceptional in this context the work of Roman Opalka (Opałka 1965 /1 - ∞), Natalia LL's recordings (Permanent recordings of time), Zdzislaw Jurkiewicz's Saturn and Jupiter Ways, and the projects by Stanisław Dróżdż (FROM TO) that touch upon various levels of time. In the presented analyses, I refer to the psychological and philosophical concept of perception and aperception, as well as an anthropological understanding of time. In my view, conceptual art is the genre whose characteristics lie in the conscious cognition and deep intellectual analysis of the reality surrounding the artist. With regard to the active role of the mind in the process of perception the aperception of time may be a more appropriate term.
    Źródło:
    Sztuka i Dokumentacja; 2012, 6; 141-147
    2080-413X
    Pojawia się w:
    Sztuka i Dokumentacja
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-37 z 37

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