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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:
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:
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:
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:
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:
… 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:
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:
Galeria jako zagadnienie artystyczne w sztuce konceptualnej
Gallery As An Artistic Concept In Conceptual Art
Autorzy:
Guzek, Łukasz
Powiązania:
https://bibliotekanauki.pl/articles/424714.pdf
Data publikacji:
2012
Wydawca:
Akademia Sztuk Pięknych w Gdańsku
Tematy:
CONCEPTUALISM
CONCEPTUAL ART
CONCEPTUAL GALLERY
GALLERY MOVEMENT
GALLERY NETWORK
COUNTERCULTURE
ANTI-INSTITUTION
ARTIST RUN INITIATIVES
ARI
LIVING GALLERY
ANDRZEJ KOSTOLOWSKI
JAROSLAW KOZLOWSKI
NET ART
PERFORMANCE ART
LIVE ART
ACTION ART
Opis:
The text announces a research program on the galleries that emerged in relation to conceptual art and introduces the scope and method of research. The general aim of the research is to set apart the issue of a conceptual gallery as an independent artistic phenomenon. A conceptual gallery is examined as a general artistic formula. The methodological scheme presented in the text aims at establishing a basic chronology and creating a typology of the trend. Historically, conceptual galleries emerged and were shaped in the frame of a broadly understood conceptual tendency (a leading tendency in the seventies) because at that time, there occurred a specific formal-artistic relationship between art and gallery. Until now, the conceptual gallery trend has been examined mainly in the context of the social, political and cultural conditions in which they were functioning. The research on conceptual galleries as an artistic project and a form of conceptual art causes the vector of the research to reverse. The artistic character of particular galleries could be graded into those which housed more or less radical projects. One may imagine a scale between limit points: a gallery as a work of art and a gallery as an art container and place all galleries from the seventies on it. The beginning of the conceptual gallery movement in Poland is marked by a project by Andrzej Kostolowski and Jaroslaw Kozlowski entitled NET (1971), based on a mail-art formula. It assumed not only collecting and exhibiting the works sent (which was each institution’s aim), but also creating their own specific points in the network of institutions. Thirty five galleries participated in an exhibition which summarised an activity of the BWA Gallery in Sopot in the summer of 1981. The galleries of this type functioned in the next decade, even during martial law. In the mid-nineties the gallery movement started to integrate again, however after 2000 the commercialisation of the art market caused their disappearance.
Źródło:
Sztuka i Dokumentacja; 2012, 6; 123-131
2080-413X
Pojawia się w:
Sztuka i Dokumentacja
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Najbardziej radykalne postawy w ruchu galerii konceptualnych lat siedemdziesiątych. Galeria 80x140 Jerzego Trelińskiego i Galeria A4 Andrzeja Pierzgalskiego
The Most Radical Attitudes Within The Movement Of 'Conceptual Galleries' In The 70s. Jerzy Trelinski's Gallery 80x140 And Andrzej Pierzgalski's Gallery A4
Autorzy:
Guzek, Lukasz
Powiązania:
https://bibliotekanauki.pl/articles/424312.pdf
Data publikacji:
2011
Wydawca:
Akademia Sztuk Pięknych w Gdańsku
Tematy:
ANDRZEJ PIERZGALSKI
CONCEPTUAL GALLERIES
CONCEPTUALISM
GALLERY 80X140
GALLERY A4
JERZY TRELINSKI
LODZ
Opis:
The 'Gallery movement', which formed in Poland in the 70s is a world phenomenon that provides extremely rich material, in terms of diversity, as well as in quantitative terms. The galleries were created under the dominant influence of conceptual art, that is why I describe them as 'conceptual galleries'. They played the traditional role of a gallery, that is, they were places of exhibition and they functioned as an 'art container', but at the same time, they were art projects created according to the individual decision of the artist, just like the works of art. They were therefore a form of conceptual art, developed in the 70s, the conceptual art decade. One of the most radical galleries at that time was the 80x140 Gallery, founded by Jerzy Trelinski, in spring 1971 in Lodz. The Gallery operated until 1977. Initially, the gallery space was a wall surface of dimensions given in the name of the gallery (80 x 140 cm). But soon the work presented in the gallery began to develop directly into the space of the room, turning it into an installation space. Then artworks began to be realized around the city and numerous projects by J. Trelinski, as well as collaborative projects, began to be created in various locations outside Lodz, all under the facade of Gallery 80x140. In May 1972, at the 80x140 Gallery, the A4 Gallery began its activity, which was an initiative of Andrzej Pierzgalski. It was perhaps an even more radical art project in the category of 'conceptual galleries', and it was limited to a plain sheet of A4 size paper (literally, a piece of A4 paper was placed within the 80x140 Gallery). This article also announces broader research on issues arising from the 'gallery movement' and the category of 'conceptual galleries' in Polish art of the 70s. The 'gallery movement' also had a social and political dimension. Thus a network of the independent exchange of ideas was created, and it functioned well on an international scale. The patterns of self-organising initiated by the artists' community and the art procedures that were developed in the 70s on the basis of conceptual art, proved extremely useful in the 80s. Also during the economic crisis and transformation of the 90s, the model of a 'conceptual gallery' enabled the artistic community to function, despite limitations of an economic nature. This article describes the methodology of research on the 'conceptual galleries' phenomenon. It contains a detailed description of works that were created in the Gallery 80x140 and Gallery A4 (and under their auspices) throughout the time of their operation. It also presents the consequences that the initiators of these galleries have drawn from them later in their artistic practice; particularly a series of works titled Autotautologies by J. Trelinski, (the artist puts a graphic sign TRELINSKI on various objects and in various places and situations), as well as further artistic development of A. Pierzgalski.
Źródło:
Sztuka i Dokumentacja; 2011, 4; 49-68
2080-413X
Pojawia się w:
Sztuka i Dokumentacja
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
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:
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:
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:
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:
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:
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
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