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    Tytuł:
    Kobieta walcząca o pozycję w polu produkcji artystycznej Samoidentyfikacja, samoorganizacja i samoemancypacja według Ewy Partum
    A Woman Fighting for Her Position in the Field of Art Production Self-identification, Self-organization and Self-emancipation According to Ewa Partum
    Autorzy:
    Załuski, Tomasz
    Powiązania:
    https://bibliotekanauki.pl/articles/578887.pdf
    Data publikacji:
    2018
    Wydawca:
    Łódzkie Towarzystwo Naukowe
    Tematy:
    Ewa Partum
    conceptual art
    feminism
    self-organization
    alternative galleries
    Opis:
    Ewa Partum’s conceptual art of the early 1970s consisted in creating a new artistic language but at the same time it bore some traits of feminism and was marked by the figure of what might be called “the touch of a woman”. The artist's self-organizational activities which took the form of establishing and running of an alternative art gallery called “Adres” can be also considered as self-emancipatory feminist practice. The gallery was instrumental in Partum’s attempts at producing symbolic capital for herself and taking a position in the field of Polish and international neo-avant-garde.
    Źródło:
    Zagadnienia Rodzajów Literackich; 2018, 61, 2(126); 75-89
    0084-4446
    Pojawia się w:
    Zagadnienia Rodzajów Literackich
    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
      Wyświetlanie 1-2 z 2

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