Temat: art movement - Katalog OPAC zbiorów

Skocz do pozycji: 1.

Tytuł:: Rola murali we współczesnym funkcjonowaniu miejskich ruchów społecznych w przestrzeni publicznej miast. Przegląd wybranych działań artystycznych
The Role of Murals in the Contemporary Functioning of Urban Social Movements in the Public Space of Cities: A Review of Selected Artistic Activities
Autorzy:: Krzywik, Adrianna
Powiązania:: https://bibliotekanauki.pl/articles/2105523.pdf
Data publikacji:: 2022-05-31
Wydawca:: Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:: murale
sztuka uliczna
muralizm
ruch artystyczny
ruch społeczny
rewolucja meksykańska
murals
street art
muralism
art movement
social movement
Mexican revolution
Opis:: W repertuarze współczesnych ruchów społecznych w przestrzeni miejskiej coraz częściej odnaleźć można działania o charakterze artystyczno-kulturowym. Głównym wyznacznikiem tych działań jest oryginalność przekazu podzielanych wartości i roszczeń politycznych. Do działań ruchów społecznych zaliczany jest street art i należące do niego murale. Murale, będące z założenia sztuką egalitarną, angażują odbiorcę do dialogu, stając się sztuką zaangażowaną społecznie. Na przestrzeni ostatnich kilkunastu lat obserwujemy zjawisko tzw. muralowego boomu, czyli gwałtownego wzrostu artystycznego ruchu społecznego skupionego wokół murali. Na podstawie analizy historycznej działań muralistycznych zostaną przedstawione przykłady murali będących manifestacją poglądów politycznych. Murale te zostały wybrane według kryterium powstania podczas najważniejszych, współczesnych ruchów społecznych ostatnich dziesięciu lat. Ponadto analiza semiologiczna fotografii murali posłuży do scharakteryzowania fenomenu murali we współczesnym funkcjonowaniu ruchów społecznych oraz ukrytych elementów znaczących w przekazie.
In the repertoire of contemporary social movements in urban space, one can increasingly find activities of artistic and cultural character. The main determinant of these activities is their originality in conveying shared values and political claims. Street art and murals belonging to it are included in the activities of social movements. Murals, which by definition are egalitarian art, engage the viewer in dialog, becoming socially-engaged art. Over the last dozen or so years, we have observed the phenomenon of the so-called mural boom, i.e. the rapid growth of the artistic social movement centered around murals. Based on a historical analysis of mural activity, examples of murals which are a manifestation of political views will be presented. These murals have been selected according to the criterion of having been created during the most important contemporary social movements of the last ten years. Furthermore, a semiological analysis of photographs of murals will be used to characterize the phenomenon of murals in contemporary social movements as well as the hidden meaningful elements in the message.
Źródło:: Przegląd Socjologii Jakościowej; 2022, 18, 2; 116-131
1733-8069
Pojawia się w:: Przegląd Socjologii Jakościowej
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 2.

Tytuł:: Към въпроса за стила „Pодно изкуство” в аспекта на българския авангард през 20-те години на ХХ век
On the Guestion of the “Native Art” [Rodno izkustvo] Style in the Aspect of Bulgarian Avant-garde in the 1920s
Autorzy:: Simeonova-Konach, Galia
Powiązania:: https://bibliotekanauki.pl/articles/636090.pdf
Data publikacji:: 2020
Wydawca:: Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:: Bulgarian avant-garde of the 1920s
artistic style;
Native Art movement (Rodno izkustvo)
expressionism
Čavdar Mutafov
Ivan Milev
Dimitâr Avramov
Opis:: The article presents the selected aspects of the Bulgarian avant-garde movement called “Native Art” (Rodno izkustvo) which developed in art (painting of Ivan Milev and others) and literature (the so-called decorative prose, ars decorum) in the 1920s. An aesthetical object of the then creators was searching for spirituality of the community expressed through a synthesis of such form of cultural heritage as symbolism, secession, Old Bulgarian and Byzantine iconography, rituals and folklore embroideries, ancient mosaic. For the constitution of the style “Rodno izkustvo”, the aesthetics of Bulgarian expressionism along with its artistic forms of rhythm and motion had a special significance. The analysis focuses on the theoretical writings by the most important representatives of Bulgarian avant-garde, namely, Čavdar Mutafov, Geo Milev, Nikolai Rainov, Sirak Skitnik and others whose attitude towards the problems of the style highlighted the process of it arising from individual acts to artistic syntheses. In the article, there are also references to the works of the contemporary art historian Dimitâr Avramov. The interdisciplinary research perspective of the article allows the author to indicate the distinctive properties of the avant-garde style of the Native Art, but also to illuminate the intellectual turn in Bulgarian art at the beginning of the 20th century.
Źródło:: Poznańskie Studia Slawistyczne; 2020, 18; 209-222
2084-3011
Pojawia się w:: Poznańskie Studia Slawistyczne
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 3.

Tytuł:: Laboratorium ciała: Kasjan Golejzowski i nowy taniec w Rosji na początku XX wieku
Body lab: Kasyan Goleizovsky and the new dance in Russia in the early 20th century
Autorzy:: Nabokina, Anastasia
Powiązania:: https://bibliotekanauki.pl/articles/1853415.pdf
Data publikacji:: 2018
Wydawca:: Narodowe Centrum Kultury
Tematy:: rosyjska sztuka ruchu
symbolizm
ciało
kasjan golejzowski
laboratorium choreologiczne
russian art of movement
symbolism
body
kasyan goleizovsky
choreological laboratory
Opis:: The article is devoted to the role of dance seen as a laboratory of bodily culture. The idea is analysed using the example of a lesser-known area of the Russian culture from the first three decades of the 20th century – the so-called “free dance” – and the creation of Kasyan Goleizovsky. The sources of the new dance are being placed in the tradition of a Russian symbolism, as well as in an early 20th century anthropological project focusing on the change of human nature inspired by the ideas of F. Nietzsche and W. Ivanov. Drawing inspiration from the vision of theatre as a Dionysian practice, making collective spiritual revival possible, dancing becomes both a body releasing and a body restrictive practice.
Źródło:: Kultura Współczesna. Teoria. Interpretacje. Praktyka; 2018, 99, 1; 37-53
1230-4808
Pojawia się w:: Kultura Współczesna. Teoria. Interpretacje. Praktyka
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 4.

Tytuł:: Przepływy dzieł sztuki między Polską a krajami Unii Europejskiej
The Movement of Works of Art Between Poland and European Union Countries in 1992-2004
Autorzy:: Białynicka-Birula, Joanna
Powiązania:: https://bibliotekanauki.pl/articles/575821.pdf
Data publikacji:: 2007-03-31
Wydawca:: Szkoła Główna Handlowa w Warszawie. Kolegium Analiz Ekonomicznych
Tematy:: movement of works of art
artwork exports and imports
Polska
European Union
Opis:: The paper analyses the exportation and importation of works of art between Poland and the European Union prior to Poland’s entry into the bloc on May 1, 2004. The author presents a dynamic analysis of artwork exports and imports data according to Poland’s Central Statistical Office (GUS) in 1992-2004. She identifies the main artwork export and import markets in Europe and estimates the share of the private sector in artwork trade. The analysis yields several conclusions. The value of artwork exports and imports between Poland and the EU-15 was characterized by major changes. EU countries accounted for a high percentage of Poland’s artwork trade in 1992-2004. This applies to both exports and imports. In the analyzed period, the value of Polish artwork exports was higher than the value of imports. Moreover, the analysis revealed that the movement of artwork between Poland and the EU was strongly concentrated in the case of several countries, with a clear marginalization of the remaining member states. France, Germany, Britain and Italy had the greatest share in Poland’s artwork trade. The share of the private sector in artwork trade was considerable, exceeding 75 percent in exports and 58 percent in imports.
Źródło:: Gospodarka Narodowa. The Polish Journal of Economics; 2007, 214, 3; 99-112
2300-5238
Pojawia się w:: Gospodarka Narodowa. The Polish Journal of Economics
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 5.

Tytuł:: O dynamizmie obrazów. Podstawowe kategorie estetyczne w koncepcji obrazu Věry Linhartovej
Autorzy:: Palich, Natalia
Powiązania:: https://bibliotekanauki.pl/articles/638651.pdf
Data publikacji:: 2013
Wydawca:: Uniwersytet Jagielloński. Wydawnictwo Uniwersytetu Jagiellońskiego
Tematy:: Věra Linhartová, image, movement, poetry, theory of art, theory of literature, exile, Czech literature in exile
Opis:: On Dynamism of Images. Primary Aesthetic Categories in Věra Linhartová’s Concept of Image The aim of this paper is to argue the thesis that the theory of art and literature postulated by Věra Linhartová, a Czech writer, art and literary theorist who has been living in exile in France since 1968, is based on two significant categories – spatiality and movement. While both notions are strictly entwined with each other, it is the movement that plays the role of the key denominator in Linhartová’s theoretical and literary works which is pointed out by the author herself in her essay For an Ontology of Exile (1994). Due to a twofold – expository and comparative – character of the study, it is structured as an open and complementary diptych. First of all, drawing on Linhartová’s interpretative and theoretical essays, the analysis strives to retrace her individual and peculiar vision of image. The exposition of Linhartová’s methodological approach serves as the starting point for the comparison and contrast between her theory and methodological concepts concerning the theory of image – mainly Georges Didi-Huberman’s idea of image. The paper concludes with an opening to further analysis and interpretation of Linhartová’s theoretical and literary texts.
Źródło:: Studia Litteraria Universitatis Iagellonicae Cracoviensis; 2013, 8, 3
2084-3933
Pojawia się w:: Studia Litteraria Universitatis Iagellonicae Cracoviensis
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 6.

Tytuł:: Cinematic Art (History) and Mieke Bals Thinking in Film
The Cinematic Art (History) and Mieke Bal’s Thinking in Film
Autorzy:: Lipiński, Filip
Powiązania:: https://bibliotekanauki.pl/articles/909570.pdf
Data publikacji:: 2020-12-20
Wydawca:: Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:: the cinematic
art history
Mieke Bal
film
image
movement
interdisciplinarity
Opis:: The article focuses on Mieke Bal’s theoretical considerations of art in terms of film and movement in general. This cinematic frame offers her a conceptual framework for “thinking in film”, a way to rethink not only diverse forms of art, moving and still images, but also, as I argue, methodological models for art history. The text begins with a general outline of the tensions and relations between art history and film/film studies, with a discussion of several cases of the theoretical application of film in the field of art history. Bal’s case, the main subject of the article, is perhaps the most consistent and theoretically advanced attempt at reconceptualizing diverse aspects of art in interdisciplinary, cinematic terms within a larger phenomenon which might called a theoretical dimension of the “cinematic turn”. While I acknowledge the importance and complementary nature of Bal’s artistic practice as a video artist with her theoretical work, due to the limited space of this article, the focus of my text is on her writing. I closely trace and discuss a variety of Bal’s texts, predominantly written over the last 20 years, in which she theorizes and analyzes works in which movement is either explicit, such as video or video installation or implicit, such as painting. In her crucial, relevant books, Thinking in Film. The Politics of Video Installation According to Eija-Liisa Athila (2013) or Emma&Edvard Looking Sideways: Loneliness and the Cinematic, Bal, referring to a number of scholars and thinkers, but most prominently and consistently to Henri Bergson, points to four kinds of movement: literal or represented movement of/in the image, movement related to perception, affective movement and, finally, its political dimension, all of which are discussed in this article. Video installation is an art form which for Bal becomes the best concretization (a contact space) of all of the above aspects of movement, activating “thinking in film”. This involves new reformulations of spatial and temporal dimensions of art, with such concepts as heterochrony and timespace. Moreover, with reference to video art, Bal coined the notion of “migratory aesthetics”, where migration not only literally concerns migrants and immigration but offers a platform to reflect on and renegotiate the issues of movement, stagnation, the everyday and their political dimensions. Last but not least, film, according to Bal, also offers a useful framework for analyzing the experience of art exhibitions. In discussing Bal’s work, I argue that her “cinematic”, conceptual travels in art offer a radical opening of a number of art historical categories and procedures, and I propose to regard her project of “thinking in film” as indicative of a larger changes across disciplines already visible in her earlier work in the 1990s, which involve the productive redefinition of historical and temporal experience, mobilization of perception and the body, relational mode of thinking and vision, affective dimension of experiencing art and the acknowledgment of agency both on the part of the viewer and the artwork.
Źródło:: Artium Quaestiones; 2020, 31; 5-37
0239-202X
Pojawia się w:: Artium Quaestiones
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 7.

Tytuł:: Ruch galeryjny w Polsce. Zarys historyczny. Od lat sześćdziesiątych poprzez galerie konceptualne lat siedemdziesiątych po ich konsekwencje w latach osiemdziesiątych i dziewięćdziesiątych
The Art Gallery Movement in Poland. A Historical Outline. From the Sixties, Through the Conceptual Galleries of the Seventies, Until Their Consequences in the Eighties and the Nineties
Autorzy:: Guzek, Lukasz
Powiązania:: https://bibliotekanauki.pl/articles/424263.pdf
Data publikacji:: 2012
Wydawca:: Akademia Sztuk Pięknych w Gdańsku
Tematy:: conceptual art
conceptual gallery
conceptual galleries movement
art gallery movemet conceptual art in Poland
art of 70s
Opis:: The gallery movement was in fact an art institution in Poland. The movement created its own art world based on the principles of self-organisation and self-study. People who participated in it were artists, art professionals and art lovers, altogether so called ‘conducive people’. Around each of such institutions its circles emerged – communities that co-operated with each other within the town, the country or internationally. This is how the network of personal ties as well as artistic influences appeared. A formal-artistic feature of the movement was the great number of various action art forms or, more broadly – art based on the present-ness. The history of the movement embraces half a century of contemporary Polish art. It starts just after Stalinist times. In 1956 in Krakow there emerged the Krzysztofory Gallery founded by the Grupa Krakowska [Krakow Group] Association, that directly continued the tradition of the pre-war avant-garde. The development of the movement in the seventies was especially dynamic, forming a conceptual art decade during when the conceptual galleries movement emerged. The expansion of the definition of art by the conceptual art movement allowedfor the making of a gallery to be as significant as making art. That period was ended by the imposition of martial law on December 13th, 1981. In those extremely unfavourable conditions the gallery movement and art communities showed their strength. After the total elimination of art in the public sphere, the world of art revived quickly and relocated into the private sphere – private studios and apartments. The art community in Łódź, where the tradition of selforganisation was especially strong, was able to organise the movement throughout the whole country. It was later called the “Pitch-in Culture”. After 1989 and the fall of communism, first in Poland and then in the whole of Eastern Europe, the new social and political conditions caused changes in the way the art world began to be organised.
Źródło:: Sztuka i Dokumentacja; 2012, 7; 13-30
2080-413X
Pojawia się w:: Sztuka i Dokumentacja
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 8.

Tytuł:: Recenzja książki Roberto Mansbergera Amorosa pt. La Joven Europa y España: la cuestión de «el arte por el arte». Barcelona, 2013: Laertes. ISBN 978-84-7584-916-4, 466 stron
A Review of a Book by Roberto Mansberger Amorós entitled La Joven Europa y España: la cuestión de «el arte por el arte». Barcelona, 2013: Laertes. ISBN 978-84-7584-916-4, 466 pages
Autorzy:: Draus-Kłobucka, Agata
Powiązania:: https://bibliotekanauki.pl/articles/504764.pdf
Data publikacji:: 2014
Wydawca:: Komisja Nauk Filologicznych Polskiej Akademii Nauk, Oddział we Wrocławiu
Tematy:: “art for art’s sake”
19th century
art and morals
Young Europe
Spanish literature
Decadent movement and Restoration
Opis:: The literary history of the question: “Art for art’s sake” in Europe and, more specifically, in Spain, is the subject of the book by Roberto Mansberger Amorós entitled La Joven Europa y España: la cuestión de «el arte por el arte» (Young Europe and Spain: the question of «art for art’s sake», written in Spanish). The book is composed of six chapters, along with the introduction, conclusion, extensive bibliography and index of names. The chapters focused on the general history of the idea alternate with those dedicated to the particular writers and thinkers. Chapter 1 presents the theory of “art for art’s sake,” its origin and progress. Chapter 2 introduces the subject of Young Europe, with the focus on Young Poland and Young Spain. Chapter 3 is an extensive digression about the subject of morals in Spanish 19th century literature, aesthetics, ethics and critics. Chapter 4 studies the individual stances of Valera and Campoamor, whereas chapter 5 undertakes the issue of the Decadent movement and the Restoration. The sixth and final chapter describes the poetry and the poets related to the concept “art for art’s sake.” The uniqueness of the book rests on the combination of the balanced analyses of literary sources and original period documents and archival material of Real Academia Española concerning the issues of art and morals, along with a reflection about the historical, philosophical and ideological context of the matter. Since this kind of profound knowledge united with the ability to write both persuasively and interestingly is rare, the book by Mansberger Amorós is an enlightening reading experience not only for specialists on the topic, but also for all those interested in the history of Spanish literature and ideas.
Źródło:: Academic Journal of Modern Philology; 2014, 3; 157-162
2299-7164
2353-3218
Pojawia się w:: Academic Journal of Modern Philology
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 9.

Tytuł:: Reformpädagogik als eine Antwort auf die Modernisierungsprozesse am Anfang des 20. Jahrhunderts
Autorzy:: Wolting, Monika
Powiązania:: https://bibliotekanauki.pl/articles/917255.pdf
Data publikacji:: 2011-01-01
Wydawca:: Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:: Progressive education
Life reform
Youth movement
Waldorf education
Boarding school
Progressive art education
Opis:: After a prolonged absence of the topic of education reformers in the public discussion nowadays it’s obviously an increased interest in their approaches and models of performance. The theoretical reflections of the progressive education based on the ideas of the creative power of the child figuring in a mythical, romantic-coded image of the child as a genius. This conception was in opposite to the rigid forms of teaching, to every automatism of learning, against the authoritarian treating of teachers with students.
Źródło:: Glottodidactica. An International Journal of Applied Linguistics; 2011, 37, 1; 19-35
0072-4769
Pojawia się w:: Glottodidactica. An International Journal of Applied Linguistics
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 10.

Tytuł:: ALTERNATIVE EXISTENCE OF ART IN “INTERNAL EMIGRATION” IN SLOVAK PART OF CZECHOSLOVAKIA IN YEARS 1977–1989
The alternative existence of art in “inner emigration” in the Slovak part of Czechoslovakia in years 1977–1989
Autorzy:: BÁTOROVÁ, MÁRIA
Powiązania:: https://bibliotekanauki.pl/articles/776919.pdf
Data publikacji:: 2018
Wydawca:: Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:: Slovak and Czech dissident movement
silent alternative
samizdat
literature
fine art
Libri prohibiti archive
Opis:: This paper presents a comparison of Slovak and Czech dissidents, the origin of the so-called “silent” dissent, alternative art in Slovakia in the years of normalization, mostly after 1977.
Źródło:: Slavia Occidentalis; 2018, 75/2; 59-67
0081-0002
Pojawia się w:: Slavia Occidentalis
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 11.

Tytuł:: Taniec jako sztuka relacji
Dance - the art of relations
Autorzy:: Zerek, Ula
Powiązania:: https://bibliotekanauki.pl/articles/424732.pdf
Data publikacji:: 2016
Wydawca:: Akademia Sztuk Pięknych w Gdańsku
Tematy:: sztuka tańca,
współczesna choreografia,
improwizacja,
ciało,
ruch,
art of dance,
contemporary choreography,
improvisation,
body,
movement
Opis:: Humans were expressing their needs and emotions in movement far before developing speech or any other civilised skills. The body as a source of movement is the closest and primary form of experiencing life as well as perceiving the surrounding world. Dealing with dance as a form of artistic expression, I question the essence and meaning contained in dance presentations from both the perspective of a dancer and as a researcher. Contradictory to visual arts, literature and even music, dance is a living ephemeral art that evolves in time and space in front of the spectator. Without time and space the experience would not be possible. By observing transformations within the art of dance, searching for deeper understanding of its roots as well as for artistic self reflection, I have come upon with principles which can define the essence of dance. In addition to the previously mentioned condition of time and space, there is a fusion of body and mind. Dance exceeds stereotypes and limiting ideologies. Dance as a field of art practice is able to challenge both the artist and the spectator. All the elements – body, mind, time, space, artist, spectator may take different configurations influencing each other. Therefore dance is the art of relations. The direct input on the individual character of dance experience and interpretation lays in body awareness. This phenomenon is explained through the phenomenology of perception by the French philosopher Maurice Merleau-Ponty, and further developed studies by the contemporary researcher Richard Shusterman. The potential of dance seems to be infinite which might be the reason for the unlimited explorations of artists in relation to dance voyaging beyond the boundaries of the discipline. In this text a variety of contemporary dance art is presented by introducing examples of chosen artists and their works. Art performances which are hard to classify, often cause controversy and difficulties with reception and interpretation. There is another element necessary for the understanding of the contemporary art of dance and this is the theory and practice which builds a discourse that develops a tradition. This paper is a reflective analyses which goes beyond explicit meanings and theories while at the same time following the primal essence of dance.
Źródło:: Sztuka i Dokumentacja; 2016, 14; 118-143
2080-413X
Pojawia się w:: Sztuka i Dokumentacja
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 12.

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

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Skocz do pozycji: 13.

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

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Skocz do pozycji: 14.

Tytuł:: Artyści żydowscy w Krakowie 1873-1939 (Katalog wystawy), opr. Natasza Styrna, Muzeum Historyczne Miasta Krakowa, Kraków 2008, ss. 248
Autorzy:: Cześniak-Zielińska, Magdalena
Powiązania:: https://bibliotekanauki.pl/articles/26850662.pdf
Data publikacji:: 2010
Wydawca:: Akademia Zamojska
Tematy:: Jewish art
Krakow
Jewish artists
the Zionist movement
sztuka żydowska
Kraków
artyści żydowscy
ruch syjonistyczny
Źródło:: Facta Simonidis; 2010, 3, 1; 289-295
1899-3109
Pojawia się w:: Facta Simonidis
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 15.

Tytuł:: Linia, czyli Co Łączy Nurty Awangardy Polskiej
The Line, or What Connects the Polish Avant-Garde Trends?
Autorzy:: Guzek, Łukasz
Powiązania:: https://bibliotekanauki.pl/articles/424631.pdf
Data publikacji:: 2018
Wydawca:: Akademia Sztuk Pięknych w Gdańsku
Tematy:: Osieki
plener
abstrakcja geometryczna
sztuka konceptualna
nowe media
ruch Solidarność
performatyka
plein-air
geometrical abstraction
conceptual art
new media
Solidarity movement
performance studies
Opis:: Plenery w Osiekach były organizowane w latach 1963-1981. Na ich podstawie można prześledzić, w formie niejako laboratoryjnej, zmienne trajektorie wpływów sztuki światowej na sztukę Polską. Zarówno ich artystyczny charakter jak i dynamikę zmian. Badanie sztuki zrealizowanej w Osiekach pozwala wskazać wiodące procesy zachodzące w sztuce polskiej. Lata sześćdziesiąte poddane wpływom sztuki postawangardowej i lata siedemdziesiąte, poddane dominacji sztuki konceptualnej, oraz zmierzch tych tendencji. Linia - jako wiodące hasło pleneru w przełomowym roku 1980, stanowi użyteczny punkt odniesienia. Szeroką interpretację linii wywodzę z książki Wasyla Kandinskiego Punkt i linia a płaszczyzna. Innym, lokalnym punktem odniesienia są rysunki linearne Wacława Szpakowskiego, odkrywane w tym czasie przez Janusza Zagrodzkiego. W historii sztuki polskiej konceptualizm ma źródła zarówno w abstrakcji geometrycznej, jak i w sztuce mediów foto-filmowych. Sztuka o proweniencji geometrycznej zawsze była obecna w Osiekach. Ale dopiero w 1980 i 1981 roku sztuka konceptualna i sztuka nowych mediów zajęły dominującą pozycję podczas plenerów. Plenery ’80 i ‘81 stanowiły rodzaj podsumowania debat artystycznych lat siedemdziesiątych nad sztuką konceptualną (a zarazem stały się podsumowaniem cyklu plenerów osieckich). Ich znaczenie polegało także na tym, że odbywały się w kontekście ostrego konfliktu miedzy władzą a społeczeństwem, strajków w Stoczni Gdańskiej i wpływów ruchu Solidarność. Artykuł jest próbą rekonstrukcji znaczenia artystycznego i politycznego dwóch ostatnich plenerów osieckich. W części podsumowania proponuję zastosowanie metodologii performatyki do analizy tego zjawiska. Rozpatrywanie plenerów osieckich w związku z trzema rodzajami performansów: organizacyjnym, kulturowym i technicznym pozwala dokonać ich reaktualizacji we współczesnej refleksji kulturowej.
Źródło:: Sztuka i Dokumentacja; 2018, 18; 37-44
2080-413X
Pojawia się w:: Sztuka i Dokumentacja
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 16.

Tytuł:: Twórczy wymiar tańca
The Creative Dimension of Dance
Autorzy:: Mond-Kozłowska, Wiesna
Powiązania:: https://bibliotekanauki.pl/articles/1192346.pdf
Data publikacji:: 2011-12-06
Wydawca:: Akademia Ignatianum w Krakowie
Tematy:: taniec
doświadczenie sacrum w sztuce tanecznej
teoria i filozofia tańca
somaestetyka
edukacyjne dziedzictwo antyku
personalizm
techniki ruchowe
terapia tańcem
dance
the experience of the sacre in dance art
theory and philosophy of dance
somaesthetics
educational heritage of antiquity
personalism
techniques involving phisical movement
dance therapy
Opis:: Artykuł opowiada się za wysoką pozycją sztuki tanecznej w naukach humanistycznych. Jako, że taniec jest zakorzeniony w ludzkim ciele, tworzenie tańca oznacza tworzenie istoty ludzkiej. Składa się to na autentyczną sferę antropologicznej twórczości. Można zatem powiedzieć, że taniec jest antropologiczny i antropocentryczny. Stanowisko to znajduje swoje korzenie w tradycji helleńskiej, gdzie paideutyczna formacja społeczeństwa wolnych ludzi uwzględniała ćwiczenia fizyczne, głównie taniec zjednoczony z muzyką i słowem. Ludzkie ciało było tam postrzegane jako boska świątynia najszlachetniejszych ludzkich zdolności, które poddawane były ciągłemu szkolenia i doskonaleniu. Przedstawiono listę współczesnych dłużników Greków na tym polu w celu wykazania nieśmiertelności helleńskich idei wychowawczych przez tysiąclecia. Innym aspektem rozprawy są wzajemne relacje pomiędzy estetyką i etyką poprzez proces szkolenia w tańcu.
The paper advocates the high position of the art of dance in the humanities. Since the dance is embedded in the human body, creating dance stands for creating human being. This makes up an authentic realm of the anthropological creativity. Thus one can say that dance is anthropological and anthropocentric. The stand is rooted in the Hellenic tradition, where paideutic formation of the society of free men included physical exercises, predominantly dance united with music and word. In this the human body was perceived as a god-like temple of the noblest human faculties that were the subject of constant training and melioration. The list of modern “debtors” to the Greeks in this field is presented to instantiate the immortality of Hellenic educational ideas across millennia. Another aspect of the discourse is the interrelation between aesthetics and ethics through the training process in dance.
Źródło:: Horyzonty Wychowania; 2011, 10, 20; 163-179
1643-9171
2391-9485
Pojawia się w:: Horyzonty Wychowania
Dostawca treści:: Biblioteka Nauki

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