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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
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:
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:
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:
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:
Dokumentacja a horyzontalny sposób pojmowania twórczości artystycznej
Documentation And The Horizontal Way Of Understanding Art
Autorzy:
Sztabiński, Grzegorz
Powiązania:
https://bibliotekanauki.pl/articles/424324.pdf
Data publikacji:
2011
Wydawca:
Akademia Sztuk Pięknych w Gdańsku
Tematy:
CONCEPTUAL ART
CONTEMPORARY ART
DOCUMENTARY TURN
DOCUMENTATION
ETHNOGRAPHIC TURN
JOZEF ROBAKOWSKI
LAND ART
MOCK-DOCUMENTARY
POP ART
YVES KLEIN
ZBIGNIEW LIBERA
Opis:
The 'horisontalism' of artistic activity and reflection on art is connected with current life and surrounding reality. Their elements flow into works of art. Artworks are not examined historically (according to the history of a medium, style or individual creative evolution) but as a reaction to the network of object arrangements and functioning discourses that surround artists. Such comprehension of art has made Sztabinski introduce the concept of a 'documental turn'. Moreover, it has been depicted by him that the idea of 'documentation' is getting extended. Therefore, 'transdocumentation' appears. The term allows us to notice the specifics of such contemporary phenomena in which documentation does not only perform an informative function but also gives feedback upon what is documented. It is possible to distinguish many artistic approaches and practices within transdocumentation. One of them is a 'mock-documentary' - an ironic documentation that refers to documentary stereotypes and the audience's trust in the reliability of documents. 'Transdocumentation' as a practice and theoretical scheme, possible when understanding art 'horizontally', reveals a great potential for artistic activities and the critical practice.
Źródło:
Sztuka i Dokumentacja; 2011, 5; 6-15
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:
Natalia LL jako artystka neoawangardowa
Natalia LL - the Neo Avant-garde Artist
Autorzy:
Świeściak, Alina
Powiązania:
https://bibliotekanauki.pl/articles/579049.pdf
Data publikacji:
2018
Wydawca:
Łódzkie Towarzystwo Naukowe
Tematy:
neo avant-garde
conceptual art
body-art
feminist art
“consumer art”
Opis:
The paper shows Natalia Lach-Lachowicz (Natalia LL) as a neo avant-garde artist whose works in a specific maximalistic way are very close to the main currents of avant-garde trends: newmediality (photograph), minimalism, conceptualism, performance, bodyart, pop-art and feminist art. The paper concentrates mainly on the mutual influencing features of conceptualism, consumptionism and feminism in Natalia LL’s works and pays attention to the emancipational potential of her works of the 70s and 80s.
Źródło:
Zagadnienia Rodzajów Literackich; 2018, 61, 2(126); 91-102
0084-4446
Pojawia się w:
Zagadnienia Rodzajów Literackich
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:
„I czyńcie ją sobie poddaną; i panujcie nad rybami morskimi, i nad ptactwem niebieskim, i nad wszelkim zwierzem, który się rusza na ziemi”
“And Subdue It: And Have Dominion over the Fish of the Sea, and over the Fowl of the Air, and over Every Living Thing that Moveth upon the Earth”
«И обладайте ею, и владычествуйте над ры- бами морскими, и над птицами небесными, и над всяким животным, пресмыкающимся по земле»
Autorzy:
Pitrus, Andrzej
Powiązania:
https://bibliotekanauki.pl/articles/21150497.pdf
Data publikacji:
2023
Wydawca:
Wydawnictwo Uniwersytetu Śląskiego
Tematy:
современное искусство
инсталляция
живые животные
перформанс
концептуальное искусство
sztuka współczesna
instalacja
żywe zwierzęta
performance
sztuka konceptualna
contemporary art
installation
live animals
conceptual art
Opis:
Artykuł poświęcony jest strategiom artystów, wykorzystujących w swoich pracach żywe zwierzęta. Autor przedstawia liczne przykłady, często budzące protesty i kontrowersje. Celem pracy nie jest jednak ocena moralnych aspektów dyskutowanych tu dzieł, ale wskazanie różnorodności działań, które mają jeden wspólny mianownik: wszystkie odwołują się w mniejszym lub większym stopniu do tradycji sztuki konceptualnej, lub prekonceptualnej.
В статье рассматриваются стратегии художников, использующих в своих работах живых животных. Автор приводит многочисленные примеры, которые часто вызывают споры и даже протесты. Цель статьи, однако, состоит не в оценке нравственных аспектов обсуждаемых работ, а в указании на многообразие художественной деятельности, имеющей общую черту: в большей или меньшей степени они относятся к традиции концептуального или доконцептуального искусства.
The article focuses on various strategies of artists who use live animals in their works. The author presents several examples of works which, in many cases, raised a lot of controversies. His aim is not to judge, but to discuss different approaches, which have one thing in common: they all come from the tradition of conceptual or preconceptual art.
Źródło:
Zoophilologica. Polish Journal of Animal Studies; 2023, 1 (11); 1-13
2719-2687
2451-3849
Pojawia się w:
Zoophilologica. Polish Journal of Animal Studies
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:
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:
Cisza i jej notacje – wokół partytur muzycznych twórców awangardy
Silence and Their Notations - Musical Scores of the Avant-garde Artists
Autorzy:
Nowakowska, Maria
Powiązania:
https://bibliotekanauki.pl/articles/578984.pdf
Data publikacji:
2019
Wydawca:
Łódzkie Towarzystwo Naukowe
Tematy:
history of music, avant-garde, avant-garde music, silence, conceptual art
Opis:
The article discusses a range of musical compositions from the avant-garde movement and conceptual art, in which silence is the dominant artistic matter. From little-known In futurum by Erwin Schulhoff and the acclaimed John Cage’s 4’33”, to the untamed wilderness of Cornelius Cardew’s visual experiments and the political silence of anarcho-punk Crass’s recordings - the paper gives rise to a look at the richness of meanings hidden in silence.
Źródło:
Zagadnienia Rodzajów Literackich; 2019, 62, 4; 101-115
0084-4446
Pojawia się w:
Zagadnienia Rodzajów Literackich
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:
A Ghost of Your Masterpiece. Correspondence Between Pawel Petasz and György Galántai (1978–2007)
Autorzy:
Kotun, Viktor
Powiązania:
https://bibliotekanauki.pl/articles/995539.pdf
Data publikacji:
2020
Wydawca:
Akademia Sztuk Pięknych w Gdańsku
Tematy:
paweł petasz
györgy galántai
artpool
hungary can be yours
commonpress no.51
mail art
stamp art
conceptual art
dissident art
Opis:
Pawel Petasz, Polski artysta mail art i György Galántai, artysta i twórca archiwum Artpool w Budapest rozpoczęli współpracę i wymianę artystycznych artefaktów i idei artystycznych w 1978 roku. Galántai, razem z Julia Klaniczay, podjęli ideę Commonpress - magazynu, którego kolejne wydania były tworzone przez różnych artystów na świecie. Edycja Węgierska nosiłą tytuł 'Hungary Can be Yours' i była 51 numerem czasopisma. Materiały do tego wydania zostały zebrane w światowej sieci mail art, w której funkcjonowali obaj artyści, Petasz i Galántai. Zostały one pokazane w Budapest na wystawie, która jednak została zablokowana przez tajną policję węgierską. Raport policyjny na temat tej wystawy jest publikowany wraz z innymi materiałami towarzyszącymi temu artykułowi. Artykuł bazuje na archiwum Artpool. Prezentuje bibliografię publikacji i artefaktów mail art gromadzonych w Artpool. Historia opisana i poddana analizie w tym artykule stanowi przyczynek do zrozumienia zarówno warunków uprawiania twórczości w krajach za żelazną kurtyną, jak i specyfiki funkcjonowania sieci mail art jako mechanizmu kreacji artystycznej w skali globalnej.
Pawel Petasz, Polish mail art artist, and György Galántai, artist and creator of the Artpool archive in Budapest, began collaborating and exchanging artistic artifacts and artistic ideas in 1978. Galántai, together with Julia Klaniczay, took up the idea of Commonpress - a magazine whose subsequent editions were created by various artists around the world. The Hungarian edition was entitled 'Hungary Can be Yours' and was the 51st issue of the magazine. The materials for this issue were collected on the worldwide mail art network, in which both artists, Petasz and Galántai, functioned. They were shown in an exhibition in Budapest, which, however, was blocked by the Hungarian secret police. A police report on this exhibition is being published along with other material accompanying this article. The article is based on the Artpool archive. It presents a bibliography of publications and mail art artifacts collected in Artpool. The history described and analyzed in this article contributes to the understanding of both the conditions of cultivating creativity in countries behind the Iron Curtain, and the specificity of the functioning of the mail art network as a mechanism of artistic creation on a global scale.
Źródło:
Sztuka i Dokumentacja; 2020, 22; 315-365
2080-413X
Pojawia się w:
Sztuka i Dokumentacja
Dostawca treści:
Biblioteka Nauki
Artykuł
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