Informacja

Drogi użytkowniku, aplikacja do prawidłowego działania wymaga obsługi JavaScript. Proszę włącz obsługę JavaScript w Twojej przeglądarce.

English (EN)·Polski (PL)·Yкраїнський (UK)
Przejdź do strony domowej biblioteki Centralna Biblioteka Wojskowa Link otwiera się w nowym oknie Logo biblioteki Prolib Integro - strona głównaCentralna Biblioteka Wojskowa

Wyszukujesz frazę "sztuka i dokumentacja" wg kryterium: Temat

  Lista filtrów
Wyrównaj
    Wyświetlanie 1-3 z 3
    Tytuł:
    Przeżyć raz jeszcze: Performance, pamięć, trauma
    To Live in Repetition: Performance, Memory and Trauma
    Autorzy:
    Bojarska, Katarzyna
    Powiązania:
    https://bibliotekanauki.pl/articles/424692.pdf
    Data publikacji:
    2013
    Wydawca:
    Akademia Sztuk Pięknych w Gdańsku
    Tematy:
    sztuka i dokumentacja
    performance i powrórzenie
    pamięć
    trauma
    Miron Białoszewski
    Opis:
    The article “To Live in Repetition: Performance, Memory and Trauma” offers a reflection on the psychoanalytical concept of repetition and its role in the understanding of the functions of traumatic memory and performance. The author offers the concept that performance can be understood not so much as a separate medium but as a very way of living through history and experiencing historical events towards the end of modernism. Thus performance seems to be most of all the means and not the aim of the artistic operation, while what is being produced (and remains), the material work itself, is not considered mere documentation. In such a context, performance emerges as a threshold genre, where the past becomes present in order to soon become past, this time however, necessarily shifted and dislocated by the very gesture of repetition and remaking. The author analyses the work of Miron Białoszewski in his war-time memories as a performance of sorts which is based on the dynamics of repetition and reenactment: the subject of the interpretation is not only the written aspect of the memoir, but also gestures towards the process preceding the writing, such as the author’s oral performances, his “talking” as well as recording and last but not least, the oral reenactment of the book in the Polish Radio studio.
    Źródło:
    Sztuka i Dokumentacja; 2013, 9; 69-76
    2080-413X
    Pojawia się w:
    Sztuka i Dokumentacja
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Asamblaż z lat sześćdziesiątych dwudziestego wieku w polskich kolekcjach muzealnych. Problem dokumentacji
    Assemblages of the 1960s in Polish Museum Collections. The Problem of Documentation
    Autorzy:
    Rajna, Karolina
    Powiązania:
    https://bibliotekanauki.pl/articles/424640.pdf
    Data publikacji:
    2013
    Wydawca:
    Akademia Sztuk Pięknych w Gdańsku
    Tematy:
    sztuka i dokumentacja
    assamblage
    art of assamblage
    muzeum sztuki
    kolekcja
    historia sztuki
    Opis:
    The article undertakes the topic of the correct terminology for assemblages from the 1960s in the collections of the Polish National and Regional Museums. When analysing the situation of objects from the collections, the author tried to show that museum strategies which do not follow the creation of new terminology caused the works to be assigned to three earlier defined categories – painting, sculpture and graphics. Therefore three-dimensional post-modernist works were treated the same way as modernist, which allowed their inclusion in the collection. This situation, which is also sporadically and inconsequently used in the literature on the subject caused the term assemblage to be almost crossed out from the museum collection cards. Only in the case of Władysław Hasior, whose art is recognisable through the use of “tacky” items of low rank, the name assemblage was accepted. Even though neither the author of the term Jean Dubuffet (who included dried butterflies in his works) nor the key exhibition which sanctioned the use of it (The Art of Assemblage, 1961) did not use the criterion of the item of a low rank. It was rather about the creation of a work through “setting one thing beside the other without connective”, “collecting, gathering, merging” and the formal and technological development of the formula of a flat collage. Accepting such a definition allows us to see assemblages in the works of Teresa Rudowicz (with the use of lace), Danuta Urbanowicz (in which she used a fragment of a wall), Tytus Dziedzuszycki (in works with the use of metal and wood), Bronisław Kierzkowski (connecting metal and plaster) and others. In reference to the work of Tadeusz Kantor one may try to translate a term “combine painting” taken from Robert Rauschenberg’s works because the usage of traditional paint is so clear that it is used equally with other artistic materials.
    Źródło:
    Sztuka i Dokumentacja; 2013, 9; 93-105
    2080-413X
    Pojawia się w:
    Sztuka i Dokumentacja
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Re-praktyki sztuki performance – dokumentacja, remediacja, dystrybucja sieciowa
    Re-practices in Performance Art – Documentation, Remediation and Networked Distribution
    Autorzy:
    Wójtowicz, Ewa
    Powiązania:
    https://bibliotekanauki.pl/articles/424736.pdf
    Data publikacji:
    2013
    Wydawca:
    Akademia Sztuk Pięknych w Gdańsku
    Tematy:
    performance i powtórzenie
    re-praktyki
    sztuka performance
    dokumentacja
    remediacja
    dystrybucja sieciowa
    Opis:
    Performance art does not operate in isolation from the broader circulation of the networked culture. Just like any other media, the documentation of performance can be dispersed throughout the network: to be remixed or recontextualised or become the component of a mashup. The documentation of performance events in the reality of the contemporary network culture does not play a subordinate role to the event as such, since the distributive network not only disseminates information about the event, but also generates a discourse. Analysed examples include the forms of creative activity such as re-enactment, looping online video performance or intervention in the real-time documentation. There are also the new possibilities of artistic expression that come with the persona of a “code performer”. The examples of artists’ approaches include: Constant Dullaart, Ryan Trecartin, and Gazira Babeli and duos, as Eva and Franco Mattes or MTAA. The theoretical framework is based on the theory remix by Eduardo Navas, and the notion of “culture as a screenplay” introduced by Nicolas Bourriaud. It is important to apply it not only to a remediated performance understood as a work of art. Also, the continuous creation of an online identity – both in the world of the Second Life, as well as through social networking platforms – is an ongoing performance in front of potentially global audience. Re-practices within contemporary art rely on the appropriation of historical events and their continuation, which allows for the creation of a third reality of some sort. This third reality becomes a common one, within which – paradoxically – constant change is a sign of the need for preservation. As a result, the documentation material is open, being part of a game with an ever-changing system of references.
    Źródło:
    Sztuka i Dokumentacja; 2013, 9; 61-68
    2080-413X
    Pojawia się w:
    Sztuka i Dokumentacja
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-3 z 3

      Ta witryna wykorzystuje pliki cookies do przechowywania informacji na Twoim komputerze. Pliki cookies stosujemy w celu świadczenia usług na najwyższym poziomie, w tym w sposób dostosowany do indywidualnych potrzeb. Korzystanie z witryny bez zmiany ustawień dotyczących cookies oznacza, że będą one zamieszczane w Twoim komputerze. W każdym momencie możesz dokonać zmiany ustawień dotyczących cookies