Dyskurs. Pismo Naukowo-Artystyczne ASP we Wrocławiu

En finir avec le fétichisme de l’oeuvre, surmonter le mythe de l’artiste. Pratique populaire et oeuvre reproductible chez Ad Reinhardt

Leszek Brogowski — 2019-08-05

To End the Fetishizing of an Art Work, to Overcome Myth of an Artist. Popular Practice and Repeatability of Art Works in the Case of Ad Reinhardt

A reprint of the chapter from the book Ad Reinhardt. Peinture moderne et responsabilité es-thétique, Chatou, Les éditions de la transparence, coll. “Essais d’esthétique”, 2011, page 28-42.

Skończyć z fetyszyzmem dzieła, przezwyciężyć mit artysty. Praktyka popularna i reprodukowalność dzieła u Ada Reinhardta

Przedruk rozdziału z książki Ad Reinhardt. Peinture moderne et responsabilité esthétique, Chatou, Les éditions de la transparence, coll. „Essais d’esthétique”, 2011, s. 28–42.

Mity. Kilka tropów

Andrzej Kostołowski — 2019-08-05

Myths. A Few Tropes

The text is mainly about some references to myth in the 20-21st century art. A rift in treatment of myth during this period is interesting. On the one hand, in popular literature and media a generic term “myth” is often used. But it is often understood as something substantially irrational and used with a certain disdain, as well as on the boundary of being pejorative. Whereas in serious anthropological and philosophical texts and in art, “myth” may be on the one hand specified in the case of “classical” mythical stories there are references by names to mythical characters in sequences of events, and on the other fully rational elements are excavated from it within its context, which significantly explain natural phenomena and cause and effect aspects of the surrounding world. Taking more rational way of describing myth into consideration, I chose examples of myths: Oedipus, Androgyne and Pygmalion’s. Oedipus is burdened with interpretations and omnipresent in the surrealist art for example especially strongly in Max Ernst’s works. Also, as an “out-take” of the myth, part about Sphinx, carries interesting proto-feminist threads in Leonor Fini’s paintings. A hermaphroditic Androgyne seems to draw out a new actuality and is interpreted in twofold unity, or completely entangled. In twofold unity as in Marc Chagall’s works or Magdalena Abankowicz’s they are associated but separated presence of personas. In the sense of negative rifting we may analyze genres of womanly act, which hides objectification of broken Androgyne. However, entanglement is on the one hand a connection as in lovers’ embrace and on the other over-individualistic duos or bigger groups of artists, especially those who have been also performance artists since the 60s of the 20th century. Pygmalion myth profusely used in art hides within, among others, a metaphor of illusion.

Podział świata sztuki i jego zniesienie

Grzegorz Dziamski — 2019-08-05

Division of The World of Art And its Abolition

A starting point is the division of the world of art onto Western and Eastern, and the question whether this division is still relevant after 1989? The Western world of art was equated with the market, the Eastern with ideology. Does the Eastern art have to join the Western world of art? Will the term avant-garde of third generation allow to better describe the transition of art in real socialism countries? Does avant-garde in the times of post-modernist’s pluralism exist?

De- i re-mitologizacje

Sławomir Magala — 2019-08-05

De- and Re-Mythicization

Not only light escapes our reflections, wandering about the term wave and the term particle. Also arts, which present the world as it if was mysterious and worth living, escape our intellectual order. They bolt from subtle conceptual webs, wander between patterns of discoveries a “discovery” of perspective in renaissance and designs drafts, projects of inventions “inventing” photography, and then putting it in motion and giving it sound. They bolt, wandering between myths, of which two are most important for arts – the myth of renaissance, i.e. resurrection but at the same time, liberation, and myth of counterculture i.e. liberation but at the same time, resurrection. Mythicization, demythologization and remythologization sail between two para-myths, i.e. paradigms, mothers of all performance art myths. It is about a discovery myth, which will inspire us to dream up plans for the future, and a myth of invention, which will save us from annoying slavery.

Artysta w kręgu mitów późnej nowoczesności

Zbigniew Władysław Solski — 2019-08-05

The Artist in The Circle of Myth of Late Modernity

The author – referencing the thought by Chantal Delsol – uses the term “late modernity”, recognizing in subsequent after-the-Enlightenment periods subsequent phases of modernity. Among countless myths of after-modernity he chose two: about acquiring the knowledge of the world and immortality, which, in his opinion, influenced the condition of a modern artist in the strongest way. In conclusions the author notices that the biggest weakness of modernity in contrary to its self-assessment is impossibility to build a consistent image of reality, which is a result of lack of originality. Creators of modern culture specialized in theft of ideas of their predecessors, and out of context foreign fragment may be presented by them as a fruit of their own reflections. The weakness of modernity, displaying in its morbid tendency to reduction, became its strength: it is impossible to build a whole from the fragments, but with small fragments a whole may be infected. The success of modernity turned out to be, then, a success of a virus spreading from period to period.

Autokreacja jako zamazanie umysłu

Ewa Bobrowska — 2019-08-05

Self-Creation as Blurring of The Mind

The analysis in the text presented concerns the phenomenon of self-creation and self-perception, referring Paul de Man’s contemplations in the Autobiography as De-facement study, as well as early monography by Emmanuel Levinas, From Existence to Existents. Self-creational and autobi-ographical statement or action reveal moments in which a certain multithreading is exposed, a tear, which becomes a basis for the analysis of works by Chuck Close, Yves Klein, Cy Twombly and Marina Abramović. Self-perception and self-introspection lay at grassroots of thinking and artistic creativity, and in a way also self-mythology of solipsistic ego. By creating a self-portrait the artist duels oneself in a most difficult self-creative clash. Impersonal “I” as another form of revealing “I”, it exposes through, among others, vigil and insomnia as a particular state of mind, similar to de Man’s “blurring” of the mind described by me.

Initium, tactus, ens – doświadczanie początku warsztatem artystycznym

Sebastian Łubiński — 2019-08-05

Initium, Tactus, Ens – Experiencing The Beginning by Artistic Craft

A discourse concerns the subject “appearing in being”, discussed with the example of the process of building works of art. The axis and tool for the proposed model of narration is touch, understood in a literal way the relation between senses and reality and metaphorical the mind constructing and processing concepts, which constitute a primary cognitive instrument for a human, and especially an artist of fine arts. Based on chosen philosophical concepts E. Husserl and Aristotle, aesthetics Juhani Pallasmaa, art history and one’s own creative experience, it will present a privileged position of fine arts towards different sciences, as a field allowing successful undertaking of complex concepts at the point of ideas of matter and perception.

Fe/Male Performance

Agata Szuba — 2019-08-05

Fe/Male Performans

Gender to płeć kulturowa, a performans odnoszący się do gender ukazuje zróżnicowane wcielenia artystów, w zależności od płci, odpowiada również na pytanie, kim w sytuacji realizacji performansu jest mężczyzna i kobieta. Popkultura w ostatnim czasie niejednokrotnie kwestionuje ten podział natury człowieka na dwie płcie. W dobie mediatyzacji obrazu, otwartego dostępu do Internetu i tym samym ciągle rosnącej potrzeby aktualizacji informacji człowiek zyskał wolność, by móc samodzielnie definiować siebie i swoją tożsamość. Artysta ma w tej dziedzinie wzmocnione możliwości ekspresji, mogąc odnosić się do świata zastanego i różnorodnie go interpretować. Manipuluje więc swoim wizerunkiem, odnosząc się do ról społecznych narzucanych osobom odmiennych płci. Na przestrzeni lat płeć stała się produktem ideologicznym dzięki wielotorowym ruchom artystycznym związanym ze środowiskami LGBT+ z ang. Lesbian, Gay, Bisexual, Transgender+ i zaczęła być wynikiem indywidualnej decyzji człowieka – najbliższej jego poczuciu identyfikacji. Artysta mógł zatem kreować różne tożsamości i zależnie od sytuacji wcielać się w każdą z nich.
Postać drag queen na przestrzeni lat odbierana była jako karykaturalna, co wiązało się ze stereotypem mężczyzny ubranego w przejaskrawiony w wyrazie kobiecy strój, z którym nierzadko nie mógł sobie poradzić na scenie. Dzięki ekscentrycznym kostiumom, zabawie w nocnych gejowskich klubach sukcesywnie artyści LGBT skupiali na sobie uwagę mediów. Postać drag queen, choć z pozoru nachalna wizualnie, jest istotna w kontekście przemilczania i pozornej nieobecności tematów związanych z gender. Kumuluje w sobie wiele męskich i kobiecych tożsamości pojawiających się na scenie, ale przede wszystkim wyraża w przeróżnych odsłonach postać kobiecą.
Banalne przedstawienie z udziałem drag queen zyskało na sile dzięki rosnącemu zainteresowaniu środków masowego przekazu, nie tylko jako rozrywka dla oglądających je środowisk homoseksualnych, ale również jako ciekawy problem dla heteroseksualnego widza chcącego poznać specyfikę tego kuriozum. Opisując zatem zjawisko drag queen należy rozważyć fakt, czy dotyczy ono wyłącznie środowiska homoseksualistów oraz społecznej debaty na jego temat, czy może mogłoby być potraktowane jako inspiracja dla szerokiego kręgu artystów. Świat mody projektuje kolekcje na użytek występów „nocnych ptaków”, angażując performerów do występów na wybiegu, a artyści muzycy wprowadzają drag na scenę podczas swoich koncertów, jednak oba zabiegi służą wyłącznie uatrakcyjnieniu danego wydarzenia. Jak dotąd, było kilka przykładów wprowadzenia postaci drag queen w świat sztuki, jednak w jego ramach funkcjonowały one jedynie w charakterze interesującej ciekawostki.

Orfeusz w Nigdy wykład w Muzeum Teatru we Wrocławiu

Urszula M. Benka — 2019-08-05

Orpheus in Never Lecture in the Museum of the Theater in Wroclaw

Art does not exist without myth. It is what gives meaning to an artwork. It is thinking in its own, and art, always impressing something on someone, avoids strict, rational, but also prone to pressure norms path when we reach sacrum; art is the only language to speak about sacrum. The character of Orpheus has inspired artists of different genres for centuries, but it seems to be seen from only one side. The mythical hero does not break a formal order, but an authentic norm, because he personifies a fact that norms do not exhaust human nature, only regulate life of societies. Thereby an “innocent” hero cannot be mythical. I searched for Orpheus’ guilt and Euridice’s counterparts in other myths, or even different mythologies. One of them is, then, Lot’s wife. I admit, I was inspired by Wisława Szymborska’s poem about her.

Lilith i jej potomstwo w mitologii hebrajskiej oraz najnowszej kulturze popularnej – przegląd wybranych reprezentacji

Alicja Górska — 2019-08-05

Lilith and Her Offspring in Hebrew Mythology and The Latest Pop Culture – Selected Representations

For thousands of years mythological Lilith has undergone countless transformations. Although she had been created by God himself, just like Adam and Eve, the texts do not pay her as much attention as they do to the first marriage. What is more, contemporary scholars of religious studies throw doubt whether Lilith had even existed.
Regardless of the Church’s or scholars’ acceptance, Lilith seems to be a character invariably present in the worldwide culture. In the dawn of time, she served as a kind of warning, enforcing a more careful childcare – it was believed that if left without a proper care, infants might have been taken or possessed by Lilith; in medieval times she became a symbol of lechery; contemporarily she is mainly associated with bewildering sexual graphics and rare literary presentations which emphasize her intense sexual urges. How such transformations came to be? How the transformation of mythological Lilith over the ages looked like?

Kim według feministek jest Antygona?

Edyta Janiak — 2019-08-05

Who According to Feminists is Antigone?

The article aims to trace the reception of Antigone on the basis of feminist and gender criticism. It turns out that the same categories noticed by individual researchers are assessed and valorized differently, accordingly to the feminist trend they identify with. The author decides, therefore, to reverse the optics and evaluate the discourse through the prism of the method of analysis and interpretation of the mythological heroine.

No i stało się. Szkic do manifestu gnostyka

Janusz Jaroszewski — 2019-08-05

And So it Happened. A Draft of a Gnostic’s Manifesto

The text by Janusz Jaroszewski the author of artistic and scientific book THAT THERE… with no name And so it happened is a draft of a manifesto, a critical assessment of all old and present religious as well as political doctrines, that are intersubjective imagined orders, which, in author’s assessment, currently led to very serious crisis of all kinds of values. Jaroszewski strengthens his diagnosis with references to writers, poets and philosophers, who also included these issues in their works – Thomas Bernhard, Yuval Noah Harari, Miguel de Unamuno and Marina Tsvetaeva.

Witraż – mit światła i koloru

Adam Włodarczyk — 2019-08-05

Stained-Glass – a Myth of Light and Color

The art of stained-glass works has been related to the concept of sacrum for centuries. The genesis of this myth reaches the medieval era, when stained-glass had been one of the primary artistic techniques. The symbolism of light and color which has been known since the primeval times, an expression of God’s glo-ry, has perfectly inscribed itself in the program of ideological gothic cathedrals.
For hundreds of years stained-glass has dominated church architecture, at the same time solidified the common conviction of its religious purpose.
Only after cultural and social changes at the end of 19th century has traditional approach towards stained-glass been broken. It then entered widespread public and everyday space. In the next era, in 20th century, it became an expression of many independent artists. Due to their creative work, mythology of sacral stained-glass has expanded onto new areas. In modern times, stained-glass is a full-fledged art genre, free and in-dependent, but still dealing with deeply rooted conviction of the religious character of the glass masterpiec-es.

Twarze poezji. Praca nad obrazem

Karol Maliszewski — 2019-08-05

Dwadzieścia wierszy

Agnieszka Wolny-Hamkało — 2019-08-05