Dyskurs. Pismo Naukowo-Artystyczne ASP we Wrocławiu https://wuwr.pl/dyskurs pl-PL Mon, 05 Aug 2019 00:00:00 +0200 OJS 3.3.0.13 http://blogs.law.harvard.edu/tech/rss 60 En finir avec le fétichisme de l’oeuvre, surmonter le mythe de l’artiste. Pratique populaire et oeuvre reproductible chez Ad Reinhardt https://wuwr.pl/dyskurs/article/view/10647 <p style="text-align: justify;"><strong>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</strong><br /><br />A reprint of the chapter from the book <em>Ad Reinhardt. Peinture moderne et responsabilit&eacute; es-th&eacute;tique</em>, Chatou, Les &eacute;ditions de la transparence, coll. &ldquo;Essais d&rsquo;esth&eacute;tique&rdquo;, 2011, page 28-42.<br /><br /><strong>Skończyć z fetyszyzmem dzieła, przezwyciężyć mit artysty.&nbsp; Praktyka popularna i reprodukowalność dzieła u Ada Reinhardta</strong><br /><br />Przedruk rozdziału z książki <em>Ad Reinhardt. Peinture moderne et respon&shy;sabilit&eacute; esth&eacute;tique</em>, Chatou, Les &eacute;ditions de la transparence, coll. &bdquo;Essais d&rsquo;esth&eacute;tique&rdquo;, 2011, s. 28&ndash;42.</p> Leszek Brogowski Prawa autorskie (c) https://wuwr.pl/dyskurs/article/view/10647 Mon, 05 Aug 2019 00:00:00 +0200 Mity. Kilka tropów https://wuwr.pl/dyskurs/article/view/10648 <p style="text-align: justify;"><strong>Myths. A Few Tropes </strong><br /><br />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 &ldquo;myth&rdquo; 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, &ldquo;myth&rdquo; may be on the one hand specified in the case of &ldquo;classical&rdquo; 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&rsquo;s. Oedipus is burdened with interpretations and omnipresent in the surrealist art for example especially strongly in Max Ernst&rsquo;s works. Also, as an &ldquo;out-take&rdquo; of the myth, part about Sphinx, carries interesting proto-feminist threads in Leonor Fini&rsquo;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&rsquo;s works or Magdalena Abankowicz&rsquo;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&rsquo; 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.</p> Andrzej Kostołowski Prawa autorskie (c) https://wuwr.pl/dyskurs/article/view/10648 Mon, 05 Aug 2019 00:00:00 +0200 Podział świata sztuki i jego zniesienie https://wuwr.pl/dyskurs/article/view/10649 <p style="text-align: justify;"><strong>Division of The World of Art And its Abolition </strong><br /><br />A starting point is the division of the world of art onto Western and East&shy;ern, and the question whether this division is still relevant after 1989? The Western world of art was equated with the market, the Eastern with ideol&shy;ogy. 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 transi&shy;tion of art in real socialism countries? Does avant-garde in the times of post-modernist&rsquo;s pluralism exist?</p> Grzegorz Dziamski Prawa autorskie (c) https://wuwr.pl/dyskurs/article/view/10649 Mon, 05 Aug 2019 00:00:00 +0200 De- i re-mitologizacje https://wuwr.pl/dyskurs/article/view/10650 <p style="text-align: justify;"><strong>De- and Re-Mythicization </strong><br /><br />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 &ldquo;discovery&rdquo; of perspective in renaissance and designs drafts, projects of inventions &ldquo;inventing&rdquo; photography, and then putting it in motion and giving it sound. They bolt, wandering between myths, of which two are most important for arts &ndash; 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.</p> Sławomir Magala Prawa autorskie (c) https://wuwr.pl/dyskurs/article/view/10650 Mon, 05 Aug 2019 00:00:00 +0200 Artysta w kręgu mitów późnej nowoczesności https://wuwr.pl/dyskurs/article/view/10651 <p style="text-align: justify;"><strong>The Artist in The Circle of Myth of Late Modernity</strong> <br /><br />The author &ndash; referencing the thought by Chantal Delsol &ndash; uses the term &ldquo;late modernity&rdquo;, 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.</p> Zbigniew Władysław Solski Prawa autorskie (c) https://wuwr.pl/dyskurs/article/view/10651 Mon, 05 Aug 2019 00:00:00 +0200 Autokreacja jako zamazanie umysłu https://wuwr.pl/dyskurs/article/view/10652 <p style="text-align: justify;"><strong>Self-Creation as Blurring of The Mind <br /></strong><br />The analysis in the text presented concerns the phenomenon of self-creation and self-perception, referring Paul de Man&rsquo;s contemplations in the <em>Autobiography as De-facement</em> 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 &ldquo;I&rdquo; as another form of revealing &ldquo;I&rdquo;, it exposes through, among others, vigil and insomnia as a particular state of mind, similar to de Man&rsquo;s &ldquo;blurring&rdquo; of the mind described by me.</p> Ewa Bobrowska Prawa autorskie (c) https://wuwr.pl/dyskurs/article/view/10652 Mon, 05 Aug 2019 00:00:00 +0200 Initium, tactus, ens – doświadczanie początku warsztatem artystycznym https://wuwr.pl/dyskurs/article/view/10653 <p style="text-align: justify;"><strong>Initium, Tactus, Ens &ndash; <em>Experiencing The Beginning by Artistic Craft </em></strong><br /><br />A discourse concerns the subject &ldquo;appearing in being&rdquo;, 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&rsquo;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.</p> Sebastian Łubiński Prawa autorskie (c) https://wuwr.pl/dyskurs/article/view/10653 Mon, 05 Aug 2019 00:00:00 +0200 Fe/Male Performance https://wuwr.pl/dyskurs/article/view/10654 <p style="text-align: justify;"><strong>Fe/Male Performans </strong><br /><br />Gender to płeć kulturowa, a performans odnoszący się do gender ukazuje zr&oacute;żnicowane wcielenia artyst&oacute;w, w zależności od płci, odpowiada r&oacute;wnież 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 m&oacute;c samodzielnie definiować siebie i swoją tożsamość. Artysta ma w tej dziedzinie wzmocnione możliwości ekspresji, mogąc odnosić się do świata zastanego i r&oacute;żnorodnie go interpretować. Manipuluje więc swoim wizerunkiem, odnosząc się do r&oacute;l społecznych narzucanych osobom odmiennych płci. Na przestrzeni lat płeć stała się produktem ideologicznym dzięki wielotorowym&nbsp; ruchom artystycznym związanym ze środowiskami LGBT+ z ang. <em><strong>L</strong>esbian</em>, <em><strong>G</strong>ay</em>, <em><strong>B</strong>isexual</em>, <em><strong>T</strong>ransgender</em>+ i zaczęła być wynikiem indywidualnej decyzji człowieka &ndash; najbliższej jego poczuciu identyfikacji. Artysta m&oacute;gł zatem kreować r&oacute;żne tożsamości i zależnie od sytuacji wcielać się w każdą z nich. <br />Postać <em>drag queen</em> na przestrzeni lat odbierana była jako karykaturalna, co wiązało się ze stereotypem mężczyzny ubranego w przejaskrawiony w wyrazie kobiecy str&oacute;j, z kt&oacute;rym nierzadko nie m&oacute;gł sobie poradzić na scenie. Dzięki ekscentrycznym kostiumom, zabawie w nocnych gejowskich klubach sukcesywnie artyści LGBT skupiali na sobie uwagę medi&oacute;w. Postać <em>drag queen</em>, choć z pozoru nachalna wizualnie, jest istotna w kontekście przemilczania i pozornej nieobecności temat&oacute;w związanych z gender. Kumuluje w sobie wiele męskich i kobiecych tożsamości pojawiających się na scenie, ale przede wszystkim wyraża w przer&oacute;żnych odsłonach postać kobiecą. <br />Banalne przedstawienie z udziałem <em>drag queen</em> zyskało na sile dzięki rosnącemu zainteresowaniu środk&oacute;w masowego przekazu, nie tylko jako rozrywka dla oglądających je środowisk homoseksualnych, ale r&oacute;wnież jako ciekawy problem dla heteroseksualnego widza chcącego poznać specyfikę tego kuriozum. Opisując zatem zjawisko <em>drag queen</em> należy rozważyć fakt, czy dotyczy ono wyłącznie środowiska homoseksualist&oacute;w oraz społecznej debaty na jego temat, czy może mogłoby być potraktowane jako inspiracja dla szerokiego kręgu artyst&oacute;w. Świat mody projektuje kolekcje na użytek występ&oacute;w &bdquo;nocnych ptak&oacute;w&rdquo;, angażując performer&oacute;w do występ&oacute;w na wybiegu, a artyści muzycy wprowadzają drag na scenę podczas swoich koncert&oacute;w, jednak oba zabiegi służą wyłącznie uatrakcyjnieniu danego wydarzenia. Jak dotąd, było kilka przykład&oacute;w wprowadzenia postaci drag queen w świat sztuki, jednak w jego ramach funkcjonowały one jedynie w charakterze interesującej ciekawostki.</p> Agata Szuba Prawa autorskie (c) https://wuwr.pl/dyskurs/article/view/10654 Mon, 05 Aug 2019 00:00:00 +0200 Orfeusz w Nigdy wykład w Muzeum Teatru we Wrocławiu https://wuwr.pl/dyskurs/article/view/10655 <p style="text-align: justify;"><strong>Orpheus in Never Lecture in the Museum of the Theater in Wroclaw </strong><br /><br />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 &ldquo;innocent&rdquo; hero cannot be mythical. I searched for Orpheus&rsquo; guilt and Euridice&rsquo;s counterparts in other myths, or even different mythologies. One of them is, then, Lot&rsquo;s wife. I admit, I was inspired by Wisława Szymborska&rsquo;s poem about her.</p> Urszula M. Benka Prawa autorskie (c) https://wuwr.pl/dyskurs/article/view/10655 Mon, 05 Aug 2019 00:00:00 +0200 Lilith i jej potomstwo w mitologii hebrajskiej oraz najnowszej kulturze popularnej – przegląd wybranych reprezentacji https://wuwr.pl/dyskurs/article/view/10656 <p style="text-align: justify;"><strong>Lilith and Her Offspring in Hebrew Mythology and The Latest Pop Culture &ndash; Selected Representations </strong><br /><br />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. <br />Regardless of the Church&rsquo;s or scholars&rsquo; 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 &ndash; 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?</p> Alicja Górska Prawa autorskie (c) https://wuwr.pl/dyskurs/article/view/10656 Mon, 05 Aug 2019 00:00:00 +0200 Kim według feministek jest Antygona? https://wuwr.pl/dyskurs/article/view/10657 <p style="text-align: justify;"><strong>Who According to Feminists is Antigone? </strong><br /><br />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.</p> Edyta Janiak Prawa autorskie (c) https://wuwr.pl/dyskurs/article/view/10657 Mon, 05 Aug 2019 00:00:00 +0200 No i stało się. Szkic do manifestu gnostyka https://wuwr.pl/dyskurs/article/view/10658 <p style="text-align: justify;"><strong>And So it Happened. A Draft of a Gnostic&rsquo;s Manifesto </strong><br /><br />The text by Janusz Jaroszewski the author of artistic and scientific book THAT THERE&hellip; 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&rsquo;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 &ndash; Thomas Bernhard, Yuval Noah Harari, Miguel de Unamuno and Marina Tsvetaeva.</p> Janusz Jaroszewski Prawa autorskie (c) https://wuwr.pl/dyskurs/article/view/10658 Mon, 05 Aug 2019 00:00:00 +0200 Witraż – mit światła i koloru https://wuwr.pl/dyskurs/article/view/10659 <p style="text-align: justify;"><strong>Stained-Glass &ndash; a Myth of Light and Color </strong><br /><br />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&rsquo;s glo-ry, has perfectly inscribed itself in the program of ideological gothic cathedrals. <br />For hundreds of years stained-glass has dominated church architecture, at the same time solidified the common conviction of its religious purpose. <br />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.</p> Adam Włodarczyk Prawa autorskie (c) https://wuwr.pl/dyskurs/article/view/10659 Mon, 05 Aug 2019 00:00:00 +0200 Twarze poezji. Praca nad obrazem https://wuwr.pl/dyskurs/article/view/10660 Karol Maliszewski Prawa autorskie (c) https://wuwr.pl/dyskurs/article/view/10660 Mon, 05 Aug 2019 00:00:00 +0200 Dwadzieścia wierszy https://wuwr.pl/dyskurs/article/view/10661 Agnieszka Wolny-Hamkało Prawa autorskie (c) https://wuwr.pl/dyskurs/article/view/10661 Mon, 05 Aug 2019 00:00:00 +0200