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The cultural sector, although it is not the largest sector of economic activity, has a significant impact on the economic development of the country. Both the state, as the main patron of culture, as well as the private sector together with the non-profit sector, support both the activities of the cultural sector and the creative industries sector. This article will address topics related to the development of the cultural sector in Poland, its main tasks and problems, elements of the cultural policy of the Polish state and the pro¬blems of globalization of culture. In addition, the following aspects will be discussed: the role, objectives and forms of financing the cultural sector in Poland, analysis of the current situation of artists and creators on the Polish market, employment structure in the cultural sector, and problems and threats to cultural activities in Poland.
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This article will discuss traditional forms of financing culture in selected European countries on the example of the five most popular models, examples of good practices for combining culture and business, and modern forms of support in the cultural sector. An important element of the study is to discuss the main directions of export and import of cultural works / services in Poland, as well as problems of internationalization of the cultural sector. The future of the cultural sector and the creative industries sector will also be discussed taking into account new ideas for improving their situation and changing the rules of their financing
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In the present text, the author analyses the key issues of ex libris art and the possible approaches of a creator of bookplates in the context of modern art. Moreover, his subject interest are also several aspects of the didactics of ex libris, with an indication of difficulties stemming from the necessity of “raising a bridge of consciousness” between the nineteenth century bookplate aesthetics and the visual and conceptual values of contemporary art.The author attempts to establish to what extent the contemporary paradigm of “being and artist” can relate to “ex libris artists.” For this purpose, he describes a conglomerate of creative qualities of the most interesting contemporary bookplate creators, answering the question as to what extent is the art of ex libris in its graphic aspect faithful to tradition and to what extent it follows contemporaneity.Even though ex libris artists draw upon past achievements in the field of aesthetics – a fact which is accentuated – regarding it sometimes from an argumentative and sometimes a conflicting perspective, they always function within their context. As such, the author unambiguously distinguishes between bookplate creators who participate and co-shape the evolution of art from representatives of a second decade of the twenty-first century popular graphic trend which negates the achievement of twentieth century art.In the final part of the article, the author delineates the basic dilemmas of the didactics of ex libris in the era of art, where “anything goes.” He stresses the role of the ability to impose limits upon self and to subordinate certain aspects of the vision to the requirements of the genre. He perceives in the limitations of the convention a chance for the development of artistic ex libris, acknowledging that some artists want to create verifiable works which are subject to described rules and principles.
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As a participant in the discourse concerned with the themes of the project “Here and now,” I would like to present several of my thirteen Engrams – traces of memory (artistic experiences).Post – graphic objectsA single graphic object or installation, situated in a new context, in the snow, water, fire, an apartment or a gallery, becomes a post – graphic object.Mobile tubeAnother series of open air experiments – in my graphic imaging, mountains or seacoast became a training ground for new experiences, in the face of nature, my thinking changed, making graphics “mobile.”Press transformationI created a representation of concave printing presses as a light installation. I built it out of overexposed presses in multiple layers, revealing their transparent, multiplied graphic image. On the training ground of art. Open air practice became for me a “Training ground” – an artistic research field, which I sometimes share with another artist.ApeironThe objects which I used became a „leaven” of activity, and their discovered performative value started the process of an artistic de-logicalization of their original mundane functions, in order for them to acquire a new logic in the sphere of art.Poles, or on the collaboration of artists“Poles,” or more specifically “Graphic poles” – constitute my own project. It originated in the need of an encounter and dialogue with another artist, providing an opportunity of showing “polar” representations of Polish and international artistic circles.Graphic shamanismA secondary usage of several props and intentional gestures, together with a new supplement of ritualistic actions and a sequence of events, were to revalue the image of the original performance held open air in Żywiec Beskids. The new performance was an attempt at a reflection on the theme of repetitions.Dialogues with fellow artists“Hommage a Tomasz Struk” – a graphic installation devoted to the memory of the outstanding artists refers to a reflection over his art, leaving a memory trace within me. In aqua scribireA synesthetic “In aqua scribere” is an installation which combines image, music and movement subordinated to natural laws. It is film recording of a fragment of performative actions. My artistic experiences radicalized in face of nature. Perhaps in these several described Engrams – emanations of creative experiences, I perceive an opportunity of inscribing myselfinto the multiple relations between ecology and art.
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