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Nedvojbeni početak novog ideala čovjeka, individualnosti i originalnosti djela, posebnosti autora i njegovog načina oblikovanja dotad neuobičajenim postupcima otpočeo je svakodnevnim buđenjima slikara mekanih satova kome je najveću radost pričinjavalo saznanje da je on sam Salvador Dalí.
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U poređenju s formatima svojih skulptura je veoma sićušan; možda san o monumentalnosti je dan baš ljudima, koji ne zablistaše nekakvom nezgrapnošću i nespretnoću. Ako ga poredimo s patetikom vlastitih kipova radi se o tihom i mirnom čovjeku, suzdržljiva govora, pragmatiku, nipošto upadljivom; bez imalo južnjačkog temperamenta, bez ikakve eksterne umjetnosti kojom bi se skretala pažnja, osim, oštrog zasvođenog čela, koje kao da bijaše olako modelirano kiparskim prstima.
More...![Living Magazine [Method]](/api/image/getissuecoverimage?id=picture_2012_16727.jpg)
Recently, the transcultural art magazine Journal for Northeast Issues launched a Living Magazine. This publishing project originated from considerations of the present necessities and possibilities of social art. Its implications, the editorial group’s working process of recent years, were projects, artists’ conferences, meetings and exhibitions in various European cities. For example, one of the major projects was related to an idea of New York linguist Mary Louise Pratt about social spaces as “contact zones” where cultures meet and deal with each other. Such spaces can mirror highly asymmetrical power relations and clashes, but they can also be places of mutual understanding and learning. Pratt describes the “arts of the contact zones” in terms of heterogeneity and seeming incoherence. She identifies the preferred artistic methods of transculturation, critique, collaboration, mediation, parody, imaginary dialogue and others. Her concept has gone on to exert wide interdisciplinary influence and has been applied when critically studying institutions of cultural history and art. The Urban Contact Zone project in Hamburg related the concept to problems of urban spaces: the current restructuring of public spaces and present-day urban development and competition. In a series of talks, performances, actions and exhibitions, the project brought together a wide range of artistic research and attitudes from a variety of international metropoleis. Many of the contributions appeared in print in the Journal for Northeast Issues’ Living Magazine. What is of interest when dealing with a “living magazine” today, and why should it be carried out in a globalized context? A great deal of the answers lie in the historical achievements of this format.
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Adam Sobota published a book on the role of photographic medium in intermedial art. Zbigniew Treppa analyzed the secrets of the Torino Shroud. He concentrated on theological aspects of photographic images and the aesthetics of light.
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In May 2004, Ewa Kaja’s work was exhibited at the Manhattan Gallery in £ódŸ. The artist was born in 1967. She studied in £ódŸ and in Vienna. She had exhibited in Vienna, and her work can be found in Austrian museums of art. The exhibition in £ódŸ is her first show in Poland. In her installations, Kaja uses such props as coats and shirts. She prints on them photographs and the copies of obituaries she finds in newspapers. She is interested in the process of slow destruction of common objects. Often, she adds the photographs of the human figures to her installations. She particularly refers to a few social groups of people, including prisoners and blue-collar workers. She considers clothing as funeral accessories. I believe that the artist doesn’t want to show the symbols of people’s presence; rather, she wants to illustrate the fact that they are gone. Kaja’s work refers to the absence of people, whose personal belongings she collects.
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Caravaggio said that he discovered ‘mysterious secrets’, and that he found his God in wine. Joanna Nowek referred to his belief in a series of photographs entitled ‘Caravaggio’, which was shown at The ‘Entropia’ Gallery in February 2005. Also, she produced a series of photographs referring to Jean- Auguste-Dominique Ingres’s art. She likes bluish and gray tones. In her collages/installations, she shows not only the human figuresm, but, also, simple objects, such as chairs and electric wires.
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Giera³towski said that he was not interested in psychology, but, rather, he wanted to reveal the truth about his subjects. His recent exhibitions were entitled ‘In Giera³towski’s Eyes’. He concentrates on the portraits of people who can become his partners in his effort to produce artistic spectacle. He considers incidental effects as very important elements in his work. He believes that light contributes to dramatization of pictures. His pictures include important information on his subjects. His portraits of musicians, writers, scientists and artists reveal the truth about their profession, their lives and characters. He says that people shown in his photographs speak through their images. The conversation between the photographer and his models is the result of a lengthy process of communication and studying different conditions, which form proper atmosphere.
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The same figure, shown from different three sides. A beam of light is dividing dark and light areas in the picture. A woman, sitting in the middle, looks as if she pretended to be absent from the scene. Patricia Orzechowska shows surrealist pictures. She concentrates on showing phantoms of real people, and different parts of the human body. Her photographs could have been used by such artists as Bunuel and Man Ray. Orzechowska refers to dream-like situations. Her figures are in constant movement. Her pictures are dynamic. The ‘Nos duo’ series and earlier ‘Phantoms’ series contribute to our re-thinking photographic theories. We are surprised by the technique she uses, and by the atmosphere in her pictures.
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Professor Stefan Morawski was a philosopher. He was interested in modern art. and the philosophy of art. He considered neo-Avantgarde as a phase in artistic evolution. He believed that it was a sort of ‘Avantgarde within Avantgarde’. He wrote that we live in obscure reality, and we have to understand our tragic condition in order to change the conditions and make them more humanitarian. He criticized postmodernist thinkers for their conformist attitudes. He disliked mass media for their manipulative role in cultural life. The group of his friends included such artists as R. Winiarski, W. Go³kowska, J. Chwa³czyk, M. Stanowski and Z. Warpechowski. Morawski liked controversies and he often used hard arguments in order to defend his ideas. He believed that most important element in discussion was disagreement. He was always open towards new and interesting opinions. He was afraid that machines could destroy metaphysical and sacred elements in art.
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Photographic Confrontations 2004 was the thirtieth edition of the show organized in Gorzów Wielkopolski. It is the biennial exhibition. Marian £azarski is the curator of the show. In 2004, Andrzej Saj received an award for his significant work on promoting photographic art in Poland and abroad. The show revealed two different trends in Polish photography, which can be considered as documentary and theatrical trends.
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There were many symposiums and jubilee conferences which accompanied the 5th edition of the Ars Electronica show in 2004. Participants included such theoreticians as Jose Carlos Mariategui and Nadja Maurer, pioneers such as Krzysztof Wodiczko, Jochi Ito, Marvin Minsky. Mark Hansen and Ben Rubin received the main award for their installation entitled ‘Listening Post’. Ken Rinaldo showed an interesting installation entitled ‘Augmented Fish Reality’. Nazih Mestaoui and Yacine Ait documented internet relationship between a young couple. AMarc Downie, Paul Kaiser, and Shelley Eshkar showed an installation entitled ‘Loops’ based on ‘Solo Dance for Hands and Fingers’ by Merce Cunningham, a dancer, and a musical composition by John Cage. Thomas Koener received Golden Nike award for music entitled Banlieu du Vide.
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The exhibition at the Kulturhuset in Stockholm was entitled ‘Unstable’. It included photographs by Swedish artists from last ten years. Some artists have exhibited abroad, and others aren’t known outside of Sweden. Dejan Antonijewic, Helena Blomquist and Pamela Zettermann represent the second group. Blomquist showed hunting scenes from Sweden. Zettermann showed photographs of domestic animals. Jan Svenungsson showed photographs of cities, which, in the past, used to be cultural capitals of Europe: Avignon, Bergen, Bologna, Bruxels, Kraków, Prague, Rejkjavik, Santiago de Compostella.
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The Photographic Festival in Warsaw followed three editions of Photo Biennial in Poznañ, two photo shows in Kraków, and Photo Festival in £ódŸ. It was organized in 20 galleries by the Polish Artists’ Association and the Academy of Fine Arts. Also, Artist-Photographers’ Association organized a show which included work by its members and accompanied the Festival. Katarzyna Derkacz-Gajewska received the main award for her painterly, out-of-focus photographs. Krzysztof Paj¹k received an award for his lightand- shadow studies. Krzysztof Giera³towski was awarded for his portraits. The artists not only received diplomas, but, also, they were given digital cameras manufactured by the Nikon company. Certificates of merit were given to Alexandra Bujnowska, Stasys Eidrigievicius, Bartosz Krasicki, Rafa³ Kucharczuk. W³odzimierz Szymañski, Aeksandra Wroñska, and Monika Rozowska. In my opinion, it was Monika Rozowska who should had been given the Grand Prix. Marek Su³ek showed retouched slides, which resembled 19th century postcards and dark pictures by Saudek. Still life studies by Wojtek Wieteska were the most artistic presentation during the Festival. He is an art historian and film maker. He likes Edward Hopper and Wim Wenders’s work. In his own work, he analyzes light effects in glass and other materials, and mirror reflections. Józef Robakowski showed photographs from his family album. It was a sentimental show organized by the Presidential Gallery. Marek Sobczak and Bogdan Hildebrandt showed digital photographic series, which included poetic texts. Jerzy Boniñski, Stanis³aw Wooe and Krzysztof Heike organized a show at the Homeless Gallery. Three other shows followed the festival. The Luksfera Gallery showed photographs from the Basilicata region in Italy by Cartier-Bresson and Zavattini. CSW Gallery showed work by Serrano, Leibovitz, Araki and Goldin. Yours Gallery showed work by Thomas Hoepker. The International Photo Biennial is scheduled for the Fall, 2005.
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