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The concept of Boguslaw Jasinski's aesthetics is an attempt to create a new theoretical space for examining the sense and the aims of activities in the field of art. The starting point is a negation of the very notion of art and an art object. The ending point is the experience of the mystery of existence. The obstacle on the way is traditional aesthetics (beauty, form, content, aesthetic experience, creativeness, re-creation). All that together makes up a metasphere of existence which is a dense matter of life that covers up the existence itself, that is deceptive and unauthentic. The theoretical background of aesthetics is the concept of ethosophy. Its central categories are ethos and existence that is the ethos of existence. The existence is a primary fact for philosophy, it is obvious and undeniable. There exists only what there exists. Ethos is, however, a place which we take up in the whole of existence, in contrast to life, in which we find ourselves in the constant search for our own place. An artistic creation is a tool which allows us to grasp the wisdom coming from the very existence. It demolishes the traditional structure of aesthetics and the global System and points out a new area of human activity, in a frame for a new social structure where creation can be freely carried out. Creation has no material effect and does not function as a product. It is a process, it is constantly becoming. It is realised in the particular way of living. The artist makes art without consciousness or hyperconsciousness of being an artist. Jasinski postulates creating enclaves - small communities organised in their own way and self-sufficient, which are free from unwelcome influences from the outside world. Creativity is here a way of self-fulfillment, without the need to communicate anything to anybody outside. In the ethosofical project the only matter for creation is the very personality of an individual.
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This text is an attempt to outline the status of documentation in contemporary art and to describe the process of how the role of documentation has changed within the last decade. Simply speaking, documentation has gained the independent status of a work of art. Documentation as an artistic phenomenon can be considered on two levels: formally as a way to create new works of art, and this is what interests me most here; contextually (socially), when issues arising from documentation are discussed institutionally from the point of view of curators, institutions or political decision makers. The most general category which covers the whole phenomenon of documentation as art is a category of the artistic means of expression created by Peter Burger. For him it replaced the traditional category of style in dealing with the 'non-organic' character of artworks created by the dada and surrealistic avant-garde. Its artistic heirs: conceptual art, action art and time-based installations are a starting point for this particular new role of documentation as art. In art history the existing standards outlining the relationship between the original and a repetition, (like Benjamin's aura, a dialectic combination of media such as Higgins’s intermedia card), are not entirely applicable here. As in the works based on documentation, the problem of originality does not exist and the intermediality is currently made of several media. Therefore, although they somehow may serve as general patterns of thinking, they are, however, not sufficient to describe and interpret the specific works of art. Ankersmit's theory of history offers a pattern of a narration rooted in facts. Art based on documentation is in opposition to 'literature' created by curators and the contextual studies, into which art history has fallen. This text is illustrated with examples from the main exhibition of the festival 'Art and Documentation 2010' based on open submission and showing the works from last year.
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Ehtosophical Reasons of Bogusław Jsiński's Aesthetic. English Summary.
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Reenactment: i.e. a non-conservative conservation of the performance art. English Summary.
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The conservation of performance art sounds like an oxymoron. How can we conserve works whose base of existence is being ephemeral, unique and an unrepeatable dialogue with the spectator? The generally accepted method of preservation is obviously documentation which witnesses the occurrence of the act of art. However, what is to be done if the documentation seems insufficient or inadequate in the process of passing on the piece of work to next generations? One of the ways to revive an ephemeral act of art is the re-enactment. Re-enactment as a method of conservation of performance art is part of a broader strategy for the preservation of ephemeral art and other genres generally referred to as 'time-based art'. Many examples of contemporary art employ performative elements and are often based on interaction. Before, (apart from 'live art') they used to be referred to as kinetic art, installation, and more recently computer and video installations or net art. None of them is conservable in the traditional meaning of the word, which pushes the conservators to look for new ways : a re-interpretation, re-creation, migration or emulation. This article is an attempt to outline and evaluate the effectiveness of such activities based on a case of re-enactment of the performance "Change. My problem is the Problem of a Woman" by Ewa Partum from 1974. Thirty-six years after the performance took place, a conservator repeated this performance with the help of new make-up artists, as a conservator's experiment. The re-enactment strategy used in this piece was meant to enable the experiencing of it anew. A conservator's workshop has always had the task to preserve and maintain a piece of art but in the context of a piece of a performative artwork the task seems to be unusual. Here the conservation strategy becomes a reconstruction, taking on a new, extreme form acting out the artist's role in order to reproduce the work. The conservator of performance art here uses the tools that come from the performance artist’s toolkit and moves around within a framework, of not so much in the matter of the piece, but rather in the sphere of ideas, its verbalized and hidden meanings.
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Art in statu nascendi - a history of a cocneptual avant-garde movement in Wroclaw of the 70s. An eyewitness story.
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A review of book by Kazimierz Piotrowski about Krzysztof Zarębski's art.
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2nd Art and Documentation Festival - Record of the Post-festival Discussion
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PERFORMANCE ART DEFINITIONs by ROGULSKI, Marek "Rogulus" / KOWALCZYK, Wojciech / NAWROCKA, Danuta / KNAFLEWSKI, Leszek / ZAMOJSKI, Honza / KWAŚIEWSKI, Paweł / BALEWSKA, Agnieszka / ŚWIDZIŃSKA, Ewa
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This article outlines issues associated with the preservation and conservation of contemporary art and the role that documentation plays in this process. A contemporary artwork, in order to become an object of interest, analysis, purchase, collecting, exhibiting etc. must exist, and its existence must be preserved. Its preservation does not always mean, however, fixing the matter and halting the processes of deterioration such as in the case of traditional art, but it may adopt a totally different form, for example preservation in the form of documentation. The changeable character of ephemeral art, the use of perishable materials or ready-mades, as well as innovative concepts and techniques makes conservation a complex issue. An additional worrying factor is also often improperly conducted activities associated with exhibiting, transportation or storing of the artworks that cause a falsification of the artist’s concept and destruction of an artwork’s structure. The conservator must analyse, identify and preserve the matter in a professional way or, on the contrary, after an appropriate examination, act according to the artist’s intention, and treat it in a way that is adequate to the artwork’s character. This may involve the making of a replica, a reconstruction, an emulation, a re-enactment or preservation through documenting, or it may use entirely different possibilities of modern conservation. One must set a proper strategy of care and protection over the works of art and the proceedings must keep the authenticity of the artwork. The author of this article analyses the notion of authenticity and shows the change in understanding this concept, and the influence which this change had on the form and method of preserving artworks in the past, in contrast with contemporary visual art. She writes about the new role of an artwork’s matter and substance, and the challenges that result from it, and about the new role and relationship between a conservator, an artist and other “stakeholders”. She describes the threats to preservation and the aims and limits of preservation and conservation, pointing out the key role of documentation. She also pays attention to various forms of documentation by illustrating the article with comprehensive examples of good and bad practices associated with documenting contemporary artworks.
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