Mity zdegradowane. O monografii Komiks i mit Pawła Gąsowskiego
Review of: Paweł Gąsowski, Komiks i mit, Instytut Kultury Popularnej, Poznań 2021.
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Review of: Paweł Gąsowski, Komiks i mit, Instytut Kultury Popularnej, Poznań 2021.
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This paper presents the period of artistic activity of Waldemar Krygier in Nowa Huta. Krygier was a director and manager of the Ludowy Theatre from 1971-1974 and before that time he founded a famous student’s theatre, Studio 38, and also cooperated with Jerzy Grotowski. The author briefly analyses those performances by Krygier which became interesting for theatre critics, especially Biesy - his greatest theatrical achievement. As a manager and director, he ambitiously searched for the repertoire. During his term, the stage Nurt 71 was created - an interesting niche initiative.
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The article presents the forms of repetition in the creation and reception of Tadeusz Kantor’s performances. Krakow cellars, Kantor’s home in Wielopole and school class in Bielkowo near Łazy in Pomerania connect here the topic of affective searching and finding sources of identity and memory. The process may refer to both the artist and the viewer, seeking in the memory, art and landscape the traces of himself, recorded in the past and projected onto the surroundings. The author’s discovery of the interiors of the cellars under the floor of the house in Wielopole, similar to the Krzysztofory cellars in Krakow where Kantor conducted the rehearsals of the famous The Dead Class, leads to the conclusion that the preexisting in Wielopole under the floor of a childhood room the space of Kantor’s play can be the source of director’s affective repetition. With the use of the repetition mechanism, numerous further artistic discoveries and meetings of the artist with the self and visions of his future performances have been made. The facilitation of this process for viewers of exhibitions and to the recipients of art, both in Bielkowo and Wielopole, seems to be the inclusion of another tool in theatrical and artistic education.
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On February 13, 2020, Dr. hab. died. Marek Karwala, professor at UP, an outstanding literary historian and art critic, our dear friend and editorial colleague. We publish the farewell speech delivered during the post-funeral ceremony by the director of the Institute of Polish Philology of the Pedagogical University of Krakow in the years 2016–2020, Dr. Hab. Ewa Mlynarczyk, prof. UP.Professor Marek Karwala; photo: Marcin Kania.
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The texts that will be discussed come from 1942 and 1945. The first one basically refers to the theater, the second one mainly concerns cultural matters. Taken together, they complement each other. Connected by the motif of a social approach to creativity, they can be considered representative of a more general reflection on social and artistic phenomena. This is how their choice should be acceptedThe first text (Teatralne przewidywania, ”Miesięcznik Literacki” 1942) concerns mainly the theatre, while the second one (O cyrkulacji piękna, „Tygodnik Powszechny” 1945) basically relates to cultural issues. They complement each other. Due to the common motif of social perception of creative work, they are significant for a more general reflection upon socialartistic phenomena in the collective life of a given society. The reality of war and occupation are not directly visible in Kudlinski’s views, as he emphasised, above all, the ideologicalorganisational aspect of theatrical life in the upcoming years. Taking into consideration folk theatre, professional and artistic-amateur theatre, he was convinced that they should be somehow combined, but remaining distinct. He regarded this option as a potential implementation of ”the idea of harmonious circulation of beauty by Norwid”. From this perspective, restoring value to folk art corresponds to the concept of circulation of artistic phenomena and understanding creation as «encouraging one another to work», and as «a flag on the tower of man’s work», stressed by the author of Promethidion, That is how Kudliński turned his work into a kind of art manifesto in the predictable reality of postwar years.
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From the period of geographic discovery to the current era of globalization, Eastern and Western cultures have been in constant communication while being very different from one another. The Polish art scene was profoundly influenced by inspiration from the Far East from the late nineteenth century to the early twentieth century, or from “Young Poland” to the modern era following World War II. At the turn of the century, interest in Japan and its art expanded from Paris to Poland. The popularity of Japanese art in Poland increased as a result of social, cultural, and even political demands. Numerous ideas in Japanese art, such as ukiyo-e woodcuts, were compatible with the philosophy of the Young Poland era and hence served as the foundation for numerous art schools. Poland and China, another Eastern nation, frequently exchange cultural and artistic works during the aforementioned period, which are evident in sectors such as painting, film, stage design, etc.
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U ovom pregledu i kritičkoj interpretaciji Nisbetovih ideja poslužit ću se i vlastitim primjerima iz književnih djela na osnovi Nisbetove klasifikacije s ciljem učvršćivanja ideje o srodnosti sociologijskih i umjetničkih sadržaja. Također valja rasvijetliti razložnost mog vlastitog argumenta u prilog Nisbetovom projektu sociologije. Naime, da je društveni svijet stvoren iz predodžbe o sebi, baš kao i čovjek. Mi smo ono što o sebi mislimo i ono što o nama misle drugi. Kada ta dva pogleda ukrstimo, dobivamo intersubjektivnu sliku svijeta, dakle još uvijek subjektivnu. Tvorba/tvorac te predodžbe je umjetnička/umjetnik ili umjetnica, a mjerenje njene istinitosti, tj. stupnja podudarnosti između subjektivne i objektivne dimenzije, odnosno teorije i prakse, proizvod je znanosti, njene metode analize i evaluacije rezultata istraživanja.
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An interview with Rodrigo Pérez de Arce by Ana Maria Zahariade and Radu Tudor Ponta.
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While buildings are relatively static parts of cities over time, green landscapes are much more dynamic components, whose durability over time is conditioned by a tedious and constant maintenance work. From this point of view, the development of these spaces is a permanent engagement between the forces of nature and man’s desire to control them through domestication: design, planning and care. Whether in parks, urban or private gardens, green spaces have always been “light” settlements built with ephemeral planted elements. Therefore, the persistence of planned green spaces is limited in time by plants` life cycle. This includes an annual transition of gardens through all life’s five natural seasons: germination and development (spring), flowering (summer), roadside emergence (early autumn), fall (late autumn) and hibernation (winter). The paper attempts to approach the concept of ephemeral in architecture by bringing into discussion the Perennial Movement in garden design. It proposes the use of block grouping types and matrices made up of different plant species mixtures, whose compositions are individualized by texture and structure. The results of this cultural movement’s research and practical experiments are gardens that persist in their planned state for many years after planting, with minimal maintenance. As an example, the paper will comment on the gardens designed by the Dutch horticulturist and landscape gardener Piet Oudolf.While buildings are relatively static parts of cities over time, green landscapes are much more dynamic components, whose durability over time is conditioned by a tedious and constant maintenance work. From this point of view, the development of these spaces is a permanent engagement between the forces of nature and man’s desire to control them through domestication: design, planning and care. Whether in parks, urban or private gardens, green spaces have always been “light” settlements built with ephemeral planted elements. Therefore, the persistence of planned green spaces is limited in time by plants` life cycle. This includes an annual transition of gardens through all life’s five natural seasons: germination and development (spring), flowering (summer), roadside emergence (early autumn), fall (late autumn) and hibernation (winter). The paper attempts to approach the concept of ephemeral in architecture by bringing into discussion the Perennial Movement in garden design. It proposes the use of block grouping types and matrices made up of different plant species mixtures, whose compositions are individualized by texture and structure. The results of this cultural movement’s research and practical experiments are gardens that persist in their planned state for many years after planting, with minimal maintenance. As an example, the paper will comment on the gardens designed by the Dutch horticulturist and landscape gardener Piet Oudolf.
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Despite their continuous oscillation between artistic processes and testbeds for urban or even social regeneration, temporary urban interventions are nowadays perceived as a distinct practice in the field of architecture and urbanism. But while a growing body of research continues to advocate for the manifold benefits of recognizing urban interventions as a tool for urban development, there is not enough emphasis put on understanding the fundamental role of local specificities in reaching their desired success. This article is divided in two parts, starting with defining the theoretical frame for a rather ambiguous area of research, a compulsory step in creating a common ground for the latter case study analysis. It proposes a delineation between urban interventions and artistic practices by the extent of answering three main challenges: (1) the integration in the social context, (2) the ability of the built form to serve the main aim, and (3) the steps made towards a long-term effect. The analysis of each case study from Timișoara, Romania, shows how the conceptual, physical, and organizational qualities of urban interventions added to the social, cultural, and administrative particularities of the local context influence their success in temporarily activating urban spaces and laying the foundation for sustainable revitalizations.
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While cities are facing climate emergency, coupled with an increasing unequal access to resources and a shrinking democracy, the urban commons narrative have gained momentum (Foster and Iaione, 2016; De Angelis, 2017; Stavrides, 2019) as an alternative socio-political proposition, enabling a more democratic, just and sustainable society. Processes of commoning are enacted through situated practices of collective living, articulating alternatives to the hegemonic paradigm of individualization and marketization, transforming neighbourhoods at scale. In the post-socialist city, thriving neoliberal policies brought massive changes, like radical privatization, collapsing public infrastructure and rampant individualization. Neighbourhoods’ public grid was fragmented, underfinanced and commodified, needing repair, maintenance and support, triggering thus collaboration and care among its users by activating what De Angelis calls “latent” commons in society (2017). Here, inhabitants stepped in and transformed the in-between spaces of the collective housing estates through community gardens, DIY furniture, animals’ support structures or using garages for socializing. This paper investigates these manifestations of urban commons within the process of collective housing neighbourhoos regeneration in the context of post-socialist city and seeks to propose formats where designers can act in support for such commons to emerge. The paper is based on the case study of OPEN Garage project-space located in Drumul Taberei neighbourhood, Bucharest. The aims of the project were twofold: to work as a “supplement room” for the inhabitants of the Loop area by piloting a practice-based community equipment and to engage in practice-based research in support of the informal collective practices.
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This paper discusses the case of the “La Terenuri” area, situated in Mănăștur neighborhood, in Cluj-Napoca (Romania). A socialist housing complex, planned and built as a working-class dormitory starting with the 1960s, Mănăștur hosted mainly a population with rural origins who was attracted in the city to work in the newly developed socialist industries. Using their gardening skills and encouraged by favorable communist legislation, these residents started taking care of the spaces in-between the blocks, thus coproducing forms of urban commons. They transformed the modernist urban space into a livable community garden through improvisation, upcycling and by sharing resources. These temporary rural-inspired practices were used to cobuild a common space that still functions today in an unfinished modernist project. Inspired by these practices, the authors of this paper initiated, in 2012, a participatory cultural project entitled “La Terenuri,” aiming to create a green meeting space by working with the residents. Following this project, in 2019, the local authorities decided to plan and build a sports park in the area, incorporating some of the features experimented in the cultural project of co-creation. From a participatory action-research angle, this paper presents how rural-inspired temporary practices and participatory-cultural experiments can influence the permanent form of a neighborhood regeneration project, using diverse methods like interviews (with original gardeners, residents and activists) or co-designing temporary urban infrastructure (in the participatory-cultural project). Finally, this case-study allows an evaluation on how our temporary experiments shaped urban policy.
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s the Nakagin Capsule Tower reached its imminent demolition at age fifty, the tower brought into question the physical and cultural impermanence of architecture. In the Metabolist spirit of continual growth, its architect Kisho Kurokawa, the youngest founding member of the Metabolist movement, designed the tower with a plan for its individual living units—the capsules—to be replaced every twenty-five to thirty-five years, while the concrete cores were estimated to last for more than sixty years. Kurokawa wrote extensively on the paradoxical Japanese practice of achieving permanence through impermanence. Fifty years since the Tower’s completion in 1972, none of the capsules have ever been replaced, and the building suffered from significant structural and cosmetic deterioration. For a variety of reasons—including the lack of funds, the allure of high profit in a new building on site, and difficulties accessing the capsules to replace them with a crane—the owner Nakagin neglected to maintain and replace the units. Without systematic maintenance—including units’ replacement—the capsules could not evolve with Japan’s changing work culture, gender roles, and domestic life. While societies expect cultural norms to change, they expect buildings to last for decades. In examining the photographs by those who lived in the tower over the past decade leading to the building’s demolition, the paper examines the impermanence of cultural visions and masculine dreams that shaped the architecture, and the possibilities of architecture designed with intentional impermanence as a way towards a more adaptable and sustainable future.
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This article explores the phenomenon of Irish “Celtic Tiger” boom-era “Ghost Estates”: housing developments left in ruin by the burst of the Irish housing bubble in the late 2000s. Ghost Estate imagery is perhaps the most evocative of those associated with the Celtic Tiger. This has led such ruins and their images to become symbolic not only of the Irish boom-era and its crash, but of neoliberalism more broadly. This ideological valency held by Celtic Tiger Ghost Estates makes them an important point of interrogation in the question of how architecture and architectural aesthetics have processed the period, and how they’ve affected subsequent ideological attitudes towards Ireland’s enduring housing crisis. The phenomenon also raises deeper questions regarding ruins in relation to architecture, aesthetics, history, and concepts of time. The estates will be analysed for their dual expression of the ephemeral and the permanent: the ephemeral through their failure as a project of architectural design, town planning, housing economics, and politics – the permanent through their movement from real estate to ghost estate; their transformation from housing to ruin. Architectural ruins will also be shown to transmit multiple conceptions of time; in some ways as burdened by the future as they are by the past. By interrogating this recent history of Ghost Estates in light of the deeper cultural history of the architectural ruin, the article examines how this contemporary phenomenon reveals or disrupts the narrative structure of neoliberal progress, and how architecture contributes to aesthetic conceptions and images of time.
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Copresences Nemere Kerezsi, Thiemann-Etüde Exhibition, Quadro Gallery, Cluj-Napoca, Romania. May 13 – June 24, 2022.
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Riccardo Dalisi ‘71-‘74. Il Rione Traiano di Napoli e la partecipazione come progetto Circolo del Design, Torino, Italia. May 4 – September 30, 2022 Curated by Circolo del Design. Director: Sara Fortunati. Curator: Luca Beatrice, assisted by Giorgia Achilarre. Art Direction and Graphic Design: FIONDA. Exhibition project and production coordinator: Marilivia Minnici.
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Review of: Alexandru Sabău, Arhitectura de hârtie: forme alternative de creație arhitecturală în România anilor 1980 Bucharest: Ozalid, 2022, 314 pages, ISBN 978-606-94837-8-7
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Raspravu započinjem s pitanjem zbog čega žanr horora opstaje, a ovo sam pitanje preinačio u pitanje zbog čega ljudi uopće traže ono što navodno uznemiruje. Problem kontinuiranog postojanja horor žanra sužen je na pitanje zbog čega naprosto ne izbjegavamo cjelokupni horor žanr jer, u mojem shvaćanju, promiče istinski strah i gađenje. To sam pokušao objasniti pomoću univerzalnih i općih teorija o hororu, u kontekstu načina na koji stravična bića koja definiraju taj žanr usmjeravaju naš interes, fascinaciju i znatiželju, a ta zadovoljstva nadjačavaju sve negativne osjećaje koji zbog takvih neprirodnih stvorenja postaju mogući. Ova žanrovska obilježja – interes, fascinacija i znatiželja – a posebno kad su uvećana u osnovnim narativnim formacijama tog žanra, objašnjavaju zbog čega se horor fikcije i dalje konzumiraju i proizvode, najčešće ciklički.
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The study is devoted to the main musical symbol of the Ukrainian people. It is revealed that the work has a high prophetic symbolism regarding the evolutionary development of the country. The method of analysis of the spiritual content of melodies helps to identify a systematic objectification of its potential, based on the category of “spiritual reality”, and is considered from a musicological point of view. The melody reveals a symphonic technique of proto-intonation development. The genre basis of the melody is prayer. The system reproduces the basis of musical drama of Ukrainian folklore. The method of microminiature art, typical of Ukrainian folk masters, is embodied. The methodological basis helps to focus on the development of the sacredness of space-time content. The program potential of this work is able to lead the transformation of the spiritual state of man. Sacred symbols are placed in the center of energy development. The music conveys the idea of a renewed pulse. The people recognize Nature as the Temple in which man exists. The world of spirituality is sanctified by its living perception. The music of the “Anthem of Ukraine” perfectly combines the world and consciousness of people who woke up from eternal slavery. The melody contains courage and tenderness, firmness of spirit and faith in a good awareness of Truth and Joy. The cosmic law of consonance, the law of analogy is embodied. In the microstructure of the thematic core of the melody there is a point and its energy “engine” – dotted rhythm, a microelement of the iambic foot of the One Whole, which serve as two symbolic parameters of the formed core of themes. They perform in the energy layer the fundamental microfunction of the level of the heart, the function of the highest prayer to the Spirit, which helps the manifestation of spiritual consciousness in the density of the musical structure. the masculinity of the major is affirmed and ends with the gentle, feminine softness of the parallel minor, which indicates the systematic fluctuations of their paired periodicity in melodic-syntactic structures. A peculiar system of expressive symbolism of artistic and figurative drama of Ukrainian folklore, a reflection of the powerful genre of youth lyrics, the core of the spiritual greatness of culture, which is still preserved in the folk traditions of family education. The most popular image of the Mother of God is inspired by the Ukrainian prayer site, a sacred symbol of the famous icons “Protection of the Blessed Virgin” of the Zaporozhian Cossacks. The highest feminine principle encourages the protection of the male community, the whole nation, endows the Almighty with an effective symbol of patriotism, covers with its omophorion, gathers an army of men on the battlefield, the sanctity of monasticism, which protects spiritually. Intuitively and intelligently, the composer-priest conveyed that the invisible Hierarchy of Light stood up for the protection of hearts that dream and know of dignity and honor, honesty and spiritually high justice in the reality of earthly existence.
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Za sve koji su živjeli krajem dvadesetog i početkom dvadeset prvog stoljeća, znanstvenofantastični film jedna je od malobrojnih umjetničkih formi koja je nastojala predvidjeti budućnost ljudske prirode i civilizacije – budućnost ispunjenu svemirskim putovanjima, nanotehnologijom, genetskim inženjeringom i posvemašnjim nadziranjem. Među najutjecajnijim znanstvenofantastičnim filmovima su Istrebljivač (1982.) i Osmi putnik (1979.) Ridleya Scotta, šestodijelni Ratovi zvijezda (1977.-2005.) Georgea Lucasa, Matrix (1999.) braće Wachowski te Dr. Strangelove (1963.) i Paklena naranča (1971.) Stanleya Kubricka.
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