Roślina Jako Medium. Problematyka Ochrony Sztuki Współczesnej Z Elementami Roślinnymi

Author(s): Anna Kowalik / Language(s): Polish Issue: 17/2017

THE PLANT AS A MEDIUM: THE ISSUE OF THE CARE OF CONTEMPORARY ART INCORPORATING ELEMENTS OF PLANTS The research discussed here addresses the issues of the subjectivity and individuality of plants: their importance and complexity, which when they are used in art is closely associated with the evolution of an artist’s mentality and the development of bio art, eco art, or land art. This work provides research tools enabling the identification of phenomena occurring in biological/ecological arts, and indicates a change in the status of nature in art.Artworks made of plants and animal materials are becoming increasingly popular in Polish and foreign exhibitions. It is impossible to ignore threats resulting from the significant delays in the state of research of Polish and foreign research institutions in relation to the dynamic development of this atypical art. The complexity of preservation of contemporary art includes the documentation not only of tissue matter, which in this case is ephemeral, but above all the ideas, context, functions, history, the process of creation, exhibition and storage of such works. In works with elements of plant origin, common issues are related to their documentation, the correctness of their interpretation, meaning of the materials used, problems with exhibiting the works, the artist's intentions and the formulation of new criteria for the protection of these artworks. In the preservation of these atypical works of art, this includes taking into account storage conditions, such as air pollution and the microclimate, as well as interactions with inorganic and synthetic materials used in the creation of the object.The main objective in this case is to expand knowledge about the preservation of works of art with atypical organic materials, as well as to provide a practical perspective for theoretical discussions. It is important for the artist to be present, as he indicates the correct diagnosis of the artwork, which is the basis for its proper care and documentation. The specificity of contemporary artworks, the variety of materials used and their history associated with places of storage and state of preservation, require a multilateral approach.

A Synoptic View Of The Issue Of The Valuation Of Modern Art. With Reference To The Collection Of The Muzeum Sztuki (Museum Of Art) In Lodz

Author(s): Joanna Kiliszek / Language(s): Polish Issue: 17/2017

A SYNOPTIC VIEW OF THE ISSUE OF THE VALUATION OF MODERN ART. WITH REFERENCE TO THE COLLECTION OF THE MUSEUM OF ART IN ŁÓDŹ This text analyses three unprecedented and complex groups of ‘artistic collections’ of the collection of the Museum of Art in Łódź. There are: the unique International Collection of the group "revolutionary artists" (the ‘a.r. group’), which was displayed in the Museum in Łódź in 1931 and then took the form of the well-known ‘Neoplastic Room’, a gallery specially created in 1948 to house the International Collection. The second major group of works is the gift of over 800 works by Joseph Beuys, called ‘Polentransport 1981’. The third group of items discussed here is a collection of interdisciplinary works and installations by Tadeusz Kantor - partly in the collection of the museum, and partly in private ownership. They may serve as model collections for understanding the identity of this Museum. They clearly show the artistic values of the collection, chronological changes, differences in the motives behind their creation, and the context in which they were collected. Superimposed on the variety of material, ideological and artistic factors that influence our assessment of the works, there is another dimension - the relativity of assessments and methods of their evaluation, which result from the natural process of emerging new trends in art.These reflections revolve around a series of questions. What values in heritage protection are important for us today and for the future? What processes in museum practice, both curatorial and conservative, influence the formation of these values? What is the reason for the need to constantly update the evaluation of individual works and the artistic, historical and social dimension of creativity within contemporary art? This process develops due to the constant need to update views on the latest visual arts and the forms of their protection, and involving the active participation of artists, consumers, conservators, curators but also takes into account the analysis of the changes within art and its forms. The final question therefore concerns how this process will affect the reading of the present for our times and for the future.The main result of the investigation and interpretation of the history of artistic preservation of the collection at the Museum of Art in Łódź presented above is the discovery of how the values of these collections influenced the changing views on the duties of the conservator and the curator. On the one hand this concerns the protection of the material values of the avant-garde heritage by preserving it as a 'product' (documentation-maintenance-restoration) that is presented to the public. On the other hand it involves, preservation as a ‘process’ implied in the transformation of these collections into works in their own right. Resulting from this is the need to show both the material and non-material values based on artistic and historical context. These activities are supported by the institution's awareness of the importance of the necessity to preserve the artistic integrity of the work and also the artistic collection as a work.These activities of the museum are part of a broad range of conservation procedures to preserve cultural property and are of immense importance for exhibition, educational and promotional practice. As a result, the museum has acquired notable holdings of works and collections, which are its showpiece and which are of great importance to constituting its attractiveness to visitors.

Współczesna Czy Dawna, Fałszerstwo, Reprint Czy Vintage Print? Zagadnienia Związane Z Identyfikacją Fotografii

Author(s): Izabela Zając / Language(s): Polish Issue: 17/2017

CONTEMPORARY OR HISTORICAL, FORGERY, REPRINT OR VINTAGE PRINT? ISSUES RELATED TO THE IDENTIFICATION OF PHOTOGRAPHS. A CASE STUDY The primary stage of identifying photographic images consists of careful observation, which also includes microscopic examination. Its purpose is to find the characteristic features of a particular technique, sometimes compared to fingerprints. In most cases, this process, combined with XRF and FTIR techniques of spectroscopic analysis, allows us to ultimately identify the photographic technique and, consequently, to ascertain the date of origin. There are, however, cases that are difficult to explain.One such example is an aerial photograph of the town of Modlin, taken in 1940 and purchased several years ago in an internet auction. It had caught the attention of a collector interested in images from WWII, due to the whiteness of its paper and its distinct appearance, which differs significantly from that of other photographs from that period. The lack of any signs of deterioration and the characteristic yellowish tint of the substrate led to suspicions that we might be dealing with a contemporary reprint of a historical negative.The image was printed in postcard format on German Agfa paper. The verso of the photograph bears a handwritten inscription in blue ink: "(...) Modlin 1.5.1940".Suppositions of forgery prompted the decision to compare the image with another one, taken around the same time and on identical photographic paper, the authenticity of which was beyond any doubt.The following analyses were carried out: microscopic and UV light observations, fibre content, XRF, FTIR; all of which failed to show any differences, but only confirmed that both photographs were created using the silver-gelatin process on paper of identical composition. It was only the LA-ICP-MS analysis that revealed that the 1940 image has higher concentrations of the following elements: P (about 11 times), S (about 16 times), Ti (about 275 times), Ga (about 130 times), Sb (about 32 times) and Ba (about 206 times). Other dissimilarities became apparent after comparing the magnified brand markings on the versos of the photographs.In spite of this, an unequivocal identification of the photo as a hoax is currently impossible. Further collection of reference material and information regarding the similarities of contemporary photographic paper to paper from 80 years ago is under way.

Kiedy Kwadrat Znaczy Okrąg. Problematyka Ekspozycji Rzeźb Marii Pinińskiej-Bereś I Jerzego Beresia

Author(s): Oskar Hanusek,Katarzyna Świerad / Language(s): Polish Issue: 17/2017

SQUARING THE CIRCLE: THE DISPLAY OF ARTWORKS OF MARIA PINIŃSKA-BEREŚ AND JERZY BEREŚ A work of contemporary art may be severely harmed even if its physical substance is perfectly preserved. The reason for such an apparent paradox lies in the dual nature of contemporary artworks where the matter serves as the carrier for the artist’s intent. The latter might be affected while mounting an exhibition when actions like assembling an artwork’s parts, designing the display space, arranging the artworks in the gallery are undertaken. In extreme cases, the wrong decisions taken concerning its exhibition may annihilate the most important intangible features of the artwork. This subject is analysed with a focus on the works of Jerzy Bereś and Maria Pinińska-Bereś – two prominent Polish avant-garde sculptors and performers, since their works are often affected by such problems. In terms of the scale of the alteration involved, the examples described in the paper are comparable to severe overpainting of a picture. Fortunately, such errors are usually easily reversible. In this project, research conducted in the archive of the artists has been complemented by theoretical analysis of their art, examination of the structure of their artworks and interviews with relatives. Taken together these have enabled definition of the main issues involved and guidelines on avoiding them. One type of issue is linked with preparation of the artwork for an exhibition. Bereś’s sculptures are composed of whole range of parts differing in type and size that have to be reassembled each time. It is not an easy task, and mistakes may lead to the wrong results. There are, however, helpful sources of information, such as approved historic photographs of the original installation and the markings of the author on the parts and descriptions of the nature of the work. The key factor is to interpret them correctly. Nevertheless, not only the arrangement of parts has to be preserved but also qualities like the physical and visual tensions in sculptures, the functional or semantic role of elements, type of fasteners, logical order of assembly etc. It is important to note that the works of Pinińska-Bereś pose different challenges. Features like the shape of squashy elements (stuffed with polyurethane foam and cotton wool), arrangement of multi-element sculptures and the character of recreated ephemeral parts must be preserved. Also, the visual lightness and softness of shape, brightness and cleanliness of the surfaces are essential qualities to maintain.The issues shared by both artists relate to the position of the works in an exhibition space. These were originally specified by the artists very clearly. First, the use of pedestals is unacceptable. Both artists rejected the concept of traditional sculpture and their exhibition that led them to shape and position the artworks directly on the floor. This changed the relationship between the viewer, the sculpture and the space around it. From the point of view of the artists, pedestals merged with the shape of the artwork becoming part of its substance. What is more, since their works often resemble everyday objects, putting them on pedestals results in extracting them from their natural realm. Other issues relate to viewing distance, arrangement of the artworks in the context of the layout of the room and the juxtaposition of two different sculptures.The manner of displaying interactive artworks is another issue common to both artists. When operated, such works produce sounds, unveil inscriptions or change the arrangement of elements. When their motion is stopped at a certain point, new, unintended interpretations become possible. Usually they are false or even contrary to the artist’s intent. In an ideal situation, the audience should be allowed to interact with the artworks. However, this is almost impossible to achieve in normal exhibition conditions. Providing information about the work’s interactivity and reason of its limitation is therefore crucial. The viewer has to know that the artwork was not intended to be static. This should be accompanied with documentation of the work’s action, demonstrations by trained staff on guided tours or the use of an exhibition replica. In Poland, some of the issues discussed above are copyrighted. Certain articles of the legislation refer directly to the public display of an artwork: the right to “have the contents and form of the author’s work inviolable and properly used” and the right to “control the manner of using the work”. As a result, artworks ought to be displayed without interference with their intended meaning and the artist’s remarks on this subject must be respected. This applies even if the owner of the artwork has acquired all economic rights.This article is written from the perspective of conservators of works of art. In terms of the conservation of modern and contemporary art, the role of conservators exceeds the preservation of the matter. The artist’s intent, being the core of the artwork, should be the determinant of all actions undertaken that will affect the artwork – from preventive care and display to conservation-restoration. Therefore the conservator along with curators, art historians and exhibition specialists should have significant influence on the manner of exhibition.

Elementy Nowej Teorii Konserwacji Dziedzictwa Sztuki Wizualnej. Ratunek Dla Ochrony Dawnej Sztuki Nietypowej I Sztuki Współczesnej

Author(s): Iwona Szmelter / Language(s): Polish Issue: 17/2017

ELEMENTS OF THE NEW THEORY OF THE CONSERVATION OF THE HERITAGE OF VISUAL ART, THE NECESSITY FOR THE PROTECTION OF ATYPICAL OLD AND CONTEMPORARY ART As a result of recent experience and international cooperation, it has become clear that for the taking of responsible and effective conservation decisions, it is necessary to modify the doctrines of conservation that had been created for the traditional heritage of art, to release them from the traditional restraints. The elements of the new theory include proposals for extended principles of research on the diverse heritage of visual art, the manner of conducting safe preservation and management, the dissemination of the results, as well as the social issues involved and the contribution of art to sustainable development. Due to this, it is possible to flexibly adapt these activities to suit the needs of atypical art from the past as well as that from contemporary times. The thesis of this study concerns the need to re-orientate the philosophy and attitudes towards conservation in the direction of the maintenance of the continuity of visual art. The goal of the initiative is to present a contribution to the creation of the new theory of conservation of this type of art, and define the new obligations of the curator of atypical old and modern art and contemporary art. According to the author, the effective care of this art requires three separate paths of activity. Conservation includes: first of all defining a philosophy of the conservation of the whole complex of material and immaterial values of the art, secondly defining the principles that form the basis of the new conservation theory, and thirdly determining suitable conservation methods, including the necessity to conduct scientific documentation and its archivisation. Along with the birth of electronic media, video art and the Internet, the autonomy of artistic projects, programming, the importance of duplication and multiple visualizations, the current crisis of concepts that have traditionally been the determinants of the value of a work of art (such as originality, authenticity, uniqueness) require a re-examination. Art of this type is expressed not only by the material and the object, or the object together with the intellectual context, but it can have a virtual body and be reproduced, or exhibited in the so-called synthesis of arts (German: Gesamtkunstwerk). In this framework, the analysis of the work and recognition of its values becomes a separate, time-consuming research project in which the synergy of multidisciplinary analyses plays a large role. They consist of humanistic studies, searching for the context of the creation of a work, technical analysis of the materials, obtaining so-called first-hand information, such as through an authorized interview with the artist (or his co-workers). It is important to include all data in the so-called the conservation registration of an artistic work (extended ‘object ID’). This comprises a source of knowledge about the object, the original idea and message of the author, the materials used and their meaning for the work, as well as guidelines for future conservation-restoration, mounting and display in exhibitions, as well as guidelines concerning storage and transport. The principles of the preservation of the visual arts include indications, wider than before, concerning the responsibilities of the conservator as an advocate not only of the well-being of the work, but also the rights of its author. The preservation process may take a number of forms, starting from the so-called ‘preservation through documentation’ of art objects where their intrinsic ephemerality is the goal of the author of the work, through active conservation with elements of restoration (depending on the type of work involved), and various forms reconstruction or re-enactment. The latter cease to be the subject of a ‘taboo’ among the conservation community as long as they respect the integrity and copyright of the work. The new conceptual framework of conservation has to ensure the timeliness and adequacy of the means adopted for the preservation of the heritage of visual art with regard to current needs and the development of culture.

Wannes Goetschalckx - Syzyf Dwudziestego Pierwszego Wieku W Panoptykonie Ponowoczesności

Author(s): Marta Wróblewska / Language(s): Polish Issue: 17/2017

WANNES GOETSCHALCKX - A TWENTY FIRST CENTURY SISYPHUS STUCK IN THE PANOPTICON OF REALITY In response to the discussion concerning the role and meaning of art that has been intensified due to the two most relevant events in the art world organized in 2017, i.e. the Biennale of Art in Venice and Documenta in Athens and Kassel, a solution in between the tendencies represented by those two is proposed. This can be referred to as existential art, since its main area of concern is man within the surrounding world, as opposed to the world that surrounds the man. This man is very often the artist, presenting himself many times as an absurd protagonist. He does not get too involved in politics, neither does he create his art according to the rules of beauty, goodness and truth. He rather looks very closely at everyday objects, invents logical structures, builds constructions in which he endeavours to find his own place within the reality surrounding him. This place seems to be here and now, occupying a very small, personal territory that forms a microcosm for his activities and interventions, constituting a parable of the whole world. He is very much alike the mythical Sisyphus who is dedicated to performing a task doomed to eternal repetition. The above creative attitude is analysed using the example of the artistic practice of the Belgian artist - Wannes Goetschalckx, who this year was visiting the Łaźnia Centre for Contemporary Art in Gdańsk in order to produce a month-long performance connected with his residency there. The artist is presented as a twenty first century Sisyphus stuck in the panopticon of reality, trying to construct artistic qualities out of the vestiges of culture, based on the symbols rooted in the natural and cultural heritage. His art is a persistent experiment, aiming at gaining knowledge concerning life, man, and the relation which binds them, constituting human existence. The artist applies an array of media to the reaching of his goal, on the one hand playing games with no rules, games-experiments with the viewers, and on the other hand delineating his own, highly ritualised territory, as an area of laboratorial practices, many a times involving himself as the main protagonist. This creative activity constitutes a long-term process whose mission is to incorporate various artistic practices, however with no views for their explicit ending, thus reminding us of the never-ending toil of Sisyphus.

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Author(s): Magda Szcześniak,Łukasz Zaremba / Language(s): English Issue: 17/2017

A chapter from the book "Kultura wizualna w Polsce. Spojrzenia" ["Visual Culture in Poland. Looks"], ed. Iwona Kurz, Paulina Kwiatkowska, Magda Szcześniak, Łukasz Zaremba (Fundacja Bęc Zmiana, Instytut Kultury Polskiej UW: Warsaw, 2017). The essay is devoted to protest imagery in Polish culture - from avant-garde painting to contemporary, vernacular visual representations used during protests.

Powiedzmy to na głos! Czarność i queer

Author(s): Agnieszka Więckiewicz / Language(s): Polish Issue: 17/2017

Recenzja filmu dokumentalnego Ouvrir la voix zrealizowanego przez francuską reżyserkę, aktorkę i feministkę Amandine Gay.

My, Amerykanie

Author(s): Iwona Kurz / Language(s): Polish Issue: 17/2017

Omówienie filmu I Am Not Your Negro (2016) w reżyserii Raoula Pecka

Nakręcić rewolucję

Author(s): Michał Pospiszyl / Language(s): Polish Issue: 17/2017

Esej składa się z trzech części. W pierwszej z pomocą Kristin Ross, Jacquesa Rancière'a i Waltera Benjamina próbuję pokazać, że nie powinniśmy myśleć o Komunie Paryskiej jako o wydarzeniu, które dokonało zewnętrznego cięcia historii. Rewolucja byłaby niemożliwa bez dziesięcioleci poprzedzających ją walk, rozwijanej kultury proletariackiej oraz autonomicznych instytucji społecznych. W drugiej części przechodzę do analizy filmu Petera Watkinsa "La commune (Paris 1871)". Odwołując się do "Teorii filmu" Siegfrieda Kracauera, argumentuję, że celem obrazu Watkinsa nie jest inscenizacja wydarzeń z XIX wieku, ale ich urzeczywistnienie. W części trzeciej pokazuję, jak Watkins montując opowieści, obrazy, dane statystyczne, kwestionuje linearne pojęcie historii, w którym wydarzenia są niczym więcej jak anonimowymi elementami jednorodnego przepływu czasu. La commune dostarczałoby tym samym perspektywy, w której Komuna i poświęcony jej (oraz nakręcony 130 lat później) film mogą zostać ujęte jako rozgrywające się w tym samym czasie.

Sztuka lat 90. tańczy, lecz nie drży

Author(s): Jakub Lubomir Banasiak / Language(s): Polish Issue: 17/2017

Tekst o wystawie 140 uderzeń na minutę. Kultura rave i sztuka w latach 90. w Polsce, kuratorzy: Szymon Maliborski, Łukasz Ronduda (współpraca kuratorska Zofia Krawiec), Muzeum Sztuki Nowoczesnej w Warszawie, 22 lipca – 27 sierpnia 2017

Slikar i njegov dvojnik u stvaralaštvu Katarine Radojlović

Author(s): Srđan Marković,Nebojša Milićević / Language(s): Serbian Issue: 13/2017

The painting of Katarina Radojlovic, gone too soon as it happens too often in life, carries inherently and by its nature the autobiographical features that do not allow factual interpretations and anecdotal storytelling. Furthermore, the painter’s need to touch the “impersonal” without losing her own identity, however paradoxical it may sound, makes difficult any attempt to classify or rank her artistic opus within the existing courses of the contemporary Serbian art scene. After all, what’s the point of classification since during the process of creating the author was crystal clear about her painting being first and foremost cosa mentale. It is actually a form of searching for her, dealing with loneliness and meaningless in an effort to rediscover the meaning of reality via work of art that will by its own standards seek to establish a relationship between form and function of visual expression. This effort, we would say, is quite clearly to be identified in the last cycles of her artistic opus: Theatre of Shadows, Moonlight Stories and Imprint of a Shadow.

Abramović – Ulay 1980–1988: Desert Storm Survivors

Author(s): Svetlana Racanović / Language(s): English Issue: 13/2017

The twelve-year collaborative practice of Marina Abramović and Ulay (Franck Uwe Laysiepen), started with extreme, rapturous and unflinching explorations of capacities of the body in their early performances (a phase they called The Warriors), that corresponded to the fury of the 1970s. In an environment hostile to the living, phenomenological body (in arts, in theoretical discourse) of the 1980s, the two artists recalibrated their living and artistic strategy. During their extensive journeys into distant lands (deserts of Asia, Africa, Australia), they were introduced to and embraced the practices of eastern meditation techniques, which secured and procured their escape from the limitations of their own culture and their relationship. They also significantly influenced and modified forms and functions of their joint performances. The refined simplicity and stillness of the form of their many-times (re)enacted performance Nightsea Crossing focussed and spurred their inner forces towards self-perfection and the unfolding of more sophisticated lines of connection with the outside, with otherness. The legacy of this performance has affected the direction and function of their later, individual careers.

„Porta Makedonija”, od psevdoklasicizam do spomenik na kulturata, od politička ritualizacija do graġanska demistifikacija

Author(s): Ljupčo Risteski / Language(s): Macedonian Issue: 13/2017

In this paper, we are considering the social aspects of the object “Porta Macedonia” as a part of the project “Skopje 2014”, its political and cultural meanings, its symbolic aspects and its reflection on identity policies in contemporary Macedonia. We read buildings and monuments of “Skopje 2014” project as texts, interpret them as symbols recognizing as signs of multilayered ideas and interpretations of the nation under strong political patronage. The text shows how a monument in a very short period creates multiple layers of symbolism which, depending on social contexts, can be read in different ways.

DIGITALIZACJA DZIEDZICTWA KULTUROWEGO W POLSCE. REPOZYTORIA CYFROWE JAKO POTENCJALNE ŹRÓDŁO DOSTĘPU DO ZASOBÓW KULTUROWYCH

Author(s): Mariusz Dzięglewski,Aldona Guzik,Marta Juza / Language(s): Polish Issue: 2/2017

The digitization of cultural heritage has become significant activity of national and regional institutions as well as individual and informal groups. The process simplifies the preservation of memory of the past of a given community, thus reasserting its collective identity. In our article, we discuss some aspects of this process. We focus on the legislative determinants of digitization in relation to European Union and Polish law and we anal- yse the repositories, including digitized objects. Our research leads to the conclusion that digitization is seen by lawmakers as an important element of cultural policies. The research proves that unlocking the centrally institutionalized process of digitization to grass-roots initiatives (social archiving) is more and more significant, even though the main role in this process is now played by public institutions.

Sztuka lesbijska

Author(s): Tandem Twórczy Damski / Language(s): Polish Issue: 01/2018

ПСИХОФИЗИОЛОГИЧЕСКИЕ ОСОБЕННОСТИ РЕАЛИЗАЦИИ ИСПОЛНИТЕЛЬСКИХ ФУНКЦИЙ МУЗЫКАНТОМ САКСОФОНИСТОМ В УСЛОВИЯХ ПЕРЕДАЧИ ОРИГИНАЛЬНОЙ АВТОРСКОЙ ИДЕИ

Author(s): Denis Zotov / Language(s): Russian Issue: 6/2017

The specificity of the study is to reveal the properties of the solo saxophonist psychophysiological activity, which is a symbiosis of many factors, from the stamina of the organism to the thoughtful lability, aimed at solving executive issues. It manifests first and foremost in solving problems of performing practice, aimed at expanding the possibilities of the instrument in the field of evolution of expressive capabilities, techniques of performance and acoustic qualities. This direction of artistic and psychological science sets the theoretical basis for understanding the deep physiological mechanisms aimed at the implementation of the mental processes of the development of performing arts.The conducted research is based on the analytical comparative and cognitive method of the artistic direction aimed at revealing the specifics of the creative process, which is a complex combination of physiognomic and psychic functions of the human body representing a unique symbiotic system aimed at fulfilling the set artistic tasks. The performance of the musical work as one of the most complex forms of manifestation of creative thought puts musicians with multistage tasks of creative interpretively, the quality of which depends on the degree of transmission of the artistic design of the author of the work, and the limit of perception by his audience. The scientific novelty of this work consists in an attempt to adapt existing theoretical postulates concerning psychophysiological activity of the musician to the conditions of practically-performing development of a professional saxophonist aimed at revealing the original author’s idea.Setting the task for revealing a certain work, the saxophonist raises several guidance goals in front of him and adheres to the process of artistic analysis, in particular: reopening the author's context of the work by filling it with new emotions and even changing partly or completely the general concept of the composition; Transferring to the content of the work his/her life-professional experience and personal experiences; If necessary, changes the technical and expressive composition plan. The result of this activity is the phenomenon of interpretation, which is one of the options for interpreting the author’s content of a musical work, based on the subjective relation of the performer to the artistic material.

The Pretensions of a Mediated Culture: The Case of Herceg Novi, European Capital of Culture 2021

Author(s): Vladana Kosić / Language(s): English Issue: 16/2018

This article is about problematization of media image created on the eve of Herceg Novi, Montenegro’s candidacy for European Capital of Culture 2021, which, in this competition was awarded to competitor city Novi Sad, Serbia, instead. The introductory portion of this article concerns the philosophers of the Frankfurt School, as well as the concept of creative industries, as well as the critical theory of society, which leads to the treatment of culture as a consumer good, and its subsequent exploitation. Via a review of media permeability and indulgence, we analyze the media situation of specific local communities, including consumers’ opinion of local news portals, through the media ‘shaping’ of information associated with the aforementioned candidacy. The text also examines the realities and possibilities of local cultural policy and cultural workers before and during the preparation of the candidacy itself. Finally, we shall seek answers to the following questions: Who is involved in the creation of culture in local media, and what kind of culture is created in the media context?

Linia, czyli Co Łączy Nurty Awangardy Polskiej

Author(s): Łukasz Guzek / Language(s): English,Polish Issue: 18/2018

The plein-airs in Osieki were organized in the years 1963-1981. On their basis, one can trace in a kind of laboratory form, the changing trajectories of world art and its influence onPolish art. Influencing both the artistic character and the dynamics of change. The study of art presented in Osieki indicates the leading processes taking place within Polish art. The sixties influenced by post-avant-garde art and the seventies subjected to the domination of conceptual art, and the following decline of these tendencies. The line – known as the leading slogan of the plein-air in the ground breaking year 1980, is a useful point of reference. I derive a broad interpretation of the line from the book by Wassily Kandinski Point and line to plane.Another, more parochial point of reference was a linear drawings by Wacław Szpakowski, discovered at that time by Janusz Zagrodzki.In the history of Polish art, conceptualism has its sources in geometric abstraction as well as in the art of photo-film media. Art of geometric provenance has always been present in Osieki. But it was not until 1980 and 1981 that conceptual art and the art of new media took a dominant position during the plein-airs. The '80 and '81 plein-airs were a kind of recapitulation of the artistic debates of the 1970s over conceptual art(and at the same time became a recapitulation of the plein-airs series). Their significance also lay in the fact that they took place in the context of a sharp conflict between the authorities and society, strikes in the Gdansk Shipyard and the influence of the Solidarity movement. The article is an attempt to reconstruct the artistic and political significance of the last two plein-airs. In the conclusion, I propose to use the methodology of performance studies to analyze this phenomenon. Consideration of these plein-airsin connection with three types of performances: organizational, cultural and technical, allows for them to be re-adjusted to contemporary cultural reflection.

Cuteness, czyli rozczulająca słodycz

Author(s): Sianne Ngai / Language(s): Polish Issue: 19/2017

Polish translation of an excerpt of the book Our Aesthetic Categories. Cute, Zany. Interesting (Cambridge,Mass.: Harvard University Press 2012).