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Performowanie genealogii – rewolucyjna wspólnota ciał
Komentarz do dwóch performansów prezentowanych w Punkcie widokowym: Katarzyna Kalwat, "Maria Klassenberg. Ekstazy" oraz Anna Baumgart, "Sprawa kobieca w Polsce 2018".
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Komentarz do dwóch performansów prezentowanych w Punkcie widokowym: Katarzyna Kalwat, "Maria Klassenberg. Ekstazy" oraz Anna Baumgart, "Sprawa kobieca w Polsce 2018".
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A commentary to two artistic projects presented in Viewpoint: Katarzyna Kalwat, "Maria Klassenberg. Ecstasies", Aneta Grzeszykowska, "Maria Klassenberg’s Archive 1970–1980" and Anna Baumgart, "The Woman Question in Poland 2018".
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The author analyses Maria Lassnig’s visual autobiography, her creation of painterly temporalities and her record of bodily experiences. The article concentrates on Lassnig’s experiencing her historicity and her distinctive way of feminizing the process of its construction. Her historicity is seen here as framed by the ways she measures the distance between her experience as a woman and the medium of painting, herself and other women artists, her forms of visual resistance and struggles vis-à-vis theirs. Lassnig performs her historicity in painting (and on the canvas) in the timespan of decades and in relation to other forms of female autobiographical performances in the sphere of the visual, social and political. This relational perspective remains crucial for positioning of Lassnig on the map of the feminist critique of both image and history. The author looks at some of the artist’s self-portraits as stages in a lifelong work of self-reflection and self-inscription into the world and painting, as well as conversely, of the inscription of the world and painting onto woman’s history and her body.
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In order to critically interrogate the conditions in which we live, and the world around us, feminists have turned to the complexity of their own experience. As we have learned, the time of autobiography is key to its political function: the occasional is the time of prefatory critical reflection (Nancy K. Miller); the belated is the time of the anecdotal (Jane Gallop); the after-effect is the time of belated surprise (Shoshana Felman). But what of the present moment? In this article, Morra proposes that the representation of the temporal, spatial and historical present is a powerful form of critique. Bringing to bear Maria Lassnig’s art practice onto feminist theories of autobiography, Morra suggests that the potential space of the present (D.W. Winnicott) is fundamental to autobiography’s ability to provide us with a form of individual and collective feminist resistance.
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Artykuł podejmuje kwestię autobiograficznej twórczości Marii Lassnig – jej autoportretów, dzienników, wierszy – w kontekście nurtów obecnych w sztuce austriackiej w latach 1950–1980. Autoanaliza uprawiana przez artystkę zdradza tak różne inspiracje jak akcjonizm wiedeński, literatura awangardowa i eksperymentalna Wiednia – Mayröcker, Wiener – aż po filozofię cielesności Hermanna Schmitza. Znamienna dla autoanalizy Lassnig jest nie tylko transmedialność i związane z nią aspekty przekładalności indywidualnego języka ciała na formy figuratywne, abstrakcyjne, kolory i słowa, ale i wyraźny dystans do ujęcia cielesności w kategoriach gender.
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The article captures the autobiographical work of Maria Lassnig – her self-portraits, diaries, poems – in the context of trends present in Austrian art in the years 1950–1980. The artist's self-analysis reveals through a variety of forms such diverse inspirations as Vienna Actionism, avant-garde and experimental literature of Vienna – Mayröcker, Wiener – to the philosophy of Leiblichkeit by Hermann Schmitz. A characteristic feature of Lassnig's self-analysis is not only transmediality and related aspects of the translatability of an individual body language into figurative and abstract forms, colours and words, but also a clear distance from the approach to corporality in terms of gender.
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Narratives about women artists usually point to the obstacles they face in the development of their artistic careers. In her article, the author proposes an analysis that concentrates on how a woman artist – Zofia Kulik – presented herself as the heroine of a successful story of emancipation in the series of works titled The Splendor of Myself (1997, 2015, 2017). The self-image she presents is paradoxical: we deal with both her ostentatious presence and her absence as her physical presence is hidden behind the gorgeous but extremely stiff dress. It corresponds with Kulik’s understanding of her success as directly related with the wealth of images and the mastery of composition.
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Recenzja książki Justyny Jaworskiej „Piękne widoki, panowie, stąd macie”. O kinie polskiego sockonsumpcjonizmu, Universitas, Kraków 2019
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The first cut-out photomontages by Alicja Biała were created as illustrationsto the collection of poems by Marcin Świetlicki Polska (wiązankapieśni patriotycznych) [Poland (A Medley of Patriotic Songs)]. The articlediscusses the poetic function of editing practices, raises the issue of thefolk nature of the artist’s works, and points out their journalistic andcritical aspects. The image of Poland that emerges from Biała’s cut-outs isthe focus of attention. They are analysed in the context of reflections byTim Edensor on the importance of popular culture for national identityand Michael Billig on banal nationalism. The main topic of the articleis the problem of “Polishness as a situation” (according to MieczysławPorębski’s formulation), which photographic montage reconstructs anddeconstructs.
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The aim of this study is to find out how the interdisciplinary approach model which is often used in the whole of the general education system and has positive results coincides with the gains in the 5, 6, 7 and 8th grade Visual Arts curriculum and whether the interdisciplinary approach was used by the relevant experts in preparing this program. For this reason, document analysis that one of the qualitative research methods was used in the research. In order to obtain the planned data, the gains and explanations in the 2018 Visual Arts lesson curriculum were presented as tables and reviews were carried out on them. As a result of the document analysis it was concluded that most of the gains in the curriculum were not in line with the interdisciplinary approach so the gains that involved were not fully successful in integrating the Visual Arts course with other disciplines in the general education system. Based on the obtained data it was observed that the gains in the Visual Arts curriculum were insufficient to support the interdisciplinary approach and especially the gains that planned for the field of ‘Visual Communication and Workshop’ learning area were quite insufficient in this regard. In addition, it has been seen that for interdisciplinary approach, the most appropriate area of this program is ‘Art Criticism and Aesthetics’ and the gains in this area are better suited to the interdisciplinary approach than in other areas. Based on the data obtained from this study, it was suggested that the Visual Arts curriculum should be revisited in accordance with the interdisciplinary approach so that students can go through a more qualified art education program and live their lifes as creative and original individuals with a multidimensional perspective.
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Various fixed oils (refined and unrefined), namely drying oils or seed oils, are commonly used as medium in pictorial art and these oils are preferred by artists in order to dry and bind the color pigments in a canvas. The effects drying oils on characteristics (color change in time, required time for complete drying, constituents paint medium and cracking etc.) of paint vary depending on the fatty acid composition of the oil. However, studies about the effects of refined and cold press (unrefined) seed oils on aforementioned properties of paint are insufficient, thus in the present study, four different fixed oils (linseed, sunflowers, safflowers and sesame oils) were mixed with color pigments (white, red, yellow and blue) with the ratio of 1:10 (w/v) until getting a creamy structure and their effects on total drying time, color attributes (L*, a*, b*) were investigated. Moreover, fatty acid compositions (area %) of used drying oils are presented according to the GC/FID results. Color is the most important quality parameters of painting and slight changes may occur in the color of paint due part to type of drying oil. L*/a*/b* results of linseed, sunflower, sesame and safflower oils were range between in the following order; 45.3-97.85/-19.86-53.84/-36.36-88.44; 46.75-97.13/-17.84-54.31/-31.57-84.65; 44.97-97.16/-23.15-53.31/-35.79-86.16 and 45.30-96.95/- 21.97-53.19/-34.40-83.97, respectively. The longest drying time was found in sesame oil for white and yellow pigments while that of were almost similar for other oils. For red and blue pigments, drying time lasted longer for sunflower oil compared to others. With respect to fatty acid composition, SFA, MUFA and PUFA were determined at high ratio for sesame, sunflower, safflower and linseed oil, respectively. Thus, the study indicated that cold pressed safflower and linseed oils have a great potential in paintings due to shortest drying time and the ability of bringing out characteristic properties of each color compared to other cold pressed fixed seed oils as sesame and sunflower.
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Sava Stepanov: DANILO VUKSANOVIĆ – DIJAFRAGMENTI. LIKOVNA HRONIKA 2001–2018.
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Árkossy István: A Nautilus fénye. Rozsnyay Béla szobrászata. Magyar Napló, Fókusz Egyesület, Bp., 2019.
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