Pub Date : 2019-09-01DOI: 10.5604/01.3001.0012.9867
K. Maliszewski
The author of this article analyzes the poetry of Bogusław Kierc, a poet from Wrocław, pointing to the separateness and originality of this artist. Originality is revealed in risky and bold themes and a form that is a combination of something avant-garde with something very traditional. The language used by the poet, concerning ultimate and mystical problems, captivates with harmonious, musical finesse. Pictures in this poetry are seen, heard and experienced. The hero of these poems sees in his somatic and erotic experiences the source of potential mysticism, the possibility of approaching transcendence.
{"title":"\"Żeby wierszowi chodziło o życie\". Liryka Bogusława Kierca","authors":"K. Maliszewski","doi":"10.5604/01.3001.0012.9867","DOIUrl":"https://doi.org/10.5604/01.3001.0012.9867","url":null,"abstract":"The author of this article analyzes the poetry of Bogusław Kierc, a poet\u0000from Wrocław, pointing to the separateness and originality of this artist.\u0000Originality is revealed in risky and bold themes and a form that is a combination\u0000of something avant-garde with something very traditional. The\u0000language used by the poet, concerning ultimate and mystical problems,\u0000captivates with harmonious, musical finesse. Pictures in this poetry are\u0000seen, heard and experienced. The hero of these poems sees in his somatic\u0000and erotic experiences the source of potential mysticism, the possibility\u0000of approaching transcendence.\u0000\u0000","PeriodicalId":431350,"journal":{"name":"DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130691262","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-09-01DOI: 10.5604/01.3001.0012.9888
M. Śnieciński
An exceptionally interesting case of performance in contemporary art are artworks, in which artists do not present a performance itself but rather its effects. For these artists a performance is somehow included in the tissue of the artwork; it was indispensable for the artwork to be created, yet it is hidden so the viewer needs to make an effort to reconstruct this performative character of the artwork and understand (become aware of) the resulting consequences. The text analyses works by Akira Komoto (the Seeing series), the realization by Lech Twardowski (Generator Bez Maszyn), three series of works by Urszula Wilk (Niewysłane listy) as well as selected sculptures by Shen Shaomin (the Bonsai series). Although in these works we deal with various forms of performativeness, their joint feature is the fact that in each of them the viewer must discover and reconstruct the hidden performance in his/her memory.
{"title":"Work of art as an event - performance restructured in imagination","authors":"M. Śnieciński","doi":"10.5604/01.3001.0012.9888","DOIUrl":"https://doi.org/10.5604/01.3001.0012.9888","url":null,"abstract":"An exceptionally interesting case of performance in contemporary art are\u0000artworks, in which artists do not present a performance itself but rather\u0000its effects. For these artists a performance is somehow included in the\u0000tissue of the artwork; it was indispensable for the artwork to be created,\u0000yet it is hidden so the viewer needs to make an effort to reconstruct this\u0000performative character of the artwork and understand (become aware\u0000of) the resulting consequences. The text analyses works by Akira Komoto\u0000(the Seeing series), the realization by Lech Twardowski (Generator Bez\u0000Maszyn), three series of works by Urszula Wilk (Niewysłane listy) as well\u0000as selected sculptures by Shen Shaomin (the Bonsai series). Although in\u0000these works we deal with various forms of performativeness, their joint\u0000feature is the fact that in each of them the viewer must discover and reconstruct\u0000the hidden performance in his/her memory.\u0000\u0000","PeriodicalId":431350,"journal":{"name":"DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126208937","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-03-05DOI: 10.5604/01.3001.0012.9885
Ewa Bobrowska
This paper is focused on the phenomenon of the art of performance and happening, in particular by Allan Kaprow, as well as the forms of self-torture in the art of Chris Burden and Günter Brus. In their expression, performance is sincerity, the moment of truth, bringing out to light what, by the immersion in the stream of life, could remain undiscovered and veiled. The rhetoric of truth in this art is presented, inter alia, in the context of Heidegger’s statements on the essence of art and the function of the process. Performance is a peculiar, modern form of aestheticism, challenging time and the temporary dimension of existence, the limitations of one’s body and the psyche. In this way, the madness of this art comes close to the experience, which Kant describes as the sublime. The form of self-torture in this art discloses the need to escape from the suffering inflicted by being and the Self’s escape from itself in the philosophy of Emmanuel Levinas.
{"title":"Rhetoric of shown truth performance art","authors":"Ewa Bobrowska","doi":"10.5604/01.3001.0012.9885","DOIUrl":"https://doi.org/10.5604/01.3001.0012.9885","url":null,"abstract":"This paper is focused on the phenomenon of the art of performance and\u0000happening, in particular by Allan Kaprow, as well as the forms of self-torture\u0000in the art of Chris Burden and Günter Brus. In their expression, performance\u0000is sincerity, the moment of truth, bringing out to light what, by\u0000the immersion in the stream of life, could remain undiscovered and veiled.\u0000The rhetoric of truth in this art is presented, inter alia, in the context of\u0000Heidegger’s statements on the essence of art and the function of the\u0000process. Performance is a peculiar, modern form of aestheticism, challenging\u0000time and the temporary dimension of existence, the limitations\u0000of one’s body and the psyche. In this way, the madness of this art comes\u0000close to the experience, which Kant describes as the sublime. The form\u0000of self-torture in this art discloses the need to escape from the suffering\u0000inflicted by being and the Self’s escape from itself in the philosophy of\u0000Emmanuel Levinas.\u0000\u0000","PeriodicalId":431350,"journal":{"name":"DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU","volume":"34 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-03-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126885716","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-02-25DOI: 10.5604/01.3001.0012.9853
Marek Śnieciński
The text discusses the oeuvre of the selected contemporary female artists, who in their works analyse the problem of nakedness, treated as a costume, metaphor or event, as well as those, who deal with issues of identity, processes of creating it and the visual (media) identity masks. The works by such artists as Alba d’Urbano, Vanessa Beecroft, Katarzyna Kozyra, Alina Szapocznikow, Herlinde Koelbl, Tina Bara, Eva Bertram, Ursula Rogg and Tanja Ostojič are analysed. The text includes theoretical considerations by Lynda Nead, Agata Jakubowska, Giorgio Agamben and Hans Belting.
{"title":"Problem nagości, tożsamości i dorastania (w dziełach współczesnych artystek)","authors":"Marek Śnieciński","doi":"10.5604/01.3001.0012.9853","DOIUrl":"https://doi.org/10.5604/01.3001.0012.9853","url":null,"abstract":"The text discusses the oeuvre of the selected contemporary female artists,\u0000who in their works analyse the problem of nakedness, treated as\u0000a costume, metaphor or event, as well as those, who deal with issues of\u0000identity, processes of creating it and the visual (media) identity masks.\u0000The works by such artists as Alba d’Urbano, Vanessa Beecroft, Katarzyna\u0000Kozyra, Alina Szapocznikow, Herlinde Koelbl, Tina Bara, Eva Bertram, Ursula\u0000Rogg and Tanja Ostojič are analysed. The text includes theoretical\u0000considerations by Lynda Nead, Agata Jakubowska, Giorgio Agamben and\u0000Hans Belting.\u0000\u0000","PeriodicalId":431350,"journal":{"name":"DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU","volume":"50 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-02-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126094098","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-02-25DOI: 10.5604/01.3001.0012.9848
Anna Dzierżyc-Horniak
The text is an attempt at looking at the art project Brides on Tour from the perspective of the nomadic subjectivity by Rosi Braidotti. The project, in the new context lent by the death of Giuseppina Pasqualino di Marineo, known under as Pippa Bacca, gave rise to diverse commentaries, at the same time becoming a reference point for successive artistic and social endeavours. The article analyses the strategy undertaken by “the brides” as women-artists, the cultural symbols and archetypes used by them, while as a counterweight questions are asked about the faith in unconditioned hospitality in the frames of what Jacques Derrida called “Abraham” tradition as well as about the presence of women in public space. As a result, the project seems to be an artistic performance, which demands including the specific, embodied female experience to be a subject in culture and politics. Its true value is located in the acquired experience; in the exchange that the artists initiate with people encountered on their way; in breaking the borders between art and everyday life. This is quite an alternative model of art and as such is an answer to the feminist demands of Rosi Braidotti.
本文试图从游牧主体性的角度来审视罗西·布雷多蒂的艺术项目《旅行中的新娘》。在Giuseppina Pasqualino di Marineo (Pippa Bacca)去世的新背景下，该项目引起了各种各样的评论，同时成为后续艺术和社会努力的参考点。本文分析了“新娘”作为女性艺术家所采取的策略，她们所使用的文化符号和原型，同时作为一种平衡，在雅克·德里达所谓的“亚伯拉罕”传统框架中，对无条件好客的信仰以及女性在公共空间中的存在提出了问题。因此，这个项目似乎是一种艺术表演，它要求包括具体的、具体化的女性经验成为文化和政治的主体。它的真正价值在于获得的经验，在于艺术家与途中遇到的人进行的交流;打破艺术和日常生活之间的界限。这是一种相当另类的艺术模式，也是对罗西·布雷多蒂(Rosi Braidotti)女权主义要求的回应。
{"title":"Kobieta jest nomadką, kobieta jest artystką. Spojrzenie na panny młode w podróży Pippy Bacca i Silvii Moro w feministycznym ujęciu Rosi Braidotti","authors":"Anna Dzierżyc-Horniak","doi":"10.5604/01.3001.0012.9848","DOIUrl":"https://doi.org/10.5604/01.3001.0012.9848","url":null,"abstract":"The text is an attempt at looking at the art project Brides on Tour from\u0000the perspective of the nomadic subjectivity by Rosi Braidotti. The project,\u0000in the new context lent by the death of Giuseppina Pasqualino di Marineo,\u0000known under as Pippa Bacca, gave rise to diverse commentaries, at the\u0000same time becoming a reference point for successive artistic and social\u0000endeavours. The article analyses the strategy undertaken by “the brides”\u0000as women-artists, the cultural symbols and archetypes used by them,\u0000while as a counterweight questions are asked about the faith in unconditioned\u0000hospitality in the frames of what Jacques Derrida called “Abraham”\u0000tradition as well as about the presence of women in public space.\u0000As a result, the project seems to be an artistic performance, which demands\u0000including the specific, embodied female experience to be a subject\u0000in culture and politics. Its true value is located in the acquired experience;\u0000in the exchange that the artists initiate with people encountered on their\u0000way; in breaking the borders between art and everyday life. This is quite\u0000an alternative model of art and as such is an answer to the feminist demands\u0000of Rosi Braidotti.\u0000\u0000","PeriodicalId":431350,"journal":{"name":"DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU","volume":"110 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-02-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114948812","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-02-25DOI: 10.5604/01.3001.0012.9832
Andrzej Kostołowski
Andrzej Kostołowski Veiled and Direct. Remarks About the Feminine Worlds of Maria Pinińska-Bereś and Ewa Partum The proposals of art by the internationally known: Maria Pinińska-Bereś (1931–1999) and Ewa Partum (b. 1945) have been emerging since the 1960s and 1970s as the successive steps driving through the shell of masculine domination in art. Owing to the power and coherence of the liberation endeavours, both artists have worked out their own forms of creativity. Through the individuality of feminine approaches they mani- fested in their statements some sort of model message, and at the same time a uniqueness in the way of using artistic means of expression. For the sculpturess and “performeress” Pinińska-Bereś entangled in the mul- ti-level dualism of the patriarchal domination and neo-avant-guarde free- dom, the method depended on showing psychoanalytically filtered depths through the veiled object allusions. For the relatively early emancipated and direct in her strong performances conceptual artist, Ewa Partum, the fusion of corporal presence with critical ideas was, and still is, important.
Andrzej Kostołowski面纱和直接。Maria Pinińska-Bereś(1931-1999)和Ewa产期(生于1945年)这两位国际知名艺术家的艺术建议，自20世纪60年代和70年代以来，作为突破艺术中男性统治外壳的连续步骤而出现。由于解放运动的力量和连贯性，两位艺术家都有自己的创作形式。她们通过女性化方式的个性，在她们的陈述中测试了某种模范信息，同时在使用艺术表达手段的方式上也具有独特性。对于纠缠在男权统治和新前卫自由的多重二元主义中的雕塑家和“表演家”Pinińska-Bereś来说，这种方法依赖于通过隐藏的客体典故来表现精神分析过滤的深度。对于相对较早解放和直接的、表现强烈的观念艺术家艾娃·金来说，身体存在与批判思想的融合过去是，现在仍然是重要的。
{"title":"IMPLIED AND DIRECT. REMARKS ON FEMINO-WORLDS OF MARIA PINIŃSKA-BEREŚ AND EWA PARTUM","authors":"Andrzej Kostołowski","doi":"10.5604/01.3001.0012.9832","DOIUrl":"https://doi.org/10.5604/01.3001.0012.9832","url":null,"abstract":"Andrzej Kostołowski Veiled and Direct. Remarks About the Feminine Worlds of Maria Pinińska-Bereś and Ewa Partum The proposals of art by the internationally known: Maria Pinińska-Bereś (1931–1999) and Ewa Partum (b. 1945) have been emerging since the 1960s and 1970s as the successive steps driving through the shell of masculine domination in art. Owing to the power and coherence of the liberation endeavours, both artists have worked out their own forms of creativity. Through the individuality of feminine approaches they mani- fested in their statements some sort of model message, and at the same time a uniqueness in the way of using artistic means of expression. For the sculpturess and “performeress” Pinińska-Bereś entangled in the mul- ti-level dualism of the patriarchal domination and neo-avant-guarde free- dom, the method depended on showing psychoanalytically filtered depths through the veiled object allusions. For the relatively early emancipated and direct in her strong performances conceptual artist, Ewa Partum, the fusion of corporal presence with critical ideas was, and still is, important.","PeriodicalId":431350,"journal":{"name":"DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU","volume":"51 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-02-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127172063","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-02-25DOI: 10.5604/01.3001.0012.9837
Karol Maliszewski
Karol Maliszewski Spirituality of Literature. A Case of Antoni Matuszkiewicz The author in his sketch describes the early lyrics of Antoni Matuszkie- wicz. He emphasizes that what has been modernist in them, the avant- garde shape of the poem, has been marked by a special spiritual fervor, as if Matuszkiewicz tried to reconcile in a single record a revealing metaphor with something eternal, with something what seems like a mystical spir- itual formation. Matuszkiewicz, in a dispute over poetry, is on the side of those who believe in a substantial image of the world and, hence, the metaphysical nature of literature.
carol maliszewski:《文学的灵性》。安东尼·马图斯基维奇的例子作者在他的小品中描述了安东尼·马图斯基维奇早期的歌词。他强调，这些诗中现代主义的东西，诗歌的先锋派形式，已经被一种特殊的精神热情所标记，就好像马图斯凯维奇试图在一个单一的记录中调和一个揭示性的隐喻，与某种永恒的东西，与某种似乎神秘的精神形态。在一场关于诗歌的争论中，马图斯凯维奇站在那些相信世界的实体形象，因此相信文学的形而上学本质的人一边。
{"title":"METAPHYSICS OF LITERATURE THE CASE OF ANTONI MATUSZKIEWICZ","authors":"Karol Maliszewski","doi":"10.5604/01.3001.0012.9837","DOIUrl":"https://doi.org/10.5604/01.3001.0012.9837","url":null,"abstract":"Karol Maliszewski\u0000Spirituality of Literature. A Case of Antoni Matuszkiewicz\u0000The author in his sketch describes the early lyrics of Antoni Matuszkie- wicz. He emphasizes that what has been modernist in them, the avant- garde shape of the poem, has been marked by a special spiritual fervor, as if Matuszkiewicz tried to reconcile in a single record a revealing metaphor with something eternal, with something what seems like a mystical spir- itual formation. Matuszkiewicz, in a dispute over poetry, is on the side of those who believe in a substantial image of the world and, hence, the metaphysical nature of literature.\u0000\u0000","PeriodicalId":431350,"journal":{"name":"DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU","volume":"135 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-02-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114739117","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-02-25DOI: 10.5604/01.3001.0012.9831
A. Szuba
Agata Szuba #tropy#feminizm The contemporary media message can be perceived in two perspec- tives: an active one, in which women perform a role of journalists and editors, and a passive perspective, in which they become a part of media message. The latter aspect is the most controversial for many reasons. Walter Lippmann defines a stereotype as an image created in the mind which allows a subordination of a certain fragment of reality a priori. The media’s visible, negative influence on women has them create a reality beyond the boundaries of acceptance, presenting it in a way the audi- ence expects. A new kind of feminism appears, i.e. one which answers the receiver’s needs (succumbing to the expectations and exposing to the look), and a question appears – whether in the time of the feminist legacy, thereby changes resulting from the development of the media, feminists should gain their own unique style? In a way this is beginning to happen. Due to the development of the media, women gained an unrestricted possibility to express their views, and the reception and availability of the media lifts the restrictions and causes an inconspicuous person to please and sweep the crowd and his or her voice to be impossible to be ignored in the discourse.
{"title":"#TRACES#FEMINISM","authors":"A. Szuba","doi":"10.5604/01.3001.0012.9831","DOIUrl":"https://doi.org/10.5604/01.3001.0012.9831","url":null,"abstract":"Agata Szuba\u0000#tropy#feminizm\u0000The contemporary media message can be perceived in two perspec- tives: an active one, in which women perform a role of journalists and editors, and a passive perspective, in which they become a part of media message. The latter aspect is the most controversial for many reasons. Walter Lippmann defines a stereotype as an image created in the mind which allows a subordination of a certain fragment of reality a priori. The media’s visible, negative influence on women has them create a reality beyond the boundaries of acceptance, presenting it in a way the audi- ence expects. A new kind of feminism appears, i.e. one which answers the receiver’s needs (succumbing to the expectations and exposing to the look), and a question appears – whether in the time of the feminist legacy, thereby changes resulting from the development of the media, feminists should gain their own unique style? In a way this is beginning to happen.\u0000Due to the development of the media, women gained an unrestricted possibility to express their views, and the reception and availability of the media lifts the restrictions and causes an inconspicuous person to please and sweep the crowd and his or her voice to be impossible to be ignored in the discourse.\u0000\u0000","PeriodicalId":431350,"journal":{"name":"DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU","volume":"01 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-02-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127444849","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-02-25DOI: 10.5604/01.3001.0012.9835
Anna Dzierżyc-Horniak
Anna Dzierżyc-Horniak The Woman Is a Nomad, the Woman Is an Artist. A look at Brides on Tour by Pippa Bacca and Silvia Moro in the Feminist Take of Rosa Braidotti The text is an attempt at looking at the art project Brides on Tour from the perspective of the nomadic subjectivity by Rosi Braidotti. The project, in the new context lent by the death of Giuseppina Pasqualino di Marineo, known under as Pippa Bacca, gave rise to diverse commentaries, at the same time becoming a reference point for successive artistic and social endeavours. The article analyses the strategy undertaken by “the brides” as women-artists, the cultural symbols and archetypes used by them, while as a counterweight questions are asked about the faith in uncon- ditioned hospitality in the frames of what Jacques Derrida called “Abra- ham” tradition as well as about the presence of women in public space. As a result, the project seems to be an artistic performance, which de- mands including the specific, embodied female experience to be a subject in culture and politics. Its true value is located in the acquired experience; in the exchange that the artists initiate with people encountered on their way; in breaking the borders between art and everyday life. This is quite an alternative model of art and as such is an answer to the feminist de- mands of Rosi Braidotti.
安娜Dzierżyc-HorniakThe女人是游牧民，女人是艺术家。《罗莎·布雷多蒂的女权主义视角》中皮帕·巴卡和西尔维娅·莫罗的作品《旅行中的新娘》本文试图从罗西·布雷多蒂的游牧主体性的视角来审视“旅行中的新娘”这一艺术项目。在Giuseppina Pasqualino di Marineo (Pippa Bacca)去世的新背景下，该项目引起了各种各样的评论，同时成为后续艺术和社会努力的参考点。本文分析了“新娘”作为女性艺术家所采取的策略，她们所使用的文化符号和原型，同时作为一种平衡，提出了雅克·德里达所谓的“亚伯拉罕”传统框架下对无条件好客的信仰，以及关于女性在公共空间中的存在的问题。因此，这个项目似乎是一种艺术表演，它要求包括具体的、具体化的女性经验成为文化和政治的主题。它的真正价值在于获得的经验;在艺术家与路上遇到的人的交流中;打破艺术和日常生活之间的界限。这是一种相当另类的艺术模式，因此是对罗西·布雷多蒂女权主义要求的回答。
{"title":"A WOMAN IS A NOMADE, A WOMAN IS AN ARTIST. A LOOK AT THE BRIDES ON TOUR BY PIPPA BACCA AND SILVIA MORO IN THE FEMINIST VIEW OF ROSI BRAIDOTTI","authors":"Anna Dzierżyc-Horniak","doi":"10.5604/01.3001.0012.9835","DOIUrl":"https://doi.org/10.5604/01.3001.0012.9835","url":null,"abstract":"Anna Dzierżyc-Horniak\u0000The Woman Is a Nomad, the Woman Is an Artist. A look at Brides on Tour by Pippa Bacca and Silvia Moro in the Feminist Take of Rosa Braidotti\u0000The text is an attempt at looking at the art project Brides on Tour from\u0000the perspective of the nomadic subjectivity by Rosi Braidotti. The project, in the new context lent by the death of Giuseppina Pasqualino di Marineo, known under as Pippa Bacca, gave rise to diverse commentaries, at the same time becoming a reference point for successive artistic and social endeavours. The article analyses the strategy undertaken by “the brides” as women-artists, the cultural symbols and archetypes used by them, while as a counterweight questions are asked about the faith in uncon- ditioned hospitality in the frames of what Jacques Derrida called “Abra- ham” tradition as well as about the presence of women in public space.\u0000As a result, the project seems to be an artistic performance, which de- mands including the specific, embodied female experience to be a subject in culture and politics. Its true value is located in the acquired experience; in the exchange that the artists initiate with people encountered on their way; in breaking the borders between art and everyday life. This is quite an alternative model of art and as such is an answer to the feminist de- mands of Rosi Braidotti.\u0000\u0000","PeriodicalId":431350,"journal":{"name":"DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-02-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134245208","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-02-25DOI: 10.5604/01.3001.0012.9830
M. Śnieciński
The Problem of Nakedness, Identity and growing up (in the works by contemporary female artists) The text discusses the oeuvre of the selected contemporary female art- ists, who in their works analyse the problem of nakedness, treated as a costume, metaphor or event, as well as those, who deal with issues of identity, processes of creating it and the visual (media) identity masks. The works by such artists as Alba d’Urbano, Vanessa Beecroft, Katarzyna Kozyra, Alina Szapocznikow, Herlinde Koelbl, Tina Bara, Eva Bertram, Ur- sula Rogg and Tanja Ostojič are analysed. The text includes theoretical considerations by Lynda Nead, Agata Jakubowska, Giorgio Agamben and Hans Belting.
本文讨论了选定的当代女性艺术家的全部作品，他们在作品中分析了裸体问题，将其视为服装，隐喻或事件，以及那些处理身份问题，创造过程和视觉(媒体)身份面具的人。分析了Alba d 'Urbano, Vanessa Beecroft, Katarzyna Kozyra, Alina szapoznikow, Herlinde Koelbl, Tina Bara, Eva Bertram, Ur- sula Rogg和Tanja ostojinik等艺术家的作品。文本包括理论考虑琳达Nead, Agata Jakubowska, Giorgio Agamben和汉斯Belting。
{"title":"THE PROBLEM OF NUDITY, IDENTITY AND GROWING UP IN WORKS OF CONTEMPORARY WOMEN ARTISTS","authors":"M. Śnieciński","doi":"10.5604/01.3001.0012.9830","DOIUrl":"https://doi.org/10.5604/01.3001.0012.9830","url":null,"abstract":"The Problem of Nakedness, Identity and growing up (in the works by contemporary female artists)\u0000The text discusses the oeuvre of the selected contemporary female art-\u0000ists, who in their works analyse the problem of nakedness, treated as a costume, metaphor or event, as well as those, who deal with issues of identity, processes of creating it and the visual (media) identity masks. The works by such artists as Alba d’Urbano, Vanessa Beecroft, Katarzyna Kozyra, Alina Szapocznikow, Herlinde Koelbl, Tina Bara, Eva Bertram, Ur- sula Rogg and Tanja Ostojič are analysed. The text includes theoretical considerations by Lynda Nead, Agata Jakubowska, Giorgio Agamben and Hans Belting.\u0000\u0000","PeriodicalId":431350,"journal":{"name":"DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-02-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121848537","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：