Browsing by Author "Dzierżyc-Horniak, Anna"
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- ItemArtistic Labyrinths and the Tower of Babel. A Comparative Look at the Exhibitions: Documenta 5, Les Immatériaux and Labyrinth – an Underground Space(Łódzkie Towarzystwo Naukowe, 2022) Dzierżyc-Horniak, AnnaIn this article, I would like to compare three exhibitions: documenta 5 in Kassel (1972), Les Immatériaux at the Centre Pompidou in Paris (1985) and Labyrinth – An Underground Space at the Church of the Ascension of Christ in Warsaw (1989). These exhibitions are different in terms of their scale, fame, works presented and venue, and marked by different local contexts. The visions of art that the organisers – Harald Szeemann, Jean-François Lyotard and Janusz Bogucki – wanted to articulate through them seem to me an ideal example of reflecting on the integrity or heterogeneity of contemporary artistic activity. It is clear that the exhibitions discussed here were based on a pattern of wandering with the inherent figure of the tower-labyrinth of Babel. Therefore, the topos of the Tower of Babel, revolving around the theme of unity and dispersion, is quite fundamental to these reflections. Bogucki and Lyotard were to some extent similar in their diagnosis of contemporary art, which they saw in terms of dispersion and a great diversity of styles, motivations and references to reality – just like Szeemann, in fact. While Bogucki was searching for some universal ground of understanding in a situation of "confusion of tongues" in the sphere of spirituality, Szeemann delved into and explored separate artistic worlds operating in the registers of triviality and spirituality. In comparison, Lyotard, like other postmodernists, described dispersion as a condition inherent in the present.
- ItemCzy mężczyźni marzą o stroju superbohatera? Wzorce męskości osadzone w kulturowym kontekście stroju herosa popkultury(Polski Instytut Studiów nad Sztuką Świata, Wydawnictwo Tako, 2019) Dzierżyc-Horniak, AnnaDo men dream of a superhero costume? Patterns of masculinity embedded in the cultural context of the hero costume of pop culture.The social and individual construction of identity in today’s post-modern world according to Gordon Mathews recalls shopping in the global supermarket of culture. Popular culture provides many possibilities of such construction, it is most often held on the principle of bricolage. For this reason I’m interested in the comic as a mass medium of meaning, the phenomenon of which as a tool for content is based on universality and simplicity of the image language (narration) through which it reaches mass audiences and shapes the public opinion of the majority of men. This characteristic convention, which is most visible in the so-called superhero comic, seems to present a quite unilateral pattern of masculinity. The superhero outfit plays an important role in the process of shaping this pattern – it is often equally important as his natural and preternatural powers. Therefore, this article invokes the figure of Batman, the hero of one of the oldest cartoon series and an icon of pop culture. It is perfect for a comprehensive analysis of how the dress – here in a form of tight-fitting tricot (and later an armor) with a cloak – communicates the standards of masculinity. At the same time, I would like to compare the Dark Knight with an unnamed aging hero from the series of images by a Swedish artist, Andreas Englund. Such a comparison will be used to extend the analysis of not so obvious history, which shows yet another possibility to shape the external image of a man on the basis of the cultural context of the pop culture hero’s outfit. Simultaneously, I try to relate both examples with male studies that have been carried out since the turn of the 1960s and the 1970s of the 20th century including, above all, the concept of “hegemonic masculinity” of Raewyn Connell’s authorship. The key for the Australian sociologist is a statement that “social sex is a configuration of practice and it is possible to describe it in categories of the standard, rather than the norm. The most important in construction of social sex is what people actually do, rather than what is expected from them or what is their imagined ideal of the given gender”. In my opinion, the outfit alone – the superhero costume – initiates an entire scope of meanings in both analyzed cases, including patterns of masculinity. Nolan’s films about Batman and Englund’s series of images refer in their genesis to the narrative structure of mythologizing nature, immanent for the comic. They show model, exemplary figures, whose transformations constitute pointers for the readers (viewers), becoming the basis for identification. And again, their clothes are the first factor separating a hero from a nor mal man. Englund’s narration makes impression only because the ageing man is dressed in a costume of a comic-book hero. In turn, the Dark Knight without his bat outfit would lose his identity, ideology, and control over his madness.
- ItemEwolucja i współkształtowanie – zasada wzajemnej stymulacji między krytykami a artystami w Galerii Foksal (Programy Galerii w latach 1966–1981)(2011) Dzierżyc-Horniak, AnnaEvolution and co-forming – the principle of mutual stimulation between critics and artists in the Foksal Gallery (Gallery programs in the years 1966–1981). One of the sources of “success” of the Foksal Gallery was beyond any doubt the functioning formula based on cooperation of artists and critics, who ran the critics’ gallery. This process can be apparently seen in the program manifests from 1966–1981, which fulfillment were the artistic activities led in and outside the Gallery. The mentioned cooperation was formed on the experience from the terrains of Lublin – the “Zamek” Group and the “Struktury” magazine (the second half of the 50’s), and Warsaw – apprenticeship at M. Bogusz in his Krzywe Koło Gallery (the beginning of the 60’s). Critics like W. Borowski, A. Ptaszkowska, M. Tchorek, focused later on such artists like T. Kantor and H. Stażewski, were able to start implementing their project of a gallery. In the text 'Introduction to a general theory of Place' (1966) they declared that the gallery will be given to an artist, so it could become his own workshop, an open space. Exhibitions, such as environment checked in those postulates. In 1968, another manifest was formed – 'What we do not like about the Foksal PSP Gallery', which was immediately answered by the artists. 'Winter Assemblage' (1969) was planned as a series of actions without any clear beginning and end. In the same year, after the actions taken on the Złote Grono symposium in Zielona Góra, in 'the New Regulations of Foksal PSP Gallery', there was a suggestion of transforming this institution into a type of information point, which was suppose to accept incoming information without any selection. However, the project led to a conf lict and Foksal collapsed. In 1970 on an Art Symposium Wrocław ’70, A. Turowski – who joined the Gallery at that time – presented the Centre of Artistic Searches project. The Centre was formed to “serve the artist and their work” in a modern way, by popularizing and documenting it, and simultaneously determining experimental searches. In subsequent theoretical propositions – 'Living Archive and Documentation' (1971) – the authors postulated accepting a strategy defining the work of art in a moment, in which it was “neutrally present” and at the same time they were objecting to the domination of the documentation on artistic fact. The soon organized shows became the unmasking of the ways the institution worked – prolonged the lasting of an impermanent work of art, which were the new forms of artistic utterances. After 1981 the program activity of the Gallery was in a considerable degree limited.
- ItemFrom a Demarcation Line to a Living Archive. Documentary Exhibitions of the Foksal Gallery in the British Isles(Akademia Sztuk Pięknych w Gdańsku, 2022) Dzierżyc-Horniak, AnnaThis paper is an attempt to analyze artistic East-West contacts on the example of presence of the Warsaw Foksal Gallery in the British Isles. In 1979 and 1980, the theoretical achievements and documentation of the Gallery’s activities were exhibited at the Richard Demarco Gallery in Edinburgh, at the Third Eye Centre in Glasgow, at the Institute of Contemporary Arts in London and at the Project Art Centre in Dublin. From today’s perspective, it is clear that within the Foksal Gallery an international contact was established in addition to the current cultural policy, which allowed the environment of its artists and art critics to be included in the international art circulation on a scale comparable at that time only to the Łódź Art Museum. In my paper I try to describe and highlight these contracts from the factual point of view, and then reflect on the way in which the gallery and its organizers act (tactics) and the capital generated by it (them), enabling such and not other actions. The key seems to be Wiesław Borowski (long-term gallery manager), Richard Demarco (Scottish art promoter who opened Britain to Polish art), Tadeusz Kantor, and on them I want to focus my attention. In this context, the basic thesis is that a network of personal friendships built above the “Iron Curtain” had an impact here, which then translated into institutional cooperation and concrete artistic projects.
- ItemKobieta jest nomadą, kobieta jest artystką. Spojrzenie na "Panny młode w podróży" Pippy Bacca i Silvii Moro w feministycznym ujęciu Rosi Braidotti(Wydawnictwo Uniwersytetu Wrocławskiego, 2018) Dzierżyc-Horniak, AnnaThe 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.
- ItemKumulowanie małych pamięci. Świat obrazów Christiana Boltanskiego w Galerii Foksal(Katolicki Uniwersytet Lubelski Jana Pawła II, 2021) Dzierżyc-Horniak, AnnaArtykuł jest próbą spojrzenia na praktyki artystyczne Christiana Boltanskiego. Szczególną uwagę poświęcono czterem jego wystawom, jakie odbyły się w warszawskiej Galerii Foksal. Pokazują one, że francuski artysta sięga po medium fotografii i stosuje je w swojej sztuce w specyficznym ujęciu nadanym przez André Bazina. Oznacza to, iż fotografia jest dla Botlanskiego narzędziem mumifikacji rzeczywistości, która staje się zarazem i relikwią, i pamięcią.
- ItemMalarska podróż na "czarodziejską górę"(Mazowiecki Instytut Kultury, Galeria Foksal, 2022-02) Dzierżyc-Horniak, Anna
- ItemMiędzy widocznym a ukrytym, w zapomnieniu i w pamięci. Ubranie w taktykach wybranych artystów polskich(Polski Instytut Studiów nad Sztuką Świata, Wydawnictwo Tako, 2016) Dzierżyc-Horniak, AnnaBetween the seen and the unseen, in oblivion and in memory. The clothing strategies of selected Polish artists.“The seen” and “the unseen” are probably the first associations that come to mind when we think about clothing. After all, an outfit determines the existence of our body and constitutes “a wrap” or “a shield” that conceals our identity. Moreover, it is ordinary enough – and at the same time essential for human functioning – that as “an intriguing part of reality” it inevitably became the subject of artistic activity. The presented selection of contemporary artists, who use their artistic tactics to reveal a specific outfit and its accompanying elements, is not broad, although it is hopefully sufficient. Each of the artists considers their outfit an important compound of their art and something unique, taking advantage of its semantic potential and internal contradiction. This is evident when looking at Tadeusz Kantor and Marian Stępak, who treat their respective outfits as a primary requisite. They are interested in clothing that lacks an original purpose – being neglected and forgotten. However, they draw other conclusions from it. An artist from Cracow uses the processes of emballage and disemballage to uncloak “the reality at its lowest-level”. On the other hand, an artist from Torun uses ordinary outfits marked by the destructive effect of time to express his thoughts on the passing of life. A similar motif – but in terms of the reality of our body – was employed by Magdalena Moskwa. Her costumes – which she sews and photographs – depict the influence of the skin, which both imprisons and protects our body. In this way, the artist attempts to demonstrate a difficult truth about human corporeality. Conversely, Zuzanna Janin also uses old and incomplete items of clothing but for her this constitutes a method for pasigraphic identification in the public space. In her outfits, she puts emphasis on a political or social context and then intertwines it all with her own experience and recollections. These few instances prove that an outfit is an appreciative material for artistic activities. It can be found between the seen or the unseen, in oblivion or in memory – and these are only a proportion of its possible and potential attributes. By refusing the basic purpose of clothing, artists give it a new idea for existence. However, as we can see, such measures do not make an outfit a work of art but rather a subject or a tool indispensable for its creation.
- ItemNomad and shaman, flags and terremonto. Arahmaiani Feisal’s artistic practice from the perspective of Joseph Beuys’ “social sculpture”(Wydawnictwo Adam Marszałek, 2022) Dzierżyc-Horniak, Anna
- ItemOd dokumentu ku wiecznej teraźniejszości. Fotografia w spotkaniu z sacrum na wybranych przykładach przedsięwzięć Janusza Boguckiego i Niny Smolarz(2021-12) Dzierżyc-Horniak, AnnaArtykuł jest próbą spojrzenia na fenomen opozycyjnej sztuki przykościelnej poprzez wybrane wystawy Janusza Boguckiego i Niny Smolarz. Bogucki od drugiej połowy lat siedemdziesiątych rozwijał koncepcję „powrotu do domu i świątyni” w odpowiedzi na artystyczną Wieżę Babel, jaką zobaczył na documenta 5 w Kassel (1972). W idei tej kluczową stała się kwestia odnalezienia na nowo sacrum i sacrum sztuki. W tekście opisane są trzy najważniejsze ich projekty: Znak Krzyża w parafii Miłosierdzia Bożego w Warszawie (1983), Apokalipsa – światło w ciemności w kościele św. Krzyża w Warszawie (1984), Labirynt –przestrzeń podziemnaw kościele Wniebowstąpienia Pańskiego w Warszawie (1989).Fotografia odegrała ważną rolę w tych projektach i z tej perspektywy są one analizowane. Zdjęcia użyte na omawianych wystawach przywoływały pamięć faktów odległych lub wczorajszych, a wraz z pamięcią – myśli i wzruszenia z tym związane. Bogucki i Smolarz wprowadzili te dokumentalne obrazy w przestrzeń nasyconą modlitwą i sztuką, w klimat architektury sakralnej. W ten sposób niejako narzucali klimat miejsca, w którym życiowe konkrety widzi się w perspektywie wieczności. Celem tych zabiegów było stworzenie poczucia wspólnoty i doświadczenia sacrum.
- Item„Time for Revolution / Revollusion”. Awangarda między przeszłością a aeraźniejszością, archiwum a performansem(2018) Dzierżyc-Horniak, AnnaMożna pokusić się o stwierdzenie, że kultura współczesna jest tak przywiązana do swej przeszłości, że wręcz fetyszyzuje ślady nieistniejącej już dawno rzeczywistości. Praktyką artystyczną stało się więc wyciąganie jej na światło dzienne z czeluści wszelakiego rodzaju archiwów. „Gorączką archiwalną” zaraziła się m.in. Anna Baumgart, która we wspólnym projekcie z Andrzejem Turowskim w dość przewrotny sposób „re-interpretuje” marzenia rosyjskich konstruktywistów zaklęte w agitacyjnym pociągu do Berlina. W pewnym sensie film „Zdobywcy słońca” i książkę „Parowóz dziejów” (2012) można uznać za odpowiedź na słowa Zygmunta Baumana, przekonywające o tym, że mówienie o awangardzie w dzisiejszym ponowoczesnym świecie jest nieporozumieniem. Przywołaną w ten sposób tradycję awangardy, którą można zawrzeć w haśle „time for revolution” można jednocześnie zestawić z postawą manifestowaną w wieloznacznej pracy Nasana Tura. Jego „Time for Revollusion” (2008) jest współczesnym komentarzem do politycznych ideologii obecnych w naszej codzienności i uwidaczniających się również w pejzażu miejskim. W ten sposób kreuje się ciekawa poznawczo sytuacja, której „poetyka historyczna i kłopoty z fikcją” powstałe w dialogu artystyczno-naukowym Baumgart i Turowskiego zderzają się z praktyką badania napięć między działaniami publicznymi a bezczynnością przedstawianą przez artystę tureckiego pochodzenia. Zderzenie to pozwoli jednakże odnieść się do tradycji Wielkiej Awangardy i ukazać jej niejednoznaczne oblicze we współczesnej sztuce.
- ItemZaczarowanie świata na przykładzie 'East Side Story' Igora Grubića. Lekcja z estetyki performatywności(Wydawnictwo Uniwersytetu Wrocławskiego, 2018) Dzierżyc-Horniak, AnnaIn her „The Transformative Power of Performance. A New Aesthetics” Erika Fischer-Lichte argues that everything which happens in a performance can be described as a repeated enchanting of the world and transformation of all the participants of the event. The text is an attempt to consider the videoinstallation East Side Story by Igor Grubić exactly from this perspective. It discusses key concept categories utilized by the German theatre researcher, and at the same time undertakes an attempt to fit them into the installation of the Chroatian artist. The analysis points out to the bodily co-presence of the actors and the viewers, the performative production of materiality of the performance and the way in which the performance becomes an event. Questions were asked about a performance live as opposed to a mediated performance.
- Item„Żadna podróż nie jest za długa”. Artystyczne multiwersum Kuby Bąkowskiego(Akademia Zamoyska, 2022) Dzierżyc-Horniak, AnnaArtykuł jest próbą spojrzenia na „podróżnicze” projekty Kuby Bąkowskiego i namysłu nad splątanymi węzłami znaczeń, które polski artysta zawarł w dość prostej formule fotografii-obiektu lub instalacji. Twórca od wielu lat podróżuje w odległe rejony Północy, od stuleci ogniskujące w sobie figurę Podróży i Nieznanego. Jest to wędrówka, w której odkrywa „wiedzę bezcenną”: szersze, ponadludzkie wymiary rozumienia świata. Co więcej, inscenizowane przez niego performanse zapalania Polaris (Gwiazdy Polarnej) i Ursa Major (Wielkiej Niedźwiedzicy) wskazują na myślenie w kategoriach posthumanizmu i nowego animizmu. Ta praktyka opiera się na przekraczaniu medium fotografii, która w ujęciu K. Bąkowskiego zamienia się w performatywną sytuację, zbudowaną na podstawie konkretnych miejsc i wspólnych działań ludzi uczestniczących w procesie twórczym. Wszystko to tworzy fascynujący wieloświat nakładających się znaczeń.