Między widocznym a ukrytym, w zapomnieniu i w pamięci. Ubranie w taktykach wybranych artystów polskich

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dc.contributor.authorDzierżyc-Horniak, Anna
dc.date.accessioned2022-03-03T09:54:41Z
dc.date.available2022-03-03T09:54:41Z
dc.date.issued2016
dc.description.abstractBetween 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.pl
dc.identifier.citationSztuka stroju, strój w sztuce / The art of dress - dress in art, red. M. Furmani-Kowalska, A. Straszewska, Warszawa-Toruń 2016, s. 321-335.pl
dc.identifier.isbn978-83-65480-11-8
dc.identifier.urihttp://hdl.handle.net/20.500.12153/2682
dc.language.isoplpl
dc.publisherPolski Instytut Studiów nad Sztuką Świata, Wydawnictwo Takopl
dc.relation.ispartofseriesStudia i Monografie, Tom 23
dc.rightsUznanie autorstwa-Użycie niekomercyjne-Bez utworów zależnych 3.0 Polska*
dc.rights.urihttp://creativecommons.org/licenses/by-nc-nd/3.0/pl/*
dc.subjectTadeusz Kantorpl
dc.subjectMarian Stępakpl
dc.subjectMagdalena Moskwapl
dc.subjectZuzanna Janinpl
dc.subjectstrój jako opakowaniepl
dc.subjectubranie jako mediumpl
dc.subjectclothing as wrappingpl
dc.subjectclothing as a mediumpl
dc.titleMiędzy widocznym a ukrytym, w zapomnieniu i w pamięci. Ubranie w taktykach wybranych artystów polskichpl
dc.typeinfo:eu-repo/semantics/bookPartpl
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