Sztuka i Dokumentacja nr 32 / Art and Documentation no. 32

Spis Tre�ci / Table of Contents

Roman NIECZYPOROWSKI, Franciszek Dusze�ko w �wietle bada� archiwalnych / Franciszek Dusze�ko in the light of archival research

Sekcja / Section

Images for the Politics of the Future

Edited by �ukasz GUZEK / Introduction by the Editor

Marina GR�INI�, In the Aftershock of Insurgent Flows. Trans*Decolonial and Black Marxist Futures

Anahita NEGHABAT, Fluid Interconnections: On the Film Insurgent Flows by Gr�ini�, Kancler, Pristov�ek (2023)

Ma�a GU�TIN, Art on the Edge in Theory and Practice: Marina Gr�ini�, NECROREALISM, and Retro-Avant-Garde

Janusz CZECH, "Second-Class" Citizen Positions and the Works of Gr�ini�/�mid. A Sea of Traumatized Souls Stuck in the Post-socialist Era

Jacek KO�TAN, P�na emancypacja p�nej nowoczesno�ci. Protesty kobiet w czasie nieliberalizmu / Late emancipation in late modernity. Women's protests in times of illiberalism

VARIA

Marta MIASKOWSKA, Lustro obiektywu. Strategie artystycznej obecno�ci w polskiej sztuce nowych medi�w / The mirror lens. Strategies of artistic presence in Polish new media art

Patrycja IGNACZAK, Pop-art i Poetyka Traumy / Pop Art and the Poetics of Trauma

Gra�yna SZCZE�NIAK, Obraz Tr�jwymiarowy / Three-dimensional Painting

�ukasz GUZEK, Grzegorz Sztabi�ski: Trzy Poj�cia i Rama / Grzegorz Sztabi�ski: Three Concepts and the Frame

DOKUMENTACJA / DOCUMENTATION

Cornelia LAUF, Islamic Arts Biennale in Jeddah: A View from Rome

Lenka KLODOV� & Karol�na RAIMUND, Made by Nudity: Docufashion Project by Festival of Naked Forms

Maria Anna POTOCKA, Jan Ml�och w Galerii Pi i Galerii Pawilon / Jan Ml�och at Pi Gallery Pi and Pawilon Galery

Artur TAJBER, Lawrence Weiner: LaAS LONG AS IT LASTS

BOOKS

Dorota FOLGA-JANUSZEWSKA, Aktualno�� Sztuki. Innowacyjna Opieka nad Sztuk� Nowoczesn� i Wsp�czesn�, ed. Iwona Szmelter. Warszawa: ASP w Warszawie, 2024/2025.

OBITUARY

Jan RYLKE, Przemys�aw Kwiek - Rze�biarz / Przemys�aw Kwiek - the Sculptor

GALERIA im. ANDRZEJA PIERZGALSKIEGO. Dokumenty Artyst�w 11 / ANDRZEJ PIERZGALSKI GALLERY. Artists' Documents 11 / GALERIE d�di�e a ANDRZEJ PIERZGALSKI. Documents d'Artistes 11

Leszek BROGOWSKI, Edycja 11 - Za�o�enia Programowe / Edition 11 - Program Assumptions / �dition 11 - Hypotheses du Programme

Ad Reinhardt, cz�� 2 / Part 2

Jason E. HILL, Artist as Reporter: Weegee, Ad Reinhardt, and the PM News Picture [Artysta jako reporter: Weegee, Ad Reinhardt i obrazy aktualno�ci w dzienniku PM]. T�umaczenie, fragmenty.

Laurence CORBEL, Pojekcje diapozytyw�w i szkicowniki Ad Reinhardta.

Leszek BROGOWSKI, Sztuka jako praktyka krytyczna (Taroop & Glabel, Ernest T. i inne pseudonimy)

Laurent MARISSAL, Autoprezentacja

LJC, Dokumenty na temat claude'a rutault

Leszek BROGOWSKI, Przedsi�biorstwo "That's Painting" Bernarda Brunona

Sztuka i Dokumentacja nr 33 / Art and Documentation no. 33

Spis TrePci / Table of Contents

Sekcja 1 / Section 1

Sztuka w przestrzeni publicznej: pami�� kolektywna - pami�� indywidualna / Art in public space: collective memory - individual memory

Edited by �ukasz GUZEK and Roman NIECZYPOROWSKI

Anna REMISZEWSKA, Analiza tre�ci symbolicznych za�o�enia pomnikowego w Treblince

Anna Maria LE�NIEWSKA, Poza Lini� Podzia�u. W Dyskursie: Film i Rze�ba / Beyond the Dividing Line: In Discourse: Film and Sculpture

Barbara MARO�, Wyobra�enia Aktywne / Images as Agents. Dla / to Giulio Camillo

Sekcja 2 / Section 2

BOOKS

OD ESTETYKI PROCESU TW�RCZEGO DO ESTETYKI ETHOSOFICZNEJ / FROM THE AESTHETICS OF A CREATIVE PROCESS TO ETHOSOPHIC AESTHETICS

WST�P / INTRODUCTION
Red. / Edit. by Grzegorz WYCZY�SKI

Edward KAROLCZUK, Etetyka Sztuki Efemerycznej / Aesthetics of Ephemeral Art

Grzegorz WYCZY�SKI, Wok� Estetyki Ethosoficznej Bogus�awa Jasi�skiego. Filozofia � Gry Wideo � Kino / Around the Ethosophical Aesthetics of Bogus�aw Jasi�ski. Philosophy - Video Games � Cinema

El�bieta �UBOWICZ, Krytyka Sztuki Jerzego Ludwi�skiego a Estetyka Procesualna Bogus�awa Jasi�skiego / Art Criticism by Jerzy Ludwi�ski and the Aesthetics of Creative Processes by Bogus�aw Jasi�ski

GALERIA im. ANDRZEJA PIERZGALSKIEGO. Dokumenty Artyst�w 12 / ANDRZEJ PIERZGALSKI GALLERY. Artists' Documents 12 / GALERIE d�di�e a ANDRZEJ PIERZGALSKI. Documents d'Artistes 12

Section:

Documents of Art

Andrzej Pierzgalski (1938-2016) founded and ran the A4 Gallery in ��d� in the 1970s. A gallery dedicated to him was opened in 2012 in the Art and Documentation journal. Since 2018 the gallery has been curated by Leszek Brogowski.

After the Second World War, a rapid process of deconstruction of the traditional concept of a work of art took place: process and information replaced the material object; documents replacing the work of art referred to the working process rather than the creative act; the intellectualization of artistic processes is opposed to aesthetic fanaticism; discretion, moderation and restraint are contrasted to lavishness, spectacle and exaggeration, especially on the art market, etc. One of the most interesting places where the clear contours of the concept of a work of art have blurred, is precisely its border with the document. Yet art historians often distinguish the work of art as the proper subject of research, and accompanying documents, such as: an order, a contract for a work, a notarial document, etc., as only a material accompanying the research. In reference to many practices of contemporary art, this distinction can no longer be applied, because a work can now take the form of a document, and a document can replace a work; often these two functions overlap or coexist. In the work Document (1963), to a work inspired by Marcel Duchamp's notes, Robert Morris added the notarial act - Statement of Esthetic Withdrawal - by virtue of which he withdrew all aesthetic qualities from it; if this document is disconnected from the work of art and considered only as a supplement to it, the work of art will completely change its character. You can even ask yourself if the work of art is not just a specific document and a trace of the artistic process. The program of the Documents of Art Gallery will be focused, however, on printed documents: not on the so-called artistic prints, but on documents with industrial offset, photocopy and even hand-folded, rubber fonts, or mechanical reproduction techniques, which Walter Benjamin writes at the beginning of his essay: "The enormous changes brought about in literature by movable type, the technological reproduction of writing, are well known. But they are only a special case, though an important one, of the phenomenon considered here from the perspective of world history. In the course of the Middle Ages the woodcut was supplemented by engraving and etching, and at the beginning of the nineteenth century by lithography." [1] Well, the offset is just an improved and industrialized lithography, where the zinc plates replaced heavy lithographic stone, thus enabling mass printing of photographs. The use of industrial printing as the basis for documents of art (manifests, artistic magazines, artists' books, catalogues, leaflets, invitations, visual poetry, etc.) has become an impulse for profound changes not only in artistic practices, but also - as Benjamin predicted - in the very notion of art. Art documents presented here will therefore be an opportunity to trace the most important stages and aspects of these changes.

[1] Walter Benjamin, The Work of Art in the Age of Its Technological Reproducibility, and Other Writings on Media, edited by Michael W. Jennings, Brigid Doherty, and Thomas Y. Levin, translated by Edmund ]ephcott, Rodney Livingstone, Howard Eiland, and Others (Cambridge, Mass., London: The Belknap Press Of Harvard University Press, 2008), 20.

Submit your proposal to this Section to: Leszek Brogowski, email: leszek.brogowski@univ-rennes2.fr