Sztuka i Dokumentacja nr 30 / Art and Documentation no. 30

Spis Treści / Table of Contents

Sekcja / Section

George Grosz, Sztuka w Zagrożeniu [tłumaczenie z j. niemieckiego Bogusław Jasiński] / Art is in Danger [translation from German by Bogusław Jasiński]

Bogusław Jasiński, Od Idei Nowej Rzeczowoœci do Rewizji Pojęcia Sztuki. Analiza Założeń Filozoficznych / From the Idea of New Objectivity to the Revision of the Concept of Art. Analysis of Philosophical Assumptions

VARIA

Jerzy Luty, Pełnia kiczu i pusta abstrakcja. O projekcie malarstwa socjologicznego Vitalija Komara i Aleksandra Melamida The People’s Choice w ujęciu psychologii ewolucyjnej / Full of kitsch and empty abstraction. About Vitalij Komar and Aleksander Melamid's sociological painting project The People's Choice from the perspective of evolutionary psychology

Filip Pręgowski, Dyskurs post-blackness i nowe reprezentacje czarnej tożsamoœci. O kilku przykładach twórczoœci Glenna Ligona / Post-blackness discourse and new representations of black identity. About some examples of Glenn Ligon's work

Paweł Leszkowicz, Gina Pane and Krzysztof Jung: Queer Love in European Performance Art of the 1970s

Jana Orlová, Czech and Polish performance. Common denominator: proximity

Jan Swidzinski z Archiwum Jerzego Valocha w Moravskiej Galerii w Brnie / Jan Swidzinski from the Jerzy Valoch Archive in the Moravska Gallery in Brno

DOKUMENTACJA / DOCUMENTATION

Deathscapes Afterlives, Part 2

THEORY CUM PRACTICE OF PERFORMANCE ART 2023. FNAF 9 - FNAF EDU

Dokumentacja wybranych projektów plakatów z lat 2015-2023 z Pracowni Propagandy Społecznej prowadzonej przez Jacka Staniszewskiego w ASP w Gdańsku / Documentation of selected poster designs from 2015-2023 from the Social Propaganda Studio run by Jacek Staniszewski at the Academy of Fine Arts in Gdańsk

GALERIA im. ANDRZEJA PIERZGALSKIEGO. Dokumenty Artystów 9 / ANDRZEJ PIERZGALSKI GALLERY. Artists' Documents 9 / GALERIE dédiée a ANDRZEJ PIERZGALSKI. Documents d'Artistes 9

Leszek BROGOWSKI, Edycja 9 - Założenia Programowe / Edition 9 - Program Assumptions / Édition 9 - Hypotheses du Programme

Gil Daniel, Ateliers populaires. Afisz polityczny. / Ateliers populaires. Political Poster

BOOKS

Roman Nieczyporowski, O książce Jerzy Krechowicz: Po Sladach Awangardy / About the book Jerzy Krechowicz: In the Footsteps of the Avant-garde

O ksišżce Bridge over Time. Contemporary Picture of the Past / About the book Bridge over Time. Contemporary Picture of the Past




Sztuka i Dokumentacja nr 31 / Art and Documentation no. 31

Spis Treści / Table of Contents

Sekcja / Section

Dlaczego nie było wielkich artystek? Historia sztuki w Polsce pięćdziesišt lat od publikacji słynnego eseju Lindy Nochlin /Why Have There Been No Great Female Artists? History of Art in Poland Fifty Years Since the Publication of Linda Nochlin's Famous Essay

red. / ed. by Karolina Łabowicz-Dymanus

Karolina Łabowicz-Dymanus, O Historii Sztuki w Polsce w Pięćdziesišt Lat od Publikacji Słynnego Eseju Lindy Nochlin / On the History of Art in Poland in Fifty Years Since the Publication of Linda Nochlin's Famous Essay

Karolina Majewska-Güde, Cień Wschodu - Cień Zachodu. Praktyka Artystyczna Ewy Partum w Kontekœcie i Wobec Inicjatyw Feministycznych w Berlinie Zachodnim / Shadow of the East - Shadow of the West. Ewa Partum's Artistic Practice in the Context, and Towards Feminist Initiatives in West Berlin

Magdalena Kasa, Mistrzynie Drugiego Planu. O Polskich RzeŸbiarkach, Pomnikach i Barierach Nie-do-przekroczenia / The Mistresses of the Second Tier. On Polish Female Sculptors, Monuments, and Insurmountable Obstacles

Magdalena Dembek, Twórczoœć Graficzna jako Zapis Wydarzeń z Życia. Na Przykładzie Prac Teresy Jakubowskiej (1954-1965) z Okresu Toruńskiego / Graphic Creativity as a Record of Life Events. On the Example of Teresa Jakubowska's (1954-1965) Works from her Toruń Period

ENGLISH SUMMARIES. Why Have There Been No Great Female Artists? History of Art in Poland Fifty Years Since the Publication of Linda Nochlin's Famous Essay

Sekcja / Section Beer as Ready-made

Jana Orlová, Beer in Czech Art

Dunja Slavíková, Křižovnická škola čistého humoru bez vtipu

Kristine Stiles, Tom Marioni's Beer Art and Philosophy project

VARIA

Bogusław Jasiński, Funktor 'as' i Sztuka Konceptualna / Functor 'as' and Conceptual Art

GALERIA im. ANDRZEJA PIERZGALSKIEGO. Dokumenty Artystów 10 / ANDRZEJ PIERZGALSKI GALLERY. Artists' Documents 10 / GALERIE dédiée a ANDRZEJ PIERZGALSKI. Documents d'Artistes 10

Leszek BROGOWSKI, Edycja 10 - Założenia Programowe / Edition 10 - Program Assumptions / Édition 10 - Hypotheses du Programme

Leszek Brogowski, Etre ou ne pas etre de l’art. Caricature politique et peinture a soi-meme chez Ad Reinhardt

David Rybak, Les Cartoons de Ad Reinhardt

BOOKS

Estetyka po estetyce. Prolegomena do ontologii procesu twórczego Bogusława Jasińskiego - dwugłos krytyczny o ksišżce / Aesthetics after aesthetics. Prolegomena to the ontology of the creative process by Bogusław Jasiński - two critical commentaries on the book

Edward Karolczuk, Estetyka Sztuki Efemerycznej / Aesthetics of Ephemeral Art

Elżbieta Łubowicz, Krytyka sztuki Jerzego Ludwińskiego a estetyka procesów twórczych Bogusława Jasińskiego / Jerzy Ludwiński's art criticism and the aesthetics of Bogusław Jasiński's creative processes

Section:

Documents of Art

Andrzej Pierzgalski (1938-2016) founded and ran the A4 Gallery in Łódź 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