„Obcy we własnym kraju”. Afroniemcy i Afroniemki a pozjednoczeniowe konflikty pamięci w świetle projektu Namibia Today Laury Horelli oraz prac Mwangi Hutter

Author(s): Justyna Balisz / Language(s): Polish Issue: 29/2021

Artykuł jest próbą syntetycznego nakreślenia sytuacji czarnych Niemców i Niemek po 1989 roku w kontekście pozjednoczeniowych konfliktów pamięci. W kontrze do względnie konsensualnej polityki pamięci drugiej wojny światowej i Zagłady, mającej scalać podzielone przez 40 lat niemieckie społeczeństwo, omawiane w artykule prace Laury Horelli oraz Mwangi Hutter, unaoczniają istnienie rywalizujących ze sobą dyskursów, których stawką jest dookreślenie tożsamości współczesnych Niemiec. Zakłócają tym samym przeforsowywaną w licznych pozjednoczeniowych publikacjach i wystawach traktujących o specyfice niemieckości i niemieckiej sztuki, spójną narrację, stanowiąc apel o poszerzenie symbolicznych granic niemieckości.

„Oklaski wchodzą w ucho”

Author(s): Maciej Guzy / Language(s): Polish Issue: 160/2020

„Pasażerka”. Obraz wyrwany z błota

Author(s): Adam Cichoń / Language(s): Polish Issue: 114/2021

At the fiftieth anniversary of the premiere of Andrzej Munk’s The Passenger, Tadeusz Lubelski said that for Jean-Luc Godard, this was the best war film ever directed. Although it would be difficult to find documents confirming these words, the author of the article decided to rethink this statement and answer the question why The Passenger could be considered as the best war film. In so doing, the author attempts to perform the “work of imagination” which Didi-Huberman proposed as a method of fight against “the unimaginable”, a fight which is always undertaken “in spite of all”. In this article, the premises of Didi-Huberman’s method and Benjamin’s historical materialism are used to rethink montage in The Passenger. This work is a unique example of a film finished after the death of its author. The unusual montage used in The Passenger invites reflection about the trauma of image. At the same time, it is an exceptional testimony of image extracted from the mud of “the unimaginable”, an image saved from oblivion.

„Plomba w zabudowie” – element scalający

Author(s): Piotr Gleń,Bartosz Szostak / Language(s): Polish Issue: 1/2017

Following article relates to issue of ‘synergy in architecture’ and it brings up problematic aspect of urban area, namely the urban infill. Urban infill is no doubt bonding element in narrow downtown’s development. Architects while projecting buildings in such localizations they have to face characteristic issues that is space limitations. Another problem is referring new designed building to existing spatial context in historical. At the end construction solution applied during connecting new building to existing ones is a problem that needs to be tackled on. Text talks about urban infill as a positive part of a building completing frontage in a city. It introduces urban infill as a synergistic element which means added, increasing value of a place where it is built. Through the positive aspects of urban infill’s examples there are effects shown which can be elected by this architectural form. In downtowns development necessity of filling ‘gaps’ in frontage is something effortless and common. It is important to mold this type of building in the correct way. Both choosing correct form and function might be crucial. Article in its predominant part is based on examples of this type of objects in limits of Lublin city. In a past few years there have been lots of new buildings arisen to infill downtowns development. Comparing this objects and analysis of its form and function is a base to worded conclusions.

„Podejrzenia na temat ludzkiej natury”. Rozmowa z Piotrem Tomaszukiem

Author(s): Tomasz Wiśniewski / Language(s): Polish Issue: 3/2020

In this conversation Piotr Tomaszuk discusses one of his recent production called “Faustus. A New History”. Based on translations of various versions of the myth (Christopher Marlow, Johann Wolfgang Goethe and August Klingemann), the play explores most profound depths of human nature in the past and in the present.

„Polski mikrokosmos” według Teatru Wierszalin a odbiorca globalny

Author(s): Mirosława Modrzewska / Language(s): Polish Issue: 3/2020

The author of the article attempts to explain the successful reception of the Wierszalin Theatre in the West by using the example of Dziady – Noc pierwsza and Noc druga (Forefathers’ Eve – First Night and Second Night) directed by Piotr Tomaszuk. In order to do so she uses the concept of a “global addressee”, that is an English speaking addressee with at least a basic knowledge of the European history of literature, drama, and theatre of the nineteenth and twentieth century. The author demonstrates that despite the specifically local colour of the Polish drama by Adam Mickiewicz as well as its theatre adaptation by Wierszalin, the production is deeply rooted in the European tradition of the Romantic mystery play, especially well-known from the lyrical and confessional dramas by George Gordon Byron and followed by the so-called “poor theatre” of the twentieth century as well as the “theatre of death” by Tadeusz Kantor.

„Pomiędzy izmami” – Jan Brzękowski jako krytyk i teoretyk nowej sztuki

Author(s): Agnieszka Rejniak-Majewska / Language(s): Polish Issue: 36/2020

By the late 1920s in Europe new art directions were regarded as already completed phenomena, a part of “avant-garde tradition.” Such views were expressed by Jean Arp and El Lissitzky’s in their book Kuntismen (1925), and by Amédée Ozenfant’s in Art. Bilan des arts modernes en France (1928). Similar opinions were also voiced by Jan Brzękowski, a Polish poet and critic, who regarded this time as a period of “establishing certain values” rather than new breakthroughs. In this article I discuss Brzękowski’s strategies as a spokesman of modern art, an intermediary between the Parisian artworld and Polish avant-garde, an author connected with constructivism (a member of “a.r.” group), and also with surrealist circles in Paris. My main focus is his magazine “Sztuka Współczesna – L’Art Contemporain” (1929–1930) and his series of articles “Mileages,” in which he summarizes the developments of modern art. Conscious of the “wearing up” of avant-garde ideas and critical about seeking “novelty” for its own sake, Brzękowski tried to establish a progressive position based on the idea of formal discipline and creative construction. While rejecting a mimetic conception of art, he argued for abstract artistic form that would be “anchored to the bottom of life,” thus emphasizing the interplay of abstract and figurative elements and their dialectic.

„Pożerali ją oczyma”. Kilka uwag o warszawskim doświadczeniu w życiu i twórczości Heleny Modrzejewskiej

Author(s): Agnieszka Wanicka / Language(s): Polish Issue: 166/2021

This article concerns the Warsaw period in the life and work of Helena Modrzejewska. The years 1869-1876 are the least researched and described period in the entire career of this actress. The article refers to Zbigniew Raszewski’s essay Modrzejewska – a Varsovian, debating the significance of the experience of the Krakow theatre in Modrzejewska’s work. In the light of a factual analysis, he presents the actress as a Drama Artist of Warsaw theatres, posing questions about the evaluation of the experience of working on the Warsaw stage in the context of her career. The methodological framework of the article is an attempt to see the principles of realistic idealism, i.e. the model style of the art of acting in the nineteenth century, not only in the actress’s stage performance, but also in social life and the iconographic material based on Jan Mieczkowski’s photographs.

„Produkt niedostępny w ilościach sprzed wojny, ale za to tej samej jakości”. Uwagi o reklamach jako źródłach historycznych

Author(s): Magdalena Saryusz-Wolska / Language(s): Polish Issue: 25/2019

Artykuł omawia cechy reklamy jako źródła historycznego w oparciu o przykłady z prasy niemieckiej, ukazującej się bezpośrednio po drugiej wojnie światowej. Był to okres skrajnych wręcz niedoborów i niedostępności większości produktów codziennego użytku. Na tym tle rzucają się w oczy kolorowe reklamy nierzadko luksusowych marek. Co mówią nam te obrazy o wczesnym powojniu w Niemczech? Artykuł kładzie nacisk na rozumienie reklamy jako medium formującego normy społeczne, które nie tyle odzwierciedla minioną rzeczywistość historyczną, ile ją projektuje. Reklama okazuje się zarazem narzędziem wytwarzania ciągłości między epokami, nie tylko pod względem gospodarczym, ale też estetycznym i kulturowym. Autorka formułuje zatem sugestię, by ekonomiczną funkcję reklamy przesunąć w badaniach historycznych na dalszy plan i wykorzystać ją raczej w badaniach historii rozwoju kapitału społecznego.

„Przyszłość, ludzie”

Author(s): Kamila Kucia / Language(s): Polish Issue: 166/2021

OFF Opera w Poznaniu, 24 września – 5 października 2021

„Rozstrzelanie”. Ruchome linie Leopolda Buczkowskiego

Author(s): Agnieszka Karpowicz / Language(s): Polish Issue: 1-2/2020

An attempted interpretation of the multi-media nature of the art of Leopold Buczkowski, in particular within the context of his works recently donated by his son, Tadeusz, to the Museum of Art in Łódź and from that moment part of the Collections of 20th and 21st Century Art. By basing herself on an archival survey conducted at the Museum and interviews with members of its staff the author proves the integral nature of the written and drawn works as well as other domains of the arts pursued by the author of Czarny potok. Referring to, i.a. the conception proposed by Tim Ingold she tries not so much to view writing as drawing as to treat the writer’s drawings as a written record. The article focuses attention on several most important visual art functions fulfilled by the writer’s oeuvre: autobiographical, intimistic (drawn notes), documentary, anthropological (“ethno-graphic art”) and visual art as a performance of embodied memory and an element of a holistically interpreted narration.

„Sąsiedzi” i filmowa Bydgoszcz

Author(s): Andrzej Gwóźdź / Language(s): Polish Issue: 110/2020

Although researching film history through the history of one film is not a new concept, it is rather rarely used. Piotr Zwierzchowski and Mariusz Guzek’s monograph “'Sąsiedzi'. Film o bydgoskim wrześniu 1939" [“'The Neighbours'. A Film about September 1939 in Bydgoszcz"] (2019) is devoted to the eponymous 1969 film by Aleksander Ścibor-Rylski and, simultaneously, to the city of Bydgoszcz in film. Both narratives are situated in the space of tension between national cinema and the history of cinema in the city which itself was often a place of film locations. The monograph follows the convention of an investigation conducted by the insightful and inquisitive film scholars and historians intrigued by their city’s past, who are equipped with an arsenal of tools and research measures providing an effective cognitive result. Zwierzchowski and Guzek do not intend to revise history, nor do they write the history of cinema anew. The undoubted beauty of the book is its cognitively fruitful and at the same time attractive style, in which the perspective of a witness to history (including the history of cinema) is fortuitously complemented by the perspective of a film consumer of from the past decades. In Piotr Zwierzchowski and Mariusz Guzek’s approach, the perplexities of Ścibor-Rylski’s ‘Bydgoszcz film’ turned out to be a fascinating adventure of cinema in the city which was made a film-city by historical circumstances.

„Saulė ir jūra (Marina)“ – konvencijų ir žanrų spąstai

Author(s): Vaidas Jauniškis / Language(s): Lithuanian Issue: 2/2020

The analysis of the opera-performance Sun and Sea (Marina), the winner of Venice Biennale 2019, shows how the contradictory traditions of opera and performance enrich each other and break numerous canons of the art world. Opera, which at the very birth of the genre was titled the most conventional and unnatural art, earned the top position in the social pyramid amongst the arts. Performance art represented counter-culture due to its naturalness and liveness. In their work, Lapelytė, Grainytė, and Barzdžiukaitė suggest playing with different contexts and different social aspects and questioning traditions of the arts. Opera changes due to a performative turn, interdisciplinarity, and revolutions in the opera world (Wilson and Glass Einstein on the Beach); due to the society of sharing economy, participatory theatre, social networks, and an experiential turn.

„Sekretarka” Dzienniczka Faustyny Kowalskiej lektura antropologiczna

Author(s): Piotr Kubkowski / Language(s): Polish Publication Year: 0

Development and concretisation of the original perspective concerning the word anthropology, which was formed at the Institute of Polish Culture at Warsaw University and used in language practice research. The perspective is considered the best method to perceive the language as cultural phenomenon. An extensive theoretical introduction justifies this approach and puts the undertaken research into the context of contemporary changes in cultural studies. The volume contains twelve articles which present study cases of language practice seen as cultural practice in historical context: from antiquity to modern times, from the forms of word art to swearing and searching the web.

„Sharonka”. Praktyka i dzieło w projektach artystycznych Sharon Lockhart z udziałem dzieci i młodzieży

Author(s): Julia Harasimowicz / Language(s): Polish Issue: 1/2019

The main goal of the article is to describe and analyse the artistic practice of the American artist Sharon Lockhart as well as her works created with the participation of children and young adults. The materials studied herein are the documentation of her activities, interviews, and texts accompanying exhibitions. A particular attention is paid to the projects made in Poland, especially those created with Milena, a teenage girl from a poor area of Łódź, and her friends from the Youth Sociotherapy Centre in Rudzienko. In the article, the artist’s statements are confronted with a formal analysis of her projects. With the use of such secondary sources as cultural, anthropological, art, and childhood studies literature, Lockhart’s artworks are described and interpreted in the context of creating the child’s image, of the young girls’ participation in art projects, and of the author’s method of work itself, which she calls ‘etnographic.’ The precise and interdisciplinary research shows superficiality of this pedagogical and emancipatory method, including using the girls to evoke a specific mood in the audience. From the perspective of art studies, Lockhart’s works, however, may be interpreted as an aesthetic story about a meeting with and an attempt to get to know the Other.

„Strasznie lubię cię, piosenko”. Szkice o tekstach Wojciecha Młynarskiego. Tom jubileuszowy dedykowany Profesor Barbarze Kudrze

Author(s): / Language(s): Polish

The volume comprises texts analysing the oeuvre of one of the greatest Polish song poets, Wojciech Młynarski. Although the majority of the 22 papers are scientific reviews, there are also some popular science texts. The monograph consists of an introduction, the profile of Professor Barbara Kudra, the bibliography of her works. The five chapters dedicated to the work of Wojciech Młynarski comprise diverse texts written from the perspective of language, literature and cultural studies.

„Sunt mici revoluții care ar putea fi făcute care ne-ar ajuta pe toți să nu rămânem în negura timpului.” – Interviu cu regizorul Andrei Măjeri

Author(s): Ironița Coruți / Language(s): English,Romanian Issue: 2/2020

„Sztandar wolności” Ryszarda Ordyńskiego jako filmowy pomnik Józefa Piłsudskiego

Author(s): Grzegorz Rogowski / Language(s): Polish Issue: 112/2020

The author reconstructs the history of the production and distribution of one of the most important documentary films of the interwar period: "Sztandar wolności" ('Banner of Freedom", 1935) by Ryszard Ordyński. By examining the intricate production process, he seeks to determine who produced the picture, for what purposes, and in what political circumstances, what was its perception in Poland and abroad, and finally how the mechanisms of its export worked. The research is based on press articles and on previously unexplored materials from the Archiwum Akt Nowych (Central Archives of Modern Records in Warsaw) and the New York State Archive in Albany.

„Ta wojna trwa permanentnie, ona się nigdy nie kończy”… O ‘Wszystkich wojnach świata’ Tomasza Szerszenia

Author(s): Wiesław Szpilka,Tomasz Szerszeń,Zbigniew Benedyktowicz / Language(s): Polish Issue: 4/2021

A block of discussions on Tomasz Szerszeń’s book Wszystkie wojny świata (słowo/obraz terytoria – Instytut Sztuki PAN 2021). How is one to decipher from today’s perspective the recurring images of catastrophes or traces of historical events observed from a distance? Can the ancient skill of “spodomancy” be of use in this attempt at archaeology of contemporaneity? From Hiroshima and Chernobyl, the Near East and Algeria, Auschwitz and Fukushima, all the way to the 2015 terrorist attacks in Paris and other contemporary conflicts and crises the author creates a by definition incomplete planetary cartography of destruction: he takes a closer look at photographs and texts concerning vestiges of catastrophes and wars seen from afar, and follows their tracks so as to attempt to decolonise their images and latent impact upon us. Wszystkie wojny świata is a multitiered lavishly illustrated essay situated on the crossroads of anthropology, literature, and reflections on photography. At the same time, it is the outcome of years-long studies, a register of travels, and an attempt at regaining certain childhood images in order to better understand oneself and one’s place in relation to history.

„Teatrul online nu există. (...) Teatrul presupune schimb de energie face-to-face.” Interviu cu regizorul Alexandru Iureş

Author(s): Ironița Coruți / Language(s): Romanian Issue: 1/2020