„Bóg związujący”. O rysunkowych więzacj (węzłach_ w cyklu performatywno-filmowym "Drawing restraint" Matthew Barney'a

Author(s): Daniela Tagowska / Language(s): Polish / Issue: 2 (11)/2010

D aniela Tagowska analyses the series of works by Matthew Barney, artist from America. It is based on the idea of making bonds and cutting them. She writes about symbolic meanings of this archety- pical motif, describing human condition, and shows it’s connections to the idea of drawing. She considers drawing as a group of bonds or restrain-ting points (see the title of the series) which are forming a map.

„Bogurodzica” na współczesnej polskiej scenie muzycznej. Kilka słów o recepcji

Author(s): Adam Regiewicz / Language(s): Polish / Publication Year: 0

“Bogurodzica” has for centuries constituted one of the pillars of Polish culture. As the oldest religious song written in Polish, it designates avenues of interpretation of the medieval aesthetics both in literature and musicology. Moreover, its influence on society and the emergence of national identity cannot be overstated. Due to this monumental, sacrosanct nature, „Bogurodzica” has become an exhibit in the museum of medieval imagery. However, a song, even one which remains a symbol of the past, is always subject to revision during its performance. Thanks to its musical interpretation and reinterpretation, „Bogurodzica” can be read anew and made relevant, while those interpretations reveal hidden discourses. The following article aims at analyzing selected contemporary performances of the literary and musical relic, ruminating on its role in contemporary popular culture and the perception of the Middle Ages suggested by those performances.

„Brooklyni vagyok”: nyomozás, mítosz és vallás az Angyalszívben

Author(s): Tamás Bényei / Language(s): Hungarian / Issue: 03/2014

„Buntovna” 68. i još neke godine u Istri

Author(s): Darko Dukovski / Language(s): Croatian / Publication Year: 0

The crisis of the „socialist” society was made „known” to the Yugoslav public through the student protest and vociferous critique by young intellectuals, mostly of „leftist” leanings (although those with „right wing” inclinations also took part in the „movement”). Publicly displayed dissatisfaction and revolt of the students were the first overt critique of the „self-managing socialism” as seen by the Party, i.e. its leaders. With their acts and demands, the students asked the State to prove its legitimacy, pitching themselves against it and bringing its officials (the „red bourgeoisie”) to book. The most „revolutionary” consequence of 1968 was demystification of the government and the system. According to the demands the students voiced, it was the continuation of the „revolution” or at least the „return to the original revolutionary principles”. The „revolutionary students” declared the Zagreb University the „Socialist University of the Seven Secretaries of the SKOJ”, and the Belgrade University the „Red University Karl Marx”, which itself tells enough about their goals „(…) or it was just a gag or a cheap trick”. Zagreb experienced no riots or a strike but a week’s turbulences left their mark. Particularly on those who were kicked out of the University and who lived for years on illusions that they had been „revolutionary students”. That spirit of the 1968-rebellion, of change, liveliness, of dispersing boredom and of possibility of choice was felt in Istria solely through the struggle for freedom of cultural activity and unconventional works of groups of young cultural activists and artists. Nothing particularly important happened in Istria in 1968 that could be explained as a consequence of students’ unrest, of radical left-wing leanings, anarcho-liberalism, etc, except for participation in the unrests of few students from Istria, some of whom were pardoned and some not. The turbulences which were ideologically closest to students’ demands for free speech and other „civic” liberties, played out in the field of culture, i.e. among the cultural activists. The main question was what kind of culture was needed and who needed it unencumbered with daily politics and dictated by Party committees. During the belated aftermath of the „anarcho-liberal” ideas a group of young cultural activists was founded in Pula in 1970, independent of the Communist Party, the Martica hrvatska or the Čakavski sabor , who saw their contribution to culture and arts in relentless critique of the society and on the level of European cultural achievements and the ideas of the „New Left”. The most important event was the founding of an informal group of young enthusiasts, cultural workers, who would actively participate in forming politicsfree culture of the city: the Author Group Pol 5. Their cultural actions were, apart from publishing the journal Trefi lo, organizing photo exhibitions-cum-poetry reading evenings, showing of amateur films etc. For these purposes they made contacts with the Youth Literary Club Istrian Combatant and the Experimental Youth Scene. Members of these organizations had dual membership in both organizations. These very open-minded societies which readily accepted every gifted young individual. Some individuals were active in youth associations such as the Author Group Pol 5, the Experimental Youth Scene and the Literary Club Istrian Combatant, taking part in social cultural activities, but had no ambitions to create movements. Their interest in social and political processes remained in the realm of theorizing and cultural essays.

„Burzliwy i krańcowy protest przeciwko naturalizmowi Reduty” - Debiut reżyserski Edmunda Wiercińskiego w Wilnie 1927

Author(s): Anna Chojnacka / Language(s): Polish / Issue: 4/2017

The premiere of Sen [“A Dream”] by Felicja Kruszewska put on by the Reduta took place on 27 March 1927 in the Na Pohulance Theatre with stage setting designed by Iwo Gall and music composed by Edward Dziewulski. It was Edmund Wierciński’s directorial debut. The artist had been a member of the Reduta company, ran by Osterwa and Limanowski, since 1921. It was where he studied acting and directing. He gained some valuable experience in directing and staging when the Reduta toured the Eastern Borderlands in 1924. The company performed in halls unfit for the purpose and showed Schiller’s Wielkanoc [“The Easter”] outdoor more than a dozen times, which required numerous staging alterations. Wierciński was the one to make them, since he was the artistic director of the whole enterprise. In 1925 the Reduta moved to Vilnius. The company ceased to be a laboratory theatre it had been; as the only theatre in town it had to attract audiences; the methods of work changed, the number of premiere shows increased while the number of rehearsals and the amounts of time spent on thorough analysis of the dramas decreased; and the repertory now included best selling shows. The level of artistic quality lowered; and the search for novel means of artistic expression was replaced with naturalism. Wierciński would not accept it. His production of Sen was, as he put it, “a tempestuous and radical protest against the naturalism of the Reduta.”Girl, the protagonist of the play, has a dream that she has been entrusted with a mission to rescue her town from the Black Army. No one except for her sees the danger; no one understands her, and everybody is trying to set her back. The drama can be interpreted in various ways. In reference to the interwar period, the most viable reading is that it portrays Poland that has regained independence but is not able to really put it to her advantage, accepting the societal mediocrity and low morality.Wierciński wrung out the whole emotionally charged meaning of the text, thus putting on an expressionist show that relied heavily on deformation, caricature, mechanic movements, and repetitive gestures and sounds. Nothing looked onstage as it did in reality. Wierciński himself took on the part of Green Clown [Zielony Pajac], the most grotesque character of all.Most of the theatre reviewers criticised the drama, but they all agreed in their high appraisal of the theatrical production. Osterwa, however, deemed the show to be contrary to the Reduta values, which led to a split within the company. Wierciński with a group of other artists left the Reduta. The secessionists were then hired for a short period of time by the Nowy Theatre in Poznań, where Wierciński put on Sen again in September 1927. For the third time, he directed the play by Kruszewska at the Miejskie Theatres in Łódź in 1929. Wierciński was known to analyse his works thoroughly and eagerly. He considered Sen to be a necessary step for the development of theatre, yet he saw the pitfalls of venturing further in this direction, which might lead to the primacy of director and form over the creative potential of actors that would then be lost and unappreciated. All in all, Wierciński believed that the theatre should give precedence to the drama and playwright in determining the form of the play and that actors ought to be fully appreciated for their participation and involvement in the creative process. He followed these principles in his theatrical work more and more noticeably. His directorial debut was a spectacular protest that marked the beginning of an artistic journey from expressionism and dominance of form, through naturalism and socially engaged theatre, to the great poetic drama, from the primacy of form to a synthesis.

„Bywajcie zdrowi i naelektryzowani!”. O korespondencji Czapscy–Herbertowie. I nie tylko

Author(s): Agnieszka Kosińska / Language(s): Polish / Issue: 4/2019

Essays analysing two most important relationships in the life of Józef Czapski: with his sister, Maria, and Ludwik Hering. Józef Czapski’s older sister Maria (1894–1981) was a confidante and friend, who shared his creative and independent life. Agnieszka Kosińska focused on the significant motifs of Maria’s biography and its fusion with the spiritual biography of Józef Czapski and his circle. “The correspondence between the Czapskis and the Herberts perfectly extracts both the form and essence of the life shared by Józef and Maria. A form that stirred the curiosity of so many: how was this phenomenon possible? Perhaps it involved something abnormal and unnatural? Some sort of a taboo, begging your pardon? Have we forgotten so easily just how many shades of closeness can actually take place in human space? How many forms can be assumed by agape, eros, caritas? Józef and Maria were linked not only by their parallel paths (but what came first? their childhood affection or shared trail?) from Prague to Przyłuki, St. Petersburg, Warsaw, Cracow and Paris, but also by a profound human and creative understanding, which, naturally, was associated with their lifestyle”.Ludwik Hering (1908–1984) was a painter, man of letters, author of conceptions, and director and stage designer of Teatr na Tarczyńskiej and Teatr Osobny. “Known as the leaven of artistic and intellectual life in Poland and not only” – wrote Ludmiła Murawska-Péju, his niece, painter, and editor of the Czapski–Hering correspondence.“Even if his letters to Czapski were to be the only remaining part of the entire Hering œuvre – Kosińska wrote – they would suffice. We are dealing not solely with a precious metal of sensitivity, a ‘hotchpot of reality’ (a term used by L.H.) and anguish, depicted in such perfect and accurate images, suspense and dialogues, but, first and foremost, with operating with silence. Who knows: quite possibly Hering was one of the very few men in Polish literature – although I cannot say who else there could have been – capable of applying Norwid’s art of passing over in silence, including typography and punctuation, in this fashion albeit in a totally individual, purely Heringian way”.

„Całe to «bohaterstwo» jest kłamstwem. Rzeczywistość jest horrorem” – Wojna wojnie Ernsta Friedricha jako montaż

Author(s): Marta Maliszewska / Language(s): Polish / Issue: 20/2018

Analiza pracy Ernsta Friedricha Wojna wojnie. Odwołując się między innymi do Georges’a Didi-Hubermana, Jacques’a Rancière’a oraz Paula de Mana, autorka pokazuj montażowy, ironiczny oraz pedagogiczny charakter pracy. Album jest w tym ujęciu próbą stworzenia alternatywnej narracji na temat Wielkiej Wojny, mającą podważyć mit Pola Chwały. Friedrich próbuje go zastąpić wezwaniem do Człowieka i Miłości, nie rezygnuje więc z mitologizowania świata. Nawet jeśli nie udaje mu się położyć kresu konfliktom zbrojnym, to obrana przez niego strategia pozwala na dekonstrukcję dominujących obrazów wojny.

„CARTEA” Oanei Marinache. Un omagiu adus arhitecților români și străini

Author(s): Radu Moţoc / Language(s): Romanian / Issue: 3-4/2015

Radu Motoc, Honorary Member of the Senate, engineer from Galati presents the books of Oana Marinache, an art critic, president of the Association of History and Art Publishing House. The publications have recently appeared in a collection entitled: Architects forget. Launching of works was held within the international symposium ,,Tradition and Future, a Monument” in Iasi in 2015, in which the author herself presented several volumes in a special room in the Palace of Culture

„Cenię swoją niezależność”. Z Billem Plymptonem rozmawia Bogusław Zmudziński

Author(s): Bogusław Zmudziński / Language(s): Polish / Issue: 93-94/2016

Bogusław Zmudziński, founder and artistic director of the International Film FestivalEtiuda&Anima, interviews Bill Plympton about being an independent artist in USA, about thedesire to conquer the market of animation for adults, about the American approach to the distribution of own films and what it means to be a Disney for adults and a Tarantino of animation.

„Chodź, proszę, pójdziemy tam razem...”. Fotograficzne sygnatury pamięci w projekcie Miłosz. Tutejszy Wojciecha Prażmowskiego

Author(s): Milena ROSIAK-KŁĘBIK / Language(s): Polish / Issue: 10/2013

The aim of this article is to present Wojciech PraĪmowski’s photographic project through the prism of contemporary discourses – “the poetics of trace” (B. Skarga), “the theory of a photo-text” (M. Michałowska) and “the concept of migratory figures” (J. Ślósarska, M. de Certeau). The analysis encompasses the compositional structure of scenes – in reference to the methodology of punctum and studium, and the operator, the spectator and the spectrum of R. Barthes – as well as the contents associated with the off-scene space which concerns travelling along Czesław Miłosz’s tracks and the role a photographer / in which a wanderer plays. The article is also devoted to the issue of semiophores that fill the texture of memory in Prażmowski’s narration. Celem artykułu jest ukazanie fotograficznego projektu Wojciecha Prażmowskiego na tle współczesnych dyskursów – poetyki Śladu (B. Skarga), teorii foto-tekstu (M. Michałowska) czy konceptu figur wędrownych (J. Ślósarska, M. de Certeau). Analizie zostaje poddana rama kompozycyjna kadrów – w nawiązaniu do metodologii punctum i studium oraz operatora, spectatora i spectrum R. Barthes’a – ale i treści związane z przestrzenią pozakadrową, która dotyczy podróży śladami Czesława Miłosza i roli, jaką pełni w niej fotograf/wędrowiec. Porusza takie zagadnienie semioforów wypełniających teksturę pamięci w narracji Prażmowskiego.

„Chopin bez fortepianu” – muzyka we władzy spojrzenia

Author(s): Weronika Łucyk / Language(s): Polish / Publication Year: 0

Chopin without piano produced by CENTRALA and directed by Michał Zadara (premiere 23 March 2013) is based on the idea of performing two of Chopin’s concertos without the solo instrument part. The grand piano was ridden of its function as a musical instrument, and was used as an element of stage installation. Instead of playing the instrument Barbara Wysocka, starring as a soloist, monologues about the score and its various interpretations, as well as about stereotypes built around the composer’s work. The course of the monologue is strictly subordinated to musical rhythm, phrasing of the score, tempo of the orchestra. Thus the producers achieved a radical shift – the actress’s body replaces the grand piano as the instrument proper, and it is seen in interaction with the grand piano or the onductor. This deconstruction exposes the ambivalence of the listener’s gaze inscribed into a concert performance of a piece, and at the same time it imposes a reflexion on the soloist’s condition, remaining under the authority of the gaze. As a counterpoint to the actress’s appearance, Chopin’s letters are quoted in which the composer’s disease-degraded corporeality is described. As an additional element the paper compares three performances (Festiwal Prapremier in Bydgoszcz, the Gdansk Shakespeare Theatre and Festiwal R@Port in Gdynia) in various performative configurations, thus including incidental marginalia.

„Ciaccona” in D minor from Partita II for solo Violin (BWV 1004) by J.S. Bach and „Ciaccona” for solo Violin, in B minor, op.21 by R. Barth. Comparative analysis

Author(s): Alina Maria Nauncef / Language(s): English / Issue: 2-Suppl/2019

In my study for the solo violin repertory and by trying to find works that areunknown and rarely interpreted, I found the score of a Ciaccona for solo violin, in b minor,op.21, composed by Richard Barth in 1908. Studying the score in detail, I discovered amonumental work, that tests the technique of any violinist, an extremely valuable workwhich should become well known and played a lot more often. Being a tribute addressed toJ.S. Bach’s Ciaccona, I tried to study them in parallel, in order to see which are thecomposition tools used in each of them and what are their technical and performativechallenges. It is amazing to discover that, with different means (derived from differentstylistic periods of composition) there can be composed 2 valuable art masterpieces.

„Co ja robię w teatrze?”. Z Michałem Borczuchem rozmawiają studenci II roku Wiedzy o Teatrze UJ

Author(s): Michał Korda,Pamela Bosak / Language(s): Polish / Issue: 133-134/2016

This conversation begins with a student asking Michał Borczuch about his approach to theater criticism. The director believes that criticism, like directing, requires an interdisciplinary approach, and is valuable when it places the play in a context of phenomena going beyond the theater. He also speaks of his work at the theater school, The Rolex Mentor and Protégé Arts Initiative scholarship, and working outside the theater institution with people from various social groups. Part two of the conversation concerns his work on the play All about My Mother (Łaźnia Nowa Theater in Krakow, premiere: 22.04.2016), based on recollections Borczuch and actor Krzysztof Zarzecki have of their mothers, who died of cancer. The subject of casting the actors is raised, as is the difference in Borczuch’s and Zarzecki’s theatrical languages, and the play’s reception by their close family.

„CO WYBUCHŁO?” – MAŁA METALOWA DZIEWCZYNKA NA TRÓJKOŁOWYM ROWERKU I INNE DZIECI HOLOKAUSTU

Author(s): Magdalena Rewerenda / Language(s): Polish / Publication Year: 0

PL: Esej analizuje wybrane utwory literackie (m.in. Zaklęcie na „w” Michała Rusinka, Między nami dobrze jest Doroty Masłowskiej, Chleb rzucony umarłym Bogdana Wojdowskiego) i teatralne (spektakl Grzegorza Jarzyny na podstawie dramatu Masłowskiej i Niech sczezną artyści Tadeusza Kantora), poruszających temat dzieciństwa przypadającego na czasy wojny i Zagłady lub obarczonego piętnem powojennej postpamięci. We wszystkich omawianych tekstach i spektaklach symbolem tęsknoty za bezpowrotnie utraconym okresem beztroski, wolności i zabawy jest rower. Refleksji poddana została jego dwoista i paradoksalna natura: kojarzony zazwyczaj z sielankowym pędem życia, w zaskakujący sposób odsłania swoje posępne konotacje, a objawiając się w swej materialności, odsyła do tego, czego nie ma i co nigdy nie powróci. EN: The essay analyzes selected literary works (including Michał Rusinek’s Spell on W, Dorota Masłowska’s All is Right Between Us, Bogdan Wojdowski’s Bread Thrown to the Dead) and plays (Grzegorz Jarzyna’s performance of Masłowska’s drama and Tadeusz Kantor’s Let the Artists Die) dealing with the subject of childhood during times of war and the Holocaust, or of childhoods burdened with the post-memory of past wars. In all these texts and performances, the bicycle is a symbol of the longing for an irrevocably lost period of carefree freedom and joy. The article reflects upon the bicycle’s dual and paradoxical nature: although usually associated with a bucolic pace of life, it suddenly exposes its gloomy connotations, referring – through what it reveals in its materiality – to what is absent and what will never return.

„Czarny worek trupóww bród / koniec świata / umarł Bóg” – doświadczenie utraty wiary w wypowiedziach medialnych i artystycznych Marii Peszek

Author(s): Malgorzata Rybka,Marta Wrześniewska-Pietrzak / Language(s): Polish / Issue: 6/2017

The paper presents the loss of faith experienced by Maria Peszek. The analysis are based on the interviews with the singer and the texts of songs written by this young and often awarded artists, that is controversial by her worldview. Maria Peszek in the songs presented in three albums: Maria Awaria, Miasto Mania, Jezus Maria Peszek has described the reasons of the loss of faith in God such as nervous breakdown. Antycredo included in her songs was discussed by Maria Peszek in different media – magazines and the Internet. She has always claimed that this experience was strictly combined with the feeling of freedom. The value of freedom is restricted to the meaning: be free from something, what is caused by singer’s egocentric point of view. Maria Peszek claims that being free from religion and God is her guaranty of happiness that is the highest value, the absolute one. Her interviews and texts of the songs are complementary and they present the picture of an artist – the woman that breaks stereotypes and norms, even if they refer to the cultural and moral taboo in Poland.

„Czciciele torrentów” Rozważania o współczesnym modelu kinofilii

Author(s): Grzegorz Zyzik / Language(s): Polish / Issue: 01/2015

Contemporary cinema screen seems to be losing the status of the dominant interface for the viewer of the movie. Digitalization and computerization have contributed to the transfer of a film text in precinct other “media generation” and cultural codes. Susan Sontag predicting the collapse of the movies this process was associated with the disappearance cinephil in its current form. The purpose of this article is to answer the question of whether today we can talk about the experience cinephil. Experience film gains its specificity by the fact that there is a network of different types of discourses. The article aims to present contemporary model cinephily. Its specificity is associated with the activities of network users. Since everything today is changing, it becomes logical to introduce them also in the traditional meaning of the concepts cinema and cinephile. Interesting also seems to question whether the experiences of modern cinephiles enter the canon of human customs and practices of the XXI century, and if so, what will take place. The conclusions of the issues raised will be used to answer questions about the shape of modern cinephily, its implications for changes in the perception of film content and specific to redefine the relationship between reality and media representation.

„Czym jednak jest piękno, tego nie wiem”

Author(s): Anna Arno / Language(s): Polish / Issue: 736/2016

„DE-A V-AȚI ASCUNSELEA” ÎNTRE SERIAL ȘI MODAL ÎN CREAȚIA CONCERTANTĂ A LUI ANATOL VIERU

Author(s): Olguţa Lupu / Language(s): Romanian / Issue: 3/2016

În creația lui Anatol Vieru, serialismul, prezent doar în prima perioadă, este urmat de creații cu puternice amprente folclorice, apoi de predominanța modurilor artificiale. Aceeași succesiune se observă și în creația concertantă. Am fost interesată de posibilele corelații între aceste etape diferite. Mai precis, mi-am propus să cercetez structurile seriale și corelațiile pe care acestea le stabilesc cu configurațiile non-seriale. Am remarcat că, deși folosește totalul cromatic cu respectarea regulilor seriale doar într-o primă etapă, Vieru păstrează ideea unei permanente raportări la acesta, convertind-o însă din punct de plecare în finalitate sau reper. Posibilele ramificații extra-muzicale ale semnificației numărului doisprezece sunt de asemenea investigate.

„Deutschland“ на групата „Рамщайн“ – послание с различен прочит

(по англоезични и български онлайн медии)

Author(s): Gergana Gerova / Language(s): English,Bulgarian / Issue: 1/2019

The article presents the coverage of the promotion of German rock band „Rammstein“‘s new album in English-language and Bulgarian online media and more precisely the song „Deutschland” and the teaser broadcast before its premiere. The focus is on the different reactions brought first and mainly by the teaser, and the way they were presented by the media. The article also reviews online readers’ opinions in their commentaries to the news about the song and the public attention it received. An analysis of the news headlines is offered as well as a comparison between the coverage the news was give in Bulgarian and English-language online media.

„Dialogai“: tarpkultūrinį bendravimą ir toleranciją kitoms tautoms propaguojanti paroda

Author(s): Gertrūda Gulbinaitė,Evelina Senkevičiūtė,Loreta Ulvydienė / Language(s): Lithuanian / Issue: 35(40)/2019

Lietuvos medicinos ir farmacijos istorijos muziejuje Kaune (Rotušės g. 28) nuo 2018 metų gruodžio 13 dienos iki 2019 metų vasario mėnesio vidurio veikė tapybos paroda „Dialogai“. Joje eksponuoti Lietuvoje apsigyvenusių užsienio menininkų Majd Kara (Sirija), Reiu Tüür (Estija) ir Peeter Krosmann (Estija) darbai.