„NÉZETELTÉRÉS”

A kihasznált valóság hitele (Pálfi György Hukkle című filmje)

Author(s): Miklós Kiss / Language(s): Hungarian / Publication Year: 0

The essay is about the question of documentary versus fiction but in a special context called the “exploited” reality. The illustrational example is György Pálfi's Hukkle (2002), and the argumentation is based on the rigorous distinction of the montage-theory of Bazin. In Bazin's classical opinion there are two types of directors and therefore two types of films: which believe in the reality, and which believe in the picture.In Hukkle the exploited reality has three layers: the first is the reality-context of the film (the real events from the 1920's), the second is the fabula of the film (the fictious murders in Pálfi's story), and the third is the camouflage of the reality (formal and stylistic genre conventions of the documentary films). With these layers Pálfi makes a full circle around reality and imaginary, he switches our attention permanently between the documentary and the fiction. To do this, he chose an experimental narrative form, the so called "magic-picture" narrative. The originally image-natured picture-puzzle turns into moving images: with this gesture we arrive in the special field of the border-land of documentary and fiction.

„Nie istnieje nic innego niż zależność”. Refleksja o historyczności

Author(s): Katarzyna Bojarska / Language(s): Polish / Issue: 29/2021

Artykuł jest próbą krytycznego zestawienia i omówienia dwóch wystaw odbywających się jednocześnie w Warszawie, "Tu Muranów" (Polin) oraz "Rhizopolis" (Zachęta). Autorka przygląda się ewolucji postaw dwójki artystów, Joanny Rajkowskiej i Artura Żmijewskiego od ich wspólnej wyprawy do Izraela/Palestyny na początku XXI wieku po dzisiejsze realizacje odczytywane jako etap ich pracy z pamięcią, historycznością i przestrzenią.

„Nie ptak, nie samolot, a dziewczyna”. Wizje kobiecej dorosłości w Lekkiej księżniczce George’a MacDonalda i jej adaptacji na musical Tori Amos i Samuela Adamsona

Author(s): Natalia Kuc / Language(s): Polish / Issue: 2/2019

The aim of the paper is to analyse The Light Princess (1864), a fairy tale by George MacDonald, and its musical adaptation from 2013 staged in the Royal National Theatre in London. The authors of the lyrics are Samuel Adamson, a playwright, and Tori Amos, a singer, who is also responsible for the music in the show. The fairy tale tells the story of a young princess cursed to be devoid of weight and the ability to feel sadness, as well as of her process of maturing into an adult woman. The author of the paper presents similarities and differences between the original tale dating to the late 19th century and its 21st century adaptation, along with their ties to folktale tropes. The analysis aims not only to set forth the vision of adulthood as described by MacDonald, but also to propound how the definitions of adulthood and womanhood could have changed over the course of a century of dynamic emancipation of women. According to the author, while MacDonald consciously subverts multiple fairy tale tropes, Adamson and Amos introduce modern elements to the text without integrating them into the fairy tale adaptation and with little regard for its folk inspirations. Driven by the desire to rewrite a modern, feminist version of the 19th century fairy tale, Adamson and Amos often achieve opposite results.

„Nie sądzić” i „Wielki strach” – dwa małe ważne filmy

Author(s): Sławomir Sikora / Language(s): Polish / Issue: 112/2020

Recently, the term “non-memory” (which should not be equated with oblivion) has gained importance in the Polish discourse on memory. It seems that scholarly discussions analysing the issues of World War II and post-war experiences have been dominated by the language of psychoanalysis; however, it is worth taking into consideration also vernacular languages. The author discusses the issues of memory and non-memory in relation to the extremely traumatic post-war experiences depicted in the two short films "Nie sądzić" ("Not to Judge", dir. Pawlina Carlucci Sforza and Magdalena Lubańska, 2017) and "Wielki strach" ("The Fear", dir. Pawlina Carlucci Sforza, 2020). They deal with this issue from different perspectives: the first in a more indirect way, the second – directly. People returning from forced labour in Germany after World War II were plundered and murdered by a local gang in a forest near Przeworsk. Traumatic knowledge about these events had been hidden for over seventy years.

„No animals were used in the making of this film?” Postzwierzęta i zew antropomorfizmu w epoce CGI

Author(s): Kamil Kalbarczyk / Language(s): Polish / Issue: 110/2020

The article explores the impact of the digital revolution on animal representation in feature films. The author analyses computer-generated animals in the context of the progress of CGI and the effects of seamlessly compositing photorealistic animation with live action material. The author studies the phenomenon that has been developing since the 1990s in the context of visual effects studies and animal studies. He emphasizes the issue of progressive anthropomorphising of digital animals in the live action cinema of the last decade. The author differentiates three basic strategies for creating perceptually realistic animals, depending on the degree of their internal personification and external anthropomorphism or cartoonishness. Analysing "The Lion King" (dir. J. Favreau, 2019) the author notes a new trend, characteristic of hybrid cinema (a mélange of photorealistic animation and live action material): representations of deeply anthropomorphized fauna maintaining hyper-realistic physiognomy.

„O făclie nestinsă a teatrului” – Domnica Darienco

Author(s): Angela Hăbăşescu / Language(s): Romanian / Issue: 1/2019

The article describes the anniversary exhibition dedicated to the theater and film actress Domnica Darienco. The exhibition was inaugurated in the Reading Room “Psycho-pedagogical, real, natural sciences. Arts” of the USARB Scientific Library.

„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.

„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.