DOCSLIB.ORG

Art and Documentation No. 22 (2020) • ISSN 2080-413X • E-ISSN 2545-0050 • Doi:10.32020/Artanddoc Sztuka I Dokumentacja Nr 22 (2020) │ Art and Documentation No

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Redaktor naczelny / Editor in Chief – Łukasz Guzek Sekretarz Redakcji / Managing Editor – Anka Leśniak Redakcja / Editorial Board - Józef Robakowski, Aurelia Mandziuk-Zajączkowska, Adam Klimczak, Adam Kamiński Uczelniana Rada Naukowa – Janina Rudnicka, Grzegorz Klaman, Krzysztof Gliszczyński, Roman Nieczyporowski Rada Naukowa / Board of Scholars – Ryszard W. Kluszczyński, Kristine Stiles, Anna Markowska, Slavka Sverakova, Leszek Brogowski, Bogusław Jasiński, Anna Szyjkowska-Piotrowska, Tomasz Załuski, Tassilo von Blittersdorff, Tomasz Majewski, Wydawca / Publisher Cornelia Lauf, Iwona Szmelter, Hanna B. Hölling, Anne Swartz, Henar Riviere, Jin-Sup Yoon Akademia Sztuk Pięknych w Gdańsku / Academy of Fine Arts in Gdansk Sekcja pod redakcją / Edited Section Make No Mistake! Red. / Edit. by Małgorzata KAŹMIERCZAK Something In Common? Red. / Edit. by Anka LEŚNIAK Galeria im. Andrzeja Pierzgalskiego. Dokumenty Artystów / Andrzej Pierzgalski Gallery. Artists’ Documents / Galerie dédiée à Andrzej Pierzgalski. Documents d’Artistes Siedziba / Office Targ Węglowy 6, 80-836 Gdańsk / Poland Koncepcja i prezentacja / Idea and Form of Presentation / Tel.: +48 791 123 939, e-mail: [email protected] Conception et présentation – Leszek BROGOWSKI http://www.journal.doc.art.pl e.mail: [email protected] Dystrybucja / Distribution Współpraca / Cooperation e-mail: [email protected] Université Rennes 2, Cabinet du livre d'artiste Sans niveau ni mètre. Journal du Cabinet du livre d'artiste Współpraca / Cooperation https://www.sites.univ-rennes2.fr/arts-pratiques-poetiques/ Stowarzyszenie Sztuka i Dokumentacja (SSiD) incertain-sens Art & Documentation Association ul. Wschodnia 29/3, 90-272 Łódź / Poland Druk / Print EUREKA PLUS Agencja Reklamy Ryszard Fedorowicz ul. 3-go Maja 11/10, 35-111 Rzeszów Korekta w języku polskim / Polish proofreading A PROPOS Serwis Wydawniczy Anna Sikorska-Michalak nakład 300 egz. / circulation 300 copies ul. Moraczewskiego 18, 05-070 Sulejówek ISSN 2080-413X http://www.apropos.info.pl, Bogumiła Brogowska e-ISSN 2545-0050 Korekta w języku angielskim / English proofreading Paul Barford, Katarzyna Podpora doi:10.32020/ARTandDOC Projektowanie, skład / Design, typesetting Wydanie pisma Sztuka i Dokumentacja Norbert Trzeciak, http://www.norberttrzeciak.com w wersji papierowej jest wersją pierwotną (referencyjną). Zapraszamy do współpracy wszystkich zainteresowanych. Propozycje tematów i tekstów prosimy nadsyłać na adres siedziby redakcji. Prosimy zapoznać się z założeniami redakcyjnymi i edytorskimi znajdującymi się na stronie internetowej pisma. Wszystkie materiały publikujemy na licencji Creative Commons. Artykuły są recenzowane. Lista recenzentów i zasady recenzowania znajdują się na stronie internetowej pisma. http://www.journal.doc.art.pl All interested in collaboration are welcome. Suggestions of topics and texts should be sent to the e-mail address of the editor. We also kindly ask to read the notes on style that can be found on our journal’s website. All content is publish under the Creative Commons licenses. Articles are peer-reviewed. The list of peers and the peer-review process are available on our website. 2222http://www.journal.doc.art.pl SECTION 1 27-36 VARIA Krzysztof SIATKA, how it works, what it does. Notes on Selected Drawings by 123-139 224-225 Wincenty Dunikowski-Duniko in the Teresa FAZAN, Dorothee von Windheim: Summary / Résumé Context of the Machine Art Tradition an Early Wall Work. Strappo ad Asolo Paweł Petasz. A Biographical Note / doi:10.32020/ARTandDOC/22/2020/6 1973 Revisited in the Conz Archive Paweł Petasz. Esquisse biographique doi:10.32020/ARTandDOC/22/2020/23 doi:10.32020/ARTandDOC/22/2020/15 37-46 Ewa WÓJTOWICZ, The Point of Collapse, 141-150 229-261 or How to Err is Non-human in Post- Ewa KĘDZIORA, Doświadczenie Granic. Faksymile / Facsimile Digitality Izraelska Sztuka Konceptualna Przełomu Ten Theses 2 + transcription doi:10.32020/ARTandDOC/22/2020/7 Lat Sześćdziesiątych i Siedemdziesiątych doi:10.32020/ARTandDOC/22/2020/24 / Experience of Borders. The Israeli 47-55 Conceptual Art at the Turn of Sixties 262-301 Rafał SOLEWSKI, Discovered by and Seventies Leszek BROGOWSKI, Kwadratura Koła Diversity: Error in Art as a Tool of doi:10.32020/ARTandDOC/22/2020/16 Jedynego Polaka: Paweł Petasz (1951–2019) Metaphysical Cognition. Case Studies / La Quadrature du Cercle de l’Unique doi:10.32020/ARTandDOC/22/2020/8 151 Polonais: Pawel Petasz (1951-2019) doi:10.32020/ARTandDOC/22/2020/25 doi:10.32020/ARTandDOC/22/2020/1 Summary doi:10.32020/ARTandDOC/22/2020/17 Sekcja 2 / Section 2 303-305 153-180 Summary SOMETHING IN COMMON? Maksymilian WRONISZEWSKI, Leszek Quadrature of the Circle of a Unique POLISH AND KOREAN Przyjemski: Szaleństwo jako Praktyka Pole: Paweł Petasz (1951-2019) PERFORMANCE ART IN THE Krytyczna / Leszek Przyjemski: Madness doi:10.32020/ARTandDOC/22/2020/26 CONTEXT OF YOUNG DEMOCRACY as a Critical Practice doi:10.32020/ARTandDOC/22/2020/9 308-313 doi:10.32020/ARTandDOC/22/2020/18 Commonpress no. 5 59-61 181 doi:10.32020/ARTandDOC/22/2020/27 INTRODUCTION Summary Edited by Anka LEŚNIAK 315-365 doi:10.32020/ARTandDOC/22/2020/10 doi:10.32020/ARTandDOC/22/2020/19 Viktor KOTUN, A Ghost of Your 63-77 Masterpiece. Correspondence Between Sekcja 1 / Section 1 Pawel Petasz and György Galántai Ah-Young LEE, Korean Avant-garde (1978–2007) Performance Art from the 1960s to the GALERIA im. ANDRZEJA MAKE NO MISTAKE! doi:10.32020/ARTandDOC/22/2020/28 1980s in the Trajectory of the South PIERZGALSKIEGO. REFLECTIONS ON THE BENEFITS Korean Democratization OF ERRING IN POSTCONCEPTUAL 367-376 doi:10.32020/ARTandDOC/22/2020/11 Dokumenty Artystów 5 / ANDRZEJ ART PRACTICE PIERZGALSKI GALLERY. Artists’ Report of “Zoltán Pécsi” + György doi:10.32020/ARTandDOC/22/2020/2 79-87 Documents 5 / GALERIE dédiée à GALÁNTAI, To the Attention of the ANDRZEJ PIERZGALSKI. Documents Readers / Researchers 7 Jin Sup YOON, Avant-Garde-ness and doi:10.32020/ARTandDOC/22/2020/29 Experimentation: Renegades as d’Artistes 5 INTRODUCTION Outliers Red. / Edited by Leszek BROGOWSKI Edited by Małgorzata KAŹMIERCZAK doi:10.32020/ARTandDOC/22/2020/12 doi:10.32020/ARTandDOC/22/2020/20 and Krzysztof Siatka doi:10.32020/ARTandDOC/22/2020/3 89-101 184-195 Łukasz GUZEK, Happenings-Events- Założenia programowe 5 / Programme 9-16 Performances in Poland: Intermingling Assumptions 5 / Hypothèses du Małgorzata KAŹMIERCZAK, Contingency Histories of Art and Politics programme 5 and Improvisation in Performance Art doi:10.32020/ARTandDOC/22/2020/13 doi:10.32020/ARTandDOC/22/2020/21 from the 1970s to the Present doi:10.32020/ARTandDOC/22/2020/4 103-119 197-223 Anka LEŚNIAK, Action Art as a Way of Karina DZIEWECZYŃSKA, Paweł Petasz. Rys 17-26 Emancipation. Women's Performance biograficzny Dora DERADO, Accidents, Artistic Art Practices in the Context of the doi:10.32020/ARTandDOC/22/2020/22 Intent and Error: A Study of (Un) Totalitarian Regime Based On intentionality in post-World War II Communist Ideology and the Young Croatian Art Democracy in Poland doi:10.32020/ARTandDOC/22/2020/5 doi:10.32020/ARTandDOC/22/2020/14 2 Sztuka i Dokumentacja nr 22 (2020) │ Art and Documentation no. 22 (2020) • ISSN 2080-413X • e-ISSN 2545-0050 • doi:10.32020/ARTandDOC Sztuka i Dokumentacja nr 22 (2020) │ Art and Documentation no. 22 (2020) • ISSN 2080-413X • e-ISSN 2545-0050 • doi:10.32020/ARTandDOC 3 SE CTI1 ON doi:10.32020/ARTandDOC/22/2020/2 doi:10.32020/ARTandDOC/22/2020/3 MAKE NO MISTAKE! MAKE NO MISTAKE! REFLECTIONS ON THE BENEFITS OF ERRING IN POSTCONCEPTUAL ART PRACTICE Introduction MAMAMA Edited by Małgorzata KAŹMIERCZAK and Krzysztof SIATKA Any artistic practice which takes place within an alter the course of an action. The essay by Dora arrangement involving such significant entities Derado brings together thoughts on dissonances as an originator (artist), his or her proposition between what artists originally intended and what (object or action), and user (viewer) gives rise audiences saw in Croatian avant-garde art after KEKE to numerous paradoxes inside the system of World War II. Krzysztof Siatka concentrates in KE reciprocal communication between these entities. his essay on a lesser-known chapter of Wincenty The constantly effected divergence between what Dunikowski-Duniko’s activity: drawings of was intended but has not been expressed and complicated, futuristic, and dysfunctional devices what is being expressed unintentionally is as that were produced after the 1970s and which surprising as it is inspiring. Therefore, erroneous display similarities to conceptual propositions NO understanding brings considerable cognitive and the 20th-century tradition of machine art. NONO rewards, and although the artistic benefits of Ewa Wójtowicz discusses and analyzes examples erring seem rather obvious today, the potential of of postinternet art which stem from consideration this subject continues to be noticeable and vivid of grammatical errors in the languages of non- in the discourse of humans and non-humans, human systems. Errors in early and late modern as exemplified by the 2018 edition of the Ars art and in the metaphysical recognition of it are Electronica Festival in Linz, themed ERROR – the substance of Rafał Solewski’s essay, which MISMIS The Art of Imperfection. provides a summary of this collection and MIS The collection of essays following the narrative concludes it. outlined above that is presented to readers in this volume is a result of international academic Krzysztof SIATKA conferences and art exhibitions held in Kraków in December 2016 (Error in Art, Telpod) and in TA Budapest in November 2018 (Make No Mistake!, ACKNOWLEDGMENT on behalf of the TATA FUGA Budapest Centre for Architecture); both Editor of the Section these events were held on the initiative of the This publication is a result a joint effort, therefore Faculty of Art of the Pedagogical University in I would like to thank: Karolina Kolenda, Kraków and in collaboration with the University Krzysztof Siatka and Sebastian Stankiewicz for of Kaposvár. collecting and editing the essays written after Analyzing well-known as well as less the conferences they organized in Kraków and KE salient facts from the rich history of performance Budapest.
Recommended publications
  • Analyzing the Barometer of Responses

    Analyzing the Barometer of Responses

    Chapter 6 Don’t Touch My Holocaust – Analyzing the Barometer of Responses Israeli Artists Challenge the Holocaust Taboo Tami Katz-Freiman The national museum in the eternal capital of the Jewish people should encourage many exhibitions attesting that we are indeed liberated from the traumas of the past. If the Israel Museum could get hold of the bones of Holocaust victims, they could invite kindergarten children to build castles. Perhaps the Israel Museum should also import hair from Auschwitz to hang on it postmodern works.1 This sarcastic and radical response, published in Maariv on January 19, 1997, by Holocaust survivor, Knesset member, and journalist Joseph Lapid, following the controversial exhibition of Israeli artist Ram Katzir at the Israel Museum, reflects the problematic nature, the hypersensitivity, and the intricacy of the current Holocaust discourse in Israel. In this essay, I delve into the pressing issues of this highly delicate discourse. I attempt to locate the very root of its problematic nature, wherefrom all taboos and paradoxes stem pertaining to the discourse of Holocaust representation in 188 contemporary Israeli art. The Zionist ethos is informed by two fundamental notions: Holocaust and Heroism and Negation of Exile that are crucial to the understanding of the problematic nature inherent in Holocaust representation in Israel. In the following paragraphs, I trace the implications of these two perceptions on Holocaust representation in art, and attempt to categorize and classify modes of Holocaust representation in contemporary Israeli art in light of, or in relation to, the public sensitivity toward the manipulative use of the Holocaust. In order to elucidate some basic concepts relating to the Israeli black hole, I examine some strategies employed by current Israeli artists who are communicating Auschwitz2 in their work.
  • Stanislaw Brzozowski and the Migration of Ideas

    Stanislaw Brzozowski and the Migration of Ideas

    Jens Herlth, Edward M. Świderski (eds.) Stanisław Brzozowski and the Migration of Ideas Lettre Jens Herlth, Edward M. Świderski (eds.) with assistance by Dorota Kozicka Stanisław Brzozowski and the Migration of Ideas Transnational Perspectives on the Intellectual Field in Twentieth-Century Poland and Beyond This volume is one of the outcomes of the research project »Standing in the Light of His Thought: Stanisław Brzozowski and Polish Intellectual Life in the 20th and 21st Centuries« funded by the Swiss National Science Foundation (project no. 146687). The publication of this book was made possible thanks to the generous support of the »Institut Littéraire Kultura«. Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Na- tionalbibliografie; detailed bibliographic data are available in the Internet at http://dnb.d-nb.de This work is licensed under the Creative Commons Attribution-NonCommer- cial-NoDerivatives 4.0 (BY-NC-ND) which means that the text may be used for non-commercial purposes, provided credit is given to the author. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/ To create an adaptation, translation, or derivative of the original work and for com- mercial use, further permission is required and can be obtained by contacting [email protected] Creative Commons license terms for re-use do not apply to any content (such as graphs, figures, photos, excerpts, etc.) not original to the Open Access publication and further permission may be required from the rights holder. The obligation to research and clear permission lies solely with the party re-using the material.
  • Elia Samuele Artom Go to Personal File

    Elia Samuele Artom Go to Personal File

    Intellectuals Displaced from Fascist Italy © Firenze University Press 2019 Elia Samuele Artom Go to Personal File «When, in 1938, I delivered my last lecture at this University, as a libero docente Link to other connected Lives on the [lecturer with official certification to teach at the university] of Hebrew language move: and literature I would not have believed...»: in this way, Elia Samuele Artom opened Emanuele Menachem the commemoration of his brother-in-law, Umberto Cassuto, on 28 May 1952 in Artom 1 Enzo Bonaventura Florence, where he was just passing through . Umberto Cassuto The change that so many lives, like his own, had to undergo as a result of anti- Anna Di Gioacchino Cassuto Jewish laws was radical. Artom embarked for Mandatory Palestine in September Enrico Fermi Kalman Friedman 1939, with his younger son Ruben. Upon arrival he found a land that was not simple, Dante Lattes whose ‘promise’ – at the center of the sources of tradition so dear to him – proved Alfonso Pacifici David Prato to be far more elusive than certain rhetoric would lead one to believe. Giulio Racah His youth and studies Elia Samuele Artom was born in Turin on 15 June 1887 to Emanuele Salvador (8 December 1840 – 17 June 1909), a post office worker from Asti, and Giuseppina Levi (27 August 1849 – 1 December 1924), a kindergarten teacher from Carmagnola2. He immediately showed a unique aptitude for learning: after being privately educated,3 he obtained «the high school honors diploma» in 1904; he graduated in literature «with full marks and honors» from the Facoltà di Filosofia e 1 Elia Samuele Artom, Umberto Cassuto, «La Rassegna mensile di Israel», 18, 1952, p.
  • Experience of Borders. the Israeli Conceptual Art at the Turn of Sixties and Seventies

    Experience of Borders. the Israeli Conceptual Art at the Turn of Sixties and Seventies

    doi:10.32020/ARTandDOC/22/2020/17 VARIA ENGENGENG--- LISHLISHLISH SUMSUMSUM--- MAMAMA--- Ewa KĘDZIORA RY EXPERIENCE OF BORDERS. THE ISRAELI RYRY CONCEPTUAL ART AT THE TURN OF THE SIXTIES AND SEVENTIES The topic of the article is Israeli art in the face of geopolitical and social consequences of two wars – Six Days (1967) and Yom Kippur (1973). The article discusses the activity of conceptual artists who have taken up the problems associated with experiencing life in disputed territories, thus, for the first time in Israeli history of art, critically referring to political and social reality. The starting point for the study is the reception of the concept of political boundaries in the artistic creativity of that period. In the first part, the article introduces the political and social situation at the turn of the 1960s and 1970s, i.e. the period in which the ‘map’ of Israel underwent multiple transformations, and the beginning of the occupation of the West Bank and the Gaza Strip affected the polarization of social moods. In the second, the atmosphere of emerging conceptualism in Israel was presented. The exhibition entitled The Borders, which took place at the Israel Museum in Jerusalem (1980), and the performance by Joshua Neustein, Project: Jerusalem River (1970) serve as the context. The third part of the text focuses on the analysis of projects relating to the concepts of maps and demarcation lines, among which were discussed the cartographic ‘games’ of Michael Druks, the performance of Joshua Neustein Territorial Imperative (1974), and Touching the Borders (1974) by Pinchas Cohen Gan. The last part of the study is an analysis of projects related to the topic of the Arab community.
  • Staring Back at the Sun: Video Art from Israel, 1970-2012 an Exhibition and Public Program Touring Internationally, 2016-2017

    Staring Back at the Sun: Video Art from Israel, 1970-2012 an Exhibition and Public Program Touring Internationally, 2016-2017

    Staring Back at the Sun: Video Art from Israel, 1970-2012 An Exhibition and Public Program Touring Internationally, 2016-2017 Roee Rosen, still from Confessions Coming Soon, 2007, video. 8:40 minutes. Video, possibly more than any other form of communication, has shaped the world in radical ways over the past half century. It has also changed contemporary art on a global scale. Its dual “life” as an agent of mass communication and an artistic medium is especially intertwined in Israel, where artists have been using video artistically in response to its use in mass media and to the harsh reality video mediates on a daily basis. The country’s relatively sudden exposure to commercial television in the 1990s coincided with the Palestinian uprising, or Intifada, and major shifts in internal politics. Artists responded to this in what can now be considered a “renaissance” of video art, with roots traced back to the ’70s. An examination of these pieces, many that have rarely been presented outside Israel, as well as recent, iconic works from the past two decades offers valuable lessons on how art and culture are shaped by larger forces. Staring Back at the Sun: Video Art from Israel, 1970-2012 traces the development of contemporary video practice in Israel and highlights work by artists who take an incisive, critical perspective towards the cultural and political landscape in Israel and beyond. Showcasing 35 works, this program includes documentation of early performances, films and videos, many of which have never been presented outside of Israel until now. Informed by the international 1 history of video art, the program surveys the development of the medium in Israel and explores how artists have employed technology and material to examine the unavoidable and messy overlap of art and politics.
  • The Arts of Sound Art and Music Douglas Kahn I Am Not Particularly Fond of the Term Sound Art. I Prefer the More Generic Sound I

    The Arts of Sound Art and Music Douglas Kahn I Am Not Particularly Fond of the Term Sound Art. I Prefer the More Generic Sound I

    1 The Arts of Sound Art and Music Douglas Kahn I am not particularly fond of the term sound art. I prefer the more generic sound in the arts. My last book was subtitled a history of sound in the arts; there was no mention of sound art and not only because it was outside the historical scope of the book. Sound in the arts is a huge topic, especially when one keeps in mind the synthetic nature of the arts, i.e., the various intersecting social, cultural, and environmental realities wittingly and unwittingly embodied in any one of the innumerable factors that go into producing, experiencing, and understanding a particular work. Sound art is a smaller topic, if what is meant is that moment that artists, in the general sense of the word, began calling what they were doing sound art. In my experience, artists started to use sound art in this way during the 1980s, although there were plenty of artists doing similar things with sound earlier and not necessarily calling what they did sound art. The topic becomes smaller still if what is meant is the term that refers to what began a few years ago, and it is this meaning that has become well known. I realize that railing against the widespread use of a term is obviously not a wise use of time. That has not prevented many others wasting time on names. None of the minimalist composers seem to like the term minimalist but they were 2 more than willing to live in the shadow of that flag, if not salute.
  • 1 Claudia Gioia

    1 Claudia Gioia

    Claudia Gioia - Let’s start with your history. Your artistic education, your cultural references and influences and your personal path. How do you place your research and who were and who are your companions? Nahum Tevet – During my High School I started taking courses in painting and drawing. I was born in a kibbutz, and the kibbutz educational system was very supporting for art. I saw myself as a painter and immediately after the army I was looking for a place to study. I felt that the schools were not good places. I mean at that time the Academy was, only at the beginning, as a contemporary art school. There was actually Raffi Lavie, whose retrospective is now at the Venice Biennial, and in those years, in 1969 and 1970 he magnetized a group of young artists that studied with him mostly on a private basis. I was 23 and he was 33, at that time he was leading a real, I wouldn’t say revolution, but he was the most important figure in creating a new young scene of Israeli art. One could say that it was really the beginning of contemporariness; it was the end of a certain kind of painting that was mainly a local version of French abstraction. There were some three or four wonderful painters that were not known internationally. One of them was extremely important for the new generation: Arie Aroch. He was a painter and an intellectual who served the Israeli ambassador in Sweden at the time of Pontus Hulten, he knew about Duchamp and he saw Jasper Jones and Rauschenberg in real time, and somehow it influenced his work.
  • Late Poetry of Tadeusz Różewicz

    Late Poetry of Tadeusz Różewicz

    Modes of Reading Texts, Objects, and Images: Late Poetry of Tadeusz Różewicz by Olga Ponichtera A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department of Slavic Languages and Literatures University of Toronto © Copyright by Olga Ponichtera 2015 Modes of Reading Texts, Objects, and Images: Late Poetry of Tadeusz Różewicz Olga Ponichtera Doctor of Philosophy Department of Slavic Languages and Literatures University of Toronto 2015 Abstract This dissertation explores the late oeuvre of Tadeusz Różewicz (1921-2014), a world- renowned Polish poet, dramatist, and prose writer. It focuses primarily on three poetic and multi-genre volumes published after the political turn of 1989, namely: Mother Departs (Matka Odchodzi) (1999), professor’s knife (nożyk profesora) (2001), and Buy a Pig in a Poke: work in progress (Kup kota w worku: work in progress) (2008). The abovementioned works are chosen as exemplars of the writer’s authorial strategies / modes of reading praxis, prescribed by Różewicz for his ideal audience. These strategies simultaneously reveal the poet himself as a reader (of his own texts and the works of other authors). This study defines an author’s late style as a response to the cognitive and aesthetic evaluation of one’s life’s work, artistic legacy, and metaphysical angst of mortality. Różewicz’s late works are characterized by a tension between recognition and reconciliation to closure, and difficulty with it and/or opposition to it. Authorial construction of lyrical subjectivity as a reader, and modes of textual construction are the central questions under analysis. This study examines both, Tadeusz Różewicz as a reader, and the authorial strategies/ modes he creates to guide the reading praxis of the authorial audience.
  • Choreography and Sounding Wearables

    Choreography and Sounding Wearables

    Scene 2 (1+2) pp. 197–220 Intellect Limited 2014 Scene Volume 2 numbers 1 & 2 © 2014 Intellect Ltd Article. English language. doi: 10.1386/scene.2.1-2.197_1 Michèle danjoux London college of Fashion choreography and sounding wearables abstract Keywords This article explores the role of ‘sounding costumes’ and body-worn technologies for costume choreographic composition, with real-time interactional elements (such as microphones, body speakers, sensors) potentially integrated into movement and expressive behaviour. movement Sounding garments explore the interactions between dancer/performer, the costume and choreography the environment in the generation and manipulation of sonic textures. Briefly discussing sound historical precedents of integrated composition, the article will mainly refer to sounding wearable prototypes in DAP-Lab’s latest production, For the time being [Victory over the Sun] interactive (2012–2014), for which I designed the wearables, highlighting new methods for build- performance ing sensual wearable electro-acoustic costumes to create kinaesonic choreographies. The article analyses the multi-perspectival potentials of such conceptual garments/wear- able artefacts to play a significant part in the creation process of a performance, focus- ing on how wearable design can influence and shape movement vocabularies through the impact of its physical material presence on the body, distinctive design aesthetics and sound-generating capabilities. Choreographically, garments and body-worn tech- nologies act as amplifying instruments
  • THE ARTIST's PRINT AS a STRATEGY for SOCIAL ENGAGEMENT Bess Frimodig a Thesis Submitted in Partial F

    THE ARTIST's PRINT AS a STRATEGY for SOCIAL ENGAGEMENT Bess Frimodig a Thesis Submitted in Partial F

    AN HONOURABLE PRACTICE: THE ARTIST’S PRINT AS A STRATEGY FOR SOCIAL ENGAGEMENT Bess Frimodig A thesis submitted in partial fulfilment of the requirements of the University of the West of England, Bristol for the degree of Doctor of Philosophy Faculty of Arts, Creative Industries and Education University of the West of England, Bristol April 2014 Volume I 0 List of Illustrations Fig.3. Fukuzoku Koto Gakko High School Year Book, Kanazawa, Japan 1980 Plate I. She Still Rules Plate II. Twente Identity Robe Plate V. Stand Up To Hatred: Wall of Resistance Plate VI. To Let Plate VII. Mapping The Longest Print 1 CONTENTS Pg.4 AUTHOR DECLARATION Pg.5 ACKNOWLEDGEMENT Pg.6 ABSTRACT Pg.7 INTRODUCTION Pg.8 The dilemma Pg.10 Research Question Pg.10 Aims and Objectives Pg.10 Development of the research and its rationale Pg.12 Methodology Pg.14 Outline Pg.16 CHAPTER ONE: BACKGROUND Pg.17 Personal Context Pg.22 The Social Role of Art – A Debate Pg.27 Why print? Pg.27 History of Print Pg.35 Literature of Print – Texts, Websites and Blogs Pg.49 The Way Forward: The Individual Artist and Entering the Collective Pg.49 Models of practice Pg.58 Guiding principles Pg.59 CHAPTER TWO: CASE STUDIES Pg.60 CS1 Black History Month Pg.61 Introduction Pg.61 Aims and Objectives Pg.62 Context Pg.62 The Print Pg.63 Evaluation Pg.66 Conclusion Pg.67 The Way Forward Pg.68 CS2 AKI Twente Identity Robe Pg.69 Introduction Pg.69 Aims and Objectives Pg.70 Context Pg.70 The Print Pg.73 Evaluation Pg.74 Conclusion Pg.75 The Way Forward Pg.76 CS3 Stand up to Hatred: Wall of Resistance
  • Anna Chojnacka Anna

    Anna Chojnacka Anna

    ANNA CHOJNACKA wśród plastyków śląskich ANNA CHOJNACKA wśród plastyków śląskich Już wiele lat temu, podczas wizyt u Pani Anny Chojnackiej, związanych z realizacją odcinka filmu dokumen- Many years ago, when I visited Anna Chojnacka in connection with the realization of a part of talnego „Leksykon śląskiej fotografii”, a potem jeszcze podczas przygotowań Jej ostatniej za życia, jak się a documentary film series entitled “Leksykon śląskiej fotografii (Lexicon of Polish Photography)”, and then potem okazało, wystawą indywidualną w Galerii Katowice, rozmawiałyśmy o wydaniu tego niezwykle ważne- during the preparation for her individual exhibition – the last in her lifetime, as it was to turn out – in Galeria go dla niej albumu. Katowice, we talked about publishing this album, which was so important for her. Pani Anna traktowała tę książkę jako zwieńczenie być może najważniejszego Jej projektu. Projektu, któremu Anna treated this book as the crowning of perhaps the most important of her projects – a project to which she poświęciła znaczący fragment swojego życia artystycznego. devoted a substantial portion of her artistic career. Anna Chojnacka przez lata fotografowała środowisko artystów śląskich. Album, który zostawiła, otwiera nam Anna Chojnacka spent years photographing Silesian artistic milieu. The album she left gives the viewer bezcenną, unikalną szansę do wejścia w nieznany świat legendarnych twórców takich jak Ociepka, a unique opportunity to enter the unknown world of legendary artists such as Ociepka, Urbanowicz and others Urbanowicz i innych – jest wehikułem czasu, bo jest to świat sprzed ponad 50 lat. Prezentuje nam sylwetki – it becomes a time machine, as it portrays a world from over fifty years ago.
  • Israeli) Star of Hope Agamograph 29 X 31 Cm (11 X 12 In.) Signed Lower Right, Numbered '8/25' Lower Left

    Israeli) Star of Hope Agamograph 29 X 31 Cm (11 X 12 In.) Signed Lower Right, Numbered '8/25' Lower Left

    1* Yaacov Agam b.1928 (Israeli) Star of Hope agamograph 29 x 31 cm (11 x 12 in.) signed lower right, numbered '8/25' lower left $1,500-1,800 2* Yaacov Agam b.1928 (Israeli) Untitled color silkscreen mounted on panel 57 x 62 cm (22 x 24 in.) signed lower right, numbered 'L/CXLIV' lower left $400-500 3 Menashe Kadishman 1932-2015 (Israeli) Sheep head acrylic on canvas 30 x 30 cm (12 x 12 in.) signed lower left and again on the reverse $450-550 4 Menashe Kadishman 1932-2015 (Israeli) Motherland charcoal on paper 27 x 35 cm (11 x 14 in.) signed lower right $150-220 5 Menashe Kadishman 1932-2015 (Israeli) Valley of sadness pencil on paper 27 x 35 cm (11 x 14 in.) signed lower right $100-150 6* Ruth Schloss 1922-2013 (Israeli) 1 Girl in red dress, 1965 oil on canvas 74 x 50 cm (29 x 20 in.) signed lower right Provenance: Private collection, USA. $3,500-4,000 7 Sami Briss b.1930 (Israeli, French) Doves oil on wood 8 x 10 cm (3 x 4 in.) signed lower center $500-650 8 Nahum Gilboa b.1917 (Israeli) Rural landscape with wooden bridge mixed media on canvasboard 23 x 30 cm (9 x 12 in.) signed lower right, signed and titled on the reverse $1,800-2,200 9 Audrey Bergner b.1927 (Israeli) Flutist oil on canvas 40 x 30 cm (16 x 12 in.) signed lower right, signed and titled on the reverse $4,800-5,500 10 Yohanan Simon 1905-1976 (Israeli) Vegetarian Evolution, 1971 oil on canvas 46 x 54 cm (18 x 21 in.) signed in English lower left, signed in Hebrew and dated lower right, signed, dated and titled on the stretcher $8,000-10,000 11* Yohanan Simon 1905-1976 (Israeli) Wedding, 1969 2 oil on canvas 15 x 23 cm (6 x 9 in.) signed in English lower left and in Hebrew lower right $2,200-2,500 12 Menashe Kadishman 1932-2015 (Israeli) Fallow deer iron cut-out 34 x 30 x 2 cm (13 x 12 x 1 in.) initialled $1,400-1,600 13 Naftali Bezem b.