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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 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.
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