Działania artystyczne w gdańskim środowisku fotograficznym promujące fotografię marynistyczną w latach 1948-1981

A. Polańska
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Abstract

With Gdansk artists an approach to the subject of the marine photography, was marked on several levels – artistic, documentary, journalistic and usable. Since 1945 to the first half of the 80s, we notice the popularization of maritime theme in the environment throughout artistic exhibition activities, and the program objectives. Maritime photography or maritime themes in photography? An analysis of the photographic medium in terms of belonging to the art can give the answer to this question. It is also worth considering whether there was „Gdansk School of the Maritime Photography”? The phenomenon of Polish marine art in the case of photography has been strongly emphasized in the Gdansk photography environment. The traditional display of the maritime theme has been broken, and with the approval of the authorities. Shipyard workers and dockers joined to the effigy of the sea people (fishermen, sailors). Photographers began to enter the maritime economy and use the effects of cooperation with maritime institutions for artistic purposes. Thematic exhibitions on shipyards and ports were created showing the sea from a different point of view, from the perspective of land. Socio-political events related to Solidarity stopped the promotion of the sea through the image of a shipyard worker and a shipyard, which became icons of the struggle for freedom. The Gdansk photographic community after the socio-political crisis of the first half of the 1980s, has not yet rebuilt its leading position in the dissemination of the maritime theme in photography on a large scale. Maritime exhibitions still appeared, but mainly on the local level, and the sea was reduced to the landscape understood very traditionally. At the same time photographers of the younger generation were interested in completely different issues of the style and aesthetics of photography. Te slogan „face to the sea” ceased to correspond with new times.
与格但斯克艺术家的方法,海洋摄影的主题,被标记在几个层面-艺术,纪实,新闻和可用。从1945年到80年代上半叶,我们注意到海洋主题在环境中的普及贯穿于艺术展览活动中,以及项目目标。海事摄影还是摄影中的海事主题?从摄影媒介属于艺术的角度来分析摄影媒介可以回答这个问题。同样值得思考的是,是否存在“格但斯克海上摄影学院”?在格但斯克的摄影环境中,波兰海洋艺术在摄影方面的现象得到了强烈的强调。传统的海洋主题展示被打破了,并得到了当局的批准。造船厂工人和码头工人加入了海上人民(渔民、水手)的雕像。摄影师开始进入海洋经济,并利用与海事机构合作的效果进行艺术创作。以造船厂和港口为主题的展览从不同的角度,从陆地的角度展示了海洋。与团结工会有关的社会政治事件阻止了通过一个造船厂工人和一个造船厂的形象来宣传海洋,这成为了争取自由的象征。格但斯克摄影界在经历了20世纪80年代上半叶的社会政治危机后,仍未重建其在摄影中大规模传播海洋主题的主导地位。海事展览仍然出现,但主要是在地方层面上,海洋被简化为非常传统的景观。与此同时,年轻一代的摄影师对摄影风格和美学的完全不同的问题感兴趣。“面朝大海”的口号不再符合新时代的要求。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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