Artium Quaestiones最新文献

{"title":"Bez Ludwika i panny służącej. Projekty nowoczesnych kuchni jako zwierciadło przemian roli kobiet w poodwilżowej Polsce","authors":"A. Szydłowska","doi":"10.14746/aq.2021.32.7","DOIUrl":"https://doi.org/10.14746/aq.2021.32.7","url":null,"abstract":"The development of a post-Stalinist modern kitchen in Poland was informed by the activities of different individual and institutional actors: experts in ‘professional’ home engineering, architects and designers and modernist taste-makers. The image of the model kitchen is surprisingly coherent: a rational laboratory kitchen, where the housewife’s work is orchestrated according to Taylorism-inspired rules that aim at reducing the burden of domestic chores and introducing modern and hygienic equipmentand attitudes. The discourse, inspired by similar discussions in Europe and United States, mainly by the works of Swedish Research Institute, reflects the prewar ideas of kitchen-laboratories and ‘home engineering’. What’s new and different is the temporal (limited to a short post-Thaw period) enthusiasm for open-plan kitchens presented as spaces where a housewife can seamlessly perform two duties at the same time: housework and care work. This phenomenon mirrors changing attitudes towards women’s roles in society which, in the post-Stalinist period, were marked by ongoing conservatism. Drawing on the concept of a ‘mediation junction’ and the historical production-consumption-mediation paradigm in design, the article traces changing attitudes towards women’s roles in society, reflected both in popular and professional discourses on kitchen design.","PeriodicalId":345400,"journal":{"name":"Artium Quaestiones","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115880146","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Etnodizajn a ludowość w polskim wzornictwie","authors":"Ewa Klekot","doi":"10.14746/aq.2021.32.9","DOIUrl":"https://doi.org/10.14746/aq.2021.32.9","url":null,"abstract":"In the first decade of the 2000s, a new wave of “folk inspirations” became visible in the work of Polish designers, which was celebrated by exhibitions, publications, conferences and a special festival. Interestingly, all the Polish-language coverage of these events almost unanimously avoided Polish vocabulary suggesting any connection with “folk” (n.: lud, adj.: ludowy) and used the English-sounding term “etnodizajn” (or “ethnodesign”), which actually did not exist in any official Polish or English dictionary. “Etnodizajn” is definitely not the first case when Polish designers have used the “natural resources” of the “folk art tradition”. This article discusses the early 21st century etnodizajn as embedded in the Romantic tradition of understanding the meaning of the folk, pointing at its endurance both in design practices and cultural politics. Following the design strategies of companies and studios linked to etnodizajn, the author presents, on one hand, projects that neatly fit into a century-old strategies of purely formal inspirations, and on the other, those projects that search beyond the beaten track of folk art.","PeriodicalId":345400,"journal":{"name":"Artium Quaestiones","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125340487","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"FROM TEXTILE TO PLASTIC: ARCHITECTURE, EXHIBITION DESIGN, AND ABSTRACTION (1930–1955)","authors":"Clemens Ottenhausen","doi":"10.14746/aq.2021.32.4","DOIUrl":"https://doi.org/10.14746/aq.2021.32.4","url":null,"abstract":"This article investigates the growing proliferation of curtains and wall hangings as key elements in the design of art exhibitions in the years 1930–1955. To demonstrate how textiles were successfully employed as mediators on the threshold between architecture, design objects, and fine arts, I first examine the increasing use of curtains in the interwar period, Fascist Italy, and Nazi Germany to subsequently explore how the role of fabrics in both countries’ rationalist and neoclassicist architecture also played a significant part in exhibition design after the Second World War. I chart how the interest in textiles culminated in 1955, when glossy plastic curtains were integrated into the exhibition architecture at the first documenta in Kassel, Germany, one of the country’s most prestigious recurring art events to this day. During these politically turbulent decades, the exchange between exhibition designers in both countries was bound together by a profound reassessment of the relation between architecture, design, and art. The renewed consciousness of design as an integrated practice played a key role in 1930s architecture, also providing the foundation for the Bauhaus curriculum and the work of artists, designers, and architects (e.g., Wassily Kandinsky, Giuseppe Pagano, Le Corbusier, Carlo Scarpa, Willi Baumeister, Arnold Bode). I demonstrate that during this period textiles were essential for creating continuity between exhibitions and exhibits of vastly differing styles and contexts. The wall hangings, veils, and banners that were used as part of the monumental spaces created for the Fascist regimes in Italy and Germany were ultimately appropriated and turned into means to undermine the neoclassicist and rationalist style in a way that echoed, I argue, society’s neobaroque sensibility in the aftermath of World War II. Though the Federal Republic of Germany’s first two decades were characterized by the general will to educate its citizens in the aesthetics of internationalism, this effort and the concomitant return to the interwar period were accompanied by a strong resurgence in religiosity and desire for emotionally compelling experiences, which signify a partial disavowal of modernism’s most radical stipulations.","PeriodicalId":345400,"journal":{"name":"Artium Quaestiones","volume":"80 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132925028","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"„Pozycja prawie idealna”. Związek Polskich Artystów Plastyków wobec przemian politycznych, kryzysu gospodarczego i napięć środowiskowych w latach 1980–1981","authors":"J. Banasiak","doi":"10.14746/aq.2021.32.11","DOIUrl":"https://doi.org/10.14746/aq.2021.32.11","url":null,"abstract":"This paper examines the participation of the Polish Artists' Union in the complex transformation of communist Poland in 1980–1981 . It is one of the most mythologized phenomena in Polish art history. The main approach to this period assumes that before the of “Solidarity” movement uprising, the Polish Artists' Union was totally dependent on the communist authorities. Then, after August 1980, the Union was to become idealistic, anti-communist organization. The following paper recognizes this kind of historiographical narrative as an example of the 'totalitarian model'. It is a model based on a simple, binary vision of the communist system as a field of permanent struggle between “innocent” society and “oppressive”, omnipotent authorities. The  analysis presented here uses the perspective of social history (Sheila Fitzpatrick et al.). From this perspective, communism is viewed as a complex tangle of active, causative social actors (groups and individuals), who could be politically engaged, but may not be. One of those actors was the Polish Artists' Union. Based on various kinds of sources, I show how the Union tried to take the optimal political position after August 1980. To examine this issue I use two types of political mentality, which dominated in those days in the Party, in “Solidarity”, and also in the Union. One is termed “fundamental”, and treats politics in terms of morality, dignity, and so on. The other is called “pragmatic”, and is focused on institutional games, while also allowing compromises or concessions. To track the dynamics of how the Union functioned from August 1980 until martial law was declared (in December 1981), I introduce a division into three phases of the Solidarity revolution: September-December 1980, January-July 1981, and September-December 1981. An analysis of the Union's documents, art magazines, and Party's documents (both official and internal), shows that after the first phase, the Polish Artists' Union was ready to join  the new configuration of power, based on Solidarity and the Polish United Workers' Party agreement. According to David Ost's theory, I define this project as a “neo-corporatist” model of the state socialism in the art system. \u0000  \u0000 ","PeriodicalId":345400,"journal":{"name":"Artium Quaestiones","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132759487","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Studia nad kinem a historia sztuki","authors":"François Albera, M. Grąbczewska","doi":"10.14746/AQ.2020.31.9","DOIUrl":"https://doi.org/10.14746/AQ.2020.31.9","url":null,"abstract":"Translation of François Albera's article originally published in French","PeriodicalId":345400,"journal":{"name":"Artium Quaestiones","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121619910","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Film fabularny jako narzędzie kuratora i badacza sztuki","authors":"Łukasz Ronduda","doi":"10.14746/AQ.2020.31.8","DOIUrl":"https://doi.org/10.14746/AQ.2020.31.8","url":null,"abstract":"In the essay, the author, Łukasz Ronduda, relates his own work as an artist, a film director, an art historian and curator, discussed in the light of the cinematic turn and the formation of common ground between cinema and contemporary art in both artistic and institutional sense. Ronduda looks closely at his two full-length feature films: Performer (2015) and Serce miłości (Heart of Love) (2017) and highlights their wider context. The first frame of reference spans from experimental films to contemporary full-length productions dedicated to wide audience. The second reference is his own work involving academic research, curating, writing a novel and the creation of a found footage film. In this self-presentation, Ronduda discloses his different attempts to find the right medium to speak about and analyze contemporary art. The full-length film turned out to be particularly effective medium in its ability to express the truth by means of fiction, placing him between creation and institutional structure. Film as a medium of interpreting art  seems to productively question fixed boundaries between research, criticism and art.","PeriodicalId":345400,"journal":{"name":"Artium Quaestiones","volume":"79 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121515637","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Leonardos da Vinci Wende in der Schlacht bei Anghiari: Poetik und genetische Kritik der zeichnerischen Entwürfe.","authors":"Albert Boesten-Stengel","doi":"10.14746/AQ.2020.31.11","DOIUrl":"https://doi.org/10.14746/AQ.2020.31.11","url":null,"abstract":"In 1505 or 1506, Leonardo da Vinci abandoned his project of the Battle of Anghiari, which was to depict the historical victory in 1440 of Florence over Milan. The last traces of the wall painting were obliterated in the 1560s when Giorgio Vasari and his collaborators restructured and redecorated the once Sala del Maggior Consiglio of the Florentine Republic. More or less contemporary foreign copies seem to reproduce what is believed to be the central part of the composition, known even by the same Vasari’s description as the group of horsemen fighting for a standard, “vn groppo di caualli, che combatteuano vna bandiera”, and only one colour detail, an old soldier in a red cap, “vn soldato vecchio con vn berretton rosso”. Vasari’s words do not identify in the scene any protagonist of the historical event. Only in the eyes of recent interpreters did it become the confrontation of two Milanese horsemen on the left and two Florentine on the right. Observations on Leonardo's method of projecting allow a new approach. The exhibition “Europe in the Renaissance”, organized in 2016 by the Swiss National Museum in Zürich, showed a computer animation produced based on the author’s screenplay by the studio xkopp creative in Berlin. The succession of sequential images demonstrate how both the final composition and the depicted action emerge from Leonardo’s drawing process. The present essay completes the silent animation with the necessarily verbal commentary. The inquiry concerns five original drawing-sheets in the collections of the Gallerie dell'Accademia in Venice and the Szépmüvészeti Múzeum in Budapest. Leonardo calls the first shaping of figures, the rough composition sketch, componimento inculto. From classical poetics he borrows the word, the term, and the priority of suitable actions which the same figures should demonstrate Genetic criticism distinguishes in the simultaneity of unerased strokes the variations of tools and their handling. Arranging the step-by-step changes, first traces, insertions and alternatives in the individual sketch and from sheet to sheet we recognize earlier and later positions and postures of the same protagonists. Just in the first sketch we discern the future “old soldier in a red cap” emerging victorious from the duel. His action represents the causa efficiens of the extreme left horseman’s finally twisted posture. At the beginning of the internal drawing procedure we recognize the same horseman in a different position, how he rides from right to left, holding the staff of the standard like a lance directed to the left. The counterattacking “old soldier”, coming from the left side and evading the mortal thrust, grips the enemy’s standard and turns it in the opposite direction. With few rapid modifications, the draftsman dramatically creates the “reversal” in the battle, Aristotle’s “change from bad fortune to good, or from good fortune to bad” (Poetics, 1451a). The final composition shows the “old soldier” fighting simu","PeriodicalId":345400,"journal":{"name":"Artium Quaestiones","volume":"253 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123323717","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"André Bazin's Film Theory: Art, Science, Religion","authors":"Angela Dalle Vacche","doi":"10.14746/aq.2020.31.7","DOIUrl":"https://doi.org/10.14746/aq.2020.31.7","url":null,"abstract":"Always keen on the spectators’ freedom of interpretation, André Bazin’s film theory not only asks the famous question “What is cinema?,” but it also explores what is a human. By underlining the importance of personalist ethics, Angela Dalle Vacche is the first film specialist to identify Bazin’s “anti-anthropocentric” ambition of the cinema in favor of a more compassionate society. Influenced by the personalist philosophy of his mentor, Emmanuel Mounier, Bazin argued that the cinema is a mind-machine that interrogates its audiences on how humankind can engage in an egalitarian fashion towards other humans. According to Bazin, cinema’s ethical interrogation places human spirituality or empathy on top of creativity and logic. Notwithstanding Bazin’s emphasis on ethics, his film theory is rich with metaphors from art and science. The French film critic’s metaphorical writing lyrically frames encounters between literary texts and filmmaking styles, while it illuminates the analogy between the élan vital of biology and cinema’s lifelike ontology. A brilliant analyst of many kinds of films from Europe, Asia, and Latin America, ranging from fiction to documentary, from animation to the avant-garde, Bazin felt that the abstractions of editing were as important as the camera’s fluidity of motion. Furthermore, he disliked films based on a thesis or on an a priori stance that would rule out the risks and surprises of life in motion. Neither a mystic nor an animist, Bazin was a dissident Catholic and a cultural activist without  membership of a specific political party. Eager to dialogue with all kinds of communities, Bazin always disliked institutionalized religions based on dogmas. \u0000 ","PeriodicalId":345400,"journal":{"name":"Artium Quaestiones","volume":"31 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125226091","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Film jako instalacja. Przestrzeń, narracja i afekt w ekspozycji Mieke Bal „Madame B\".","authors":"Agnieszka Rejniak-Majewska","doi":"10.14746/AQ.2020.31.2","DOIUrl":"https://doi.org/10.14746/AQ.2020.31.2","url":null,"abstract":"The article discusses the construction of space and the position of the viewer in the video installation Madame B. Explorations in Emotional Capitalism, presented at the turn of 2013 at the Museum of Art in Łódź. Directed and designed by Mieke Bal and Michelle Williams Gamaker, the installation was produced in parallel with a full feature film of the same title. Both the installation and the film constitute an intersemiotic translation of a literary work – Gustave Flaubert’sMadame Bovary. Part of the inspiration for this experiment was the proto-cinematic quality of Flaubert’s style (narrative simultaneity resembling parallel editing, the suppression of drama, dissolution of the time-flow). The museum installation, with its use of dark exhibition space and multiscreen projection, provided an innovative interpretation of the novel by bringing to the fore its acute audio-visuality: the non-verbal level of meaning found in the presentation of material surroundings, fashion, gesture, facial expressions, sound, tone, and tempo of action. In this respect, the exhibition had an advantage over the continuous version of the feature film, which tends to focus the viewer’s attention more directly on the plot. In the case of the museum installation, the narrative continuity was disregarded in favor of the affective resonance of selected scenes from Emma’s life. Walking through a series of episodes split across nineteen screens, the viewer had to choose his or her own way through a complex narrative (the whole comprised 450 min. of filmic material), so in a sense it was the viewer who “performed the piece”. The narrative of Madame B. partly diverged from Flaubert’s story to bring it closer to our times. The anachronistic intermingling of the 19th century and contemporary realities set it away from the conventions of costume movies and suggested the actuality of Emma’s story – its relevance for contemporary questions of “emotional capitalism”. These anachronisms and the spatialization of the narrative occasioned a specific position for the viewer, who, despite the immersive effect of the images, remained conscious of his or her participatory presence here and now. Thus, while attending to the scenes of Emma’s life, the viewer might also reflect on the emotional effects they raised in him/herself. This analytic outlook did not necessarily inhibit the viewer’s sympathetic engagement with the protagonists’ emotions and experiences, but gave it a more informed character. The spatial arrangement of images, as well as the situations performed in several episodes, also invited reflections on the social function of looking and being seen. In this sense, the installation may be counted as a part of Mieke Bal’s practice of visual culture analysis.","PeriodicalId":345400,"journal":{"name":"Artium Quaestiones","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114342032","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Biogramy","authors":"F. Lipiński","doi":"10.14746/aq.2020.31.14","DOIUrl":"https://doi.org/10.14746/aq.2020.31.14","url":null,"abstract":"Biogramy","PeriodicalId":345400,"journal":{"name":"Artium Quaestiones","volume":"84 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133943936","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}