{"id":469,"date":"2017-02-24T16:55:37","date_gmt":"2017-02-24T16:55:37","guid":{"rendered":"http:\/\/za.uap.edu.pl\/?page_id=469"},"modified":"2019-03-26T08:29:06","modified_gmt":"2019-03-26T08:29:06","slug":"25-2","status":"publish","type":"page","link":"http:\/\/za.uap.edu.pl\/?page_id=469","title":{"rendered":"25"},"content":{"rendered":"<p><span style=\"font-family: 'Times New Roman', serif;\"><span style=\"font-size: medium;\"><b>25 \/ 2014<\/b><\/span><\/span><\/p>\n<p><a href=\"http:\/\/za.uap.edu.pl\/wp-content\/uploads\/2018\/07\/Cz-213_2014_nr25.pdf\">ZESZYTY ARTYSTYCZNE \/ nr 25<\/a><\/p>\n<p>&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;-<\/p>\n<p><span style=\"font-family: 'Times New Roman', serif;\"><span style=\"font-size: medium;\"><i><b>Niemo\u017cliwe\/Mo\u017cliwe. Fikcja w kreacji artystycznej<\/b><\/i><\/span><\/span><\/p>\n<p><a href=\"http:\/\/za.uap.edu.pl\/wp-content\/uploads\/2012\/02\/ZA_25_Face.jpg\"><img loading=\"lazy\" class=\"alignnone size-large wp-image-172\" src=\"http:\/\/za.uap.edu.pl\/wp-content\/uploads\/2012\/02\/ZA_25_Face-703x1024.jpg\" alt=\"ZA_25_Face\" width=\"640\" height=\"932\" srcset=\"http:\/\/za.uap.edu.pl\/wp-content\/uploads\/2012\/02\/ZA_25_Face-703x1024.jpg 703w, http:\/\/za.uap.edu.pl\/wp-content\/uploads\/2012\/02\/ZA_25_Face-206x300.jpg 206w, http:\/\/za.uap.edu.pl\/wp-content\/uploads\/2012\/02\/ZA_25_Face.jpg 974w\" sizes=\"(max-width: 640px) 100vw, 640px\" \/><\/a><\/p>\n<p>Niemo\u017cliwe\/Mo\u017cliwe. Fikcja w kreacji artystycznej \u2013 od redakcji<\/p>\n<ul>\n<li>Mateusz Bieczy\u0144ski \/ <em>Sztuka, prawo i fikcja<\/em><\/li>\n<li>Marianna Micha\u0142owska \/ <em>Czy fotografia mo\u017ce by\u0107 fikcyjna? \u2013 diegetyczno\u015b\u0107 obrazu rzeczywisto\u015bci<\/em><\/li>\n<li>Magdalena Kami\u0144ska \/ <em>Co m\u00f3wi\u0105 te g\u0142osy? Enklawy halucynacji w internecie<\/em><\/li>\n<li>Tomasz Za\u0142uski \/ <em>Generowanie (nie)mo\u017cliwo\u015bci. Fikcja dokumentalna i fikcja filozoficzna w<\/em> Big Dicku <em>Wojciecha Bruszewskiego<\/em><\/li>\n<li>Jacek Zwierzy\u0144ski \/<em> Afroameryka\u0144ska artystka, murzy\u0144ska niewolnica. Strategie autoreprezentacji w tw\u00f3rczo\u015bci Kary Walker<\/em><\/li>\n<li>Weronika Troja\u0144ska \/ <em>Katalog tekst\u00f3w o nieistniej\u0105cym arty\u015bcie Ksawerym Somi\u0144skim<\/em><\/li>\n<li>Rafa\u0142 Boettner-\u0141ubowski \/ <em>Wojciech Kujawski (1959-2014) Niedefiniowalno\u015b\u0107 tajemnicy<\/em><\/li>\n<li>Jaros\u0142aw Lubiak \/ <em>Leszek Knaflewski<\/em><\/li>\n<li>Marta Smoli\u0144ska \/ <em>Jan Berdyszak (1934-2014): \u015brodowisko obrazowe i powr\u00f3t do jaskini<\/em><\/li>\n<li>Justyna Ryczek \/ <em>Filozoficzne spojrzenie na sztuk\u0119, czyli czy sztuka jest potrzebna cz\u0142owiekowi?<\/em><\/li>\n<li>Ewa W\u00f3jtowicz \/ S<em>ztuka w podzielonym spo\u0142ecze\u0144stwie. XLVII Kongres AICA w Korei Po\u0142udniowej<\/em><\/li>\n<li>Kalendarium 2013-2014<\/li>\n<\/ul>\n<p>&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;-<\/p>\n<p><span style=\"color: #333333;\"><span style=\"font-family: 'Times New Roman',serif;\"><span style=\"font-size: medium;\">ZA 25 <\/span><\/span><span style=\"font-family: 'Times New Roman',serif;\"><span style=\"font-size: medium;\"><b>Niemo\u017cliwe\/Mo\u017cliwe. Fikcja w kreacji artystycznej <\/b><\/span><\/span><\/span><\/p>\n<p lang=\"en-US\"><span style=\"font-family: 'Times New Roman',serif; color: #333333;\"><span style=\"font-size: medium;\"><i><b>Impossible \/ Possible. Fiction in artistic creation.<\/b><\/i><\/span><\/span><\/p>\n<p lang=\"en-US\"><span style=\"font-family: 'Times New Roman',serif; color: #333333;\"><span style=\"font-size: medium;\">Abstracts<\/span><\/span><\/p>\n<p><span style=\"font-family: 'Times New Roman',serif; color: #333333;\"><span style=\"font-size: medium;\"><span lang=\"en-US\"><b>Mateusz Bieczy\u0144ski <\/b><\/span><\/span><\/span><\/p>\n<p lang=\"en-US\"><span style=\"color: #333333;\"><span style=\"font-family: 'Times New Roman',serif;\"><span style=\"font-size: medium;\"><i><b>Art, Law and Fiction<\/b><\/i><\/span><\/span><\/span><\/p>\n<p><span style=\"color: #333333;\"><span style=\"font-family: 'Times New Roman',serif;\"><span style=\"font-size: medium;\"><span lang=\"en-US\">The considerations are concerning legal limitations of artistic freedom in so far not attended question if the fictionalization of reality in the art work is relevant for the scope of freedom to it by the law. This does not mean, however, that fiction, which can be seen as one of the elements of the art, is situated outside of the lawyers focus. On the contrary, the analysis of court proceedings against artists leads to different conclusions. Seeking for the protection of artistic freedom in the field of law in the favor of artistic fiction seems to be in the context of the contemporary art worthy of consideration.<\/span><\/span><\/span><\/span><\/p>\n<p lang=\"en-US\"><span style=\"font-family: 'Times New Roman',serif; color: #333333;\"><span style=\"font-size: medium;\"><b>Marianna Micha\u0142owska <\/b><\/span><\/span><\/p>\n<p><span style=\"color: #333333;\"><span style=\"font-size: small;\"><span style=\"font-family: 'Times New Roman',serif;\"><span style=\"font-size: medium;\"><span lang=\"en-US\"><i><b>Can photography be fictional? \u2013 <\/b><\/i><\/span><\/span><\/span><\/span><span style=\"font-size: small;\"><span style=\"font-family: 'Times New Roman',serif;\"><span style=\"font-size: medium;\"><span lang=\"en-US\"><b>diegesis<\/b><\/span><\/span><\/span><\/span><span style=\"font-size: small;\"><span style=\"font-family: 'Times New Roman',serif;\"><span style=\"font-size: medium;\"><span lang=\"en-US\"><i><b> of the image of reality<\/b><\/i><\/span><\/span><\/span><\/span><\/span><\/p>\n<p><span style=\"color: #333333;\"><span style=\"font-family: 'Times New Roman',serif;\"><span style=\"font-size: medium;\"><span lang=\"en-US\">A <\/span><\/span><\/span><span style=\"font-family: 'Times New Roman',serif;\"><span style=\"font-size: medium;\"><span lang=\"en-US\"><i>diegesis<\/i><\/span><\/span><\/span><span style=\"font-family: 'Times New Roman',serif;\"><span style=\"font-size: medium;\"><span lang=\"en-US\"> of photography is considered in an article. The term, that is essential for literary and film studies, in regard to G<\/span><\/span><\/span><em><span style=\"font-family: 'Times New Roman',serif;\"><span style=\"font-size: medium;\"><span lang=\"en-US\">\u00e9<\/span><\/span><\/span><\/em><span style=\"font-family: 'Times New Roman',serif;\"><span style=\"font-size: medium;\"><span lang=\"en-US\">rard Genette\u2019s theory, relates to the ability of creating of fictional events by the means of narration. Until the second half of 20<\/span><\/span><\/span><sup><span style=\"font-family: 'Times New Roman',serif;\"><span style=\"font-size: medium;\"><span lang=\"en-US\">th<\/span><\/span><\/span><\/sup><span style=\"font-family: 'Times New Roman',serif;\"><span style=\"font-size: medium;\"><span lang=\"en-US\"> century, <\/span><\/span><\/span><span style=\"font-family: 'Times New Roman',serif;\"><span style=\"font-size: medium;\"><span lang=\"en-US\"><i>diegesis<\/i><\/span><\/span><\/span><span style=\"font-family: 'Times New Roman',serif;\"><span style=\"font-size: medium;\"><span lang=\"en-US\"> was seen mainly as an ability of film structure in opposition to photographic reality. However, a poststructural turn and transformations in the field of artistic practices entailed a change and photography started to be considered as diegetic as well. The article compares concepts by M.Bal and M.Fried to narrative tendencies in contemporary photography. An influence of renowned artists like Philip-Lorca diCorcia, Gregory Crewdson and Jeff Wall on art by Polish photographers (A. Pa\u0144czuk, Bownik, A. Grzeszykowska) is investigated too. <\/span><\/span><\/span><\/span><\/p>\n<p lang=\"en-US\"><span style=\"font-family: 'Times New Roman',serif; color: #333333;\"><span style=\"font-size: medium;\"><b>Magdalena Kami\u0144ska <\/b><\/span><\/span><\/p>\n<p><span style=\"color: #333333;\"><span style=\"font-family: 'Times New Roman',serif;\"><span style=\"font-size: medium;\"><span lang=\"en-US\"><i><b>What do your voices say<\/b><\/i><\/span><\/span><\/span><span style=\"font-family: 'Times New Roman',serif;\"><span style=\"font-size: medium;\"><span lang=\"en-US\"><b>? Hallucination enclaves in the internet<\/b><\/span><\/span><\/span><\/span><\/p>\n<p><span style=\"font-family: 'Times New Roman',serif; color: #333333;\"><span style=\"font-size: medium;\"><span lang=\"en-US\">In the first decade of its research, internet was considered as pan-inclusive and democratic media. After the social media revolution, as computer-mediated communication has been commercialized and tricking users into divulging information became massive practice, some exclusivistic tendencies begin to appear. Internet users started to bring to life cyber-enclaves \u2013 non-mainstream online communities which were disconnected and hermetic. The article presents a description of three types of the communities that concentrate on some special experience sharing. The experience, rejected by comparative Western culture, is based on `seeing things that do not exist`, or hallucinations. The unique experience connects online drug users, neo-shamans and schizophrenics. Their online communities rebel against social media mainstream and expose its limitations.<\/span><\/span><\/span><\/p>\n<p lang=\"en-US\"><span style=\"font-family: 'Times New Roman',serif; color: #333333;\"><span style=\"font-size: medium;\"><b>Jacek Zwierzy\u0144ski<\/b><\/span><\/span><\/p>\n<p lang=\"en-US\"><span style=\"font-family: 'Times New Roman',serif; color: #333333;\"><span style=\"font-size: medium;\"><i><b>An African American Artist, Negress Slave: The Strategies of Self-Representation in Kara Walker\u2019s Art<\/b><\/i><\/span><\/span><\/p>\n<p><span style=\"color: #333333;\"><span style=\"font-family: 'Times New Roman',serif;\"><span style=\"font-size: medium;\"><span lang=\"en-US\">One of Kara Walker\u2019s, the first African American woman artist to receive a star of the art world status, creative work themes is the idea of a Black subject as a container for specific pathologies from the past. An imaginary figure of Negress, infected with immorality, representing \u201call that is wrong and sexual and vulgar\u201d is of fundamental importance to Walker\u2019s self-creation. The artist titles her works, visualizing the repressed from the story of racial oppression, as if they were made by the <\/span><\/span><\/span><span style=\"font-family: 'Times New Roman',serif;\"><span style=\"font-size: medium;\"><span lang=\"en-US\"><i>Negress Burdened by Good Intentions <\/i><\/span><\/span><\/span><span style=\"font-family: 'Times New Roman',serif;\"><span style=\"font-size: medium;\"><span lang=\"en-US\">or the <\/span><\/span><\/span><span style=\"font-family: 'Times New Roman',serif;\"><span style=\"font-size: medium;\"><span lang=\"en-US\"><i>Negress of Some Notoriety<\/i><\/span><\/span><\/span><span style=\"font-family: 'Times New Roman',serif;\"><span style=\"font-size: medium;\"><span lang=\"en-US\">. She has herself compared to a fugitive slave, having only paper, a pen knife and \u201dsome people she&#8217;d like to kill.\u201d While writing about cutting \u201cby the able hand\u201d she lessens the intellectual value of creative process. A reach towards an ambiguous, confounded identity involves not only an emphasis of irony constituting subjectivity, but also introduces Kara Walker herself, a black woman and an African American artist.<\/span><\/span><\/span><\/span><\/p>\n<p><span style=\"font-family: 'Times New Roman',serif; color: #333333;\"><span style=\"font-size: medium;\"><b>Tomasz Za\u0142uski<\/b><\/span><\/span><\/p>\n<p><span style=\"color: #333333;\"><span style=\"font-family: 'Times New Roman',serif;\"><span style=\"font-size: medium;\"><i><b>Generating (Im)possibility. <\/b><\/i><\/span><\/span><span style=\"font-family: 'Times New Roman',serif;\"><span style=\"font-size: medium;\"><span lang=\"en-US\"><i><b>Documental Fiction and Philosophical Fiction in Wojciech Bruszewski&#8217;s <\/b><\/i><\/span><\/span><\/span><span style=\"font-family: 'Times New Roman',serif;\"><span style=\"font-size: medium;\"><span lang=\"en-US\"><b>Big Dick<\/b><\/span><\/span><\/span><\/span><\/p>\n<p><span style=\"color: #333333;\"><span style=\"font-family: 'Times New Roman',serif;\"><span style=\"font-size: medium;\"><span lang=\"en-US\">The aim of the article is to propose a reading of Wojciech Bruszewski&#8217;s \u201edocumental fiction\u201d <\/span><\/span><\/span><span style=\"font-family: 'Times New Roman',serif;\"><span style=\"font-size: medium;\"><span lang=\"en-US\"><i>Big Dick<\/i><\/span><\/span><\/span><span style=\"font-family: 'Times New Roman',serif;\"><span style=\"font-size: medium;\"><span lang=\"en-US\">. Bruszewski&#8217;s literary works are closely related to his audiovisual experiment in the field of art from 1960s-1980s. What seems to connect the two fields is a practice of generating play and exchange between the real and the fictious as well as between the possible and the impossible. In <\/span><\/span><\/span><span style=\"font-family: 'Times New Roman',serif;\"><span style=\"font-size: medium;\"><span lang=\"en-US\"><i>Big Dick<\/i><\/span><\/span><\/span><span style=\"font-family: 'Times New Roman',serif;\"><span style=\"font-size: medium;\"><span lang=\"en-US\">, which is a neo-dadaist summa of the 20th century, historical facts are rearranged and mixed with fictional narrations so as to create a kind of historical phantasmagoria. Its main \u201chero\u201d is the swastika. The phantasmagoria allows Bruszewski to retell a geo-history of the swastika and design a(n) (im)possible project of \u201crescuing\u201d it \u2013 by removing its negative meanings or connotations and making into a symbol of generative chaos.<\/span><\/span><\/span><b> <\/b><\/span><\/p>\n<p><span style=\"font-family: 'Times New Roman',serif; color: #333333;\"><span style=\"font-size: medium;\"><b>Rafa\u0142 Boettner-\u0141ubowski<\/b><\/span><\/span><\/p>\n<p><span style=\"font-family: 'Times New Roman',serif; color: #333333;\"><span style=\"font-size: medium;\"><i><b>Wojciech Kujawski (1959-2014): Non-Definability Of Mystery<\/b><\/i><\/span><\/span><\/p>\n<p><span style=\"font-family: 'Times New Roman',serif; color: #333333;\"><span style=\"font-size: medium;\"><span lang=\"en-US\">The death of Professor Wojciech Kujawski overwhelmed the Pozna\u0144 artistic and academic community with great sorrow and sadness.\u00a0\u00a0Over the years, the artist developed a recognizable creative attitude, on the other hand, during these years, his art clearly changed and matured. Professor Wojciech Kujawski also served important functions and fulfilled various organizational tasks \u2013 for example that of the Dean of the Faculty of Sculpture and Spatial Activities of the Pozna\u0144 University of Arts.\u00a0\u00a0He was also a respected educator and academic teacher. His artistic work is one of the most interesting manifestations of the achievements of Polish contemporary sculpture.<\/span><\/span><\/span><\/p>\n<p lang=\"en-US\"><span style=\"font-family: 'Times New Roman',serif; color: #333333;\"><span style=\"font-size: medium;\"><b>Marta Smoli\u0144ska<\/b><\/span><\/span><\/p>\n<p><span style=\"color: #333333;\"><span style=\"font-family: 'Times New Roman',serif;\"><span style=\"font-size: medium;\"><span lang=\"en-US\"><i><b>Jan Berdyszak: the painting environment \/ <\/b><\/i><\/span><\/span><\/span><span style=\"font-family: 'Times New Roman',serif;\"><span style=\"font-size: medium;\"><span lang=\"en-US\"><b>returning<\/b><\/span><\/span><\/span><span style=\"font-family: 'Times New Roman',serif;\"><span style=\"font-size: medium;\"><span lang=\"en-US\"><i><b> to the cave<\/b><\/i><\/span><\/span><\/span><\/span><\/p>\n<p><span style=\"color: #333333;\"><span style=\"font-family: 'Times New Roman',serif;\"><span style=\"font-size: medium;\"><span lang=\"en-US\">Jan Berdyszak sought the primordiality of painting \u2013 he wanted to restore its original form, from a time before the renaissance compositions had dominated the artistic practice. He would constantly break with the conventions that had any connotations with definitions proposed by Alberti (<\/span><\/span><\/span><span style=\"font-family: 'Times New Roman',serif;\"><span style=\"font-size: medium;\"><span lang=\"en-US\"><i>finestra<\/i><\/span><\/span><\/span> <span style=\"font-family: 'Times New Roman',serif;\"><span style=\"font-size: medium;\"><span lang=\"en-US\"><i>aperta<\/i><\/span><\/span><\/span><span style=\"font-family: 'Times New Roman',serif;\"><span style=\"font-size: medium;\"><span lang=\"en-US\">) as well as by Denis (i.e. paintings understood as flat surfaces covered with paint according to a particular pattern). By turning attention to cave paintings, he demanded replacements for the hierarchical, balanced, centered and orderly compositions, thus, proposing the notion of the painting environment. In my opinion, the artist did manage to fulfill his aims in the exhibition entitled \u201cJan Berdyszak. Horizons of Printmaking\u201d. Especially the painting installation \u201cRest of the Rests\u201d, which has been placed in the hallway of the older part of the National Museum in Pozna\u0144, should be perceived as the peak of this author\u2019s artistic output.<\/span><\/span><\/span><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>25 \/ 2014 ZESZYTY ARTYSTYCZNE \/ nr 25 &#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;&#8212;- Niemo\u017cliwe\/Mo\u017cliwe. Fikcja w kreacji artystycznej Niemo\u017cliwe\/Mo\u017cliwe. Fikcja w kreacji artystycznej \u2013 od redakcji Mateusz Bieczy\u0144ski \/ Sztuka, prawo i fikcja Marianna Micha\u0142owska \/ Czy fotografia mo\u017ce by\u0107 fikcyjna? \u2013 diegetyczno\u015b\u0107 obrazu&hellip;<\/p>\n<p class=\"more-link-p\"><a class=\"more-link\" href=\"http:\/\/za.uap.edu.pl\/?page_id=469\">Read more &rarr;<\/a><\/p>\n","protected":false},"author":3,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"_links":{"self":[{"href":"http:\/\/za.uap.edu.pl\/index.php?rest_route=\/wp\/v2\/pages\/469"}],"collection":[{"href":"http:\/\/za.uap.edu.pl\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"http:\/\/za.uap.edu.pl\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"http:\/\/za.uap.edu.pl\/index.php?rest_route=\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"http:\/\/za.uap.edu.pl\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=469"}],"version-history":[{"count":4,"href":"http:\/\/za.uap.edu.pl\/index.php?rest_route=\/wp\/v2\/pages\/469\/revisions"}],"predecessor-version":[{"id":743,"href":"http:\/\/za.uap.edu.pl\/index.php?rest_route=\/wp\/v2\/pages\/469\/revisions\/743"}],"wp:attachment":[{"href":"http:\/\/za.uap.edu.pl\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=469"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}