http://hdl.handle.net/11716/12349 2026-04-30T02:43:19Z 2026-04-30T02:43:19Z Stolarska, Monika http://hdl.handle.net/11716/12361 2023-07-28T07:56:12Z 2015-01-01T00:00:00Z

Społeczna sztuka poetycka. Rzecz o wpływie doboru.środków artystycznych na społeczną wymowę filmów Kena Loacha Stolarska, Monika Reportedly, Ken Loach makes „social cinema”. His films are also reportedly unilateral pamphlets aimed against the system. Yet, labels tend to be misleading. Although the director speaks directly that he wants to change the world by making movies , adding that art must educate, my paper reveals a certain refined claw of his work, in an equal degree consisting of the plot of films and a specificity of the applied cinematic means. Loach rams the viewer into films populated by dialect-speaking representatives of the working class, smelly hooligans, dregs of society, immigrants, and losers due to being born to the wrong class, but also optimistic dreamers and those wishing to transform their lives. Practically anyone watching films from the British director forms a sense of solidarity with his protagonists. It seems that this is not only due to the plot relayed by means of a cinema screen. Therefore, what tricks, or more correctly speaking, artistic procedures performed on a motion picture does Loach use so that upon viewing Kes one can feel not only the moral and existential anxiety, but also dejection, regardless of their age and social standing?

2015-01-01T00:00:00Z Kopytko, Natalia http://hdl.handle.net/11716/12360 2023-07-28T07:48:51Z 2015-01-01T00:00:00Z

„Sztuka dostępna” wobec własnej definicji. Lowbrow i street art Kopytko, Natalia The purpose of this article is to present interpenetrating movements lowbrow and street art which imply different types of creative approaches as a result of acting on contemporary art, awarding main features in social context and providing internal relations and their impact on both creators and consumers. Lowbrow and street art as connective movements between high art, exclusive art world and low brow art, subcultures, design and commercial art vividly highlight their impact on widely understood modern culture. Described artistic approaches and characteristics of chosen representatives of movements mentioned above explain the still undervalued, colorful diversity of the lowbrow movement as well as underline its highly influential role in shaping the new, intercultural and intermedial approach in understanding the art of XXI century.

2015-01-01T00:00:00Z Stano, Bernadeta http://hdl.handle.net/11716/12359 2023-07-28T07:41:31Z 2015-01-01T00:00:00Z

Artysta w fabryce. Misja galerii zakładowej na przykładzie nowohuckiej Galerii Rytm ZDK Huty im. Lenina Stano, Bernadeta This outline is about the presence of artists and their works on the premises of factories and industrial sectors in the times of PPR. The author pays special attention to factory galleries, social agreements between the artist environment and the management of factories and the forms of industrial patronage over artistic culture. This phenomenon was connected to the mission, proclaimed by communist ideologists, cultural activists and artists and critics supporting them, of making art more commonly available, especially in making plastic art available for industrial environments. Despite the utopian aspect of many views of that times, the example of Nowa Huta confirms the efficiency and sense of the actions started then, though of course it does not justify the circumstances and methods of their implementation, which at best can be perceived as outdated.

2015-01-01T00:00:00Z Jędrzejczyk, Małgorzata http://hdl.handle.net/11716/12358 2023-07-28T07:34:43Z 2015-01-01T00:00:00Z

Formowanie życia. Katarzyna Kobro i jej koncepcja przestrzeni Jędrzejczyk, Małgorzata Polish sculptor Katarzyna Kobro is often considered one of the most important representatives of Polish constructivism while her connections with the Russian group of constructivist artists is also emphasized. On closer examination, however, it is clear that her innovative concepts and radical statements went far beyond the field of interests commonly associated with constructivist artistic endeavours. This paper explores the constitutive problem for Kobro’s sculptures, that is, the integration of self-referential language of art and the space of every-day experience. The point of departure of this analysis is the assumption that the notion of space was a crucial part of this process of integration for Kobro, strongly linked to formal structure of the art object. According to her rare statements, sculpture was intended to interact with the infinity of space and also be an equal part of it. At the same time– artist considered space an integral part of an artwork and strongly connected with the spectator’s perceptual activity. With this step “in space” Kobro intended to create with the use of forms both the interior and exterior with the latter also understood as the space of the beholder’s experience. Like Kiesler’s Raumstadt – another work that the present hypothesis reflects – Kobro’s works can be considered a distillation which attempts to enclose in the formal structures of a work of art, the rudimentary concepts and universal assumptions about human activity in the world. In both cases (Kiesler and Kobro), formal structure should operate as a transmitter which offers model solutions that can be later translated into forms of particular large-scale or utilitarian projects. Kobro’s goal was therefore, through the composition of her sculpture (not directly however), to influence one’s perception of the world and ability to think in a more structured but at the same time abstract way. Noteworthy here is her latest known Space Composition (9) from 1933 which reveals an intriguing shift in forms from her earlier work, making them more fluid, smooth and even “biological”. Katarzyna Kobro was already exploring concepts that have become relevant issues in the 2nd half of the 20th century. Artistic considerations about space, about the role of beholder in unfolding and “producing” spatial experience, and artistic commitment in the transformation of life-conditions are only some of the concepts fundamental for art in the 1960s or 70s, having already appeared in the 20s in Kobro’s work.

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