http://hdl.handle.net/11716/8630 2026-04-19T11:17:58Z 2026-04-19T11:17:58Z Chowaniec-Stawiarz, Karolina http://hdl.handle.net/11716/12339 2023-07-27T06:46:30Z 2012-01-01T00:00:00Z

National Identities by Jan Banning. Photographic variations on classic iconic paintings Chowaniec-Stawiarz, Karolina Artykuł opisuje prace holenderskiego fotografika Jana Banninga, który w swoim cyklu National Identities podejmuje kwestię imigracji obecną w krajach Europy Zachodniej. To właśnie antyimigracyjne nastawienie, wszechobecna dyskusja nad problemami mniejszości etnicznych oraz atmosfera ksenofobii poddały artyście pomysł na serię pastiszów dzieł Vermeera, Rembrandta i Maneta. Odtwarzając obrazy europejskich mistrzów malarstwa we współczesnych realiach kulturowych, autor przedstawia swoje stanowisko w toczącej się w Holandii debacie politycznej. Artykuł krótko opisuje oryginały, ich unowocześnione fotograficzne wersje, jak również istniejące między nimi różnice i ich symboliczne znaczenie.

2012-01-01T00:00:00Z Szafarz, Mariola http://hdl.handle.net/11716/12338 2023-07-27T06:40:09Z 2012-01-01T00:00:00Z

Moje życie moją sztuką. Sophie Calle Szafarz, Mariola In France, Sophie Calle is considered to be one of the most popular postmodern artists. Her diverse artistic work includes writing, photography, performance, and multimedia installations. Her inspiration for a creative act is usually her own life (as she admits herself, it results from her being bored with the reality). Yet it seems more adequate to say that her life is her artistic work, as it is very difficult to mark the borderline between the real world and the world of her creation. Calle arranges situations in which she herself, her emotions, behaviour, and persons selected by her become the participants of a performance. It may be following a stranger in the street, photographing people sleeping in her bed, or adopting the features of a novel heroine. Thus Calle fulfils a double role, of the agent and at the same time the object of an artistic enterprise. The artist is both the writer and the written, both the story teller and the story told. Her creations, or rather auto-creations, are a constant story of herself, creating a personal mythology. Hence the question about the sense of art, which may appear to be merely a multifaceted game that the artist plays with the recipient and with herself, or an attempt at psychotherapy, at catharsis. The work of Sophie Calle is a proof that art may be anchored in everyday ordinariness, accidentality, or just in the void. It only has to be written down, photographed, recorded, turned into a show, and brought down to limited time and space: it has to be forged into an apparent act of creation to be called art.

2012-01-01T00:00:00Z Wojtusik, Zofia http://hdl.handle.net/11716/12337 2023-07-27T06:32:09Z 2012-01-01T00:00:00Z

Z wielu – jedna. Powieści Elif Şafak, fotografie Dity Pepe Wojtusik, Zofia This comparison of the novels by a Turkish author Elif Şafak and the pictures by Dita Pepe, a Czech photographer, is an attempt to show two different answers, given by women-artists, working on two different matters, to the question of searching for identity of a woman in the contemporary world. Dita Pepe, as an author of the series of her self-portraits with many other women and with men of different social status, builds her own artistic identity in contact with other people. Elif Şafak, in her novel “The Bastard of Istanbul,” describes the problems of understanding and saving personal identity in the melting-pot of the city, with the background of an old, but still existing conflict between the Turks and Armenians. In the novel titled “Black Milk” Şafak shows the internal complexity of a woman who tries to reconcile her maternity with being a writer. Both artists are similar in terms of unification of the subject and the object of their works, which are the artists themselves. They both refer to the contemporaneity, using “variety” as a definition of the identity of an artist.

2012-01-01T00:00:00Z Lebda, Małgorzata Solewski, Rafał http://hdl.handle.net/11716/12336 2023-07-27T06:25:48Z 2012-01-01T00:00:00Z

Pouczający paradoks fotografii bliźniąt. Diane Arbus i Tereza Vlčková Lebda, Małgorzata; Solewski, Rafał In the beginning of the article the role of a “decisive moment” and Barthes’ punctum in photography is pointed out. Artistic pictures taken by Diane Arbus and Tereza Vlčková show how similarity and difference of twins are ambiguously seen by “normal” people. The interpretation of their works, however, stresses that the visible similarity, causing possible problems with individual identity, is essentially apparent, while the fear of a “strange” phenomenon of freaky “same people” reveals the problem of an uncertain, timid personal identity. An ambiguous attitude to identity and difference may be overcome by the aesthetic experience of a photographic work and its punctum, which is the foundation of artistic identity of photography and which opens the universal, philosophical reflection on the essence of identity itself.

2012-01-01T00:00:00Z