Warstwy Nr 1 (2017)

URI dla tej Kolekcjihttp://repozytorium.ur.edu.pl/handle/item/6262

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Wprowadzenie - Obszary (nie)obecności
(Wydział Sztuki UR, 2017-12) Makiel-Hędrzak, Marlena
Śmierć. Między doświadczeniem a pojęciem
(Wydział Sztuki UR, 2017-12) Iskra-Paczkowska, Agnieszka
The article analyzes the issue of human finiteness. The reflection upon death runs in three perspectives: death as a generic phenomenon, death of a loved one (man as homo sepultor) and one’s own death. It includes issues like: the notion andexperience of death, self-knowledge in the prospect of death, the attitude towards death and its determinants, variability of the social and cultural attitude models towards death, the paradoxes of the term “death”. The ending presents the principles of contemporary thanatology, the study of “good life and good death ”.
Sarkofag. Wirtualne istnienie i realne nieistnienie
(Wydział Sztuki UR, 2017-12) Huculak, Łukasz
The article deals with the significance of the vanitas theme in visual arts and considers its controversial status in contemporary culture. The beginnings of civilization are connected with burying rituals and the need to commemorate the ancestors: we date particular communities according to the first burials, regarding their attitude towards the infirm as an indicator of socialization and the attitude towards the dead as a source of symbolic thinking, i. e. a manifestation of high culture. Compared with the periods during which those customs developed and consolidated, the present era seems to be distinguished by a certain serenity: we have managed to camouflage the prospect of the end with hygiene and cosmetics and postpone the moment of dying by means of medicine and entertainment. Real death has therefore gained an acceptable look and the remains of the terror vanish with the universality of virtual dying (films, games, news bulletins).
Umieranie i rodzenie się do nowego życia. Obrzędy – zwyczaje – symbole
(Wydział Sztuki UR, 2017-12) Rotter, Lucyna
The process of our dying starts the moment we are born. This is an obvious truth, though usually put aside from our conscious thoughts. Throughout human life death and birth merge, if not complement each other. The task of rituals and ceremonies is often to make one used to the fear of death and to emphasize the joy of birth. At the same time the death-birth dichotomy appears in a lot of situations. When a stage of life ends, something new begins. This is the case both in the domain of the sacred and the profane. Rituals, ceremonies and symbols related to the wedding include signs referring to chastity and joy as well as to death and evil. It is similar with the symbols referring to death and mourning. As regards the sphere of the sacred, this process is best seen in the rituals connected with monastic life. Dying to the world and being born to a new life devoted to God is clearly present in the symbols connected with being ordained and taking the religious vows.
O banalności śmierci. Azyl dla uchodźców we współczesnej sztuce
(Wydział Sztuki UR, 2017-12) Sulikowska-Dejena, Agata
The aim of the article is to present the work of artists who are focused on the plight of refugees and who have made that humanitarian crisis the main theme of their projects. Their artistic intervention is characterized by a profound social involvement and a desire to build an alternative narration – sensitive to suffering, putting man in the first place and emphasizing the fact that first of all we constitute a community of humans. Contemporary art has become a symbolic shelter for the refugees and a place allowing them to regain their lost dignity. Using various media and artistic strategies, like: site-specific activities, installations, artistic interventions, graffiti, participatory art, the authors show that a dialogue is possible, that despite the fears it is possible to build a community above prejudices, whose members do not differ so much from each other. Artists confirm with practical actions that we always deal with a sensitive, suffering person, and the pain evoked by the death of the loved ones is equally excruciating on both sides of the fence. The discussed works can be analyzed in terms of aesthetic values but in order to fully understand their meaning we have to consider the content, the message to the audience, which the authors have included in the form. That is why the article attempts to show the works and the words of the artists in a broader, social and philosophical perspective.
Nieskończona pieśń o człowieku. O Wiesławie Wodnickim
(Wydział Sztuki UR, 2017-12) Niezgoda, Grażyna
Wiesław Tadeusz Wodnicki’s paintings used to dominate in group exhibitions – with their colors, large formats, flourish, expression. Using so intense means of expression, he conveyed lyrical and personal messages. A loner, he was very active exhibiting his works. Faced with the choice between line versus color, he chose both. The artist’s life revolved around art. He painted a lot, took active part in artistic life, was a member of many artist groups. His life was connected with Przemyśl and Jarosław, which were his home and a frequent theme of his work. It was very early that he developed his own artistic language, his style, which can be regarded as part of the figurative trend. The focus of his work was man and figurative compositions were the most important theme he took up. They were arranged in series and one of them was called Nieskończona pieśń o człowieku (Unfinished song about man).
Cienie przeszłości – refl eksje z kilku wystaw
(Wydział Sztuki UR, 2017-12) Nowicki, Paweł
The article is based on personal memories. It describes three exhibitions which dealt with a reflection upon the inevitability of transience of all things. The exhibitions took place in the Museum in Gorlice (Dwory Karwacjanów i Gładyszów) and in the Polish-Slovakian Centre in Gorlice. The source of inspiration for this text were photographs by Bogdan Konopka and Robert Huk. The text mentions the local cemetery, once densely covered with trees, of which now very few are left. It deals with removing the spell and the romantic illusions, which comes along with modernity. This decline of the old atmospheric scenery shows the truth of our time. Perhaps against the intentions of those who have contributed to the felling of the trees, the bare cemetery shows the misery and tragedy of human existence.
Rysowanie
(Wydział Sztuki UR, 2017-12) Dobosz-Bruchnalska, Agnieszka
I was drawing several or dozen or so frames at one go, like sequences made of specific frames of film animation. Did not have to hurry since spread cardboards could lie and wait for the next step. They comprised sort of personal notebook for me. There “wrote down” any tiny action repeated every day ad nauseam which each time looked different in the drawing. All down-to-earth issues, those more embarrassing, private, fascinating and mundane. registered changes around me and the world in continuous, yet hardly observable, motion. There were some doors and windows opening and closing, as well as pieces of furniture, lamps and trash. Something was changing its place, something has spilt, somebody was waiting, somebody else left and cuddled. Everything was passing. Compositions resembled picture writing in which each letter says something. was looking for the gesture of my own hand in an attempt to express most directly emotions and thoughts concerning the instability of life and inevitability of certain phenomena. wanted to shape them and used them to struggle with everyday routine.
Fragmenty obecności. Obraz – między fi guracją a abstrakcją
(Wydział Sztuki UR, 2017-12) Gil, Łukasz
I have tried to confront my artistic experience with the theory and practice of such artists as Francis Bacon, Teresa Pągowska, Stanisław Rodziński and Jacek Sienicki. What links their attitudes is the sincerity of presenting reality. As such the attitudes are significant points of reference for both my artistic work and theoretical considerations. In my project I have tried to consider the experience of existence in time and space: transience, change in the course of life, noticing the traces of our living. Searching and discovering order through using simple color and composition solutions (bringing the coloristic expression down to a narrow chromatic range and synthetic surface of painting). I show fragments of man in an atmosphere of a certain tension, solitude, inner dilemma, in a changed form, making some desperate gestures.
Natura a sztuka. Aspekty i dylematy malarstwa pejzażowego
(Wydział Sztuki UR, 2017-12) Balicki, Jacek
Aesthetic choices were shaped in prehistory as a condition of survival. A tree in the savannah is an archetype of a belvedere. In agricultural societies a domesticated area is created which with time changes into a house with a garden. The development of horticulture, landscape architecture, significantly influenced the perception of a landscape. Beauty nowadays is the domain of advertizing. Sublimity and picturesqueness belong to tourism and architecture, not to the mainstream art. Perhaps a landscape can be a source of artistic inspiration after all?
Wszystko zaczyna się od ekstazy
(Wydział Sztuki UR, 2017-12) Tulik, Jan
A grand chapel or rather a Rococo boudoir? Amalia, dozing off on soft pillows, a shoe showing from under her long dress. She is leaning on her right elbow, with her left hand marking a page (could it be a French romance?) in the book she’s just been reading, which has not yet slipped and fallen down on to the marble bedclothes. I am sure some poems are born unexpectedly, as if from a flash of the first spring lightning. Others – I have a right to think so – take years to make up a mosaic picture and also come into being suddenly: in about a dozen hours, though the poem got its ultimate shape in nine years. If those events, the objects of my delight striking me with reflexes of associations, the instances scattered in time, evked in me a fascination growing in passion in order to finally explode into a poem, I can assume that summa was an inspiration. Or perhaps everything starts with ecstasy? What is beautiful is that in art everything is possible. The same as with God.
Rola inspiracji w procesie tworzenia artystycznego Dyskusja wokół wystawy Inspiracje 13.
(Wydział Sztuki UR, 2017-12) Boruta, Tadeusz
Wszystko i nic, czyli mała jaszczurka i Mistrz Ogrodu na Krzemieńcu. Z Tadeuszem Nuckowskim rozmawia Grażyna Niezgoda
(Wydział Sztuki UR, 2017-12) Nuckowski, Tadeusz; Niezgoda, Grażyna
Czaszka i przedmioty. Z Szymonem Wojtanowskim rozmawia Marlena Makiel-Hędrzak
(Wydział Sztuki UR, 2017-12) Wojtanowski, Szymon; Makiel-Hędrzak, Marlena
Autofocus. Wystawa pracowni mulitimediów i fotografi
(Wydział Sztuki UR, 2017-12) Sawicka, Jadwiga
Źródło – prace inspirowane poezją Jana Pawła II. Wystawa pracowni rysunku
(Wydział Sztuki UR, 2017-12) Sulikowska-Dejena, Agata
Idea i historia Konkursu o Nagrodę im. Jerzego Panka
(Wydział Sztuki UR, 2017-12) Cywicki, Łukasz
Włodzimierz Kotkowski. Rysunek i grafi ka
(Wydział Sztuki UR, 2017-12) Dobosz-Bruchnalska, Agnieszka
Beksiński nieznany?
(Wydział Sztuki UR, 2017-12) Banach, Wiesław
5. Międzynarodowy Konkurs na Rysunek im. M.E. Andriollego
(Wydział Sztuki UR, 2017-12) Jankowska, Agnieszka

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