Warstwy Nr 1 (2017)
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Pozycja Fragmenty obecności. Obraz – między fi guracją a abstrakcją(Wydział Sztuki UR, 2017-12) Gil, ŁukaszI 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.Pozycja Rysowanie(Wydział Sztuki UR, 2017-12) Dobosz-Bruchnalska, AgnieszkaI 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.Pozycja Nowe ilustracje w Galerii Arsenał Elektrownia w Białymstoku(Wydział Sztuki UR, 2017-12) Sawicka, JadwigaPozycja Natura a sztuka. Aspekty i dylematy malarstwa pejzażowego(Wydział Sztuki UR, 2017-12) Balicki, JacekAesthetic 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?Pozycja The II International Art Symposium Landscape – Diff erent View, Bańska Szczawnica, Słowacja(Wydział Sztuki UR, 2017-12) Steliga, AnnaPozycja Cienie przeszłości – refl eksje z kilku wystaw(Wydział Sztuki UR, 2017-12) Nowicki, PawełThe 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.Pozycja Wszystko zaczyna się od ekstazy(Wydział Sztuki UR, 2017-12) Tulik, JanA 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.Pozycja Funny Games. Wystawa poświęcona Maćkowi Wieczerzakowi(Wydział Sztuki UR, 2017-12) Sawicka, JadwigaPozycja Relacja ze stażu we Włoszech w ramach programu ERASMUS+ na Universita degli Studi di Genova(Wydział Sztuki UR, 2017-12) Steliga, AnnaPozycja Portret intymny. Slavsk (Ukraina)(Wydział Sztuki UR, 2017-12) Bednarska, KamilaPozycja Galeria r_z. Międzynarodowy Konkurs Małej Formy Plastycznej(Wydział Sztuki UR, 2017-12) Woroniec jr, PiotrPozycja Autofocus. Wystawa pracowni mulitimediów i fotografi(Wydział Sztuki UR, 2017-12) Sawicka, JadwigaPozycja Kalendarium 2016(Wydział Sztuki UR, 2017-12) Jamrozek-Sowa, Anna; Sawicka, JadwigaPozycja Noty o autorach(Wydział Sztuki UR, 2017-12) Jamrozek-Sowa, Anna; Sawicka, JadwigaPozycja Umieranie i rodzenie się do nowego życia. Obrzędy – zwyczaje – symbole(Wydział Sztuki UR, 2017-12) Rotter, LucynaThe 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.Pozycja Operationes Spirituales(Wydział Sztuki UR, 2017-12) Białogłowicz, StanisławPozycja Rola inspiracji w procesie tworzenia artystycznego Dyskusja wokół wystawy Inspiracje 13.(Wydział Sztuki UR, 2017-12) Boruta, TadeuszPozycja Hasior Assemblage. Międzynarodowy Projekt Artystyczny, Zakopane(Wydział Sztuki UR, 2017-12) Steliga, AnnaPozycja Tabula rasa(Wydział Sztuki UR, 2017-12) Janowska-Augustyn, JoannaPozycja Źródło – prace inspirowane poezją Jana Pawła II. Wystawa pracowni rysunku(Wydział Sztuki UR, 2017-12) Sulikowska-Dejena, Agata