Warstwy Nr 1 (2017)
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Pozycja 5. Międzynarodowy Konkurs na Rysunek im. M.E. Andriollego(Wydział Sztuki UR, 2017-12) Jankowska, AgnieszkaPozycja Autofocus. Wystawa pracowni mulitimediów i fotografi(Wydział Sztuki UR, 2017-12) Sawicka, JadwigaPozycja Beksiński nieznany?(Wydział Sztuki UR, 2017-12) Banach, WiesławPozycja Cały czas. Prace na papierze. Wystawa prac Tadeusza Nuckowskiego - Jan Fejkiel Gallery(Wydział Sztuki UR, 2017-12) Nuckowski TadeuszPozycja 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 Czaszka i przedmioty. Z Szymonem Wojtanowskim rozmawia Marlena Makiel-Hędrzak(Wydział Sztuki UR, 2017-12) Wojtanowski, Szymon; Makiel-Hędrzak, MarlenaPozycja 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 Funny Games. Wystawa poświęcona Maćkowi Wieczerzakowi(Wydział Sztuki UR, 2017-12) Sawicka, JadwigaPozycja Galeria r_z. Międzynarodowy Konkurs Małej Formy Plastycznej(Wydział Sztuki UR, 2017-12) Woroniec jr, PiotrPozycja Hasior Assemblage. Międzynarodowy Projekt Artystyczny, Zakopane(Wydział Sztuki UR, 2017-12) Steliga, AnnaPozycja Idea i historia Konkursu o Nagrodę im. Jerzego Panka(Wydział Sztuki UR, 2017-12) Cywicki, ŁukaszPozycja Kalendarium 2016(Wydział Sztuki UR, 2017-12) Jamrozek-Sowa, Anna; 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 Nieskończona pieśń o człowieku. O Wiesławie Wodnickim(Wydział Sztuki UR, 2017-12) Niezgoda, GrażynaWiesław 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).Pozycja Noty o autorach(Wydział Sztuki UR, 2017-12) Jamrozek-Sowa, Anna; Sawicka, JadwigaPozycja Nowe ilustracje w Galerii Arsenał Elektrownia w Białymstoku(Wydział Sztuki UR, 2017-12) Sawicka, JadwigaPozycja O banalności śmierci. Azyl dla uchodźców we współczesnej sztuce(Wydział Sztuki UR, 2017-12) Sulikowska-Dejena, AgataThe 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.Pozycja Operationes Spirituales(Wydział Sztuki UR, 2017-12) Białogłowicz, StanisławPozycja Portret intymny. Slavsk (Ukraina)(Wydział Sztuki UR, 2017-12) Bednarska, KamilaPozycja Przestrzenie grafi ki I Koegzystencja. 2. Ogólnopolskie Sympozjum Grafi ki Artystycznej(Wydział Sztuki UR, 2017-12) Pawłowski, Mirosław