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Artist Complex
With the Jungian term of the complex the present volume inquires about the making of the artistic persona in twentieth-century photography. The articles examine photographic (self-)portraits, the dynamics between self-statements of artists and photographers, the interrelations of photography, of painting and of performance art and investigate their origins in the history of ideas. The volume traces a portrait of photography as a metascience; as preparatory work, a source of inspiration and an alternate medium in which artists could explore different subjects. With essays by Ulrike Blumenthal, Till Cremer, Victoria Fleury, Jadwiga Kamola, Weronika Kobylińska-Bunsch, Nadja Köffler, Constance Krüger, Wilma Scheschonk, Gerd Zillner.
Matki i córki. Relacje rodzinne i artystyczne w autobiografiach kobiet po 1989 roku
Tematem monografii jest analiza wybranych autobiograficznych narracji autorstwa kobiet z perspektywy związków między matkami a córkami w kontekście relacji rodzinnych i artystycznych. Przedstawione badania dotyczą przede wszystkim tego, w jaki sposób relacje rodzinne wpływają na matczyną oraz córczyną twórczość literacką lub artystyczną i na odwrót – w jaki sposób życie artystyczne wpływa na relacje panujące w rodzinie. W ten sposób analizie poddane zostały te kategorie i problemy, które pojawiają się w literaturze jako skutek działania tych relacji. Celem przeprowadzanych rozpoznań było znalezienie i zinterpretowanie na zasadzie case studies tych duetów mate...
A History of Polish Theatre
Poland is celebrated internationally for its rich and varied performance traditions and theatre histories. This groundbreaking volume is the first in English to engage with these topics across an ambitious scope, incorporating Staropolska, the Polish-Lithuanian Commonwealth, the Enlightenment and Romanticism within its broad ambit. The book also discusses theatre cultures under socialism, the emergence of canonical practitioners and training methods, the development of dramaturgical forms and stage aesthetics and the political transformations attending the ends of the First and Second World Wars. Subjects of far-reaching transnational attention such as Jerzy Grotowski and Tadeusz Kantor are contextualised alongside theatre makers and practices that have gone largely unrecognized by international readers, while the participation of ethnic minorities in the production of national culture is given fresh attention. The essays in this collection theorise broad historical trends, movements, and case studies that extend the discursive limits of Polish national and cultural identity.
Kochen, Putzen, Sorgen / Cooking Cleaning Caring
Seit den 1960er-Jahren beschäftigen sich weltweit Künstlerinnen wie Margaret Raspé, Gabriele Voss, Tomaso Binga, Anna Daucíková, Hackney Flashers, Mako Idemitsu, Ana Victoria Jiménez, Mary Sibande und Jinran Ha kritisch mit Care-Arbeit. Sie thematisieren die körperlichen Strapazen der täglichen Arbeit, dekonstruieren die Mythen, die sich um die »Arbeit aus Liebe« ranken, führen die Bedingungen vor, die Care-Arbeiterinnen strukturell marginalisieren und machen die Mechanismen sichtbar, unter denen das Kochen, Putzen und Sorgen bis heute abgewertet wird. Der zweisprachige Katalog ist die erste umfassende Überblickspublikation zu Care-Arbeit in der bildenden Kunst. Bitte beachten: Aus urheberrechtlichen Gründen sind nicht alle Abbildungen des gedruckten Buches auch im E-Book erhalten. FRIEDERIKE SIGLER ist Wissenschaftliche Mitarbeiterin am Kunstgeschichtlichen Institut der Ruhr-Universität Bochum. LINDA WALTHER ist Direktorin des Josef Albers Museum Quadrat Bottrop.
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Workshop of the Film Form
Workshop of the Film Form provides an in-depth overview of the achievements of Warsztat Formy Filmowej (WWF; Workshop of the Film Form), a group of avant-garde artists who were working at the Leon Schiller National Higher School of Film, Television and Theatre in Lodz, Poland, between 1970 and 1977. WWF was founded by the students and graduates of the school, now known as the National Film School, and included: Wojciech Bruszewski, Paweł Kwiek, Andrzej Różycki, Józef Robakowski, Zbigniew Rybczyński, Kazimierz Bendkowski, Antoni Mikołajczyk, Janusz Połom, and Ryszard Waśko. As pioneers of video art in Poland and structural cinema in Central and Eastern Europe, the artists refused clas...
Atem / Breath
During breathing – in the process of constant exchange and crossing of boundaries between the organism and its environment – air as an «immaterial» material becomes active. For the first time, this anthology brings together studies on breath from the perspective of the arts and humanities, as well as experimental scientific and design practices. Focusing on the period from 1900 to the present day, the publication covers an era during which air has become a precarious medium: whether in the context of climate change or global pandemic, space technology or gas warfare, air is now co-created and manipulated by humans. Against this backdrop, breath appears as an elusive yet vital substance that reveals the interconnections between the physical, symbolic, technological and social realms.
Tell It to the Stones
Artists, scholars, filmmakers, and writers revisit the films of Danièle Huillet and Jean-Marie Straub. Jean-Marie Straub (b. 1933) and Danièle Huillet (1936–2006) met in Paris in 1954. Straub wanted to make a film about Johann Sebastian Bach, to which Huillet thought: “He's planning to do far too much; he won't manage it alone.” It was the beginning of a fifty-year collaboration, which brought about one of the most unconventional and controversial bodies of work in modern cinema. Tell it to the Stones presents variations from a prolonged re-encounter with Huillet and Straub's work that was sparked by a three-month exhibition, complete cinema retrospective, workshops, and music perfor...
Ewa Partum's Artistic Practice
Polish-born artist Ewa Partum is considered a pioneer of Central-Eastern European feminist art produced within the conceptual idiom. Her work can also be divided chronologically into Polish (1965-82), West Berlin (1982-1989) and transnational (from 1989) periods. Karolina Majewska-Güde articulates the historical alterity of Ewa Partum's works in their various locations and the specificity of the positions from which Partum's art was interpreted and disseminated. At the same time, the book engages with the art histories of the Central and Eastern European neo-avant-gardes focusing on the issue of narrative strategies of CEE art history.
