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http://hdl.handle.net/11320/4203
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Pole DC | Wartość | Język |
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dc.contributor.author | Urwanowicz-Rojecka, Eliza | - |
dc.date.accessioned | 2016-06-17T11:21:02Z | - |
dc.date.available | 2016-06-17T11:21:02Z | - |
dc.date.issued | 2015 | - |
dc.identifier.citation | Pogranicze. Studia Społeczne, T. 26, 2015, s. 31-47 | pl |
dc.identifier.issn | 1230-2392 | - |
dc.identifier.uri | http://hdl.handle.net/11320/4203 | - |
dc.description.abstract | Site-specific art has been changing through the years. Firstly, it was connected with its location and directly corresponding with a given site, then critically reconfiguring it. Later it became art that served aesthetic processes in the site, and finally, art that defined the site in a very abstract way (which marked the beginnings of public and community art). Among different paradigms of artistic practices, the latter may take the form of participatory art. Miwon Kwon, Grant Kester and Claire Bishop are considered to be its key theorists. Changes within site-specific practices and their aspiration for a meaningful social context have helped to (re)define the categories of public space, community, and participation. The last of the three has become globally common for artistic practices, without regard for cultural differences, varied political contexts, or issues of funding of this genre of art. Why participatory art is so popular? What kind of impact does it have on the socio-cultural reality? The paper provides an overview of the changes that have taken place within site-specific artistic practices, showing that even a provisionary answer to the above questions cannot be found without an interdisciplinary approach. | pl |
dc.language.iso | pl | pl |
dc.publisher | Wydawnictwo Uniwersytetu w Białymstoku | pl |
dc.subject | participatory art | pl |
dc.subject | site-specific art | pl |
dc.subject | socially engaged art | pl |
dc.title | Od sztuki site-specific po sztukę partycypacyjną. Sztuka zaangażowana – wybrane współczesne teorie i praktyki artystyczne | pl |
dc.title.alternative | From site-specific to participatory art. Socially engaged art – an overview of contemporary theories and artistic practices | pl |
dc.type | Article | pl |
dc.identifier.doi | 10.15290/pss.2015.26.02 | - |
dc.description.Email | eurwanowicz@gmail.com | pl |
dc.description.Affiliation | Wydział Nauk Społecznych. Katolicki Uniwersytet Lubelski Jana Pawła II | pl |
dc.description.references | Bishop C. (2006a), Participation, Londyn, Oxford | pl |
dc.description.references | Bishop C. (2006b), The social turn: Collaboration and its discontents, „Artforum”, Febr. | pl |
dc.description.references | Bishop C. (2008), Artficial hells. Parcipatory art and the politics of spectatorship, Londyn, Nowy Jork | pl |
dc.description.references | Bishop C. (2013), Partycypacja i spektakl, „Kultura Współczesna”, nr 2 | pl |
dc.description.references | Bourriaud N. (2012), Estetyka relacyjna, Kraków | pl |
dc.description.references | Dziamski G. (2005), Sztuka publiczna, „Kultura i Społeczeństwo”, nr 1 | pl |
dc.description.references | Finkelpearl T. (2014), Participatory art, (w:) M. Kelly (red.), Encyclopedia of aesthetics, Oxford | pl |
dc.description.references | Humphries C. (2000), Estetyka w Szkole Frankfurckiej, (w:) K. Wilkoszewska (red.), Estetyki filozoficzne XX wieku, Kraków | pl |
dc.description.references | Kester G. (2004), Conversation pieces: Community and communication in modern art, Berkeley and Los Angeles, California | pl |
dc.description.references | Kester G. (2005), Conversation pieces: The role of dialogue in socially-engaged art, (w:) Z. Kocur, S. Leung (red.), Theory in contemporary art since 1985, Londyn | pl |
dc.description.references | Kester G. (2011), The one and the many: Collaborative contemporary art in a global context, Durham | pl |
dc.description.references | Kester G. (2013), The device laid bare: On some limitations in current art criticism, “e-flux”, nr 50 | pl |
dc.description.references | Kwon M. (2004), One place after another. Site-specific art and locational identity, Londyn | pl |
dc.description.references | Lacy S. (1995), Mapping the terrain: New genre Public Art, Seattle | pl |
dc.description.references | McLuhan M. (1966), Art as anti-environment, „Art News Annual”, nr 31 | pl |
dc.description.references | Skórzyńska A., Juskowiak P. (2013), Do autonomii przez współpracę? Z Grantem H. Kesterem na temat jego koncepcji sztuki dialogicznej i kolaboratywnej rozmawiają Agata Skórzyńska i Piotr Juskowiak, „Kultura Współczesna”, nr 2 | pl |
dc.description.references | Szalewicz M. (2015), Ćwiczenia z choreografii społecznej, „Notes na 6 Tygodni”, nr 101 | pl |
dc.description.pages | 31-47 | pl |
dc.description.volume | 26 | pl |
dc.description.firstpage | 31 | pl |
dc.description.lastpage | 47 | pl |
dc.identifier.citation2 | Pogranicze. Studia Społeczne | pl |
Występuje w kolekcji(ach): | Pogranicze. Studia Społeczne, 2015, tom XXVI |
Pliki w tej pozycji:
Plik | Opis | Rozmiar | Format | |
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Pogranicze_26_Urwanowicz-Rojecka.pdf | 177,64 kB | Adobe PDF | Otwórz |
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