Od rozkoszy historiozofii do "gry w nic" polska krytyka artystyczna czasu odwilży
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| Format: | Buch |
| Sprache: | Polish |
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Poznań
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2005
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| Schriftenreihe: | Seria Historia Sztuki / Uniwersytet im. Adama Mickiewicza <Poznań>
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| 100 | 1 | |a Juszkiewicz, Piotr |d 1959- |e Verfasser |0 (DE-588)1060991004 |4 aut | |
| 245 | 1 | 0 | |a Od rozkoszy historiozofii do "gry w nic" |b polska krytyka artystyczna czasu odwilży |c Piotr Juszkiewicz |
| 264 | 1 | |a Poznań |b Wydawnictwo Naukowe UAM |c 2005 | |
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| 490 | 1 | |a Seria Historia Sztuki / Uniwersytet im. Adama Mickiewicza <Poznań> |v 29 | |
| 500 | |a Zsfassung in engl. Sprache u.d.T.: From the bliss of historiosophy to the "game of nothing" | ||
| 500 | |a Bibliogr. s.293-[318]. Indeks | ||
| 648 | 7 | |a Geschichte 1955-1990 |2 gnd |9 rswk-swf | |
| 650 | 7 | |a Polityka i kultura / Polska / 1945-1970 |2 jhpk | |
| 650 | 7 | |a Krytyka sztuki / Polska / 1945-1970 |2 jhpk | |
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Datensatz im Suchindex
| _version_ | 1819722783317295104 |
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| adam_text | Spis treści
wstęp
..........................................
.................i;.;.:...........................
.................... 7
Rozdział
1.
KRYTYKA ARTYSTYCZNA I HISTORIA
......:.:.................... 11
1.
Zapisywanie granic
................................................................................... 11
2.
Od Salonu do galerii
.......................!..:...................................................... 35
3.
Czytanie dokumentu
..........
C......^;;.:....^.....
............................................ 49
Aneks. Dwie analizy
.............................................;................................................ 53
1.
Okiem rozumu
...................
. ..ľ. .^ .ľ. ;:;. . ;; ..... .... !
.......................................... 53
2.
Mniej druku
.......................
L·...:::..:....^....
...:.:........................................... 58
Rozdział
2.
POLITYKA I JĘZYK
.лі.:^.....^..;
.......................................... 68
1.
Od ideologicznego totalitaryzmu do miękkiej dyktatury
.................... 68
2.
Od złudy buntu do niebezpieczeństw kultury masowej
..................... 76
3.
Od niby-Salonu do systemowej hybrydy
............................................... 91
4.
Od nadzoru do bezdomności
... ;....»..·....
..v...
............................................ 98
Rozdział
3.
DZIEŁA W TEKSTACH......
....................................................... 121
1.
Rozkosze historiozofii i realistyczna metafora
...............:...................... 123
2.
Socjalistyczny ekspresjonizm
................................................................... 130
3.
Komuniści z ducha
...................;../;..........
...ΐ...
........................................... 131
4.
Forma, intencja, autonomia
......
....ľ...:.......:.;...
...........................
ľ..............
133
5.
Powrót utopijnej awangardy
.
..ΐ;..
.:..:„..
..f.^~
...................:;......;....»......... 136
6.
Przestrzeń, materia, struktura
!......................:.......................................... 137
7.
Od intencji do formy
................................■··■··........................................... 139
8.
Od formy do podmiotu
.............„...: ...........:.:............................................ 140
9.
Niemy dramat form i realizm emocjonalny
........................................... 143
-5-
10.
Egzystencjalistyczne
analogie
-
od historii
do
antropologii
.............. 149
11.
Oczywisty prymat medium
.................................................................... 152
12.
Plastyczna integracja i teoria widzenia
................................................. 155
13.
Zapis historii medium
............................................................................. 166
14.
Gra w nic
................................................................................................... 172
Rozdział
4.
PODMIOTY I PRZEDMIOTY
.................................................. 188
1.
Rozstanie z „ja i utopia doskonałego milczenia
.................................. 189
2.
Pozorne powroty
....................................................................................... 195
3.
Przez młodość do etyki
............................................................................. 197
4.
Trzy etyki
.................................................................................................... 199
5.
Gry z tożsamością
...................................................................................... 204
6.
Oczywisty prymat medium
II
.................................................................. 213
7.
Niemy dramat form
II
............................................................................... 221
8.
Antyeksperckie alternatywy
.................................................................... 228
9.
Wyrodne dzieci nowoczesności
............................................................... 232
Rozdział
5.
PODZIAŁY
.................................................................................... 235
1.
Od planowego odwrotu do pokusy niepamięci
.................................... 239
2.
Niech żyje młodość i deformacja
............................................................. 250
3.
Nowoczesność i współczesność
............................................................... 256
4.
Stare nienawiści i nowe miłości
............................................................... 259
5.
Od przymusu feudalnego do ekonomicznego. Od nadziei na
autonomię do walki ze szmirą
................................................................. 270
6.
Od utopii planistycznej do utopii samorządowej
................................. 274
ZAKOŃCZENIE
.............
.Љ
................................................................................ 288
Bibliografia
.....................:.;. .};................................................................................ 293
Indeks osobowy
.................................................................................................... 319
Spis ilustracji
......................................................................................................... 325
From the Bliss of Historiosophy to the Game of Nothing. Polish Art
Criticism of the Post-Stalinist Thaw (Summary)
........................................ 327
From the Bliss of Historiosophy
to the
*
Qame of Nothing/
Polish Art Criticism of the Post-Stalinist Thaw
Summary !
-
The choice of the Polish art criticism of the times of the post-Stalinist thaw as an
object of historical analysis has been dictated by the author s belief that this particular
matter allows one to address significant questions concerning the post-Second World
War Polish artistic culture in general. On the one hand, the critical disourse of that
period brought together all the key concepts used to define the status and role of art, as
well as the functions of artists, critics, and art institutions. On the other, the meaning of
those concepts, formulated during the post-Stalinist thaw for years to come, in many
cases until the official end of the communist Poland, determined the character of Polish
artistic culture and the moral, intellectual, and political identity of at least two
generations of Polish artists, art critics, and art historians. It was them who developed a
specific mythology of the thaw that was probably quite important as an element of the
general political self-consciousness of the educated public in Poland. Most certainly, that
mythology has influenced the relevant literature on the subject, which makes it
necessary to take another look at the phenomenon of the thaw in Polish culture.
The task attempted in Chapter I is to analyze the recognized intellectual
foundations of determining the identity of art criticism as a particular field of activity in
order to specify and modify the criteria
oí
oppositions which made those foundations
thinkable. The point is to move the identity of criticism and the critical text out of the
space demarcated by a belief in the universality of some elements of the non-verbal
context or intention. The material for this analysis are texts of Polish students of literary
and art criticism written in the
mid-1960s.
The reason for such selection is the historical
proximity of those texts to the years of the thaw, which allows one to consider them as
theoretical summing up of the experience of criticism in that period. Hence, the analyses
of the primary material in the following sections of the book were continued to the
moment when the theoretical studies on criticism were published. That circle has been
drawn due to the author s contention that to specify art criticism as an object of study
one must abandon the universality of concepts in favor of revealing the effective
-327-
J
working of discourse. Consequently, to grasp the boundaries of the object, the principles
of their specification had to be formulated first. Having defined the area within those
boundaries, the author could then confront with it the principles themselves, at the same
time avoiding any simplifying determinism.
The general conclusion drawn from this part of the text is a belief that in the
definitional field of art criticism conceived in essentialist terms one may find hidden
suppositions concerning the status and character of academic study and art, as well as
art institutions and their connections with the social organization as a whole. As a result,
the aforementioned theoretical studies of criticism were founded upon a belief that the
fields under scrutiny remained fixed and unchanging. Therefore, the book puts forward
a postulate that the essentialist approach to the identity of art criticism ought to be
abandoned in favor of retracing the process of its creation, i.e. the description and
analysis of drawing discursive boundaries among specific forms of verbal commentary
on visual arts and their respective legitimization and institutionalization.
To make the program of the postulated history
óf
art criticism more detailed, in the
following part of the same chapter two questions have been answered: first, how the
analysis of critical discourse and individual texts, revealing the historical conditioning of
the rise of some concept of criticism, could adequately, i.e. without any reducing
determinism, present the mutual interdependence of discourse and non-discursive
practices, and second, which elements and aspects of the critical text should then be put
under scrutiny. An answer has been formulated, on the one hand, in reference to some
significant elements of the concept of historical document developed by Michel
Foucault
and his related idea of historical change. On the other hand, the author s belief in the
importance of the rhetorical analysis of the critical text for showing the production of its
meanings has led to the recognition of the following problems:
(1)
the conceptualiza-tion
of the artistic object, i.e. the historical knowledge and theoretical speculation inscribed in
the text as an axiological basis of evaluation,
(2)
the construction of subjec-tivity
-
the
degree of its personalization, the range of knowledge, and the preferred ideological
horizon,
(3)
the relationship between the construction of subjectivity and the
conceptualization of the artistic object, i.e. the rules of describing the latter,
(4)
the
divisions ordering the internal space of the verbal commentary according to the adopted
views of the character and functions of the artwork, and
(5)
the divisions ordering the
space of the plastic arts and the principles of their interference with the non-artistic
sphere according to the adopted views of the historical development of art.
All this does not mean, however, that both spheres
-
i.e., first, the dynamic of the
demarcation of critical discourse and its legitimization, translated into social practices
and institutional structures, and, second, the diverse conceptualization of the artwork,
its description, and divisions in the artistic world
-
remain altogether separate. The
construction of subjectivity is related to the definition, design, and practice of the role
assigned to the critic and the discourse that
s
/he produces; the description of the
artwork stems from the practice of its perception; the projected divisions reflect the
ordering practices of the artistic world, and, finally, the conceptualization of the artwork
makes a point of convergence for all the aspects of the critical discourse.
- 328 -
The remaining sections of Chapter I present a general outline of the evolution of
artistic systems, i.e. the passage from the salon system to the
dealer-critici
system,1
approached in terms of significant discursive turns involving varying definitions and
hierarchizations of the key elements of the critical discourse. An Appendix to Chapter I
includes two exemplary analyses of critical texts from the times of thaw, which test in
;
interpretive practice the postulated apparatus of theory.
; :
According to the principles
oí
the theoretical project of the study of art criticism/
which have been suggested in Chapter I, Chapter II draws the boundaries of the area
under study. Since the period of the thaw had its complex and multi-faceted dynamic,
combining politics with parallel processes going on in art and
ärt
criticism, its·
preliminary periodization was undertaken on a number of levels: that of political events,
of the connections between those events and culture, and of the practice of defining art
criticism. In each case, the aim was to answer the question at which moment one may
locate historical change, understood in Foucaultian terms, eventually leading to the
common space of overlapping dynamics of political, institutional,
;
and discursive
practices
-
the proper field of analytical penetration.
ľ:
~
)
For the sake of clarity, the description of the dynamic of changes in art criticism of
,
the times of the thaw has been divided into two major parts. One takes an external
perspective, concerning the discursive boundaries of the domain of criticism and its
roles, the other focuses on the composition of texts. The former makes the remaining
sections of Chapter II, and the latter dominates the following chapters.
ľ
1
A general conclusion drawn from the final part of Chapter II can be summarized by
;
a statement that the Polish art criticism of the thaw period was ultimately homeless.
)
Charged by the regime and artists alike with the responsibility for the failure of the
, _
socialist realism, it dodged the burden of power, declaring subjectivism and reluctance.,
to accept any institutional framing. At the same time, however, it renounced any;
attempts at getting some identity that would let it occupy a place in the artistic
Isy
stem.
■_
What it did was changing the artistic life and art inasmuch as its practitioners were)
actually members of various decision-making boards and committees. Its object was art;
which with time gained more political autonomy than literature, while as a Verbal
Vľ
practice it still remained under strict official control, It did not want to function as a state ,J
official any more, but it did not dare and could not oppose the state, either. Yet, on the ¿j
other hand, it did not want to remain silent, so it occupied a place right next to the artist
or lived on the illusions of apolitical judgment, exercising power without responsibility.
„
In the dealer-critic system, discourse is the space when symbolic meanings come into t
*
being, which allows for the mechanism of distribution to operate. In fact, though, in the)
*
communist Poland that mechanism was controlled by the state so that the regime
believed that it had the right to impose symbolic meanings as well. In the critical
ţj
discourse of those decades it was very difficult to compete with the authorities in that
,
respect. Two options were available: the imposed meanings could be either confirmed
by endorsing the official aesthetics and ideology or filling the matrix of the accepted
values by some other aesthetics, or else they could be ignored under the cloak of art
autonomy. That alternative prevailed for the whole period of the communist rule.- In the
latter case, criticism was supposed to legitimize art, but ultimately, just like art itself, it
-329-
/?-.:
■ -.
і
legitimized the regime, which constitutes a tragic paradox and partly answers the
question about the functions of,criticism during the thaw. The only aspect of its
identity that would actually be accepted and even welcomed by the public was the
functioning of texts on art in periodicals
-
various art and literary journals
-
which were
considered to be the proper place for the true art criticism to appear. Thus, throughout
the period under scrutiny the boundaries of criticism were determined by the margins of
the press, that is, the space where critical texts were actually published. For that reason,
the most important periodicals of the thaw years and the relationship between
political events or, more generally, politics and culture that they demonstrated has
become the main field penetrated in the book.
;;;,
Chapter III has been devoted to the definitions of the artwork inscribed in the
critical texts and conceptualizations of its status, functions, and ways of conveying
meaning.: Analysis begins with a description of the model of the realistic work of art
functioning in the Polish artistic world in the period of the socialist realism. The efforts
to reconcile anti-modernism with many aspects of the avant-garde model of the artwork
resulted under the pens of Polish propaganda experts and critics in a peculiar model of
art involved in the philosophy of history, which was to find in everyday reality and
reveal in art the action of historical forces. That was supposed to be possible in the art
that rejected the conventions of form, which would let the artwork grasp the essence of
reality
-
reality:that was appropriately intensified and purified of accidentals. That
model of the artwork, rooted in the avant-garde theories of searching for the hidden
truth of the world, and revealed through commonly understood and non-conventional
idiom, in practice brought results that were too schematic and naive even for the
adherents of the new doctrine. .When in
1954
it became more and more obvious that the
socialist realism was a failure, two questions were highlighted as the most important for
the artistic process: on the one hand, art should be suffused with the artist s emotions,
and on the other, those emotions should influence the audience thanks to a more
effective handling of composition. The artist s emotions were supposed to derive from
his or her positive experience of the political change, while composition should serve the
purpose of conveying proper ideological meanings.
■■ .uc. In
1955
the range of postulated modifications was widened by an appeal to reha¬
bilitate, selected
r
fragments of the Western and generally modernist artistic tradition.
That became possible thanks to taking into account the presumably desirable, positive
political intention of a given artist, and the function of form as an instrument of
ideological expression, which made van Gogh, Matisse, Picasso, and others
de
facto
socialist realists. Consequently, the belief in the priority of the content and ideological
function of the artwork remained unchallenged. In the same year, two new models
started functioning in the critical discourse. One was an effect of the effort of Julian
Przyboś
to restore in the public memory the artistic tradition of the avant-garde through
remebering
¡and reinterpreting the achievement of Polish constructivists, in particular
Władysław Strzemiński
and
Katarzyna Kobro.
In the texts by
Przyboś
the constructivist
utopia
of total architecture as a rationalized regulator of human life was transformed
into
à
,
utopia
of careless existence in artistically composed space; a safe natural en¬
vironment controllable by means of technology.
h
-330-
The other model, derived by
Tadeusz Kantor
from the art of Picasso and Kan-
dinsky, was an idea of the autonomous artwork that maintains its ties with the social
sphere thanks to its ability to convey by painterly spatial constructions or by expressive
features of the painterly matter some existential meaning. At first, that model was
described in strictly mimetic and rationalist terms, providing art with a rationale drawn
from new scientific hypotheses concerning the structure of matter and the universe.
Later the scientific approach gave way to more existentialist categories modeling the
process of forming the painterly matter by analogy to individual actions performed in
real life.
:
While the model of
Przyboś
was taken over by other critics only sporadically and
only in
1955-1956,
the other one, developed and specified by
Mieczysław Porębski
since
1956,
was upheld in the late
1950s
by the artists from Lublin. There, in the texts by
Mariusz
Tchorek, the existentialist tone waned and the experience of the matter turned
into a creative confrontation of the artist with the qualities of the medium and the
tradtion of its treatment. The problematic of the artistic medium
-
its conceptualization
with its respective history
-
became in that case a crucial point attracting the critical
attention, an object of verbal commentary, a source of aesthetic experience, and a
determinant of the work s value. At the same time, that idea of the work of art was
developed in the texts of Barbara Majewska (since
1956)
and
Jerzy Stajuda
(since
1957),
who had made their critical debut somewhat earlier.
Still, since
1957
the dominant model of art that was functioning in the Polish critical
discourse was that of the mute drama of forms, characteristic, for instance, of the texts
by
Aleksander
Wojciechowski,
Andrzej Jakimowicz,
and
Andrzej Osęka.
Its emphasis
on form resulted in the acceptance of abstract elements of the artwork, while the
preference for its emotional impact eliminated the literary message in favor of emotions,
gaining, however, some
intersubjective
meaning by their identification with the socially
prevalent type of emotional reaction to a given historical moment.
In
1958-1959
modern art became so well rooted in the artistic life in Poland that it
could just as well be criticized. As a result, another model of the artwork appeared
-
that
of a pawn in the ideological and economic games played in art. In that respect,
particularly active was
Andrzej Osęka
in whose texts one might find diagnoses
concerning the influence of artistic systems and mass culture both on the artwork, and
on the form and functions of the critical commentary.
In the early
1960s
Porębski
formulated still another model of the work of art,
restoring, as it were, a Marxist theory of reflection, accepted by the socialist realism, and
rearticulating it in terms of information theory. Approaching the work of art as infor¬
mation processing in the critic s opinion offered to the humanities a chance to achieve
analytical precision which he combined with an anthropological perspective, able, as he
claimed, to reveal the unique origin of art.
Porębski
contended that art developed out of
magical practices and related holiday rituals. The direction of its further evolution was
determined by mythologization and transgression, both still preserving the primal
experience of the emergence of subjectivity. Art, however, gradually left behind its
original function of being a source and an effect of the ecstatic transgressive experience.
That process was paralleled by the changes of civilization leading toward the do-
- 331 -
: ,,/, S
mination
of anonymous advertizing techniques and mass media that through mass
culture have been pushing art to the social margin, reducing its activity to self-analysis.
The rise of that model, inspired by information theory and structuralism, seems to
indicate a kind of boundary in the history of the conceptualizations of the artwork
during the thaw, and not only because of its later, post-1965, expansion (strongly
marked by linguistics), but also due to a distinct shift from the Utopian concept of the
artistic language, characteristic of all the models mentioned above, to the problem of
analysis of linguistic structures as conventional, historically changeable systems of
meaning.
Chapter IV deals with the forming of the critical text s subject and the modes of the
artwork s description. Again, analysis begins with observations concerning texts written
in the period of the socialist realism. As it turns out, their subject is most often collective,
while the tone is both neutral and strongly authorial, with the place of the competent,
virtually omniscient author occupied by the communist party. The description of
artworks was usually focused on the process of creation understood in terms of the
realization of ideological intention and the ideological reaction of the audience. While,
however, the historiosophical idea of the work of art allowed the artist to experience
metaphysical truth, the spectator could at best experience its reflected splendor through
emotional and not necessarily conscious response. The overlapping of the artist s
intention and the spectator s reaction, together with the preeminence of the collective
subject, may be interpreted as an expression of the socialist realist dream of perfect
communication, founded on the belief in absolute truth value of the Marxist philosophy
of history, combined with the purposeful discursive plenitude of the party s ideology.
By the same token, since what was to be communicated was strictly predetermined and
all the unpredictable meanings were to be excluded, art, playing only its ideological
role, became redundant, and its description turned out useless, while the critic s I
dissolved in the collective whose space of communication had been filled in advance
with everything that could and was to be articulated. Hence, the collective remained
perfectly mute, which was a particular fulfillement of the avant-garde
utopia
of
immediate communication.
Since
1954
the coherent ideological community inscribed in the texts started
crumbling and divided into two opposite groups: the young artists who were absent in
the artistic life and the establishment including the participants and laureates of the
National Exhibitions of Art (OWP), members of the bureaucracy, academic faculty, and
those who monopolized state commissions. The construction of the speaking subjects
changed, too, and they became more and more personalized, concrete, and emotionally
laden, while the descriptions of artworks included ethical terms related to the quality of
artistic action: particular works were referred to as sincere or genuine. Such an ethical
and metaphorized idiom, turning toward the abstract elements of works, replaced the
language of explicit ideology. Since in the language of the propaganda the socialist
was continuously identified with the true, the scientific, the rational, the peace-oriented,
the anti-war, etc., metaphors evoked the same divisions and oppositions as openly
ideological statements.
Ä
-332-
The remaining parts of the chapter bring examples of the transformation
oí
subject
in the texts by
Porębski, Przyboś,
and Stajuda/where the construction of subjectivity
depended on the concepts of artwork developed by those critics. In practice, though, the
dominant model was that of the neutral subject, which, in connection with descriptions
aiming for the most part at the historical and formal analysis of the medium, often
combined with fairly arbitrary associations connected in the late
1950s
mainly with the
expressive value of the painterly matter, resulted in a peculiar, quite hermetic and
metaphorical idiom of criticism. Such an idiom was* attacked, in particular by
Osęka,
for
seeming profundity, schematism, and concealing the meaninglessness of the modern art.
However, the true stronghold of the new formalist jargon of criticism were not the texts
of the old stalwarts of modernity, but those by their successors as commentators of art in
periodicals. In other words, the formalist and associative language of modernity was
taken over as an instrument of ah ideological and political polemic with modernity
itself. Its vagueness and interpretive openness to different values, as well as political
neutrality, made possible a formalist description of any work, while the associations
could remain ideologically appropriate so that .the; socialist realism was naturalized,
while modernity was reduced to an obscure preference for a speculative and auto¬
nomous formalist game and maneuvers understood only in the isolated artistic circles.
Hence, the victory of the idiom of modern criticismturned out to be its obvious dismal
failure.
; ■■;-■
ľ
- - ■■■■*
Chapter V provides an analysis of the ways of ordering the artistic world
characteristic of critical texts. Two problems are particularly valid in this context:
(1)
the
divisions of the artistic tradition from the point of view of contemporary art and its
understadning, rooted in the critic s personal worldview and artistic preferences,
including the rules of constructing historical genealogies and the inner logic of those
divisions, and
(2)
the ways of understanding relations between the political and admi¬
nistrative power system and economic structures on the one hand, and art and its
institutions on the other.
In the period under scrutiny one might realize that the mainstream discourse of
criticism demonstrated both amazing permanence of the traditional divisions, and some
characteristic shifts. What was particularly enduring was a paradoxical synthesis of the
evaluations of the past and present proposed from various points of view. An almost
unanimously negative attitude toward colorism as a tendency accused of hedonism and
antiquarianism might have been an influence of the avant-garde model of art
approached in utilitarian terms as an instrument of social change. No doubt, the
influence of the avant-garde, and specifically of the functionalist purism, brought about
a strong disapproval of the bourgeois trifles associated with the criticized Secession.
Both the negative evaluation of colorism and the rejection of the philistine taste were
continued in the doctrine of the socialist realism, where utilitarianism was understood
as political pragmatics. Another negative reference in respect to the artistic tradition
appeared in relation to surrealism which criticized the rationalist model of the avant-
garde, its rigorous discipline, excessive trust in intellect, and the exclusion of the
emotions and subjectivity from art. Finally, both the
constructivist
avant-garde and
surrealism were criticized, for naive utopianism and for the fascination with the dark
- 333 -
side of the human nature and unconscious determinism respectively, by the ideological
dimension of the socialist realism, founded upon historical inevitability and the duty of
political commitment.
On the other hand, the shifts, even though they did not really violate that negative
construction, valid both before
1954
and in the early
1960s,
introduced some chrono¬
logical differentiation. First, the domain of the negative evaluation included also the
failed version of the socialist realism, which did not exclude the articulated hopes for
an improved one. Thus, since the belief in the unimplemented principles of socialism
still prevailed, at first, in
1954-1956,
the idea of contemporary art was identified with
commitment, with the art that would be ideologically correct, to be created by young
artists who could use for that purpose some elements of the Western artistic tradition.
That idea of art was opposed to the imitation of the West, i.e. abstraction, and to
naturalism, i.e. the failed version of the socialist realism. That was also a frame of
reference for the discussions about deformation and realism in
1955.
In the following
years, the divisions within tradition were made in relation to defining modernity, which
still for the most part respected the prevailing artistic values. Therefore, the con¬
temporary moment was described in opposition to modernity that remained an element
of the negative tradtion. The contemporary was finally identified, on a wider scale start¬
ing in
1957,
as variously intrepreted non-geometrical abstraction, paralleled with some
slow and limited rehabilitation of the surrealist and
dadaist
heritage.
In the late
1950s
and early
1960s
three simultaneous processes could be observed,
that were significant shifts in the accepted order of tradition. First, modern art was
approached in terms of an evolution leading toward emphasis on the problems of
matter and the painterly object. Second, there was a growing trend to criticize modern
art and the artistic modernity in general, and third, the regime officials violated the
contract with the world of art (relative autonomy granted at the price of political
obedience) by enforcing a new order of the domain of culture. The gist of that new order
favored a contrast between good art and valuable mass culture with unacceptable
(socially unmotivated) experiment and kitsch. As the preferences concerning tradition
were unchanging, the political system, including state patronage of the arts, remained
unchallenged (not to mention some degree of local self-government), and the dominant
ideology prevailed, the political officials started controlling all the financial resources
available and kept making decisions concerning the difference between the valuable and
the valueless, the purchased and the ignored, the useless and the useful either in terms
of the regime legitimization or for the purpose of sheer ruling. The artists were to decide
by themselves whether their works could be instrumentalized within high-brow or low¬
brow culture, or perhaps belonged only to the margin of the artistic world.
Paradoxically, leaving the decisions about the kind of activity to artists and critics
themselves, and replacing a purely political choice with the choice of the living standard
turned out the most obnoxious and specific form of surveillance.
The temporal dynamic of the changes of culture-oriented political strategies and
the modes of textual articulation of the discursive practices ordering the domain of art
indicates that the historical change in those respects occurred in
1957-1965.
Should that
period be called a thaw, then? No, if this term refers to a complex process of passing
-334-
χ
from one form of dictatorship to another, and a search for a new formula of art, different
from the avant-garde dreams damaged by the practice of the socialist realism. Yes, if
thaw is to denote new qualities that appeared during that process. Some of them
determined the artistic world for quite some time
-
its institutional organization and the
political strategies by means of which it was controlled 4 remained valid at least until
1989.
Others, such as the conceptualization of the artwork and the conventions of the
critical language, evolved quickly, particularly after the ultimate bankruptcy of the
socialist realism, but just as quickly they approached the dangerous limit of exhaustion.
ľ
Translated by
Marek Wilczyński
|
| any_adam_object | 1 |
| author | Juszkiewicz, Piotr 1959- |
| author_GND | (DE-588)1060991004 |
| author_facet | Juszkiewicz, Piotr 1959- |
| author_role | aut |
| author_sort | Juszkiewicz, Piotr 1959- |
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| building | Verbundindex |
| bvnumber | BV036883690 |
| ctrlnum | (OCoLC)254838871 (DE-599)BVBBV036883690 |
| era | Geschichte 1955-1990 gnd |
| era_facet | Geschichte 1955-1990 |
| format | Book |
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| geographic | Polen (DE-588)4046496-9 gnd |
| geographic_facet | Polen |
| id | DE-604.BV036883690 |
| illustrated | Not Illustrated |
| indexdate | 2024-12-24T00:16:12Z |
| institution | BVB |
| isbn | 8323215332 |
| language | Polish |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-020799015 |
| oclc_num | 254838871 |
| open_access_boolean | |
| owner | DE-12 DE-255 DE-Y2 DE-11 DE-Aug3 |
| owner_facet | DE-12 DE-255 DE-Y2 DE-11 DE-Aug3 |
| physical | 334, [2] s., [12] s. tabl. il. kolor., 1 fot. 25 cm |
| publishDate | 2005 |
| publishDateSearch | 2005 |
| publishDateSort | 2005 |
| publisher | Wydawnictwo Naukowe UAM |
| record_format | marc |
| series2 | Seria Historia Sztuki / Uniwersytet im. Adama Mickiewicza <Poznań> |
| spellingShingle | Juszkiewicz, Piotr 1959- Od rozkoszy historiozofii do "gry w nic" polska krytyka artystyczna czasu odwilży Polityka i kultura / Polska / 1945-1970 jhpk Krytyka sztuki / Polska / 1945-1970 jhpk Kunstkritik (DE-588)4033659-1 gnd |
| subject_GND | (DE-588)4033659-1 (DE-588)4046496-9 |
| title | Od rozkoszy historiozofii do "gry w nic" polska krytyka artystyczna czasu odwilży |
| title_auth | Od rozkoszy historiozofii do "gry w nic" polska krytyka artystyczna czasu odwilży |
| title_exact_search | Od rozkoszy historiozofii do "gry w nic" polska krytyka artystyczna czasu odwilży |
| title_full | Od rozkoszy historiozofii do "gry w nic" polska krytyka artystyczna czasu odwilży Piotr Juszkiewicz |
| title_fullStr | Od rozkoszy historiozofii do "gry w nic" polska krytyka artystyczna czasu odwilży Piotr Juszkiewicz |
| title_full_unstemmed | Od rozkoszy historiozofii do "gry w nic" polska krytyka artystyczna czasu odwilży Piotr Juszkiewicz |
| title_short | Od rozkoszy historiozofii do "gry w nic" |
| title_sort | od rozkoszy historiozofii do gry w nic polska krytyka artystyczna czasu odwilzy |
| title_sub | polska krytyka artystyczna czasu odwilży |
| topic | Polityka i kultura / Polska / 1945-1970 jhpk Krytyka sztuki / Polska / 1945-1970 jhpk Kunstkritik (DE-588)4033659-1 gnd |
| topic_facet | Polityka i kultura / Polska / 1945-1970 Krytyka sztuki / Polska / 1945-1970 Kunstkritik Polen |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=020799015&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=020799015&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| volume_link | (DE-604)BV037478250 |
| work_keys_str_mv | AT juszkiewiczpiotr odrozkoszyhistoriozofiidogrywnicpolskakrytykaartystycznaczasuodwilzy |