Zajęcia w języku angielskim

dla studentów programu Erasmus; studenci IHS mogą w nich uczestniczyć traktując je jako zajęcia problemowo-specjalizacyjne

 

Art on screen

dr Filip Lipiński

I semester, 30 godz.

2 pkt. ECTS

Forma zaliczenia: zaliczenie z notą

The course, for both foreign, Erasmus students and Polish students of art history, concerns diverse ways of representing art on screen. Art is an object of mediation and interpretation in cinema, feature and documentary films, video and the so-called „new media”. We will touch upon methodological problems of sucha an intermedial approach, the problem of the object of intepretation, between art history and film studies. Film will be treated here as a kind of a frame for an artwork generating new ways of interpretation. We also discuss the issue of „writing” with a camera – filmic, moving image as a special, due to iconic identity with visual works of art., tool of their interpretation. The object of our discussions will be texts, films and works of art, such as for example Lust for Life by V. Minelli or The Mill and the Cross by L. Majewski, Passion by J.-L. Godard, La Ricotta by P.- P. Pasolini or the recent Shirley. Visions of Reality by Gustav Deutsch. We will also watch and analyze documentary films on art by Pablo Picasso, Jackson Pollock or Henryk Stażewski.

The course will have a format of a seminar with multimedia presentation and set texts for each class. The specific form of final evaluation will depend on the status of the student (Erasmus students who want to get credits for a seminar will need to write a longer essay, for Polish students who want to get credits for a facultative course the essay will take a shorter form). Moreover an element of evaluation will be active participation in the class.

  1. Carlo Ludovico Ragghianti and the Cinematic Nature of Vision, Milano 2000.

  2. A. Dalle Vacche (ed.), The Visual Turn. Classical Film Theory and Art History, New Brunswick, NJ-London, 2003.

  3. A. Dalle Vacche (ed.), Cinema and Painting. How Art Is Used in Film, Austin 1996.

  4. A. Dalle Vacche, (ed.), Film, Art, New Media: Museum Without Walls?, New York 2012.

  5. S. Felleman, Art in the Cinematic Imagination, Austin 2006.

  6. P. Hayward, Picture This. Media Representations of Visual Art and Artists, Luton 1998.]

  7. A. Hollander, Moving Pictures, New York 1989.

  8. S. Jacobs, Framing Pictures. Film and the Visual Arts, Edinburgh 2011.

  9. R. Krauss, The Perpetual Inventory, Cambridge, MA 2010.

  10. M. Natali, “The Sublime Excess of the American Landscape : Dances with Wolves and Sunchaser as Healing Landscapes”, Cinémas : revue d’études cinématographiques/Cinémas: Journal of Film Studies, 12, 2001, 1, p. 105-125;

  11. B. Peucker, Incorporating Images. Film and the Rival Arts, Princeton 1995.

  12. L. M. Sager Eidt. Writing and Filming the Painting. Ekphrasis in Literature and Film, Amsterdam and New York 2008

Final assessment based on attendance, in-class presentation and a written essay

Syllabus

Art in Central-Eastern Europe after 1989

dr Magdalena Radomska

II semestr, 30 godz.

2 pkt. ECTS

Forma zaliczenia: zaliczenie z notą

The seminar/lecture will focus on art in Central-Eastern Europe after the fall of Communism, problematizing the notion of transformation in the changing geographical and socio-political context in works of art created by artists of Post-Communist Europe. The purpose of the class is to reveal the complex status (different in various countries) of the art of the nineties in Central-Eastern Europe and the presence and visual representations of memory of the communist regime. The seminar/lecture aims at both the systematic and problematic analysis of the subject focused on different visual aspects of the concept of transformation from socialism towards capitalism, from communism towards democracy and from the totalitarian regime towards civic society. The purpose of the class is to equip participants with the knowledge concerning both artistic practices in countries such as Poland, Czech Republic, Slovakia, Hungary, Bulgaria, Romania, Serbia, Croatia, Slovenia, Ukraine, Russia, etc. and critical texts of art historians and critics, whose texts are crucial for the subject – such as Piotr Piotrowski, Boris Groys, Inke Arns, Igor Zabel, Susan Buck-Morss, Ješa Denegri, Ekaterina Degot, Igor Zabel, Marina Gržinić, Miško Šuvaković, Caterina Preda, Edit András, Maja and Reuben Fowkes. Students with different backgrounds and provenances are welcome to focus on the chosen subject related to their backgrounds (in case of students from the Central-Eastern Europe) or interests (in case of students from Western Europe, Asia, etc.). Polish students of art history are very welcome to join the class!

Chosen literature on the subject matter:

Wybrana literatura przedmiotowa:

1. András, E. (ed.), Video Art from Central and Eastern Europe 1989-2008, Budapest 2009.

2. András, E., Kulturális átöltözés. Művészet a szocializmus romjain.  [Cultural Cross-dressing: Art on the ruins of Socialism] Argumentum, Budapest, 2008.

3. Artel, R., Triisberg, A. (ed.), Public Preparation, Tallin 2007.

4. Arns, I., IRWIN, Retroprincip 1983-2003, Frankfurt am Main, 2003

5. Astahovska, I. (ed.), Nineties. Contemporary Art in Latvia, Riga 2010.

6. Bartošová, Z. (ed.), Contemporary Slovak Fine Art. 1960-2000. From the First Slovak Investnemt Group’s Collection, Bratislava 2000.

7. Bencsik, B (ed.), Nagy Kriszta x-T. Eddig, Budapest 2007.

8. Bosteels, B. The Actuality of Communism, London-New York 2011.

9. Buck-Morse, S. Dreamworld and Catastrophe. The Passing of Mass Utopia in East and West, Cambridge, MA 2000.

10. Buden B., Strefa przejścia, Warszawa 2012.

11. Chałubiński, M. (ed.), Transformacje systemowe w Polsce i w krajach postkomunistycznych, Pułtusk 2008.

Cramer, S., the Horse, who Sings – Radical Art from Croatia, Sydney, 1993

12. Eliot, D., Pejić, B., After the Wall: Art and culture in post-communist Europe, Stokholm 1999.

Erjavec, A., Postmodernism and the Postsocialist Condition: Politicized Art under Late Socialism, Berkeley 2003.

13. Fowkes, M., R., Loophole to Happiness, Translocal.org, 2011.

14. Groys, B., Art Power, Cambridge, MA 2008.

Gržinić, M., Retroavangarde, Wien, 1997.

Gržinić, M., Fiction reconstructed:Eastern Europe, post-socialism&the retro-avant-garde, Wien 2000.

15. Hegyi, L., Aspects/Positions. 50 Years of Art in Central Europe, 1949-1999, Wien 1999.

16. Helme, S., Saar, J. (ed.), Nosy Nineties. Problems, Themes and Meanings in Estonian Art. on 1990s, Tallin 2001.

17. Holmes, L., Post-communism: an Introduction, Durham 1997.

18. Irwin (ed.), East Art Map. Contemporary Art and Eastern Europe, London 2006.

19. Kopeczky, R (ed.), Braco Dimitrijević. Louvre is My Studio, Street is My Museum, Budapest 2008.

Krizic Roban, S., 63 Meter Schmetz, 63 Meters of Pain, Graz 2006.

20. Laansoo, K. (ed.), 22+. Noorde Eesti Kunstnikud / Young Estonian Artists, Tallin 2005.

Macel, Ch., Promises of the Past: A Discontinuous History of Art in Former Eastern Europe, Paris 2010.

21. Mandelbaum, M. (red.), Postcommunism. Four Perspectives, New York 1996.

Maračić, A., Druga strana patosa, Vjesnik, Zagreb 1990.

22. Milovac, T. (ed.), Sustavkoordinata systemofcoordinates. Ruska umjetnost danas / Russian Art Today, Zagreb 2004.

23. Milovac, T. The Misfits. Conceptualist Strategies in Croatian Contemporary Art, Zagreb 2002.

24. Milovac, T., Stipančić, B. (ed.), The Baltic Times. Contemporary Art from Estonia, Latvia and Lithuania, Zagreb 2001.

25. Nasui, C., Starea de Spirit, Colorand Griul, Bucuresti 2011.

Nikitović, S., Mladen Stilinović, zagreb, 1998

26. Niculescu, A., Bojenoiu (ed.), Romanian Cultural Resolution. Contemporary Romanian Art, Ostfilden 2011.

27. Ostojić, T. Strategies of Success. 2001-2003, Belgrade 2004.

28. Pejić, B. (ed.), Gender Check. Femininity and Masculinity in the Art of Eastern Europe, Wien/Cologne 2009.

29. Piotrowski, P., Agorafilia. Sztuka i demokracja w postkomunistycznej Europie, Poznań 2010.

30. Scribner, Ch., Requiem for Communism, Cambridge, MA, 2003.

31. Ševčík, J. (ed.), Between the First and Second Modernity, Praha 2011.

32. Sîrbu, A. (ed.), Genealogies of Post-Communism, Cluj 2009.

33. Stilinović, M., Exploatation of the Dead, Zagreb 2007.

34. Sturcz, J., The Deconstruction of the Heroic Ego: The Artist’s Body as Metaphor in Hungarian Art from the Mid-80’s to the Present, Budapest 1999

Šuvaković, M., Impossible Histories: Historic Avant-Gardes, Neo-Avant-Gardes and Post-Avant Gardes in Yugoslavia, 1918-1991, Cambridge 2003.

35. Trossek, A (ed.), Eesti kunstnikud. Artists of Estonia, Tallin 2007.

36. Trossek, A. (ed.), Liina Siib. A Woman Takes a Little Space, 54th International Art Exhibition – La Biennale di Venezia, Tallin 2011.

37. Vild B. (et al.), On Normality. Art in Serbia 1989-2001, Belgrade 2001.

38. Watkins, J. (ed.), Nedko Solakov. All in Order, with Exceptions, Ostfildern/Porto 2011.

Studia z historii sztuki są poświęcone jej dziejom od czasów starożytnych do dnia dzisiejszego na obszarze Europy, basenu Morza Śródziemnego w przypadku sztuki starożytnej oraz terytorium Stanów Zjednoczonych w odniesieniu do sztuki nowoczesnej. Obejmują różnorakie obiekty architektury, urbanistyki, rzeźby, malarstwa, grafiki, rzemiosła artystycznego oraz nowych mediów, oferując tak zróżnicowaną tematykę, jak i wielość perspektyw, w jakich można rozpatrywać dzieła sztuki.