Zajęcia w języku angielskim

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

Art and political conflicts in Central-Eastern Europe
dr Magdalena Radomska
I semestr, 30 godz.
3 pkt. ECTS
Forma zaliczenia: zaliczenie z notą

The course will be focused on the artistic response to crucial political events in Central-Eastern Europe from 1989 until the present day. Both foreign students with diverse backgrounds and Polish students of art history are welcome to join the course and discussion. The aim of the course is to equip students both with the historical and art historical knowledge and the theoretical framework build with critical texts discussing problems in question. Starting with the artists’ reaction to the Fall of the Berlin Wall, following classes will problematize the War in the former Yugoslavia, the reaction to the financial crisis, the Ukrainian Spring, the gender -related issues, ethnic and religious conflicts, but also – the problem of the rise of nationalisms and new post-Cold -War division of Europe. The course will provide students with the knowledge of the crucial exhibitions on the subject and will be enriched by the Skype meetings with both art historians and artists crucial for the topics. I do welcome students with various cultural and educational backgrounds. The course will have a format of a seminar with the crucial role of discussion and short presentations (if chosen by students). The final evaluation will take form of an essay on the chosen subject.

1. Pre-requisites in terms of knowledge, skills and social competences (where relevant)
Good knowledge of English
2. Module learning outcomes in terms of knowledge, skills and social competences and their reference to programme learning outcomes

Reading list (specific chapters/texts for each class will be given at the beginning of the semester):

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

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

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

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

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

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

Gržinić, M., Retroavangarde, Wien, 1997.

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

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

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

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

Piotrowski Piotr, Awangarda w cieniu Jałty. Sztuka w Europie Środkowo-Wschodniej w latach 1945-1989, Poznań: Dom Wydawniczy Rebis, 2005

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.

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

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

Queer Art & Politics: Central and Eastern European Perspectives
dr hab. Paweł Leszkowicz
I i II semestr, 60 godz.
6 pkt. ECTS
Forma zaliczenia: zaliczenie z notą

The aim of this course is to explore contemporary queer art, visual culture and politics in Central and Eastern Europe (CEE). We will examine queer art and LGBTQ activism through the work of individual artists and organizations, selected art projects, visibility campaigns and themed exhibitions. The differing and volatile status of queer rights in many CEE countries demands that we take a comparative approach, especially analysing the challenging situations in Poland and Russia. The legal anti-discriminatory provisions of the EU will also be covered to create a background for the LGBTQ debates, struggles, conflicts and creative expressions.

The course focuses on the period after 1989, following the difficult transition to democracy in Central and Eastern Europe. However we will also consider some historical aspects of sexual and artistic regulations under Communism. While examining the histories, politics and aesthetics of queer rights and art, we will debate the functions of art and visual culture as a platform for LGBTQ identities, as well as an agency for democracy.
The course combines the contemporary Eastern European history of sexuality and art, concentrating on questions of freedom of expression, human rights, the representation of desire and love, censorship and repression, and the intersection of culture and the politics of emancipation. It has an interdisciplinary character, drawing on research in art history, cultural studies, European studies, history, political philosophy, sociology and law, and is designed for students from all these disciplines.
At the end of the course a successful student will be able to: Understand the concept of queer art and identities.
Demonstrate a grasp of the contemporary situation of LGBTQ art and rights in Eastern Europe.
Interpret visual and artistic representations through their cultural context, political dimension and aesthetic.
Compare and contrast the representations and status of LGBTQ rights and experiences in different national and cultural contexts in Europe.
Critically discuss, interpret and assess the social and political effects of queer art and visual culture.
Submit a cogent, independently researched essay or presentation that demonstrates a successful grasp of academic and critical debates around the course material. Students will develop a topic of their own in consultation with the tutor.
Attendance is compulsory. The seminars will be organised around students’ presentations of assigned topics and readings. The classes are intended to foster lively discussion, dialogic exchange and mutual learning. Erasmus students who want to get credits for a seminar will need to write an essay, and the Polish students who want to get credits for a facultative course will have to prepare a presentation.


Beger, Nico J., Tensions in the Struggle for Sexual Minority Rights in Europe. Que(e)rying Political Practices (Manchester and New York: Manchester University Press, 2004)

Cooper, Emmanuel, The Sexual Perspective. Homosexuality and Art in the Last 100 Years in the West (London, New York: Routledge, 1994)

Dziewanska Marta, Degot Ekaterina, Budraitskis Ilya (ed.), Post-Post-Soviet? Art, Politics & Society in Russia at the Turn of the Decade (Warsaw Museum of Modern Art, 2013)

Essing Laurie, Queer in Russia: A Story of Sex, Self, and the Other, (Duke University Press Books 1999)

Horne, Peter and Lewis Reina (ed.), Outlooks. Lesbian and Gay Sexualities and Visual Cultures (London, New York: Routledge,1996)

Karlinsky Simon, “Russia’s Gay Literature and Culture: The Impact of the October Revolution”, in: Hidden From History: Reclaiming the Gay and Lesbian Past (New York: Penguin, 1990).

Kitliński, Tomasz, Dream? Democracy! A Philosophy of Horror, Hope & Hospitality in Art & Action, (Lublin: Maria Curie-Skłodowska University Press 2014)

Kulpa, Robert and Joanna Mizielinska (ed.), De-Centring Western Sexualities Central and Eastern European Perspectives (London: Ashgate, 2011)

Kuhar, Roman and Takacs, Judit (ed.), Beyond the Pink Curtain. Everyday Life of LGBT People in Eastern Europe (Ljubljana: Peace Institute, 2007)

Leszkowicz, Pawel, Ars Homo Erotica, exhibition catalogue Warsaw’s National Museum (Warsaw: National Museum 2010)

Leszkowicz, Pawel, Art Pride. Gay Art from Poland (Warsaw:, 2010)

Leszkowicz, Pawel, Love is Love. Art as LGBTQ Activism –from Britain to Belarus ( Lublin: Labirynt Gallery, 2011)

Nussbaum, Martha C., Sex and Social Justice, (Oxford: Oxford University Press, 2000)

Nussbaum, Martha C., From Disgust to Humanity. Sexual Orientation and Constitutional Law, (Oxford: Oxford University Press, 2000)

Pejic, Bojana (ed.) , Gender Check: A Reader. Art and Theory in Eastern Europe (Cologne: Verlag der Buchhandlung Walther Konig, 2011)

Pejic, Bojana (ed.), Gender Check. Feminity and Masculinity in the Art of Eastern Europe: A Catalogue, exhibition catalogue MUMOK Vienna (Cologne: Verlag der Buchhandlung Walther Konig, 2009)

Reed, Christopher, Art and Homosexuality. A History of Ideas ( Oxford: Oxford University Press, 2011), pp. 1-9.

Summers, Claude J. (ed.), The Queer Encyclopedia of the Visual Arts (Berkeley: Cleis Press, 2004)

Tin, Louis-Georges (ed.) The Dictionary of Homophobia: A Global History of Gay & Lesbian Experience (Vancouver:Arsenal Pulp Press, 2008)

Tuller David, Cracks in the Iron Closet: Travels in Gay and Lesbian Russia, (Chicago, University of Chicago Press, 1996)

Art on screen [SYLABUS]
dr Filip Lipiński
II semester, 30 godz.
3 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 – mediation of art by means of cinematic apparatus and – to a lesser extent – the use of film in contemporary artistic practices. It will provide students with basic theoretical knowledge concerning the medium of film and notions enabling students to account for different forms of representing art on screen. We will watch and discuss art biopics and documentaries representing artists at work and works of art. 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 as well as documentaries on 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.

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

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

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

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

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

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

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;

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

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