Zajęcia w języku angielskim

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

Video Art in Central-Eastern Europe

dr Magdalena Radomska

I semestr, 30 godz.

3 pkt. ECTS

Forma zaliczenia: zaliczenie z notą

The seminar/lecture will focus on a presentation of video art in the region, mostly after 1989 in socio-political context. The purpose of the class is to equip participants in analytical tools enabling analysis of the gathered material. Works discussed and collected in  book Transitland. Video Art from Central and Eastern Europe 1989-2008 edited by Edit András, that offers systematic and problematic overview of video art created after the fall of communism, will be the essential starting point for the class, but we are also going to discuss most recent events such as this year’s showFlashback. Ukrainian Media Art of the 1990s in Kiev’s Arsenale.

The purpose of the class is to equip participants with the knowledge concerning both contemporary artistic practices in countries such as Poland, Czech Republic, Slovakia,  Hungary, Bulgaria, Romania, Serbia, Croatia, Slovenia, Ukraine, Russia, etc., its context framed by the Soviet montage theory and role of Soros CenterS for Contemporary Arts in Central-Eastern Europe as well as and critical texts of art historians and critics, whose texts are crucial for the subject – such as Marina Gržinić, Edit András, Zoran Erić or Miklós Peternák.   

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:

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

Geusa A., History of Russian Video Art. Volumes 1, 2, 3, Moscow 2007.

Gržinić M., New-Media Technology, Science and Politics, Lublana 2008.

Myer, C., Critical Cinema: Beyond Theory of Practice, London, New York, 2011.

Soloviov O., Savchuk S. [eds.], Flashback. Ukrainian Media Art of the 1990s, Kiev 2018

Trossek A, Näripea E. [eds.],  Via Transversa: Lost Cinema of the Former Eastern Bloc, Tallinn 2008.

 

Queer  Art & Politics: Central and Eastern  European  Perspectives 

 

dr hab. Paweł Leszkowicz

I semestr, 60 godz.

6 pkt. ECTS

Forma zaliczenia: zaliczenie z notą

The aim of this course is to explore contemporary queer art, ideas, visual culture and politics in  Central and Eastern Europe (CEE). We will examine  queer art and LGBTQ history and  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. Moreover CEE queer culture would be put in an international context of art, politics and history concerning LGBTQ identities. While examining the histories, politics and aesthetics of queer rights, theory  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.

Requirements

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.  

Bibliography 

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)

Fejes Narcisz, Balogh Andrea (eds), Queer Visibility in Post-socialist Cultures, (Bristol, Chicago, Intellect, 2013)

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: Abiekt.pl, 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)

Websites

http://www.artmargins.com/

http://www.glbtq.com/

http://www.ilga-europe.org/


Art on screen

dr Filip Lipiński

I semester, 30 godz.

3 pkt. ECTS

Forma zaliczenia: zaliczenie z notą

The course is devoted both to foreign, Erasmus students and Polish students of art history.  The aim of the course is to discuss the problem of  the functioning of art on screen, i.e. mediated and thus interpreted 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 the credit for a seminar will need to write an essay/and or give a presentation. Moreover an element of evaluation will be active participation in the class.

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

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.

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

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

A. Hollander, Moving Pictures, New York 1989.

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.

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

 

Issues in Global Art Now: Practice, Curating and Reception 

dr hab. Paweł Leszkowicz

II semester, 30 godz.

3 pkt. ECTS

Forma zaliczenia: zaliczenie z notą

The purpose of this course is to explore current issues in contemporary art, museological practice and art exhibitions on an international scale. We will discuss individual artists and art shows, major art institutions and debates in the art world which are happening now in numerous national and geographic contexts. The focus would be on the art of today and a few recent years which would allow us to understand the present landscape of international art and its relation to recent existential, cultural, political and economic forces which define our world. The artistic and curatorial practice of the moment would be placed in a broader theoretical context of art history, critical and visual theory. Thus, the student would study both the social and theoretical ramification of currently debated issues in art. The course would cover not only contemporary art, but also the way historical art is displayed and discussed by art museum and the media. We will concentrate on current exhibitions by major global art museums, contemporary art centres, biennials and galleries. Furthermore the way contemporary media, social media, journalism, art criticism, curatorial and academic discourse conceptualises art and musicological  practices will be explored. We will look at how art of today relates to such themes as the crises of democracy, the rise of new authoritarianism,  the global market, the refugee crisis, the state of  civil society, the identity politics in the twenty-first century,  new technology and science. Though the course would cover a global range of art manifestations, some stress would be placed on Europe and Poland — to enable the Erasmus students to understand the situation in the countries of their habitation. The student would be encouraged to study the culture of exhibitions of their own countries and to share the recent developments during the seminar.

Requirements

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. Students will develop a topic of their own research into contemporary art practice in consultation with the tutor. 

Bibliography 

Barker Emma, Contemporary Cultures of Display, Yale University Press, New Haven and London, 1999.

Belting Hans (ed.) Global Studies : Mapping Contemporary Art and Culture,  Hatje Cantz Verlag, Berlin  2011.

Bennigsen, Silvia von (ed.) Global Art, Hatje Cantz Verlag, Berlin 2009.

Buddensieg Andrea, Belting Hans (ed.) The Global Art World. Audiences, Markets, and Museums, Hatje Cantz Verlag, Berlin  2009.

Bydler Charlotte,  The Global Art World, Inc.On the Globalization of Contemporary Art,   Acta Universitatis Upsaliensis, Uppsala 2004.

Documents of Contemporary Art Series, Whitechapel Gallery, London, the MIT Press, Cambridge, Massachusets, 2006-2018.

Gill Perry Gill and Wood Paul (ed.), Themes in Contemporary Art, Yale University Press, New Haven and  London 2004.

Heartney Eleanor, Art & Today, Phaidon Press, London 2013.

Hertz Richard,   Theories of Contemporary Art (2nd Edition), Pearson, 1993.

Hoffmann Jens, Show Time. The 50 Most Influential Exhibitions of Contemporary Art, Thames and Hudson, London 2014.

Kocur Zoya (ed.), Theories in Contemporary Art since 1985, Wiley-Blackwell, Hoboken 2012.

Press Play. Contemporary Artists in Conversation, Phaidon Press, London 2005

Piotrowski Piotr, Art and Democracy in Post-Communist Europe, trans. Anna Brzyski (London:  Reaktion Books, 2012).

Newspapers and web sites: www.calvertjournal.comhttp://www.artsjournal.com/https://www.theartnewspaper.com/ http://www.artmargins.com/https://www.theguardian.com,   http://momus.ca/, https://www.artforum.com/http://www.artnews.com/ https://www.bbc.com/, https://theconversation.comhttps://artlink.com/

 

Art and 1968

dr Magdalena Radomska

II semestr, 30 godz.

3 pkt. ECTS

Forma zaliczenia: zaliczenia z notą

The seminar/lecture will examine the complex status of the year 1968 defined by Alain Badiou as both the „extraordinary strength of (…) the Marxist vocabulary and the idea of revolution” and „the acceptance of the violence”. The collision of the aforementioned perspective and the Cold War order resulted in the creation of diversified and incoherent discourse. In Hungary the vocabulary dictated by the outburst of events in France in May 1968 was used as anti-totalitarian discourse created with the Marxist background and functioned as a tool of criticism of the appropriation of the Marxist vocabulary by the totalitarian regime. Similarly in Moscow 1968 functioned after 1989 as visual revolutionary language, alternative to the language of the communist revolution. Events such as the Warsaw Pact Invasion in Czechoslovakia, Tlatelolco Massacre in the context of 1968 Summer Olimpics in Mexico City, Polish March events including repressions of Polish citizens of Jewish origin, Tet Offensive and the assassination of Martin Luther King Jr. or the 1968 student demonstration in Yugoslavia, provoked numerous interesting artistic responses. The seminar/lecture aims at both the systematic and problematic analysis of the subject focused on different visual aspects of events related to 1968 – from the status of 1968 in the work of artists, towards revolutionary movements that followed the 1968, from counterculture and criticism of capitalism, towards works of artists responding to the financial crisis of 2007/2008 .

Students with different backgrounds and provenances are welcome to focus on the chosen subject related to their backgrounds or interests. Polish students of art history are very welcome to join the class!

Chosen literature on the subject matter:

 Badiou A., The Communist Hypothesis, London, New York 2010.

Elbaum M., Revolution in the Air. Sixties Radicals turn to Lenin, Mao and Che, London 2018 Diefenbach K., Revolution, I Love You: 1968 in Art, Politics and Philosophy, Manchester 2008. Heath Joseph, Potter Andrew, Bunt na sprzedaż. Dlaczego kultury nie da się zagłuszyć?, Warszawa 2010.

Keiser Charles, 1968 in America: Music, Politics, Chaos, Counterculture, and the Shaping of a Generation, New York 1988. 

Klein Naomi, No Logo, Izabelin 2004.

Lerner Adam, West of Center: Art and the Counterculture Experiment in America, 1965-1977, Denver 2012.

Roszak Theodore, Making of a Couter Culture: Reflection on the Technocratic Society and Its Youthful Opposition, Berkeley 1995.

Shove Gary, Untitled.: Street Art in the Counter Culture, London 2006.

Svingrover Elisabeth,  The Counterculture Reader, London 2003.