Zajęcia w języku angielskim
dla studentów programu Erasmus; studenci IHS mogą w nich uczestniczyć traktując je jako zajęcia problemowo-specjalizacyjne
Old and New Narratives- Art and Communism in East-Central Europe
dr Magdalena Radomska
I semestr, 30 godz.
6 pkt. ECTS
Forma zaliczenia: zaliczenie z notą
The course will be focused on reevaluation of crucial art-historical narratives in East-Central Europe from 1945 until 1989. The aim of the course is to outline new narratives and illustrate new approaches towards art created during communism, such as – art with marxist background, artistic responses to censorship, gender behind Iron Curtain, collaborations, exchanges and networks, new borders and new maps, art and ecology, dynamics of modernism in East-Central Europe, etc. 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. The course will provide students with the knowledge of the key texts on modernism in East- Central Europe, familiarity with history of communism in E-C Europe, detailed knowledge on the oeuvre of most important artists and artistic groups of the region. It 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.
READING LIST
Bartošová, Z. (ed.), Contemporary Slovak Fine Art. 1960-2000. From the First Slovak Investnemt Group’s Collection, Bratislava 2000.
Bazin, J., Glatigny P., Piotrowski, P., Art beyond Borders: Artistic Exchange in Communist Europe (1945-1989), Budapest 2016.
Bosteels, B. The Actuality of Communism, London-New York 2011.
Bryzgel, A., Performance Art in Eastern Europe Since 1960, Chicago 2017.
Fowkes, M., The Green Bloc: Neo-avant-garde Art and Ecology under Socialism, Budapest 2015.
Groys, B., Art Power, Cambridge, MA 2008.
Gržinić, M., Retroavangarde, Wien, 1997.
Kemp-Welsh, K, Networking the Bloc. Experimental Art in Eastern Europe 1965–1981, Manchester 2019.
Pejić, B. (ed.), Gender Check. Femininity and Masculinity in the Art of Eastern Europe, Wien/Cologne 2011.
Piotrowski Piotr, In the Shadow of Yalta Art and the Avant-garde in Eastern Europe 1945-1989, London 2009.
Šuvaković, M., Impossible Histories: Historic Avant-Gardes, Neo-Avant-Gardes and Post-Avant Gardes in Yugoslavia, 1918-1991, Cambridge 2003.
Queer Art, Ideas & Politics: Central and Eastern Europea Perspectives
prof. UAM dr hab. Paweł Leszkowicz
II semestr, 30 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 in the region.
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 and human rights. 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
Seminar attendance and the reading of assigned texts are compulsory. Seminars will be organized around discussion about reading from the syllabus and around individual students’ presentations of selected topics. On a rotating basis, each student will give a couple of brief presentations that should include visual material. The classes are intended to foster lively discussion, dialogic exchange and mutual learning. Toward the end of the semester each student will deliver a longer talk on their research for the final paper. Erasmus students who want to get credits for a seminar will need to write a short essay, and the Polish students who want to get credits for a facultative course will have to prepare in class presentations. Therefore the ability to critically understand and summarize academic and journalistic texts is necessary, as well as the skills of in class presentations and academic writing.
Bibliography
Anthonissen, Anton, and Straaten Evert van, Queer!? Visual Arts in Europe 1969-2019 (Amsterdam: Waanders Uitgevers, 2019).
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)
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)
Szulc Lukasz, Queer in Poland. Under Construction, in: Lisa Downing (ed.) Queer in Europe. Contemporary Case Studies (Ashgate Publishinh, 2012)
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 in Post-communist Europe
dr Magdalena Radomska
II semester, 30 godz.
6 pkt. ECTS
The course will be focused on the artistic response to crucial political events in Post-communist 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 main entries to post-communism and the artists’ reaction to the Fall of the Berlin Wall, following classes will problematize art in transition, 1990s and its narratives (War in the former Yugoslavia, critical art in Poland, technological progress, performance art in Russia, etc.), artistic responses to nationalism(s), post-communist art and art with marxist background, art and criticism of capitalism and problem of art workers and labour, It will also discuss the problem of new changing geography and geopolitics – new borders and new maps, main institutions of contemporary art in C-E Europe and most essential curatorial gestures and exhibitions in the region. The course will provide students with both the knowledge of oeuvres of most important artists and artistic groups of the region and of its art history – key art historians and thinkers on art after 1989. It 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.
READING LIST
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.
Groys, B., Communist Postcript, London 2010.
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 2011.
Piotrowski, P., Art and Democracy in Post-Communist Europe, London 2012.
Piotrowski Piotr, In the Shadow of Yalta Art and the Avant-garde in Eastern Europe 1945-1989, London 2009.
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.
Art, Visual Culture and Civil Rights in the USA
dr Filip Lipiński
II semester, 30 godz.
6 pkt. ECTS
The course will focus on the analysis of responses in art and visual culture to the events in the 1960s and 1970s in the era of Civil Rights movements in the USA. Students will get familiar with main historical, political and cultural issues in the period under discussion and in this context we will discuss a variety of visual phenomena (artworks, posters, films) which were a platform of protest, emancipation and struggle for the rights of different social groups: African-Americans, Native-Americans, women, gays etc. We will also look at contemporary examples of artworks that continue the issues started in 1960s and 1970s.The overall aim of the course is to increase students’ awareness of visual language in the given period and the political dimension of art and visual culture in general.
Requirements: Good knowledge of English – ability to read academic texts and actively participate in discussions. General knowledge of history of the US and issues related to art and visual culture are welcome but not indispensable.
Selected literarture:
The reading list presents general, exemplary sources. Specific texts assigned for individual classes will be given during the the course.
- M. Berger, For All the World to See. Visual Culture and the Struggle for Civil Rights, New Haven 2010.
- C. Butler, L. G. Mark (eds.), WACK! Art and the Feminist Revolution, New York 2007.
- K. Fitz (ed)., Visual Representations of Native Americans, Heidelberg 2012.
- M. Godfrey, Z. Whitley (eds.), Soul of a Nation. Art in the Age of Black Power, London 2017.
- P. Hills (ed.), Modern Art in the USA. Issues and Controversies of the 20th Century, Upper Saddle River 2001.
- M. Ho (ed.), Artists Respond. American Art and Vietnam War 1965-1975, Princeton 2019.
- A. Jones (ed.), A Companion to Contemporary Art Since 1945, Oxford 2006.
- L. Lippard, Mixed Blessings. New Art in Multicultural America, New York 1990.
- D. Lubin, Shooting Kennedy. JFK and the Culture of Images, Berkeley 2003.
- B. Siegler, Signs of Resistance. A Visual History of Protest in America, New York 2018.