Jedną z prac w Kolekcji MOCAK – u, którą możemy obejrzeć na portalu jest obraz Tomasza Ciecierskiego Paleta malarska. Można na nim zobaczyć barwne plamy podpisane wymyślonymi przez artystę nazwami. Oto kilka z nich. Stwórz nazwy dla tych, które nie mają podpisu. Do dzieła!
The installation consists of a free-standing, enclosed space measuring 3 x 4.5 m entered through an opening on the left in one of its walls. All the walls as well as the floor and the ceiling are white and covered in black letters, which contrast sharply with the background, lit by fluorescent light. The letters have been placed in horizontal and vertical rows so as to result in a regular grid. Many letters have been turned by 90 ̊ in relation to the vertical or horizontal axis. At first glance, the selection of letters may seem random; however, on closer scrutiny, only those letters have been included that are part of the word ”between” in Polish.
Marian Raciborski was a botanist who stayed in Java from 1896 to 1900 at the invitation of the Dutch government to conduct research on ferns and crop plants; he worked in the Botanical Garden in Buitenzorg (the present-day Bogor), where he wrote 31 scientific works.
An “instillation” is the result of the breaking up of a work of art, a process initiated by the 20th century avant-garde. It is created by combining objects—specially made or to hand —with space. In the installation, it is the relationship between elements or methods introduced by the artist and space, which is an essential part of the work, that is most important.
Re-construction means replaying and re-constructing according to the original, which is the right work of art; in this case, it is a hand-made project of the artist. It is the starting point for creating the proper object or installation according to the guidelines precisely defined by the artist.
Concrete poetry combines literature with elements of visual or sound art. Its creators perceive language as a complex whole, where the meaning of words is as important as their typographic layout. It is an experiment in which poetry approaches graphic art, and what we see influences what we understand. A record subordinated to aesthetics enables a new form of experiencing the work. The creation of concrete poetry is combined with the activity of Augusto de Campos in the 1950s. Already, by 1956, the first exhibition of poems—visual compositions—had taken place in Sao Paulo.
Looking up the word “postfeminism” in the sjp.pl (Polish language dictionary), in the column “meaning” we will find the phrase “lack of explanation.” However, this does not mean that other dictionaries are equally neglectful or fearful. The term itself is almost one hundred years old, and it has undoubtedly moved closer to its own definition, although, not everyone is using it freely yet. The period of time when a term is already in use, but it does not fulfill its definition yet, is the most creative time for a given set of problems, because they are not yet a part of the current paradigm, but only a criticism of the one that has faded away, and it is an attempt to change its point of view. The form of such term consists of the fact that it “mixes, but it is not fixed”. This kind of situation usually leaves a lot of space for intellectual or artistic creativity, because the phrases occurring around the given term already have a potential for inspiration, but they still do not have the ability to manipulate our interpretations. Postfeminism is the last stage of the process of freeing a woman from the culture in which she was not considered as a valuable human being.
How were autochromes made? It was a process that consisted in producing colour photographs on glass plates, as diapositives invented on 17 December 1903 by Louis and August Lumière who improved the technology in the following years and launched the mass production of autochrome plates...
The history of the navigator badge dates back to 1918 and the rebirth of the Republic of Poland. As a result of Poland's having recovered its independence, new symbols, official forms and badges had to be designed. This mission was entrusted to artists – industrial designers...
At the end of the Triassic and beginning of the Jurassic carbonate formations were being destroyed and removed from the land. The Middle Jurassic sea entered into the vicinity of Kraków in the Upper Bathonian and lasted till the Kimmeridgian.
Jan Motyka (1924–2005) — krakowski artysta fotograf. W Muzeum Historii Fotografii w Krakowie przechowuje się jego obszerną spuściznę, udokumentowaną katalogami około 200 wystaw w Polsce, dyplomami z konkursów międzynarodowych (Polska, Rumunia, Francja, Wielka Brytania, Hiszpania, USA, Singapur...
Ostatni okres twórczości Tadeusza Kantora — po roku 1986 — jest autopodsumowaniem, które dzieje się na teatralnej scenie, w obrazach i rysunkach, pismach teoretycznych artysty, a także w jego działalności związanej z Cricoteką (potrzeba dokumentowania i zabezpieczania zbiorów). Motyw ten jest...
Jak z mieszczańskich i szlacheckich salonów szafy trafiły pod chłopskie strzechy?
W celi I, największej z cel byłego aresztu gestapo, możemy odczytać przekaz, jaki pozostawił po sobie Czesław Mika. Był on jedną z 79 osób, które straciły swoje życie w ostatniej masowej egzekucji w Krakowie.
The history of Japanese calligraphy dates back to about the 6th century A.D., when the Chinese system of writing was introduced to the islands. Although, at first, the Japanese used the Chinese language in writing, soon they started writing in their own language using the Chinese signs kanji (Jap.), sometimes modifying them. On the basis of the Chinese ideographs, various Japanese forms of syllabic writing evolved that enabled people to write in their own language.
In One hundred views of Mount Fuji, Hokusai brilliantly displayed his virtuosity in drawing and creating an unusually slick and innovative composition by using mere outlines, which were often very delicate, and flat patches of greys of various shades. The artist depicted the elegant and simple shape of Fuji in numerous well-thought-out contexts, taking into consideration all possible points of view: different times of a day (at dawn, sunset, dusk), in various weather conditions (in beautiful weather, stormy weather, bright sunlight and mist), from different sides, both from near and far. The mountain frequently consists of a dominant feature, but in other cases it is reduced to a small patch in the distance and one needs to look closely for it among other details.
Rikō Takahashi is an outstanding Japanese calligraphy artist operating in the Avant-garde style. Thanks to her exceptional creativity and freedom in expressing ideas, she makes works that go beyond common trends, though she does not cut herself off from the rich tradition of Japanese calligraphy. In general, she creates her works with black ink on white paper, as in the case of traditional calligraphy, but she also often uses coloured paints mixed with ink. Along with the austere, two-colour (black and white) aesthetics of calligraphies, it produces a remarkable effect.
Hokusai's life was very active. He moved ninety three times, travelled frequently, was married twice and had a few children. His life's work consists of thirty thousand pictures, as well as illustrations to more than 500 books. He used more than thirty artistic names. He sometimes used one particular name for a year, two years, or even many years. His works are signed with various signatures. It was Hokusai’s achievements that also gave the landscape in woodcuts the status of an independent genre. The originality of his works resulted from his use of perspective, his way of applying lines and the specific combination of colours used. The composition’s theme and components were invariably well thought-out.
In spite of the development of new trends and technologies in this artistic field, the instruments used in calligraphy have hardly changed since the technique was invented. They were, and still are, similar to those that were formerly used by art painters. They used to be called ”the four treasures” or ”the four valuables”. These were: washi − Japanese paper of high quality and high hygroscopicity, made from mulberry paper, brushes (thin and thick − sometimes very thick, as it can be seen in Rikō Takahashi's calligraphy) made of animal hair planted in a bamboo or wooden handle, ink cubes mixed with water on an ongoing basis, a stone used for pounding the ink, and a water dispenser.
The Mechanical cradle is an exhibit from Tadeusz Kantor’s performance, Umarła klasa [The Dead Class]. The premiere took place in the Krzysztofory Gallery in Kraków in November 1975. It comprises a wooden chest on a metal support frame, which resembles a child’s cradle. It was designed to enable the rocking movement of the chest. This movement could be triggered with a pedal, or with an installed electrical engine. Inside the exhibit, there were two wooden balls that caused a hollow rattle when they hit the chest walls during the rocking movement...