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.
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.
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.
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.
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.
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.
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...
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...
Józsefváros, the Budapest district no. 8 still carries the marks of having been bombed during World War II and the Hungarian Uprising of 1956. The buildings which are no longer there are conspicuous for their absence. For Nemes, these void spaces are more authentic than the buildings which are there, because their appearance has not changed in half a century. The levitating residents are a metaphor for all his compatriots – distrustful, introverted, alienated.
Visualization of the Spiritual State. It is difficult to convey depression because of the lack of words, and the available expressions are banal to the point of ennui. A painting turns out to be a more capacious and sensitive medium than words or poetry. The “black secretion of the soul” is poured over a reclining figure.
Template texts contrast with simple, geometric forms. Apparently banal statements, with ironically erotic undertones, are an invitation to attempt their in-depth analysis so as to expose the social and cultural contexts.
One of Lutyński’s works using the motif of a nest and an egg – a symbol of birth, of new life, a beginning and a sense of security. A witty attempt to combine usucaption and brooding.
This work was first presented at the office of “Gazeta Wyborcza” in Lublin, and a disused reception office was used for this purpose. Apart from paraphernalia typical of the time of the People’s Republic, the interior also contains some props that look like personal belongings of the staff working on the reception desk.
The work is an accurate replica of Yasser Talal al Zahrani’s prison cell at the American detention camp for terrorist suspects at Guantanamo Bay, Cuba. The Saudi prisoner died in 2006. The official cause of death was given as suicide. However, an examination by an independent pathologist showed traces of repeated beating, which could be indicative of torture. The work can be interpreted as a commentary on the abuse of human rights by imperialist powers, and the individual’s helplessness in the face of such behavior.
A witty and ironic treatment of the colour-cum-symbol means available to painting. The artist plays with the shapes of splashes of colour, approaching colour in a free-flowing style. Sometimes, such splashes mean no more than the colour itself; at other times, they stand for an art trend or an object. Through such a ”naive” colour game, one discovers the rich and diverse idiom of painting.
Tadeusz Łakomski (1911–1988) during the period 1931–1938 studied at the Kraków Academy of Fine Arts under the direction of Fryderyk Pautsch and Wojciech Weiss. He also studied in Paris. He created wall and easel paintings, drawings and book graphics. He also produced caricatures, inter alia, of some the most outstanding artists of his time: Władysław Hasior, Tadeusz Kantor and Jerzy Nowosielski. Initially, his painting was influenced by the dominant colours of the Kraków Academy of Fine Arts. In the 1950s he introduced geometrical motifs and interpenetrating planes.
The author of “Our Lady of Myślenice” is Sebastian Stolarski (1798-1875), a painter known in the region, whose works can be found not only in the “Greek House”, but also during a walk around Myślenice and by visiting nearby churches. His works can be found in the parish church and on Stradom in Myślenice, as well as in churches in Wiśniowa, Zakliczyn, Trzebunia, and Skomielna Biała....
The stove in the “Greek House” in Myślenice comes from the manor in nearby Krzyszkowice, which, from 1926, belonged to Count Konstanty Romer. After his death in 1942, Krzyszkowice was inherited by his daughter Teresa, and she owned it until 1945.