Aneta Grzeszykowska

In the article I put forward the thesis that the specificity of photography lies in its dynamic wandering from one physical carrier to another, and between varied technological platforms. Walter Benjamin emphasized this feature of the medium in the 1930s in his concept reproduction. Contemporary theory of a culture of convergence (by Henry Jenkins), allows to look at the concept that proclaims the ability of a photographic image to wander between the media in a new way. Following the footsteps of Walter Benjamin, Henry Jenkins and Vilém Flusser, I intend to look at media modulations in three areas: artistic creation based on photography (the example of Iranian Film Stills by Aneta Grzeszykowska), object art (in the works by Konrad Kuzyszyn) and in amateur and often anonymous mobile photography practices.

Autorka skupia się na analizie trzech prac wideo Anety Grzeszykowskiej. "Black" (2007), "Ból głowy" (2008) i "Bolimorfia" (2008-2010) analizowane są w kontekście sposobów reprezentacji kobiecego ciała w historii sztuki, a także na tle pozostałych prac artystki. Grzeszykowska ujawnia i tematyzuje sposoby ujmowania w ramy, niejako wykorzystując dotychczasowe metody przedstawiania kobiecego ciała w pracach artystek określanych jako feministyczne. Ważnymi kategoriami analitycznymi są w artykule tło i rama, które stanowią podstawowe mechanizmy prezentowania przedstawienia. To one nadają widoczność ciału i określają również jego granice / The author focuses on the analysis of three video works of Aneta Grzeszykowska. "Black" (2007), "Headache" (2008) and "Bolimorfia" (2008-2010) are analysed in the context of different ways of representing the female body in the history of art, but also taking into the account other works of the artist. The artist reveals the ways of showing female body and classifies them into a framework, using existing methods of presenting the female body in the work of feminist artists. Background and frame are important analytical categories in the article, as they are the basic mechanisms of presenting the spectacle. They make the body visible but also define its boundaries.