Conference Presentations by Joanna Szczepanik
Kultury w ruchu. Migracje, transfery, epistemologie, 2019
W 2015 roku słoweński zespół Laibach koncertował w Korei Północnej uświetniając obchody 70. roczn... more W 2015 roku słoweński zespół Laibach koncertował w Korei Północnej uświetniając obchody 70. rocznicy uzyskania przez ten kraj niepodległości. Wystąpienie to wywołało liczne kontrowersje, gdyż ta postawangardowa formacja powstała w Jugosławii w 1980 roku, stając się jednym z filarów opozycji antykomunistycznej. Przyjęta przez Laibach, a później przez cały kolektyw Neue Slowenische Kunst, prowokacyjna strategia artystyczna nadutożsamienia z systemem, przybrała formę estetyki wizualnie, muzycznie i ideologicznie nawiązującej do totalitaryzmu. Wizyta Laibach w Korei określona przez Slavoja Žižka mianem najbardziej fascynującego wydarzenia kulturalnego, ideologicznego i politycznego XXI wieku, skłania do refleksji na temat zderzenia dwóch porządków i reprezentujących je estetyk: artystycznego i politycznego. To również przyczynek do sytuującej się na pograniczu humanistyki i socjologii sztuki analizy dotyczącej etycznych granic sztuki oraz próba ustosunkowania się do założenia Mortena Traavika, inicjatora koncertu Laibach w Korei, iż sztuka i kultura mogą być narzędziem pojednania, a łagodne przenikanie się wzorców kulturowych działa skuteczniej niż polityczne embargo.
In 2015, the Slovenian group Laibach gave concerts in North Korea to celebrate the 70th anniversary of the country's independence. This performances caused a lot of controversy, as this post-avant-garde formation was established in Yugoslavia in 1980, becoming one of the pillars of the anti-communist opposition. The provocative artistic strategy of over-identification with the system, adopted by Laibach, and later by the entire Neue Slowenische Kunst collective, took the form of aesthetics visually, musically and ideologically referring to totalitarianism. Laibach's visit to Korea, described by Slavoj Žižek as the most fascinating cultural, ideological and political event of the 21st century, prompts reflection on the clash of two orders and the aesthetics that represent them: artistic and political. It is also a contribution to the analysis of the ethical boundaries of art, situated on the border of the humanities and the sociology of art, and an attempt to respond to the assumption of Morten Traavik, the initiator of the Laibach concert in Korea, that art and culture can be a tool of reconciliation, and the smooth interpenetration of cultural patterns works more effectively than political embargo.
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Społeczne konteksty współczesnej aktywności twórczej, 2019
The article deals with the adaptation of post-industrial spaces for artistic and social purposes.... more The article deals with the adaptation of post-industrial spaces for artistic and social purposes. The idea is to create a new city, in which art is a lifestyle. Alfred Kubin’s novel The Other Side and the fictional Dream Realm’s capital city, Pearl, became an inspiration. This attempt to implement the idea of an artistic community in Czechia in the second decade of the 21st century has met with great interest from the international contemporary art community. The article analyses the artistic strategies used, considers the relation between the social and artistic project and answer the questions as to what extent it is possible to implement an idea from an independent art community in neoliberal reality, and what it means for the local area and its inhabitants. The reflection was subjected to the artistic and ideological programme of Nová Perla, press articles and interviews with its initiator, Ivan Mečl. In this analysis, set at the border of the humanities and sociology of art, the concepts of researchers studying the notion of utopia have proved valuable.
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Media, nowe media czy post-media sztuki?, 2019
Artykuł dotyczy dwóch form ewolucji happeningu, które w dobie gwałtownego rozwoju technologii kom... more Artykuł dotyczy dwóch form ewolucji happeningu, które w dobie gwałtownego rozwoju technologii komunikacyjnych zyskały popularność w nowych zastosowaniach. Jedną z nich jest happening polityczny i jego pejoratywna recepcja w dyskursie publicznym, drugą jest flash mob będący sposobem nawiązywania relacji społecznych, odpowiadającym charakterowi współczesności bazującej na zapośredniczeniach technologicznych. W prezentowanym ujęciu szczególnie istotna jest kategoria widowiska. Obie omawiane tu postaci ewolucji happeningu przedstawione są w perspektywie strategii oporu wobec rzeczywistości zdominowanej przez media, której powierzchowna atrakcyjność dominuje nad treścią przekazu. Również obie urzeczywistniają awangardowe założenie przekroczenia granicy pomiędzy sztuką i życiem. Czy jednak tego rodzaju zbliżenie usatysfakcjonowałoby inicjatorów idei awangardy? Publikacja jest efektem III Polskiego Kongresu Estetyki „Media, Nowe media czy post-media sztuki” zorganizowanego przez przez Polskie Towarzystwo Estetyczne oraz Wydział Malarstwa i Nowych Mediów Akademii Sztuki w Szczecinie.
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Books by Joanna Szczepanik
Geografia artystyczna Neue Slowenische Kunst. Wieloaspektowosć i kolektywizm. Wydawnictwo Naukowe Katedra, Gdańsk, 2014
The book is the first in Poland such a comprehensive elaboration of the phenomenon of the artisti... more The book is the first in Poland such a comprehensive elaboration of the phenomenon of the artistic collective Neue Slowenische Kunst and its analysis in the context of new artistic geography. The complex organizational structure and multi-aspectactivities of the collective are an excellent material for cultural studies. Undertaking this subject allows to broaden the knowledge about the cultural realities of the countries of former Eastern Europe, and in particular Slovenia, also in the context of the transformation after 1989. This project details the picture of cultural changes taking place in the above-mentioned area, situating itself on the borderline of such disciplines as: culture studies, art history and cultural anthropology. The introduction contains the characteristics of the geographical space in question and the first part deals with the methodology and substantive basis on which the argument is based. The second part is a discussion of the contexts of the artistic collective's work and its presentation. The third part analyzes selected activities of the collective in the context of the "new artistic geography" in the area of visual works, theater activities and conceptual projects with a clear reference to the category of space. In the summary, an attempt was made to define artistic geography with reference to the Neue Slowenische Kunst, not only in the spatial aspect but also in the temporal aspect, which allows to build a framework, that becomes the main interpretive strategy of the work.
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Papers by Joanna Szczepanik
Acta Universitatis Wratislaviensis, Nov 14, 2023
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DUOS FESTIVAL, 2024
Art is the language that allows human beings to represent in a symbolic form the experience of th... more Art is the language that allows human beings to represent in a symbolic form the experience of their own time. Then, to understand a culture it is necessary to appreciate its art. It is so, also because the aesthetic experience represents the fundamental interaction between individuals and the environment stimulating creative thinking and therefore activating processes for human evolution.
Opening oneself to the other in the common artistic and aesthetic experience helps to find the common ground between different peoples and cultures. For this reason, within the research project focused on Transcultural Perspectives in Art and Art Education (TPAAE) there were realized three paths: research, educational, and artistic– the last of them resulting in the Polish-Kenyan art festival DUOS that took place in the years 2021-2023.
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Sprawy Narodowościowe, Dec 23, 2020
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Sprawy Narodowościowe, Feb 13, 2022
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Sprawy Narodowościowe, 2020
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Sprawy Narodowościowe. Seria nowa
From Space to Transmigration: National Identity in the Mirror of Artistic Culture on the Example ... more From Space to Transmigration: National Identity in the Mirror of Artistic Culture on the Example of Collective Neue Slowenische Kunst Creativity“The end of geography” was postulated two decades ago by Richard O’Brien. This article tries to refer it to the Slovenes, the nation which has had its own state and its own geography only for two decades. The case study of the artist, the ideal transmigrant, as Marta Bucholc would say, gives us the possibility to understand the nature of the contemporary world in the best way. That is why the object of an analysis in this article is the collective Neue Slowenische Kunst, one of the most important cultural and social phenomena of the 1980s in Slovenia.This article presents very briefly the history of the state of Slovenia and the development of culture of this country, especially in the late 1980s and in the 1990s, when very important changes on the map occurred. As a consequence, NSK’s artists decided to detach their projects from space and ...
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Idäntutkimus, Sep 1, 2011
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Prace Kulturoznawcze 27, nr 1|Wrocław 2023, 2023
Czy w obrębie polskiego systemu szkolnictwa wyższego sztuka jest nauką? Choć w oficjalnych dokume... more Czy w obrębie polskiego systemu szkolnictwa wyższego sztuka jest nauką? Choć w oficjalnych dokumentach mowa o "poziomie artystycznym prowadzonej działalności naukowej", kluczowa instytucja narodowa promująca badania naukowe nie finansuje działalności artystycznej. Rodzi się zatem pytanie o obecność sztuki i kryteria jej ewaluacji nie tylko w ramach dyscyplin artystycznych, lecz również nauk humanistycznych i społecznych. Mowa tu o praktykach opartych na sztuce (Art Based Research), przekraczających konwencje zarówno sztuki, jak i badań naukowych. Włączenie sztuki w obszar nauki jest bowiem równoznaczne z wyborem sposobu, poprzez który świat ma być opisywany i doświadczany, wpływa na dobór tematów i pytań badawczych. Wzbudzając emocje, kwestionuje dominującą rolę słowa, podważa pozytywistyczną dychotomię fakt-fikcja, racjonalne-emocjonalne. Jednocześnie otwiera się na otoczenie społeczne, dążąc ku generowaniu wiedzy społecznie i politycznie zaangażowanej. Nowe formy przedstawienia wymagają nie tylko wypracowania przez badaczy nowych kompetencji, lecz również ustalenia nowych kryteriów oceny badań naukowych, a być może również redefinicji podstawowych pojęć, takich jak nauka, wiedza czy badanie. Ustalenie i wdrożenie tych kryteriów jest zależne od decyzji państwowego systemu szkolnictwa, od władzy ewaluacyjnej kształtującej również sektor nauki. Słowa-klucze: badania oparte na sztuce (ABR), kryteria ewaluacji, sztuka jako nauka, dydaktyka akademicka, kulturoznawstwo zaangażowane, misja uniwersytetu, hegemonia w szkolnictwie wyższym, dyscyplina sztuki plastyczne i konserwacja dzieł sztuki
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Sprawy Narodowościowe. Seria nowa, 2020
Refugee or "Newcomer". Dispute over the Word: About the Artistic Project "Nowacy&q... more Refugee or "Newcomer". Dispute over the Word: About the Artistic Project "Nowacy" ("Newcomers") by Jana Shostak in the Context of the Construction of Meaning and the Migration CrisisThe artistic diploma project of Jana Shostak, a Polish student from Belarus, assumed the introduction of the word “nowak” (newcomer) into the Polish language as an alternative to the negative term “refugee.” This initiative becomes particularly important in the context of the migration crisis, going beyond the safe sphere of art. The methods of presenting it, both by the artist and by the media, in the form of interviews, press articles and comments on internet forums, were analyzed. The article is an attempt to make a meta-interpretation of this artistic proposal from the perspective of critical cultural studies, emphasizing two main areas: culture as a battlefield and language as a tool of constructing meaning. Methodologically, it is also supported by relativistic linguis...
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Refugee or "Newcomer". Dispute over the Word: About the Artistic Project "Nowacy&q... more Refugee or "Newcomer". Dispute over the Word: About the Artistic Project "Nowacy" ("Newcomers") by Jana Shostak in the Context of the Construction of Meaning and the Migration Crisis The artistic diploma project of Jana Shostak, a Polish student from Belarus, assumed the introduction of the word “nowak” (newcomer) into the Polish language as an alternative to the negative term “refugee.” This initiative becomes particularly important in the context of the migration crisis, going beyond the safe sphere of art. The methods of presenting it, both by the artist and by the media, in the form of interviews, press articles and comments on internet forums, were analyzed. The article is an attempt to make a meta-interpretation of this artistic proposal from the perspective of critical cultural studies, emphasizing two main areas: culture as a battlefield and language as a tool of constructing meaning. Methodologically, it is also supported by relativistic lingui...
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Magazyn Sztuki, 2019
Wywiad jest nieznacznie skróconą wersją rozmowy pierwotnie opublikowanej w Magazynie Sztuki (nr 2... more Wywiad jest nieznacznie skróconą wersją rozmowy pierwotnie opublikowanej w Magazynie Sztuki (nr 2/01/2012).
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Idäntutkimus. The Finnish Review of East European Studies, 2011
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Szum, 2019
The article analyzes selected works of Zygmunt Rytka (1947-2018), Polish intermedia artist of con... more The article analyzes selected works of Zygmunt Rytka (1947-2018), Polish intermedia artist of conceptual origin, the author of photographs, films, objects and installations. The text was created for the circumstances of the exhibition prepared at the Contemporary Art Gallery ms44 in Świnoujście in 2019.
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Magazyn Sztuki, 2012
Taking the artistic strategy of the Slovenian collective Neue Slowenische Kunst as a starting poi... more Taking the artistic strategy of the Slovenian collective Neue Slowenische Kunst as a starting point, the article is a reflection on contemporary art activities in recent decades using strategies of identification and over-identification.
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Magazyn Sztuki, 2013
Review of the third edition of the "Konteksty" Ephemeral Art Festival (2013), organized by the In... more Review of the third edition of the "Konteksty" Ephemeral Art Festival (2013), organized by the In Situ Foundation, which conducts a number of cultural and educational projects in the field of contemporary art.
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Magazyn Sztuki , 2013
Recalling the question asked in 1988 by Gayatri Spivak, "can the periphery speak?", the article p... more Recalling the question asked in 1988 by Gayatri Spivak, "can the periphery speak?", the article presents the main Slovenian institution devoted to contemporary art, the Moderna gallery. It is also the first institution in Europe that began the systematic collection of works of East European artists and the first which undertook to "rewrite" the history of post-war art, in accordance with the imperative of the history of art defined by prof. Piotr Piotrowski as "horizontal".
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Conference Presentations by Joanna Szczepanik
In 2015, the Slovenian group Laibach gave concerts in North Korea to celebrate the 70th anniversary of the country's independence. This performances caused a lot of controversy, as this post-avant-garde formation was established in Yugoslavia in 1980, becoming one of the pillars of the anti-communist opposition. The provocative artistic strategy of over-identification with the system, adopted by Laibach, and later by the entire Neue Slowenische Kunst collective, took the form of aesthetics visually, musically and ideologically referring to totalitarianism. Laibach's visit to Korea, described by Slavoj Žižek as the most fascinating cultural, ideological and political event of the 21st century, prompts reflection on the clash of two orders and the aesthetics that represent them: artistic and political. It is also a contribution to the analysis of the ethical boundaries of art, situated on the border of the humanities and the sociology of art, and an attempt to respond to the assumption of Morten Traavik, the initiator of the Laibach concert in Korea, that art and culture can be a tool of reconciliation, and the smooth interpenetration of cultural patterns works more effectively than political embargo.
Books by Joanna Szczepanik
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Papers by Joanna Szczepanik
Opening oneself to the other in the common artistic and aesthetic experience helps to find the common ground between different peoples and cultures. For this reason, within the research project focused on Transcultural Perspectives in Art and Art Education (TPAAE) there were realized three paths: research, educational, and artistic– the last of them resulting in the Polish-Kenyan art festival DUOS that took place in the years 2021-2023.
In 2015, the Slovenian group Laibach gave concerts in North Korea to celebrate the 70th anniversary of the country's independence. This performances caused a lot of controversy, as this post-avant-garde formation was established in Yugoslavia in 1980, becoming one of the pillars of the anti-communist opposition. The provocative artistic strategy of over-identification with the system, adopted by Laibach, and later by the entire Neue Slowenische Kunst collective, took the form of aesthetics visually, musically and ideologically referring to totalitarianism. Laibach's visit to Korea, described by Slavoj Žižek as the most fascinating cultural, ideological and political event of the 21st century, prompts reflection on the clash of two orders and the aesthetics that represent them: artistic and political. It is also a contribution to the analysis of the ethical boundaries of art, situated on the border of the humanities and the sociology of art, and an attempt to respond to the assumption of Morten Traavik, the initiator of the Laibach concert in Korea, that art and culture can be a tool of reconciliation, and the smooth interpenetration of cultural patterns works more effectively than political embargo.
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Opening oneself to the other in the common artistic and aesthetic experience helps to find the common ground between different peoples and cultures. For this reason, within the research project focused on Transcultural Perspectives in Art and Art Education (TPAAE) there were realized three paths: research, educational, and artistic– the last of them resulting in the Polish-Kenyan art festival DUOS that took place in the years 2021-2023.
The article presents very briefly the history of the state of Slovenia and the development of culture of this country, especially in the late 1980s and in the 1990s when very important changes on the map occured. As a consequence, NSK’s artists decided to detach their projects from space and situate them in time, but it was not a gesture of including themselves in the so-called “global trend”. On the contrary, it was very serious proposition of the revision of their national and artistic, Slovenian and Eastern European, identity.
Slavoj Žižek was right that this part of Europe requires a separate study, without automatically entering it into the framework of the ideology of globalization.
The interview is part of a journalistic project implemented as part of a scholarship from the Ministry of Culture and National Heritage.