Please use this identifier to cite or link to this item:https://hdl.handle.net/20.500.12259/33634
Full metadata record
DC FieldValueLanguage
dc.contributor.authorKowalczyk, Izabela
dc.date.accessioned2017-01-31T07:42:34Z
dc.date.available2017-01-31T07:42:34Z
dc.date.issued2007
dc.identifier.issn1822-4547
dc.identifier.urihttps://eltalpykla.vdu.lt/1/33634
dc.identifier.urihttps://hdl.handle.net/20.500.12259/33634-
dc.description.abstractAn exhibition entitled Love and Democracy was organised by Paweł Leszkowicz for the private Grażyna Kulczyk Gallery in Poznań in 2005. A larger versijon of it was shown at the Centre for Contemporary Art in Gdańsk in 2006. The curator gathered together various works related to the title. These included individual voices on different kinds of sexuality, love, and desire (e.g., Katarzyna Korzeniecka). Some of the artworks presented a play and change of identity (Maciej Osika). Others, more related to social and political problems, included the aforementioned photos in the Let us see exhibition, and Aleksandra Polisiewicz’s film The Re-animation of Democracy – The March of Equality Moves On, 2005 [fig. 6], which documents a rally in Warsaw supporting the banned Equality March that was brutally suppressed on November 19, 2005 in Poznań. Thus the exhibition also collected some of the earlier strategies, i.e. exploring the issue of Otherness, becoming familiar with Otherness, and destruction of identity. Within the context of this exhibition, the Other stops being an Other, and starts to be one of many of us. The exhibition showed a pluralistic vision of different existing sexualities and identities. Paweł Leszkowicz described it as “plural love stories, multiple sexual narratives, various images of femininity and masculinity”.7 In this way, the exhibition presented a new kind of social order, with a place for Others and for different kinds of desire. According to this point of view, democracy is applied as it should be: “to guarantee the peace and security of all citizens in a multi-sexual society, and to control aggression and violence”.8 This project wasn’t, however, shown in a public space. It appeared in the fairly safe space of the Gallery, and proposed a kind of “impossible Paradise” – a Utopian vision within the context of Polish reality. Again, the earlier strategies – to examine democracy, to move the borders of identities which strictly define our social order, to change the field of visibility from a monolithic to a diverse one – are important. Art for Tolerance is important in the context of a weak Polish democracy. According to Pomian, in a social order, the elimination of differences leads to an atrophy of public life, and is one of the most serious threats facing democracy.9 It is also a great threat for the arts. In his Dekada (The Decade), Piotr Piotrowski recalled a statement by Josif Brodsky: “The non-reading of poetry leads a society to an appalling level of speech skills that makes it easy prey for demagogues and tyrants”.9 If applied to contemporary art in Poland – to the existing attempts to block it, to the covert censorship of Art for Tolerance – these words take on a disturbing new meaning.en_US
dc.description.abstractMenas už toleranciją siekia atkreipti visuomenės dėmesį į įvairių mažumų marginalizaciją ir į poreikį priešintis šiai diskriminacijai. Lenkijoje yra vykę įvairių socialinių ir meninių akcijų, tokių kaip Kampanijos prieš homofobiją organizuota akcija Let us see (Leiskite pamatyti) ir Laisvės fondo projektas Tiszert for Freedom (Marškinėliai už laisvę); esama kritinio meno, kuris atkreipia dėmesį į Kito tolerancijos ir panašias problemas. Tokių akcijų ir tokio meno suvokimas ir eksponavimas yra problemiškas – jis net susiduria su tam tikra neinstitucine cenzūra. Žmonės ir grupės, susijusios su dešiniosiomis partijomis ir radikaliuoju katalikų bažnyčios sparnu (pavyzdžiui, Radio Maryja), siekia uždrausti rodyti tokį meną, todėl daug parodų buvo uždaryta ar atšaukta. Šiuolaikinis menas dažnai suvokiamas kaip skandalingas ir „laužantis“ nacionalines ir krikščioniškas vertybes. Vis dar tebevyksta Dorotos Nieznalskos procesas – ji apkaltinta tuo, kad savo kūriniu Aistra (2001) įžeidė religinius jausmus. Tokia situacija grėsminga ir menininkams, ir žiūrovams. Ji skatina apmąstyti Lenkijos demokratijos situaciją. Anot Krzysztofo Pomiano, šiuolaikinis menas ir, beje, ne tik menas, ragina mus suvokti faktą, kad demokratija reikalauja grupių, politikos, idėjų, religijų ir kt. įvairovės, ir kad demokratijai reikia diskusijų.lt_LT
dc.language.isoenen_US
dc.relation.ispartofMeno istorija ir kritika, 2007, nr. 3, p. 175-182lt_LT
dc.rightsSutarties data 2006-10-02, nr. LLTI-00001, laisvai prieinamas internetelt_LT
dc.subjectContemporary art in Polanden_US
dc.subjectTolerancijalt_LT
dc.subjectDemocracyen_US
dc.subjectToleranceen_US
dc.subjectCensorshipen_US
dc.subjectArt for toleranceen_US
dc.subjectMarginalizacijalt_LT
dc.subjectŠiuolaikinis menaslt_LT
dc.subjectHomofobijalt_LT
dc.subjectDemokratijalt_LT
dc.titleStruggle for freedom. Art for tolerance in Polanden_US
dc.title.alternativeKova už laisvę. Menas už toleranciją Lenkijojelt_LT
dc.typeStraipsnis / Article
dc.subject.udc7 Menas / The arts
item.fulltextWith Fulltext-
item.grantfulltextopen-
Appears in Collections:Art History & Criticism / Meno istorija ir kritika 2007, nr. 3
Files in This Item:
Show simple item record
Export via OAI-PMH Interface in XML Formats
Export to Other Non-XML Formats


CORE Recommender

Page view(s)

20
checked on Jun 6, 2021

Download(s)

37
checked on Jun 6, 2021

Google ScholarTM

Check


Items in DSpace are protected by copyright, with all rights reserved, unless otherwise indicated.