The presence of art in historic representative buildings is widespread and common. It is not surprising, therefore, that it is a frequent tool used in the transformation processes of these structures. A surprise, however, may be a situation where, instead of the art from the period of the creation of a given monument, the contemporary, multimedia or engaging the viewer cultural activities occur. Therefore, the key questions are the role of such forms of intervention in the historical representative interiors and the possibility of co-existing old and new. It is not without significance for objects under conservator’s protection that there are special requirements that the intervention must fulfill to be installed. The subject of considerations in this work are case studies of the application of contemporary multimedia art in the representative spaces of historical objects. The purpose of the article is to examine types of such artistic interventions resulting from the relationship between a work of art and exhibition space and their mutual influence.
During the first fourteen years of transformation, 1989-2003, according to surveys by the author of the paper hereby, there have been erected in Kraków the twelve new churches. Author already published the result of survey depending the first six of therm. So herewith there are last six shrines described. The way of creating them is significant and characteristic for contemporary Polish architecture in general, and particular typical for the trend of a new ecclesiastic architecture. Itr is a special mixture of the tradition, hence completed with aesthetic of Late Modernism, Post-Modernism, and the newest incorporation of Modernism – of the XXI C.
Conservation of the Old Town Zamość began to realize almost a hundred years ago. Then the eminent preachers of culture in the early period. 20.year inter-made idea of restoring the prestige of the works of Polish culture. The idea of protecting national cultural heritage grew gradually until such time as the first scientific research, development of standards and principles of care and maintenance. Today Zamość was inscribed on the UNESCO World Cultural Heritage. Many things made, much remains to be done.
This article presents the concept of fate in the stories of the poet and literary sketches of twentieth-century Russian writer Jurij Dombrowski. The writer creates psychological portraits of Romantic poets, including George Byron, Alexander Gribojedov, Wilhelm Küchelbecker, focusing on selected episodes from their lives. In the article attempt is made to prove that the fate of the nineteenth-century artists serve as an excuse to explain the problems of contemporary author. Characteristics of historical fi gures are made through the prism of Dombrowski’s biography. The combination of biography and autobiography allows Dombrowski to present the subjective concept of the poet: a man condemned to loneliness and misunderstanding, confl icted with the epoch, trying to overcome the tragic dependence on historical conditions through art and creativity.
Martin Heidegger in The Origin of the Work of Art (Der Ursprung des Kunstwerkes) developed a whole new way of thinking about art, going beyond traditionally understood aesthetics or even philosophy of art. Some of Heidegger’s thoughts, however, appear to be understated and only signal a huge complexity of both experiencing works of art and the very issue of the origin of the work of art. The analysis of the terms ‘dread’ and ‘eyeblink’ from Time and Being presented in this article complement and develop Heidegger’s ideas included in his essay. Linking art to these two crucial phenomena of fundamental ontological analysis of Dasein casts light on the status of art and its existential significance. The author aims mainly at demonstrating the aletheic connection (based on unclosedness) between the experience of ‘originary source’ of a piece of art and ‘dread’, and also, in conclusion, he points to the ‘event of Being’ as the essential, non-metaphysical origin of art.
In 1949 the first book of the Atlas of Polish Traditional Costumes series appeared. Józef Gajek was the one who initiated the series, published by Polish Folk Association to this day. He was associated with Polish Ethnographic Atlas, which had a great impact on the character of the series. Its main objective was to describe Polish traditional costumes according to particular regions. Janusz Kamocki and Barbara Bazielich were subsequent editors of the series. Since 2011 the authors of this article have been part of the editorial staff. At their initiative ten more books of the series were published in the years 2013–2018, field research on traditional handicraft was conducted and the Traditional Costume Section was established. The article describes the circumstances accompanying this editorial series appearance and discusses both main directions in research on traditional costumes and activities for popularising knowledge of this unique cultural phenomenon.
The subject of the considerations put forward in this article is an evaluation of the quality, in substantive and ethical terms, of the specialist translation into Polish of Henryk Hiż’s article ‘Peirce’s Influence on Logic in Poland’. The translation subjected to evaluation here was published in 2015 in the specialist philosophical journal Studia z Filozofii Polskiej [Studies of Polish Philosophy] (October 2015, pp. 21–33). In the presented evaluation, I point out substantive and ethical violations committed by interpreter, calling attention to (a) the flouting of the principle cuilibet in arte sua ; (b) manipulation of source material; (c) dishonesty in philological-textological development; (d) improper editorial preparation; (e) disregard of the subsequent literature on the subject; (f) deliberate and unjustified abridgement of the original text. The deficiencies enumerated in points (a)–(f) are the result of interpreter’s adoption of the ‘publish or perish’ strategy, the overriding goal of which is to publish an article in a high-impact journal with the aim of achieving the most favourable bibliometric result in the shortest possible time, at a cost to the integrity and ethical responsibility of the translator-researcher.
After moving to Italy in 1856, Teofil Lenartowicz, inspired by the great Italian art and supported by the best Florentine artists of the time Giovanni Dupré and Enrico Pazzi, began studying sculpture. Lenartowicz’s sculptures were always connected with literature: his work shows howone influenced the other. It is no accident that his style as a sculptor has been called ‘poetic’ by the critics. The Polish immigrant was fascinated by the Italian Renaissance, and especially by the art of Lorenzo Ghiberti. At the same time, he never forgot about Polish folklore, which played a significant role in his artistic vision. One of the most impressive examples of this intersection of influences is the bas-relief The Holy Workers, complemented by a poem bearing the same name.