Między nienawiścią do demokracji a współpracą. Sztuka partycypacyjna, romantyzm i władza / In-between hatred to democracy and cooperation. Participatory art, romanticism and power

<p>IN-BETWEEN HATRED TO DEMOCRACY AND COOPERATION. PARTICIPATORY ART, ROMANTICISM AND POWER</p> <p><br>In my article I see about the Jacquesa Rancière’s and Claire Bishop’s criticism of participatory art. I discuss tensions between democracy and  community based on examples of practices by Roman Dziadkiewicz, Paweł Althamer and Artur Żmijewski I point out obscure results of participatory<br>activities – new forms of community, radical empowerment of democracy and developing new forms of contestation of capitalist trade market. In  the end I state that limiting analyses of the works only to their didactic, sadistic and manipulative qualities is a crucial shortcoming of their criticism. </p

Sztuka (przechwytu) współpracy, czyli artystyczna fabryka społeczna. O związkach estetyki relacyjnej i kapitalizmu kognitywnego / Jan Sowa, Art of (intercepting) cooperation or social-artistic factory. About the connection between relational aesthetics and cognitive capitalism

<p>ART OF (INTERCEPTING) COOPERATION OR SOCIAL-ARTISTIC FACTORY. ABOUT THE CONNECTION BETWEEN RELATIONAL AESTHETICS AND COGNITIVE CAPITALISM</p> <p>The text is an analysis of relations between art of cooperation and modern world of post-fordist, cognitive capitalism. The author implies a long  lasting tradition of interest in cooperation and trust in social sciences, which are most fully expressed in XX–century concept of social capital. In this context the art of cooperation appears to be an expression of  socio-cultural tendencies and phenomena transcending beyond the field of art. According to the author projects realized within the frame of  relational aesthetics and according to the participatory model not only express the way modern, cognitive capitalism functions but also  manifold inclusive mechanisms of value appropriation and biopolitical exploitation. </p

„Co” wizualnego w sztuce partycypacji? Polityka patrzenia jako praktyka aktywnego uczestnictwa / “WHAT” VISUAL IN PARTICIPATORY ART

<p><strong>“WHAT” VISUAL IN PARTICIPATORY ART</strong><br>The polemics of Claire Bishop and Nicolas Bourriaud loomed the need to determine the role of visual art  within the art of cooperation. The role of retaining the visual for artistic practices of participation has been  repeated in many gestures of viewer emancipation discourse as well as subversive, visual practices on the grounds of American film avant-garde. The  problems of neutralizing dichotomies, activeness -  passiveness, looking – acting, interior – exterior have been incorporated in concepts of pedagogical emancipation of creator and recipient by Jacques Ranciere. The text shows the possibilities of unreeling it by performative concept of sign, and the visual as “the third element” of communication through art. </p

Czy warto „zaczynać od kultury”? Chrześcijańskie inspiracje myśli Roberta Schumana na temat integracji w Europie / Is worth it to „start from culture”? Christian’s inspirations of Robert Schuman thought about European integration

<p>Is worth it to „start from culture”? Christian’s inspirations of Robert Schuman thought about European integration</p

Animacja lektury. W poszukiwaniu zagubionego czytelnika

<p>Lecture animation. In searching for a lost leader</p

Smak głodu i głód smaku. Zapiski sytego /

<p>Hunger is considered a liminal experience and is usually associated with violence: violence of the body towards the one who “has” the body/ “is” the body and with human acts of violence towards the body. The author looks at different examples of transgressing biological limitations, “tough” negotiations with soma, which as it seems are not negotiable. What is the relation between unwanted hunger (the one that makes life tasteless and meaningless), voluntary fasting (tasted by ascetes)  and the world of satiety? Do those who free  themselves from fetters of biology trough the experience of empty stomach and transcend from nature to culture win a life and fulfill  non-physiological hunger?</p

Ontologie polityczne sztuki. Lenin, estetyka relacyjna i produkcja biopolityczna / Political Ontologies of Art. Lenin, Relational Aesthetics and Biopolitical Production

<p><strong>POLITICAL ONTOLOGIES OF ART. LENIN,  RELATIONAL AESTHETICS</strong> <strong>AND BIOPOLITICAL PRODUCTION</strong><br>The entanglement of art in capitalism makes the artistic production particularly interesting from the perspective of the Marxist analysis. On the one hand, art is a place where you can really see the  mechanisms that constitute the logic of the entire system. On the other hand, it can become a field of a possible resistance. To understand today’s  discussions about the relationship between the contemporary art and politics, the author proposes to look at the ontological-political presumption of this dispute. One of the theses of this article states, that political results (if any) may be obtained by means of art only through art theorisation in context of  changes in the contemporary capitalism. A good example of the theory remaining close to the changes that make the work performed by us based on the production of knowledge and affects is the Nicolas Bourriaud’s relational aesthetics. The transitions in art diagnosed by Bourriaud, which have been taking place since the 1990s, referred to as  relational art prove, that political art does not have to be based on direct and controversial interventions, but on a different shaping of our political imagination. Hence, not only is the contemporary art understood in such a way a place of constantly increasing (unfortunately) exploitation, it also holds within a potential for performative production of new political ideas and egalitarian subjectivity. </p

W poszukiwaniu „odrębnej rzeczywistości”. O potrzebie transgresji w kontekście szamanizmu / In Search of “Separate Reality”. About the Need for Transgression in Context of Shamanism

<p>Beginning with specificity of contestation moves of 1960’s the author poses a question about the causes for human proclivity towards altered states of consciousness. The search for an answer leads her to trans shaman practices and ways of achieving ecstatic states which are the bases of shamanism. The author indicates the biological conditions of  transgressive states showing that they have not  been properly analyzed by pop culture.</p

Otwarte ciała, zamknięte światy. Strzykawka w dyskursie i praktykach medycznych / Open Bodies, Closed Worlds. Syringe in Social Discourse and Medical Practice

<p>The article is an essay to capture certain images of body in European culture through the lens of how medical syringe has been transforming. The author presents two variations of the device: one that is used to penetrate natural cavities and an apparatus for injections, which punctures the skin. For the syringe to transform from one from to the other it needed a new interpretation of human physiology and anatomy. Certain microbiological strides as well as development of the society as an institution  caring for citizen’s health where also necessary. But for the mentioned factors to appear in such configuration, a specific from of an injecting apparatus constitution seems necessary.</p

DNA. Czy potrzebne jest nam dziś bioliteracy? / DNA – Do We Need Bioliteracy Today?

<p>Since its discovery in 1963 the structure of double helix has become the icon of scientific developments and promises of solving the most important problems of humanity. When talking about genetic research people usually use language deriving from linguistics and information theory. Metaphors used in programs and articles about DNA and genetics in  the field of popular science cause many  misunderstandings and are favorable for ideological understanding on these phenomena. Meanwhile  comprehending these concepts even on a basic level might in the near future be just as important as computer skills nowadays.</p