<p>Jeff Wall, M<em>orning Cleaning, Mies van der Rohe Foundation, Barcelona</em>, 1999, transparency in lightbox, 187.0 x 351.0 cm. Courtesy of the artist</p>
<p>Jeff Wall, M<em>orning Cleaning, Mies van der Rohe Foundation, Barcelona</em>, 1999, transparency in lightbox, 187.0 x 351.0 cm. Courtesy of the artist</p>

No. 12: Photography and the “efficacy of gesture”

Managing editors: Krzysztof Pijarski, Paweł Mościcki

Jeff Wall, Morning Cleaning, Mies van der Rohe Foundation, Barcelona, 1999, transparency in lightbox, 187.0 x 351.0 cm. Courtesy of the artist

This issue was supported by the Polish Minister of Science and Higher Education, from the funds of the program for the popularization of scholarship in 2015, and the Film School in Lodz

Table of Contents

Introduction

  1. Gesture in the Age of its Technological Reproducibility

    Krzysztof Pijarski
    Krzysztof Pijarski, ”Gesture in the Age of its Technological Reproducibility”, View. Theories and Practices of Visual Culture 12 (2015), https://doi.org/10.36854/widok/2015.12.913

    Introduction to the issue

Close-up

  1. Images in Action. Photography, Gesture, Performativity

    Weronika Szczawińska
    Weronika Szczawińska, ”Images in Action. Photography, Gesture, Performativity”, View. Theories and Practices of Visual Culture 12 (2015), https://doi.org/10.36854/widok/2015.12.914

    The author criticaly analyses research and artistic seminar devoted to the question of the gesture with regards to the photographic image. She focuses on the works of Paweł Bownik.

  2. Photographic Gesture: Between Symptom and Ethos

    Paweł Mościcki
    Paweł Mościcki, ”Photographic Gesture: Between Symptom and Ethos”, View. Theories and Practices of Visual Culture 12 (2015), https://doi.org/10.36854/widok/2015.12.863

    Article focuses on some theoretical remarks about a meaning of gesture in photography. Author tries to introduce the ethical perspective and develop a diffrerent concepts of a gestures in photography (Durand, Flusser),as well as their links with a notions of "symptom" (Freud) and "ethos" (Ravaisson, Bourdieu).

  3. Touching Images. Please Touch

    Kuba Mikurda
    Kuba Mikurda, ”Touching Images. Please Touch”, View. Theories and Practices of Visual Culture 12 (2015), https://doi.org/10.36854/widok/2015.12.915

    The article describes different form of touch – image relation: from the very literal to metaphorical ones. In the first part, devoted to touching the images, the author suggests that prohibition to touch images results from fear of disruption of sublimation frame that extracts the images out of the visual field. It introduces the discreet split between the image and the reality, making the image a figure in the background. In the second part, regarding to being touched by images, the author recalls tactile experiments in film and visual art, and discusses the idea of the haptic image by Laura U. Marks.

  4. Following Pieces. On Performative Photography

    Margaret Iversen
    Margaret Iversen, ”Following Pieces. On Performative Photography”, View. Theories and Practices of Visual Culture 12 (2015), https://doi.org/10.36854/widok/2015.12.864

    While analyzing artistic practices from 1970s and referring to contemporary interpretations of the use of photography in surrealist art, the author proposes a concept of "performative photography". She tries to show how it could reshape the very sense of photography and the possible range of its artistic uses.

  5. Gestures. A Phenomenological Essay

    Vilem Flusser
    Vilem Flusser, ”Gestures. A Phenomenological Essay”, View. Theories and Practices of Visual Culture 12 (2015), https://doi.org/10.36854/widok/2015.12.866

    The text is an attempt to construct a phenomenological description of the way in which gestures work in the realm of photography and how they transform its capacity to represent reality.

  6. Gestus

    Jeff Wall
    Jeff Wall, ”Gestus”, View. Theories and Practices of Visual Culture 12 (2015), https://doi.org/10.36854/widok/2015.12.878

    An essay on the represetnation and role of human body in the artit's work.

Viewpoint

  1. Gesture And Photography. A Performative Symposium

    Krzysztof Pijarski
    Krzysztof Pijarski, ”Gesture And Photography. A Performative Symposium”, View. Theories and Practices of Visual Culture 12 (2015), https://doi.org/10.36854/widok/2015.12.916

    The slightly modified programmatic statement of the performative symposium Gesture And Photography, organised on October 21st and 22nd 2013 at the Zachęta National Gallery of Art in Warsaw, as a part of the festival Warsaw Photo Days 2013 (http://warsawphotodays.com).

  2. The Performative Symposium - Session One

    Rafał Milach, Anna Nałęcka-Milach, Joanna Kinowska, Krzysztof Pijarski
    Rafał Milach, Anna Nałęcka-Milach et al., ”The Performative Symposium - Session One”, View. Theories and Practices of Visual Culture 12 (2015), https://doi.org/10.36854/widok/2015.12.2045

    Photography curator and historian Joanna Kinowska together with Krzysztof Pijarski discusses with Rafał Milach and Anna Nałęcka-Milach their joint work on the medium of the photobook.

  3. The Performative Symposium – Session Two

    Paweł Bownik, Weronika Szczawińska, Krzysztof Pijarski
    Paweł Bownik, Weronika Szczawińska et al., ”The Performative Symposium – Session Two”, View. Theories and Practices of Visual Culture 12 (2015), https://doi.org/10.36854/widok/2015.12.2046

    The avant-garde director, dramatist and theorist Weronika Szczawińska reflects on Colleagues (Koleżanki i koledzy), a series of works by Paweł Bownik in dialogue with the artist and Krzysztof Pijarski.

  4. The Performative Symposium – Session Three

    Aneta Grzeszykowska, Jan Smaga, Katarzyna Bojarska, Krzysztof Pijarski
    Aneta Grzeszykowska, Jan Smaga et al., ”The Performative Symposium – Session Three”, View. Theories and Practices of Visual Culture 12 (2015), https://doi.org/10.36854/widok/2015.12.2047

    Aneta Grzeszykowska and Jan Smaga talk about their series of photographs Private Archive (Archiwum prywatne) with literary scholar, cultural critic and historian, Katarzna Bojarska, and Krzysztof Pijarski as host.

  5. The Performative Symposium - Session Four

    Nicolas Grospierre, Kuba Mikurda, Krzysztof Pijarski
    Nicolas Grospierre, Kuba Mikurda et al., ”The Performative Symposium - Session Four”, View. Theories and Practices of Visual Culture 12 (2015), https://doi.org/10.36854/widok/2015.12.2048

    Director, cultural theorist and philosopher Kuba Mikurda together with Nicolas Grospierre animates his photographic objects (not only in the sense of the movement of thought); with Krzysztof Pijarski as host.

  6. The Performative Symposium - Session Five

    Łukasz Gorczyca, Michał Kaczyński, Paweł Szypulski, Krzysztof Pijarski
    Łukasz Gorczyca, Michał Kaczyński et al., ”The Performative Symposium - Session Five”, View. Theories and Practices of Visual Culture 12 (2015), https://doi.org/10.36854/widok/2015.12.2049

    Michał Kaczyński and Łukasz Gorczyca participate in the symposium as authors of an artists’ book, D.O.M. Polski, to subject it to contemplation together with Paweł Szypulski, collector of photographic books and curator, with Krzysztof Pijarski as host.

  7. The Performative Symposium - Session Six

    Wojciech Wilczyk, Elżbieta Janicka, Waldemar Baraniewski, Krzysztof Pijarski
    Wojciech Wilczyk, Elżbieta Janicka et al., ”The Performative Symposium - Session Six”, View. Theories and Practices of Visual Culture 12 (2015), https://doi.org/10.36854/widok/2015.12.2050

    Elżbieta Janicka and Wojciech Wilczyk enter into a discussion about their collaboration Other City (Inne miasto) with Waldemar Baraniewski, art historian and expert in Warsaw matters, with Krzysztof Pijarski as host.

Panorama

  1. The Vagaries of Imagination: Robert Smithson’s Hotel Palenque and the Early Poetry of William Carlos Williams

    Mikołaj Wiśniewski
    Mikołaj Wiśniewski, ”The Vagaries of Imagination”, View. Theories and Practices of Visual Culture 12 (2015), https://doi.org/10.36854/widok/2015.12.918

    The author considers a slidework project by Robert Smithson entitled Hotel Palenque as an introduction to the work of poet William Carlos Williams. Both the aesthetics of Smithson’s project, and the theoretical quandaries it brings into focus, have a lot in common with what Williams was doing in the late ‘teens and early twenties, coining a radically new style for himself, and simultaneously engaging meta-poetic questions in his essays, his book of improvisations, Kora in Hell, as well as in the prose passages included in the first edition of his famous volume of poetry – Spring and All. Intermezzo: Robert Smithson’s Hotel Palenque.

  2. Spreading of duration. Contact by Zygmunt Rytka.

    Piotr Urbanowicz
    Piotr Urbanowicz, ”Spreading of duration. Contact by Zygmunt Rytka.”, View. Theories and Practices of Visual Culture 12 (2015), https://doi.org/10.36854/widok/2015.12.898

    This article considers artistic work of Zygmunt Rytka exampled in the analysis of his photographic series Contact (1993). The starting point is the assumption that the work is a record of affective encounter between human and animals. The article uses as a framework posthumanism and performance studies. The author claims that Contact is the esthetic and ethic experiment of recording the experience of relation as a moment outside of human time. He also points out the dynamics of connection between performativity of Rytka’s working methods and feature of photographic image. The paper leads to conclusion that in the Rytka’s work appears the concept of the history which remains in tension between performance and media.

  3. Autobiographic gesture. The Cruel Theatre of Zdzislaw Beksiński's Photography

    Klaudia Węgrzyn
    Klaudia Węgrzyn, ”Autobiographic gesture. The Cruel Theatre of Zdzislaw Beksiński's...”, View. Theories and Practices of Visual Culture 12 (2015), https://doi.org/10.36854/widok/2015.12.900

    The paper includes the two areas: Zdzislaw Beksinski’s art (especially photography) and Antonin Artaud's Theatre of Cruelty (performative and affective effects on the recipient). The theory that includes the cruelity of picture is based on Susan Sontag's considerations, the newest iconology of W. J. T. Mitchell, the aesthetic regime of Jacques Ranciere and negative representation of Theodore Adorno. The works of art are analyzed by theory of autobiography and psychoanalysys and therefore create the bricolage in which there are encoded cultural and imaginative artifacts.

Perspectives

  1. Models of Thinking the World

    Alfredo Jaar, Krzysztof Pijarski
    Alfredo Jaar, Krzysztof Pijarski, ”Models of Thinking the World”, View. Theories and Practices of Visual Culture 12 (2015), https://doi.org/10.36854/widok/2015.12.920

    Krzysztof Pijarski rozmawia z Alfredo Jaarem o głównych wątkach jego twórczości.

Snapshots

  1. The secret archives of the Earth

    Katarzyna Czeczot
    Katarzyna Czeczot, ”The secret archives of the Earth”, View. Theories and Practices of Visual Culture 12 (2015), https://doi.org/10.36854/widok/2015.12.902

    Review of the exhibition by Angelika Markul, „To, co stracone, jest na początku” [That, what is lost, is in the beginning] curated by Jarosław Lubiak, Centrum Sztuki Współczesnej – Zamek Ujazdowski, Warsaw 25 March – 31 July, 2016

  2. Don't Dream It, Be It

    Anna Taszycka
    Anna Taszycka, ”Don't Dream It, Be It”, View. Theories and Practices of Visual Culture 12 (2015), https://doi.org/10.36854/widok/2015.12.904

    Review of the Karolina Kosińska's book Androgyn. Tożsamość, tęsknota, pragnienie. Postać androgyniczna w brytyjskiej kulturze popularnej i filmie lat 70. [Androgyne. Identity, Longing, Desire. Androgyne in British Film and Popular Culture of 70s] (2014).