Papers by Eleonora Jedlinska
Art Inquiry. Recherches sur les arts, 2024
In the face of constant threats, regardless of time, epoch, place or degree of civilization (de-c... more In the face of constant threats, regardless of time, epoch, place or degree of civilization (de-civilization), human beings behave in ways that are primarily analyzed by doctors, psychiatrists and psychologists. The most relevant scholars to take up this problem are Lévinas, Ozick and Quignards. Such a state of affairs, involving extreme experiences caused by the forces of nature, technical failures, terrorist acts and wars, has become the object of attention of philosophers, cultural researchers and artists. The Israeli-Palestinian conflict-one of the world's longest disputes-has been causing deep wounds to communities on both sides. In the midst of political and historical tensions, and the awareness of a lack of any consensus, there is a spring of thought and, consequently, of action, the conviction that art, through the expression of deepest experiences, can become a platform of understanding. The current (since 7 October 2023), another war in the history of the State of Israel since 1948, and the reaction of Israeli and Palestinian artists to it, is the subject of this article. The reaction of artists through works of art is a dramatic attempt to respond to a state of extreme threat (war, death, famine, kidnapping, rape). From the perspective of researchers (e.g. La Capra or Van Alphen), it is perceived as a "transmission of the affect that moves them", which is reflected in the works created. Jewish and Palestinian artists reacted energetically to the events unfolding in Israel and Gaza.
Techne, 2023
Abstract: The article focuses on selected aspects of the Taylorism theory used in housing constru... more Abstract: The article focuses on selected aspects of the Taylorism theory used in housing construction in the 1920s and 1930s, it is between the World Wars in Poland, and their implementation in the context of the concept of housing for everyone. The idea, which was transferred from the United States to Europe after the First World War, became popular in modernist circle over time. Taylor’s views found fertile ground among
Europe’s leading architects and urban planners (of which Ozenfant, Le Corbusier, Mies
van der Rohe, Walter Gropius, Stanisław and Barbara Brukalski, Szymon i Helena Syrkusowie, Józef Szanajca played a special role). They were implemented through the realization of such ideas, as „machine cities”, „machine houses/dwellings”, „smallest flats”, etc. as places of education of modern man. In view of the acute housing shortage in Europe after World War One and the much more difficult situation in Poland, it was essential to cover the housing shortage in the largest cities. The housing problem in Poland became a state issue. Large-scale efforts have been made to build affordable houses
and apartments. Thus, according to Taylor’s theories, so-called functional – economic dwellings (so-called gallery houses) were designed, the uniform and inexpensive flats. Architecture and art – according to the apologists of Taylorism – in the twenty years between the World Wars, as well as social tasks were to politicize of the collaborating artists, architects and urban planners. The so called functional architecture was seen as conductive to the organization of everyday life and the education of its users, who were increasingly subject to state policy. The aesthetics of mechanical repetition, standardization, rhythm an economy propagated in Europe were reflected in industrial productivity and the increase in industrial production, leading to utopian notions of building a total order. The ideas of Taylorism, who invoked the purity of the unadorned form, hygiene and usefulness, efficiency, economization, etc., and tried to appropriate all areas of human existence, now appear as an ideology that forces the acceptance of the „minimum requirement” in order to realize the demands of the modernists, whose projects have strengthened attitudes towards the totalitarianization of life.
Art Inquiry. Recherches sur les arts, 2022
Anselm Kiefer (a German artist born in 1945) began working on the Chevirat ha-kelim (Breaking of ... more Anselm Kiefer (a German artist born in 1945) began working on the Chevirat ha-kelim (Breaking of the vessels) cycle in 1990. It is based on the Kabbalistic theory of Isaac Luria (1534- -1572) and Nathan of Gaza (1644-1680). Luria, a mystic and founder of the Orthodox Kabbalah,
and Nathan of Gaza are the founders of a Kabbalistic myth that corresponds to the historical experiences of the Jewish people. This myth focuses on three great symbols: cimcum (“shrinking” – i.e., God withdraws himself, through which the world can come into being through emanation), shevira (“breaking of the vessels”) and tikkun olam (“repair”), the Kabbalistic doctrine of the role of man repairing the world.
Since the mid-1980s, when the artist began to use lead, ash, shellac and clay in his works, his thoughts and works have been related to Jewish culture. The Chevirat ha-kelim series of works, which have been shown since 1985 in different places of the world, consists of sculptures, paintings and objects related to the dramatic process of world creation, understood as a cosmic catastrophe. In Jewish mythology, like in Kiefer's works, shells of clay pots, broken discs, molten lead cards of monumental books and a lead plane with a “crossed” wing are the symbols of destruction. A world marked by a catastrophe requires repair and restoration of original harmony. Through this symbolism, Kiefer’s works testify, on the one hand, to a melancholic memory that refers to the creation of historical reality (Nazism, Holocaust crimes and their presence in the present). On the other hand, the transmission of his art is linked to the Jewish tradition of faith in the possibility of restoration, of bringing the broken together, and the hope that by working to restore the original order (tikkun olam), redemption, reunification and reconciliation will be
achieved. This aspect of Kiefer’s work applies as much to the ethical relationship as to our interaction with myths and religions which presuppose the metaphysics of reality.
Grupa Jung Idysz i tradycja ekspresjonizmu – malarstwo szkoły bostońskiej, 2022
Grupa Jung Idysz i tradycja ekspresjonizmu-malarstwo szkoły bostońskiej Prekursorów ekspresjonist... more Grupa Jung Idysz i tradycja ekspresjonizmu-malarstwo szkoły bostońskiej Prekursorów ekspresjonistycznego malarstwa figuratywnego w Ameryce należy szukać w Europie, ściśle-jakkolwiek literatura tego faktu nie podkreśla-w sztuce grupy łódzkich twórców, których nazwiska ukonstytuowały odrębny, oryginalny styl "żydowskiego ekspresjonizmu". Artystyczno-literacka grupa Jung Idysz istniała w latach 1919-1921. Tworzyli ją młodzi artyści, pisarze, poeci i dziennikarze związani z Łodzią.
Pregledni rad Primljeno , 2022
Francis Bacon painted pictures based mostly on photographs published in encyclopaedias, popular m... more Francis Bacon painted pictures based mostly on photographs published in encyclopaedias, popular magazines, the tabloid press, posters and packaging. He was interested in reproductions of paintings by great masters. He used photographs by Muybridge. Photographs, treated by Bacon as tools, were later "worked on" by the artist, becoming the canvas for his paintings. The scenes he chose-often drastic, depicting rape and violence-were painted into his canvases, creating a deformed image of the world that "emerged" from the horrors of both world wars. He painted portraits based on his photographs of friends. These were usually people with whom the artist was emotionally connected. He painted self-portraits base on a series of photographs taken in automatic photography, from which he selected several to form the basis of his paintings. Real things and persons should exist in the fictional space assigned to them. By destroying literalism in painting, Bacon wanted to find the similarity desired in painting as its principal, so to rediscover realism. When painting a portrait, he tried to capture the appearance of the figure. After Francis Bacon's death, his London studio (7, Reece Mews), restored by conservators, was "repeated" in the space of the Hugh Lane Gallery in Dublin. It contains about 7,500 objects, among them numerous photographs which had been torn up by the artist, photographs of his lovers and friends, black and white reproductions. The Bacon 'archive' collected in Dublin is now a silent hint of the creative process of the artist, who despite numerous studies devoted to him and recorded conversations, still remains one of the most inscrutable artists of the 20 th century.
Acta Artis. Studia ofiarowane Profesor Wandzie Nowakowskiej, 2016
Namiętności ducha, czyli sztuk a narodowa na Powszechnej Wystawie Światowej w Paryżu w 1900 r. W ... more Namiętności ducha, czyli sztuk a narodowa na Powszechnej Wystawie Światowej w Paryżu w 1900 r. W ystawa 1900 r. była swoistą paradą prezentującą utopijną wizję ogólnej harmonii między narodami i państwami w świecie egzystującym bez wrogów i konfliktów. Pamiętajmy wszak, że XIX w. był eksplozją poszukiwania i odnajdywania narodowych identyfikacji, walki o niezależność narodów wchłoniętych przez potężne gospodarczo i militarnie państwa, kolonizacji świata i agresywnego europocentryzmu. Powszechne w tamtym czasie było przekonanie, że wobec Francji cały cywilizowany świat ma dług, ponieważ właśnie ten kraj był u swych początków źródłem kultury, nauki, "tchnął namiętności i impuls życia w stary świat", jak pisał w latach dziewięćdziesiątych XIX w. angielski arystokrata sir Almeric William Fitzroy (1851-1935), sekretarz diuka Devonshire. Dramat przełomu Wielkiej Rewolucji Francuskiej powrócił ze szczególną mocą w latach 1897-1899, kiedy to Francja, rozdarta wewnętrznymi emocjami, wyzwalającymi zadawnione konflikty, wprowadzającymi rozłam w społeczeństwie, angażując potencjał myśli, energię i dumę Francuzów, pogrążyła się w chaosie, jednym z najdramatyczniejszych w historii 1 .
Art Inquiry. Recherches sur les arts vol.XXIII, 2021
The major problem of this argument is the principal meaning of the notion of discourse with refer... more The major problem of this argument is the principal meaning of the notion of discourse with reference to the life, work (which is very important in this case) and mutual relations between two outstanding artists of the 20th century: Alberto Giacometti and Francis Bacon. Discourse on these artists was taken up by the art critics, curators and collectors who organized an exhibition confronting their oeuvre in 2018, and, as I try to demonstrate in this text, by the artists themselves. 1 A similar artistic attitude, lifestyle, bond of friendship, rivalry and creative visions formed the relationship between Giacometti and Bacon. They were artists who had a fundamental influence on the shape of contemporary art. The problem of discourse links their work, art and fascination with photography shared by both of them. A special place is given to their adoration of the art of old European masters, similar fates and tastes, the creative research community that existed between them and discourse revolving around their lives. The joint presentation of the works of the two artists, Bacon and Giacometti, within one exhibition, allowed us to see their artistic achievements and fates from the perspective of understanding the meaning of the notion of discourse. An exhibition of their works took place in 2018 at the Beyeler/Basel Foundation in collaboration with the Giacometti Foundation in Paris. The show became a substantive visual indication of a particular discourse between and about the lives and works of Giacometti and Bacon.
Studia z Historii Sztuki. W obliczu przemian i nowej rzeczywistości. Sztuka lat 1919–1939, 2021
Prace naukowe dedykowane profesorowi Tadeuszowi Bernatowiczowi, 2021
Przegląd Nauk Historycznych
Przegląd Nauk Historycznych, 2017
The painting is a testimony of the inconceivable
Abstract Expressionism and the Shoah (Mark Rothk... more The painting is a testimony of the inconceivable
Abstract Expressionism and the Shoah (Mark Rothko, Barnett Newman, Frank Stella)
The history of Europe of 1933–1945 was very important and had a significant
influence on painting of American artists of American abstractionism. This
term – American abstractionism or New York abstractionism, although inexact
and somewhat confused, currently is a constant term in the terminology of history
of art. Taking this kind of art into consideration from the time between 1933
and 1945, recalling the special titles of art works and the context when they
were created: Mark Rhotko’s numbered, gray, brown and black murals which
he painted for Manhattans Seagram Building in the fifties or his black and
brown pictures for Huston Chapel in Texas form the seventies as well as Barnet
Newmen’s fourteen canvas titles The Stations of the Cross: Lema Sabachthani and
Frank Stella’s minimalist canvas titles Arbeit macht frei (1958), The Polish Village
Series and the cycle of twenty four paintings which he created in his adolescence
time, considering their comments and biography we have to understand this
art as the historical art. These three artists of American expressionism – Mark
Rothko, Barnett Newman and Frank Stella, whom this article is devoted to – refer
in some pictures to the catastrophe of Shoah. They give evidence of this cruel
time by the image, ostensibly without formal coincidence, they attempt to express
unimaginable. They want, to some extent, to force us to imagine what the hell
of Shoah was like.
Keywords: paintings, American Expressionism, abstraction, philosophy,
testimony, Mark Rothko, Barnett Newman, Frank Stella, Shoah
Art Inquiry. Recherches sur les arts, 2020
Anselm Kiefer and Olafur Eliasson, even if divided by generational differences and the material o... more Anselm Kiefer and Olafur Eliasson, even if divided by generational differences and the material of their art, they share a similar understanding of the function of the work as a narrative medium. The place where the work is exhibited, its historical value and the story it contains force us to reverse the conventionally accepted significance of the presence of contemporary art in two globally recognized, most important museums of France: Kiefer's at the Louvre and Eliasson's at Versailles. The exhibition of the works of these artists at places that represent historical, symbolic and artistic significance both for the French, as well as the whole world, allowed their narrative function to extend and thus to change the perception of the place of a contemporary art exhibition. The connection of contemporary times with history is also an attempt to open the borders defined by the traditional location of the place. Both presentations aim to show how the perception of contemporary art can be changed when it is understood as a continuation of great historical narratives. In 2007, Kiefer exhibited three works at the Louvre. The artist incorporated his works in the framework of the narrative-history, philosophy, religion, art history, tradition and modernity. In 2016, Eliasson presented sculpture-installations in the gardens and palace of Versailles, in the form of architecture and garden design works whose message is the anxiety and concern about the fate of the modern world. Just as illusory was the world in which the inhabitants of Louis XIV's Versailles lived, so is our own illusion of a world without borders, a world with endless natural resources, where our conscience is numbed by apparent actions to protect it from ecological disaster.
Przeglad Nauk Historycznych, r. XVIII, nr 1, 2019
Paris et les artists polonias/Paris and the Polish Artists, 2018
Muzea w poobozowych miejscach pamięci. Tożsamość, znaczenia, funkcje, red. Tomasz Kranz, 2017
Art in Jewish Society, 2016
Tajemnica obrazu, obrazu fotograficznego, polega na tym, że nierozerwalnie splatają się w nim obe... more Tajemnica obrazu, obrazu fotograficznego, polega na tym, że nierozerwalnie splatają się w nim obecność i nieobecność. Fotografia odnosi się do nieobecności, której jest obrazem, obrazem powołanym do istnienia przez patrzącego. Pamiętamy przecież, że fotografia, z pierwszejprymarnejstrony, jest medium spojrzenia, z drugiej -medium ciała, które wytwarza własny, realny -często niewierny mu cień, z czasem (co jest właściwością wszelkich obrazów) coraz bardziej oddzielający się od ciała. W procesie wzajemnej gry fotografii prowadzonej przez fotografa i widza z obrazami, wywiedzionymi z archiwum ich pamięci, wspomnień, snów powtarza się antropologiczny, podwójny sens wewnętrznych i zewnętrznych obrazów 1 .
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Papers by Eleonora Jedlinska
Europe’s leading architects and urban planners (of which Ozenfant, Le Corbusier, Mies
van der Rohe, Walter Gropius, Stanisław and Barbara Brukalski, Szymon i Helena Syrkusowie, Józef Szanajca played a special role). They were implemented through the realization of such ideas, as „machine cities”, „machine houses/dwellings”, „smallest flats”, etc. as places of education of modern man. In view of the acute housing shortage in Europe after World War One and the much more difficult situation in Poland, it was essential to cover the housing shortage in the largest cities. The housing problem in Poland became a state issue. Large-scale efforts have been made to build affordable houses
and apartments. Thus, according to Taylor’s theories, so-called functional – economic dwellings (so-called gallery houses) were designed, the uniform and inexpensive flats. Architecture and art – according to the apologists of Taylorism – in the twenty years between the World Wars, as well as social tasks were to politicize of the collaborating artists, architects and urban planners. The so called functional architecture was seen as conductive to the organization of everyday life and the education of its users, who were increasingly subject to state policy. The aesthetics of mechanical repetition, standardization, rhythm an economy propagated in Europe were reflected in industrial productivity and the increase in industrial production, leading to utopian notions of building a total order. The ideas of Taylorism, who invoked the purity of the unadorned form, hygiene and usefulness, efficiency, economization, etc., and tried to appropriate all areas of human existence, now appear as an ideology that forces the acceptance of the „minimum requirement” in order to realize the demands of the modernists, whose projects have strengthened attitudes towards the totalitarianization of life.
and Nathan of Gaza are the founders of a Kabbalistic myth that corresponds to the historical experiences of the Jewish people. This myth focuses on three great symbols: cimcum (“shrinking” – i.e., God withdraws himself, through which the world can come into being through emanation), shevira (“breaking of the vessels”) and tikkun olam (“repair”), the Kabbalistic doctrine of the role of man repairing the world.
Since the mid-1980s, when the artist began to use lead, ash, shellac and clay in his works, his thoughts and works have been related to Jewish culture. The Chevirat ha-kelim series of works, which have been shown since 1985 in different places of the world, consists of sculptures, paintings and objects related to the dramatic process of world creation, understood as a cosmic catastrophe. In Jewish mythology, like in Kiefer's works, shells of clay pots, broken discs, molten lead cards of monumental books and a lead plane with a “crossed” wing are the symbols of destruction. A world marked by a catastrophe requires repair and restoration of original harmony. Through this symbolism, Kiefer’s works testify, on the one hand, to a melancholic memory that refers to the creation of historical reality (Nazism, Holocaust crimes and their presence in the present). On the other hand, the transmission of his art is linked to the Jewish tradition of faith in the possibility of restoration, of bringing the broken together, and the hope that by working to restore the original order (tikkun olam), redemption, reunification and reconciliation will be
achieved. This aspect of Kiefer’s work applies as much to the ethical relationship as to our interaction with myths and religions which presuppose the metaphysics of reality.
Abstract Expressionism and the Shoah (Mark Rothko, Barnett Newman, Frank Stella)
The history of Europe of 1933–1945 was very important and had a significant
influence on painting of American artists of American abstractionism. This
term – American abstractionism or New York abstractionism, although inexact
and somewhat confused, currently is a constant term in the terminology of history
of art. Taking this kind of art into consideration from the time between 1933
and 1945, recalling the special titles of art works and the context when they
were created: Mark Rhotko’s numbered, gray, brown and black murals which
he painted for Manhattans Seagram Building in the fifties or his black and
brown pictures for Huston Chapel in Texas form the seventies as well as Barnet
Newmen’s fourteen canvas titles The Stations of the Cross: Lema Sabachthani and
Frank Stella’s minimalist canvas titles Arbeit macht frei (1958), The Polish Village
Series and the cycle of twenty four paintings which he created in his adolescence
time, considering their comments and biography we have to understand this
art as the historical art. These three artists of American expressionism – Mark
Rothko, Barnett Newman and Frank Stella, whom this article is devoted to – refer
in some pictures to the catastrophe of Shoah. They give evidence of this cruel
time by the image, ostensibly without formal coincidence, they attempt to express
unimaginable. They want, to some extent, to force us to imagine what the hell
of Shoah was like.
Keywords: paintings, American Expressionism, abstraction, philosophy,
testimony, Mark Rothko, Barnett Newman, Frank Stella, Shoah
Europe’s leading architects and urban planners (of which Ozenfant, Le Corbusier, Mies
van der Rohe, Walter Gropius, Stanisław and Barbara Brukalski, Szymon i Helena Syrkusowie, Józef Szanajca played a special role). They were implemented through the realization of such ideas, as „machine cities”, „machine houses/dwellings”, „smallest flats”, etc. as places of education of modern man. In view of the acute housing shortage in Europe after World War One and the much more difficult situation in Poland, it was essential to cover the housing shortage in the largest cities. The housing problem in Poland became a state issue. Large-scale efforts have been made to build affordable houses
and apartments. Thus, according to Taylor’s theories, so-called functional – economic dwellings (so-called gallery houses) were designed, the uniform and inexpensive flats. Architecture and art – according to the apologists of Taylorism – in the twenty years between the World Wars, as well as social tasks were to politicize of the collaborating artists, architects and urban planners. The so called functional architecture was seen as conductive to the organization of everyday life and the education of its users, who were increasingly subject to state policy. The aesthetics of mechanical repetition, standardization, rhythm an economy propagated in Europe were reflected in industrial productivity and the increase in industrial production, leading to utopian notions of building a total order. The ideas of Taylorism, who invoked the purity of the unadorned form, hygiene and usefulness, efficiency, economization, etc., and tried to appropriate all areas of human existence, now appear as an ideology that forces the acceptance of the „minimum requirement” in order to realize the demands of the modernists, whose projects have strengthened attitudes towards the totalitarianization of life.
and Nathan of Gaza are the founders of a Kabbalistic myth that corresponds to the historical experiences of the Jewish people. This myth focuses on three great symbols: cimcum (“shrinking” – i.e., God withdraws himself, through which the world can come into being through emanation), shevira (“breaking of the vessels”) and tikkun olam (“repair”), the Kabbalistic doctrine of the role of man repairing the world.
Since the mid-1980s, when the artist began to use lead, ash, shellac and clay in his works, his thoughts and works have been related to Jewish culture. The Chevirat ha-kelim series of works, which have been shown since 1985 in different places of the world, consists of sculptures, paintings and objects related to the dramatic process of world creation, understood as a cosmic catastrophe. In Jewish mythology, like in Kiefer's works, shells of clay pots, broken discs, molten lead cards of monumental books and a lead plane with a “crossed” wing are the symbols of destruction. A world marked by a catastrophe requires repair and restoration of original harmony. Through this symbolism, Kiefer’s works testify, on the one hand, to a melancholic memory that refers to the creation of historical reality (Nazism, Holocaust crimes and their presence in the present). On the other hand, the transmission of his art is linked to the Jewish tradition of faith in the possibility of restoration, of bringing the broken together, and the hope that by working to restore the original order (tikkun olam), redemption, reunification and reconciliation will be
achieved. This aspect of Kiefer’s work applies as much to the ethical relationship as to our interaction with myths and religions which presuppose the metaphysics of reality.
Abstract Expressionism and the Shoah (Mark Rothko, Barnett Newman, Frank Stella)
The history of Europe of 1933–1945 was very important and had a significant
influence on painting of American artists of American abstractionism. This
term – American abstractionism or New York abstractionism, although inexact
and somewhat confused, currently is a constant term in the terminology of history
of art. Taking this kind of art into consideration from the time between 1933
and 1945, recalling the special titles of art works and the context when they
were created: Mark Rhotko’s numbered, gray, brown and black murals which
he painted for Manhattans Seagram Building in the fifties or his black and
brown pictures for Huston Chapel in Texas form the seventies as well as Barnet
Newmen’s fourteen canvas titles The Stations of the Cross: Lema Sabachthani and
Frank Stella’s minimalist canvas titles Arbeit macht frei (1958), The Polish Village
Series and the cycle of twenty four paintings which he created in his adolescence
time, considering their comments and biography we have to understand this
art as the historical art. These three artists of American expressionism – Mark
Rothko, Barnett Newman and Frank Stella, whom this article is devoted to – refer
in some pictures to the catastrophe of Shoah. They give evidence of this cruel
time by the image, ostensibly without formal coincidence, they attempt to express
unimaginable. They want, to some extent, to force us to imagine what the hell
of Shoah was like.
Keywords: paintings, American Expressionism, abstraction, philosophy,
testimony, Mark Rothko, Barnett Newman, Frank Stella, Shoah
formy ścisłego wywodu podążającego za chronologią powstawania kolejnych prac czy biografią artystki. Stanowi raczej próbę analizy ujawniających się w jej sztuce, ustawicznie obecnych, powracających w różnych konfiguracjach problemów, pewnych niemal obsesyjnie powtarzających się wątków. Staram się te dominujące w pracach Zofii Lipeckiej problemy wydobyć, zaakcentować ich – pozornie odległe, a przecież wywiedzione z głębokiej artystycznej samoświadomości – sensy. Zauważalna jest w tej sztuce potrzeba autoanalizy, a jednocześnie humanistyczna wrażliwość na otaczającą rzeczywistość. Przywoływane w tej publikacji, powstałe w ciągu trzydziestu kilku lat, realizacje Lipeckiej łączy wspólny motyw, czy może fraza – to znak, symbol, obraz-imago, jego refleks-lustro, gra luster, labirynt, twarz, samotność, pamięć, odzyskana tożsamość. Intrygujący jest tu element konieczności wniknięcia we własne ja, przy czym intymność wypowiedzi w pracach Lipeckiej zyskuje wymiar publiczny, wręcz uniwersalny. Artysta zdaje sobie sprawę, że jego głos odgrywa istotną rolę w życiu społecznym, jego odpowiedź na rzeczywistość, rozgrywającą się między autoświadomością, racjonalizacją i narcystyczną kontemplacją, nie zmieni losów świata, ale – być może – skłoni do refleksji.