Art & Documentation

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Art and Documentation no. 28

Spis Tre¶ci / Table of Contents

Sekcja / Section

GALERIA im. ANDRZEJA PIERZGALSKIEGO. Dokumenty Artystów 8 / ANDRZEJ PIERZGALSKI GALLERY. Artists' Documents 8 / GALERIE dédiée a ANDRZEJ PIERZGALSKI. Documents d'Artistes 8

Leszek BROGOWSKI, Edycja 8 - Za³o¿enia Programowe / Edition 8 - Program Assumptions / Édition 8 - Hypotheses du Programme


Yannick MILOUX, Opis Faksymile Zielonego Pude³ka Autorstwa Ernesta T. z Kolekcji FRAC-Artotheque Nouvelle-Aquitaine / Description of the Facsimile Green Box by Ernest T. from the Collection of the FRAC-Artotheque Nouvelle-Aquitaine / Description de La Boîte Verte, fac-similé par Ernest T., dans la Collection du FRAC-Artotheque Nouvelle-Aquitaine

Leszek BROGOWSKI, Invisible mais voyable. Metodologia Parafrazy / La Méthodologie de la Paraphrase

ASSOCIATION MARCEL DUCHAMP, Droit de Réponse / Prawo do Odpowiedzi

Faksymile Zielonego Pude³ka Autorstwa Ernesta T. z Kolekcji FRAC-Artotheque Nouvelle-Aquitaine, wraz z Parafraz¹ „Panny M³odej Rozebranej przez Swych Kawalerów, Jednak” Marcela Duchampa, Autorstwa Leszka Brogowskiego / The Facsimile Green Box by Ernest T. from the Collection of the FRAC-Artotheque Nouvelle-Aquitaine, with the Paraphrase in Polish of "The Bride Stripped Bare by Her Bachelors, Even” by Marcel Duchamp, Realized by Leszek Brogowski / Fac-similé de La Boîte Verte, par Ernest T. dans la Collection du FRAC-Artotheque Nouvelle-Aquitaine, Accompagnée d’une Paraphrase en Polonais de "La Mariée Mise a Nu par Ses Célibataires, Meme" de Marcel Duchamp, Réalisée par Leszek Brogowski

Kartografia Wielkiej Szyby / Cartographie du Grand Verre

Gaël HÉNAFF et / i Leszek BROGOWSKI, Marcel Duchamp: le Rétinien et le Conceptuel, Aspects Artistiques et Aspects Juridiques / Marcel Duchamp: Siatkówkowe i Konceptualne, Aspekty Artystyczne i Aspekty Prawne

Brigitte AUBRY, ‘Relique’ Authentique et ‘Répliques’ Factices? Le Grand Verre de Marcel Duchamp a Travers ses 'Autres' / Authentic ‘Relic’ and False ‘Replicas?’ Marcel Duchamp's Large Glass as seen Through Its ‘Others’

Leszek BROGOWSKI et Aurélie NOURY, Déballage de La Boîte verte. L'Autre Moitié de la Question: La Boîte Verte de la Collection d'Ernest T. Sans Niveau ni Metre. Journal du Cabinet du Livre D'artiste, Numéro 30, 26 septembre / 14 novembre 2013 [reprint]

Leszek BROGOWSKI i Aurélie NOURY, Rozpakowywanie Zielonego Pude³ka. Druga Po³owa Pytania: Zielone Pude³ko z Kolekcji Ernesta T. (z Interwencj¹ Mathieu Saladin) [t³umaczenie]

Leszek BROGOWSKI and Aurélie NOURY, Unpacking The Green Box [English Summary]

Ernest T., Biografia i Wybór Prac / Biography and Selected Works / Biographie et Sélection d'Oeuvres

Aurélie NOURY, Rozmaitoœci dla Marcela Duchampa / Miscellanea for Marcel Duchamp / Mélanges pour Marcel Duchamp


Marc DÉCIMO, Biblioteka Marcela Duchampa, byæ mo¿e (fragment) [t³umaczenie]

Aurélie NOURY, Rekonstrukcja Biblioteki Marcela Duchampa / Reconstruction of Marcel Duchamp's Library / Reconstitution de la Bibliotheque de Marcel Duchamp

Informacje 'dla autorów' / Infos 'for authosrs':


Sekcje tematyczne - otwarty nabór:

Fluxus w krajach Europy.







Documents of Art

Andrzej Pierzgalski (1938-2016) founded and ran the A4 Gallery in £ód¼ in the 1970s. A gallery dedicated to him was opened in 2012 in the Art and Documentation journal. Since 2018 the gallery has been curated by Leszek Brogowski.

After the Second World War, a rapid process of deconstruction of the traditional concept of a work of art took place: process and information replaced the material object; documents replacing the work of art referred to the working process rather than the creative act; the intellectualization of artistic processes is opposed to aesthetic fanaticism; discretion, moderation and restraint are contrasted to lavishness, spectacle and exaggeration, especially on the art market, etc. One of the most interesting places where the clear contours of the concept of a work of art have blurred, is precisely its border with the document. Yet art historians often distinguish the work of art as the proper subject of research, and accompanying documents, such as: an order, a contract for a work, a notarial document, etc., as only a material accompanying the research. In reference to many practices of contemporary art, this distinction can no longer be applied, because a work can now take the form of a document, and a document can replace a work; often these two functions overlap or coexist. In the work Document (1963), to a work inspired by Marcel Duchamp's notes, Robert Morris added the notarial act - Statement of Esthetic Withdrawal - by virtue of which he withdrew all aesthetic qualities from it; if this document is disconnected from the work of art and considered only as a supplement to it, the work of art will completely change its character. You can even ask yourself if the work of art is not just a specific document and a trace of the artistic process. The program of the Documents of Art Gallery will be focused, however, on printed documents: not on the so-called artistic prints, but on documents with industrial offset, photocopy and even hand-folded, rubber fonts, or mechanical reproduction techniques, which Walter Benjamin writes at the beginning of his essay: "The enormous changes brought about in literature by movable type, the technological reproduction of writing, are well known. But they are only a special case, though an important one, of the phenomenon considered here from the perspective of world history. In the course of the Middle Ages the woodcut was supplemented by engraving and etching, and at the beginning of the nineteenth century by lithography." [1] Well, the offset is just an improved and industrialized lithography, where the zinc plates replaced heavy lithographic stone, thus enabling mass printing of photographs. The use of industrial printing as the basis for documents of art (manifests, artistic magazines, artists' books, catalogues, leaflets, invitations, visual poetry, etc.) has become an impulse for profound changes not only in artistic practices, but also - as Benjamin predicted - in the very notion of art. Art documents presented here will therefore be an opportunity to trace the most important stages and aspects of these changes.

[1] Walter Benjamin, The Work of Art in the Age of Its Technological Reproducibility, and Other Writings on Media, edited by Michael W. Jennings, Brigid Doherty, and Thomas Y. Levin, translated by Edmund ]ephcott, Rodney Livingstone, Howard Eiland, and Others (Cambridge, Mass., London: The Belknap Press Of Harvard University Press, 2008), 20.

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