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Art and Documentation no. 26

Spis Treści / Table of Contents

Sekcja / Section

Universal Gardens. Biodiversity Imagined

Red. / Edit. by Cornelia LAUF

Cornelia LAUF, Introduction. Art & Ecology at the Villa of Livia, Prima Porta, Rome

Bernard Anson SILJ, Foreword. Leaves from My Album

Giulia CANEVA, A Garden of the Soul and an Interpretation of Life: The Hypogeal Painting of the Garden Room of the Villa of Livia

Crispin CORRADO, Biodiversity in the Ancient Roman World

June di SCHINO, Livia’s Garden: A Paradise for the Table

Margaret KNELLER, Outside Prima Porta, and Within - Instances of Biodiversity

K. Sara MYERS, Botanical Imperialism and Metamorphic Biodiversity: Livia and Ovid

Silvia RONCHEY, Laura BORGHETTI and Giulia Maria PAOLETTI, Biodiversity in Byzantium: Between Patrons, Manuscripts and Botanical Travels

Nicolas LINEY, Biodiverse Poems, Posthuman Poets: Gardens in/as Imperial Roman Poetry

Cornelia LAUF and Flavia PRESTININZI, Contemporary Artists’ Herbarium

Gabriel Alonso; Susannah Bosanquet; Martha Boyden; Bill Burns; Francesco Ciavaglioli; Marcello Crescenzi; Raffaella Crispino; Sabine Delafon; Mark Dion; Lise Dulcaux; Karolina Dworska; Nina Eaton; Saskia Fischer; Valentina Furian; Iulia Iulia Ghiţa; Tommaso Gorla; Alexander Hamilton; Hanna Hildebrand; Debora Hirsch; Taylor Hoppes; Marija Maša Jovanovic; Anka Lesniak; Karolina Liusikova; Adelle Lutz; Aleksandra Mir; Caterina Morigi; Christian Philipp Müller; Txuspo Poyo; Andrea Polichetti; Barbara Prenka; Ivars (William H. Sullivan); Sarah de Teliga; Aki Turunen; Meyer Vaisman; Daniele Zoico

Art and Documentation no. 27

Spis Treści / Table of Contents

Sekcja / Section

Exhibiting Polish Art Abroad, 1918-2019: Curators, Festivals, Institutions

Red. / Edit. by Małgorzata KAZMIERCZAK

Katalin BALAZS, Exhibiting Polish Fabric Art in Hungary in the 1960s-1970s

Łukasz BIAŁKOWSKI, A Firecracker, a Light at the End of the Tunnel? The First Polish Programme of Residential Stays for Artists in the US

Mateusz M. BIECZYŃSKI, A Getaway From Socialist Realism. State-Organised Overseas Exhibitions as the Road to Fame of the Polish School of Posters

Maciej GUGAŁA, Entangled in Contexts: Ten Years after the Side by Side Exhibition in Berlin's Martin-Gropius-Bau

Anna DZIERŻYC-HORNIAK, From a Demarcation Line to a Living Archive. Documentary Exhibitions of the Foksal Gallery on the British Isles

Jeannine HARDER, The International Poster Exhibition Vienna 1948

Małgorzata KAZMIERCZAK, "Freedom Is Not Free." The Poland-USA Performance Art Project Juliett 484 and Its Social-Political Background

Sonia KĄDZIOŁKA, Between Haptic and Visual. About Polish Fiber Art at the International Biennials of Tapestry in Lausanne

Karolina KOLENDA, Władysław Hasior's Exhibitions in Sweden

Wiktoria KOZIOŁ, Bakunin in Dresden (1990-1991) as the Concept of the Political Art of the New Left during the Transformational Changes in Poland

Camilla LARSSON, The Politics of Appearance: Tadeusz Kantor Exhibiting in Sweden 1958-2014

Jarosław LUBIAK, Recognizing a Polish National Idiom in Global Art: Two Exhibitions of Polish Contemporary Art Abroad

Krzysztof SIATKA, Hamdi el Attar and the Stoffwechsel exhibitions in Kassel

Bernadeta STANO, The Thaw, or Warming in Cracow's Artistic Community Relations with the West, and Consequences to Art

Klara KEMP-WELCH, Presences Polonaises

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 - Założenia Programowe / Edition 8 - Program Assumptions / Édition 8 - Hypotheses du Programme


O Zielonym Pudełku (opis eksponatu z kolekcji FRAC Limousin) / About The Green Box (notice from the collection of the FRAC Limousin) / Sur La Boîte Verte de Marcel Duchamp (notice de la collection du FRAC Limousin)

Leszek BROGOWSKI, „Invisible mais voyable. Metodologia parafrazy” / „Invisible mais voyable. Paraphrase methodology" / „Invisible mais voyable. Méthodologie d'une paraphrase"

Kopia La Boîte Verte Marcela DUCHAMPA / Copy of La Boîte Verte Marcel DUCHAMP / Copie de La Boîte Verte de Marcel DUCHAMP [faksymile / facsimile / facsimilé]

Kopia La Boîte Verte Marcela DUCHAMPA wykonana przez Ernesta T. / Copy of La Boîte Verte Marcel DUCHAMP made by Ernest T. / Copie de La Boîte Verte de Marcel DUCHAMP réalisée par Ernest T. [[parafraza autorstwa Leszka Brogowskiego / paraphrase by Leszek Brogowski / paraphrase de Leszek Brogowski]]

Leszek BROGOWSKI, Gaël HENAFF, “Marcel Duchamp: le rétinien et le conceptuel, aspects juridiques” / "Marcel Duchamp: retinal and conceptual, legal aspects" / “Marcel Duchamp: siatkówkowe i konceptualne, aspekty prawne”

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

Leszek BROGOWSKI, Aurélie NOURY, Rozpakowywanie Zielonego Pudełka. Druga Połowa Pytania: Zielone Pudełko z Kolekcji Ernesta T. (z interwencją Mathieu Saladin) [tłumaczenie]

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

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"

Ernest T., O artyście i wybór prac / On the artiste and a selection of works / Sur l’artiste et sélection de travaux

Aurélie NOURY, 12 Artystow Francuskich Nawiązujących do Marcela Duchampa / 12 French Artists Referring to Marcel Duchamp / 12 Artistes Français Renouant avec Marcel Duchamp

Biblioteka Marcela Duchampa / Marcel Duchamp's Library

Marc DÉCIMO, La Bibliotheque de Marcel Duchamp, meme / The Library of Marcel Duchamp [tłumaczenie (fragment)]

Aurélie NOURY, Rekonstrukcja Biblioteki Marcela Duchampa (5 photos + informacja nt. methody) / Reconstruction of Marcel Duchamp's Library (5 photos + information on the method) / Reconstitution de la Bibliotheque de Marcel Duchamp (5 photos + informations sur la méthode)

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 Łódź 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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