DESIGNATES AND JOBS – A CONTEMPORARY ART EXHIBITION
OPENING OF THE EXHIBITION / OPENING:
Friday: May 20, 2022, 6:30 p.m. – 8:30 p.m.
alternative music – concerts in the Tri-City
PLACE OF IMPLEMENTATION: INSTITUTE OF CYBERNETICS OF ART AND SPIŻ 7 GALLERY IN GDAŃSK OSOWIE,
UL. KOMANDORSKA 26, BUILDING A and BUILDING B
(Building B, ON OPENING DAY, DURING OPENING)
IMPROVISED MUSIC CONCERT, ACTION AND MUSICAL ACTIVITIES AND OPENING PERFORMANCES / DIRECTION
DURATION OF THE EXHIBITION: MAY 2122,
SATURDAY, 4:00 p.m. – 7:00 p.m.
ARTISTS: AL SZIA, JAKUB BIELAWSKI, SEBOL BEJSBOL, JOWAN CZERKAS, MIKOŁAJ DOBIES, TOMEK GADECKI, DOROTA GRUBBA: ALICE BECKER-HO + GUY DEBORD, BARTEK JARMOLIŃSKI, SŁAWOMIR LIPNICAZNICIA, CLAWOMIR LIPNICAKI, MASLATING Podkura, Marek Rogulski, Issa Samba + Antje Samba Majewski, Małgorzata Szaefer: Fortunata Obrąpalska, Bogusław Schaeffer, Brygida Serafin, Matylda Soja, Wojtek Sosnowski, Hubert Szmuc, Miłosz Thiede: Witosław Czerwonka + Wojciech Zawara, Wiktor Tomaszewski, Karolina Turek, Julia XENIA URANOWA, MARZE WARZECHATOR VIKAŁAR WIĘCKOWSKA, IREK WOJTCZAK, EWA ZARZYCKA
Organization: Fundacja Tysiąc Najajszej Słońc / TNS
Curator, concept: dr. Marek Rogulsky
Curatorial cooperation: dr. Dorota Grubba-Thiede, Dr. hab. Mateusz Pek
Cooperation partners: ASP Gdańsk, CSW Łaźnia, Łódź Academy of Humanities and Economics – AHE Łódź,
Edited by: Marek Rogulski, Tysiąc Najściszej Słońc Foundation / TNS
Graphic design: Tomasz Pawluczuk
Patronage: Polish Institute for World Art Studies, Art and Criticism
The exhibition was co-financed by the city of Gdańsk.
contemporary art exhibition
participation rules in line with the principles of the fight against the COVID-19 pandemic
DRAWINGS and ACTIVITIES
A problematic exhibition of contemporary art, performance, concert of national, national scope Designation of any specific object corresponding to the name or, more precisely, of any thing marked with a given symbol. Accidents – discrete (altered states of consciousness) and in cognition theory too: irrelevant properties. According to the sociological theory of Thomas Kuhn, the nature of the social world and the type of theory it requires have profound implications for how theoretical statements are constructed and how they relate to theoretical schemas. Human social behavior is organized by the symbolic designation of all aspects of the environment, both physical and social (S. Stryker). Art without politics (understood as conditions of social reality) cannot exist, but is different and relatively autonomous – just as the psyche without an animate body cannot exist, but is different and autonomous from purely physical processes (A. Chmielecki ). In the above context, we can assume that artistic activity can be seen as the process of creating and defining patterns of activity related to the social conditioning of the concept of forms and manifestations of art, as well as attitudes and goals. So it’s a question of the value he gives
in the social process of artistic activity. If we really want to describe man as a cognitive system, we must study his value system; this system is one of the main regulators of human activities. (Kozielecki) If the social context is so important in the interpretation of artistic activities, when we already have this knowledge, how do we want to use it? How to study phenomena, the phenomena of art? How does artistic expression synchronize with the experience (necessity) established in the social dimension? How awareness of the passage of time and memories gives you the ability to observe yourself and the process going on in your mind (the intruder problem). How can irrelevant, secondary and work-related things, through artistic acts, influence the way of understanding reality, shaping new concepts and building the social imaginary, and ultimately changing the configuration of elements considered important in the culture?
Marek Rogulski ICS / TNS / AHE