http://hdl.handle.net/11089/46817 2026-04-06T22:49:47Z 2026-04-06T22:49:47Z Lachman, Magdalena http://hdl.handle.net/11089/46843 2023-04-27T01:17:29Z 2023-02-24T00:00:00Z

Dynamika reaktywacji: uwie(r)żyć na słowo… grupie Twożywo? Lachman, Magdalena The article offers the analysis of Twożywo – a group of Polish artists active since the middle of the 1990s. The group is formed by Mariusz Libel and Krzysztof Sidorek who produce street art and net art projects, as well as graphic art or design. The point of departure for the analysis is a 2000 retrospective album of the group Let’s Plunder the Ruins of Everyday (Plądrujemy ruiny rzeczywistości). It is a meticulously designed and artistically edited publication which has been seen by critics and commentators as a definitive summation of the group’s activities. The article tries to argue against the thesis of it being the monograph which marks the end of the artists’ creative presence. Instead of a final retrospective view the book provides yet another artistic project which explores the possibilities of an artbook format, using it as a clear expression of an artistic vision in which the works of Twożywo have been exhibited in the form of a printed artefact. The book, therefore, tests new paths for expression of the conventional book or retrospective album in which the known artworks and projects are visualised in a different environment and medium. The added value of the article is its effort to correct some factual information about Twożywo and their work. This concerns especially the moment of the group’s alleged termination of activity, which they themselves announced in 2011; yet, so far they have seemed unable to cease creating new work, also after the publication of the retrospective book. It does not end their presence on the artworld scene, merely redirecting their activity towards other, original projects. ; Artykuł poddaje namysłowi aktywność grupy Twożywo, którą tworzą Mariusz Libel i Krzysztof Sidorek, działający w Polsce od połowy lat 90. XX wieku w obszarach street artu, net artu, grafiki użytkowej, designu i sztuki. Asumpt do podjęcia refleksji daje opublikowana w 2020 roku książka Plądrujemy ruiny rzeczywistości, pieczołowicie przygotowana pod względem koncepcji i kształtu typograficznego publikacja, którą zwykle uznaje się za retrospektywny katalog, postscriptum, podsumowanie czy monografię. Autorka polemizuje z tą tezą, wskazując, że lepiej rozpatrywać pozycję w charakterze artbooka, wypowiedzi artystycznej, której celem jest testowanie możliwości, jakie w zakresie prezentacji i rearanżacji dla wcześniejszych realizacji Twożywa daje medium książkowe. Autorka weryfikuje ponadto różne informacje faktograficzne dotyczące grupy. Nieufnie podchodzi zwłaszcza do daty oficjalnego zakończenia działalności duetu. Formacja wprawdzie oficjalnie ogłosiła dezaktywację w 2011 roku, jednak trudno mówić o jej całkowitym zamilknięciu czy wygaszeniu obecności na scenie artystycznej w świetle podejmowanych przez twórców późniejszych aktywności, również tych ostatnich już po wydaniu książki Plądrujemy ruiny rzeczywistości, kiedy następuje przyrost ich kolejnych ciekawie zakrojonych dzieł.

2023-02-24T00:00:00Z Błażejewska, Anita http://hdl.handle.net/11089/46841 2023-04-27T01:17:27Z 2023-02-10T00:00:00Z

Urban Values in the Digital Space. The Street Art Roots of NFTs as a Problem Błażejewska, Anita This text is an attempt to describe a growing interest in transferring street art into digital art in the form of NFTs. By examining several urban values associated with graffiti and street art, it is possible to see how these phenomena affect new technologies. First, however, it is important to consider some street art NFTs and distinguish between their different types. We may identify three ways of presenting street art as NFTs: transferring the character to a different medium; assembling a collection of street art NFTs in a museum-like environment with each piece having its own characteristics; writing street artistry into the wider metaverse. I describe five urban values of NFTs: preservation, accessibility, illegality, money, and uniqueness. In conclusion, it is clear that NFTs change how viewers may perceive street art. NFTs are supposed to be eternal rather than ephemeral, and they lose street art’s association with spontaneity and illegality as well as its critique of commercialism. Street art as NFT is just another form of profit-making and one of its new values is money. It is possible to notice artistic values as well. NFTs are marked by diversity, and have their own rules (such as the importance of movement or looping), which are impossible to implement in traditional street art.

2023-02-10T00:00:00Z Hernández Sánchez, Adriana De La Torre Sánchez, Christian Enrique http://hdl.handle.net/11089/46842 2023-04-27T01:17:31Z 2023-02-24T00:00:00Z

Day and Night. Activities by and for the Children from El Refugio in Ancient Neighbourhoods of the Historic Centre of Puebla Hernández Sánchez, Adriana; De La Torre Sánchez, Christian Enrique The purpose of the following investigation is to understand how children from the old historic district El Refugio (or Barrio del Refugio) of the city of Puebla (Mexico) live in public spaces and what their days and nights look like. It is extremely important to understand the reasons for their appropriation of various places in the city because it allows one to explore the conditions in which they manifest autonomous attitudes. This article is therefore not only about customs and culture, but also about everyday relationships with the environment. Children are also involved in the activities of the group Re Genera Espacio (RGE) and the team of Benemérita Universidad Autónoma de Puebla (BUAP) in the development of all kinds of educational, artistic, and social activities. Among the most important results obtained is the observation that safety conditions are created by children in independent groups which move to other neighbourhoods (“barrios”), such as San Antonio and Santa Anita. Children make the street their space because they have important knowledge of the area.

2023-02-24T00:00:00Z Jeziorowska, Emilia http://hdl.handle.net/11089/46840 2023-04-27T01:17:30Z 2023-02-10T00:00:00Z

Mapping the protest. Static, dynamic, and spatial qualities of Occupy and Indignados movements protests in Spain and the United States of America in 2011-2012 Jeziorowska, Emilia This article examines the topic of protest mapping during the rise of Occupy Wall Street in the United States in 2011–2012. It focuses on various practices of protest mapping, including a consideration of how space (public, urban, or of the protest camp) is represented in the visual sources discussed. It also addresses the qualitative difference between protest mapping and other mapping practices, as well as the categorization of protest mapping terms. Using the method of source analysis and online research, the article adopts, as its key concept for studying protest as a multi-threaded phenomenon, the notion of détournement. This concept was first described in 1957 by Gil Wolman and Guy Debord, and from the early 1960s was used as a creative method and also a revolutionary strategy by the avant-garde artistic group, the Situationist International. The categories of stasis, dynamism, and spatiality will also be important points of reference.

2023-02-10T00:00:00Z