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dc.contributor.authorPopczyk, Maria
dc.date.accessioned2015-06-05T18:49:23Z
dc.date.available2015-06-05T18:49:23Z
dc.date.issued2010
dc.identifier.citationMaria Popczyk, Przestrzenne praktykowanie muzeum, "Anthropos?" 2010, nr 14-15pl_PL
dc.identifier.issn1730-9549
dc.identifier.urihttps://depot.ceon.pl/handle/123456789/6897
dc.description.abstractThe Essay is a reflection about specificity border in space museum. As the Author has convinced, the museum is organized space, in which the system of works builds story about art and the operations, which consist of reading works. Moreover, their aesthetic survival or participate in them are temporary, but essentially spatial resolution, which put this place. In this project, author is trying to prove, that designed space creates a specific world art and multiple reside in it, which could be a crucial subject for an individual reflection directed outside variable everyday life. On the other hand, author thinks, that by plotting in art, borders can become familiar, which means - they enter in circulation the practice sphere in public and renew their interpretations. In this summaries the laborious work called art has making, not only through the theorists of art, but also by authority museum, which has negotiated its own work with masterpieces and creations of the main artists. In fact, every change of story is the results of demonstrated interpretation on the art’s ways, which shows effects of reorganized their space disposition. Instead, there are new interiors and new architecture, which launches nil spatial practice so far, different forms so use of the stories, as well as from the place. Therefore the museum becomes a space, which established dynamically interlocking relationship between story and the place is occupied by the works and spatial specific collection of practices, which shall take visitor. The Author has assured, that in this mutual relationship it is possible to find rationalization, which is reflecting cultural preferences. In the meaningful conclusion, works of art shall be placed in an everlasting duration through the historical exposures. However, they belong to the closed period art - as the Author has convinced. In critical art, museum shall cease to be rapacity, which has wanted to feed by context of closed gallery or has lived in the shadow expression politicians of judicial proceedings, judgments, where has activated and divided the audience. Instead, these are reasons, which set against the museum. That is why museum has to be set against more open space of the city, open to the spontaneous events. In this perspective public space does not have nature in consensus sense, communication between the different, as it wishes to Habermas, but would place dispute, fight between different content, it means - different public spheres.pl_PL
dc.language.isoplpl_PL
dc.publisherInstytut Nauk o Kulturze i Studiów Interdyscyplinarnych, Uniwersytet Śląskipl_PL
dc.rightsCreative Commons Uznanie autorstwa na tych samych warunkach 3.0 Polska
dc.rights.urihttp://creativecommons.org/licenses/by-sa/3.0/pl/legalcode
dc.subjectprzestrzeńpl_PL
dc.subjectmuzeumpl_PL
dc.subjectekspozycjapl_PL
dc.subjectestetykapl_PL
dc.subjectdoświadczenie estetycznepl_PL
dc.titlePrzestrzenne praktykowanie muzeumpl_PL
dc.typeinfo:eu-repo/semantics/articlepl_PL
dc.contributor.organizationUniwersytet Śląski w Katowicachpl_PL
dc.description.epersonMiłosz Markiewicz
dc.rights.DELETETHISFIELDinfo:eu-repo/semantics/openAccess


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Creative Commons Uznanie autorstwa na tych samych warunkach 3.0 Polska
Except where otherwise noted, this item's license is described as Creative Commons Uznanie autorstwa na tych samych warunkach 3.0 Polska