Papers by Dorota Koczanowicz
Performance Research, 2017
Flouting the principles of 18th-century aesthetics, Daniel Spoerri fuses physiological taste and ... more Flouting the principles of 18th-century aesthetics, Daniel Spoerri fuses physiological taste and aesthetic taste. Food and eating have provided the major axis of Spoerri’s projects throughout the many years of his artistic pursuits. He has staged several banquets, which have proved important hallmarks of art history. A restaurant-and gallery-owner, he has regularly put on display the celebrated “snare-pictures” – compositions of food rests and meal remnants. Dinner as such is a pure performance that spans only as long as people eat and can never be replicated in the same form. The remains are what is usually discarded, both after dinner and after a performance, but they are also the only remnants left, representing nostalgia and a desire to preserve what cannot possibly be perpetuated. Spoerri explores the limits of taste and possibilities of preserving it, at the same time interrogating the limits of art. Spoerri’s art poses an ontological challenge to the identity of artworks which refuse to relinquish their embedment in the everyday. What is it that makes the everyday (a meal) mutate into an artwork (a performance)? I intend to answer this question drawing on pragmatist perspectives, which interrogate the relation between experience and action in the context of artwork.
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Konteksty : polska sztuka ludowa : antropologia kultury, etnografia, sztuka, 2023
The presented text pertains to eating within the context of consumerism and its critique. Reflect... more The presented text pertains to eating within the context of consumerism and its critique. Reflections are based on the film Menu, whose plot served posing fundamental questions about the mechanisms of the contemporary culture of consumption. The authors referred to Herbert Marcuse's conception of capitalist society and in particular the category of repressive desublimation. The goal of restaurants offering fine dining is to create the possibility of a holistic experience close to experiencing art. The price of such a conception of gastronomy is often not merely an exorbitant bill but also the exploitation of workers and violence. The ensuing crisis indicates, on the one hand, the economic conditioning of consumerism, but on the other hand the impossibility of evading the contradictions of the culture of capitalist society with which they are associated.
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Konteksty. Polska Sztuka Ludowa”, nr 3 (326), 2019
Artykuł dotyczy sytuacji twórczego przekroczenia ograniczeń, które towarzyszą gotowaniu. O powin... more Artykuł dotyczy sytuacji twórczego przekroczenia ograniczeń, które towarzyszą gotowaniu. O powinowactwie braku i kreatywności można mówić posługując się przykładami z codziennej praktyki kuchennej matek i babek, ale siłę, której źródło bije w niedostatku docenili też szefowie kuchni wysokiej. Tekst dotyka również granicznych wydarzeń wojny. W przypadku głodu i walki o życie, bezinteresowność twórczego działania w kuchni, a także wysiłek dokumentacji w postaci przepisów fantazji o przeszłym i przeszłym gotowaniu, okazał się pomocnym narzędziem przetrwania najbardziej opresyjnej sytuacji. O skuteczności tej strategii zaświadcza dobitnie przypadek kobiet z Terezina.
D. Koczanowicz, Twórcza siła niedostatku. Od sztuki gotowania do sztuki przetrwania, „Konteksty. Polska Sztuka Ludowa”, nr 3 (326) 2019, s. 172-176.
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Konteksty. Polska Sztuka Ludowa, 2020
Smaki są silnie związane z emocjami, ucieleśnioną pamięcią i uczuciami, zarówno w wymiarze strukt... more Smaki są silnie związane z emocjami, ucieleśnioną pamięcią i uczuciami, zarówno w wymiarze struktur pamięci społecznej, jak i indywidualnych doświadczeń. Jak uczy nas Paul Connerton, pamięć przeszłych zdarzeń jest zachowana w ciele i zakotwiczona w powtarzanych, prostych czynnościach, w tym tych związanych z jedzeniem. Punktem wyjścia rozważań relacji pomiędzy smakiem i tożsamością będzie twórczość Anny Królikiewicz. Dzięki smakom i zapachom artystka stara się przywrócić pamięć przeszłych sytuacji, miejsc i osób. Zadaje także pytanie o sposoby pamiętania i możliwość tworzenia wspólnoty wokół stołu. W efekcie pracy wyobraźni i doświadczenia zmysłowego pojawia się dzieło sztuki, które jest syntezą zastanej sytuacji artystycznej i pracy pamięci.
D. Koczanowicz, Pamięć podniebienia : smak i archiwizowanie tożsamości w instalacjach Anny Królikiewicz, Konteksty : polska sztuka ludowa : antropologia kultury, etnografia, sztuka, 2020, 74, 138-144.
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Kuchnia i stół w komunikacji społecznej. Tekst, dyskurs, kultura, 2016
Celem artykułu jest wskazanie na społeczne i kulturowe uwarunkowania praktyk kulinarnych w świetl... more Celem artykułu jest wskazanie na społeczne i kulturowe uwarunkowania praktyk kulinarnych w świetle koncepcji habitusu Pierre’a Bourdieu i somaestetyki Richarda Shustermana.
Smak odzwierciedla naszą pozycją społeczną i zaplecze kulturowe. Jesteśmy tym, co jemy, ale to, co jemy, nie jest to dokładnie kwestia naszego wyboru. Jesteśmy rządzeni przez różne reżimy smaku, a nasze ciała są formowane zgodnie z kulturowo zakorzenionymi normami i wartościami. W oparciu o teorie Bourdieu i Shustermana pokazane jest,
w jaki sposób smak dyscyplinuje nasze ciała i bada możliwości emancypacji.
Dwa filmy fabularne: Uczta Babette i Życie Adeli stanowią artystyczny komponent, pomocny w uwypukleniu omawianych problemów.
D. Koczanowicz, Reżimy smaku: kultura i gusty kulinarne, w: Kuchnia i stół w komunikacji społecznej. Tekst, dyskurs, kultura, red. W. Żarski, T. Piasecki, Atut, Wrocław 2016, s. 309-316.
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Ethos, 2022
Ludwik Wittgenstein miał powiedzieć, że „mu wszystko jedno co je, jeśli tylko potrawa pozostaje z... more Ludwik Wittgenstein miał powiedzieć, że „mu wszystko jedno co je, jeśli tylko potrawa pozostaje zawsze ta sama”. To punkt wyjścia artykułu o performansie Alison Knowles. W latach 1967-73 codziennie, mniej więcej o tej samej godzinie, jadła ona taką samą kanapkę w tej samej, nieistniejącej już, nowojorskiej restauracji Riss. Nie był to zwykły posiłek, lecz działanie artystyczne, zatytułowane Identyczny lancz. Z czasem do Knowles dołączyli inni artyści. Jej znajomi jedli kanapkę z tuńczykiem i zapisywali okoliczności swoich posiłków – wrażenia, smakowe, ciekawych towarzyszy, rozmowy, ale też drobiazgi, na które nigdy wcześniej nie zwróciliby uwagi. Istotą tego performansu, jak też innych akcji artystycznych Fluxusu, do którego należała artystka, było zacieranie granic pomiędzy sztuką i życiem. Autorka artykułu, zadając pytanie o warunki przenikania kulinariów do sfery sztuki, odwołuje się do teorii estetycznych, wywodzących sztukę z doświadczenia codzienności: Johna Dewey’a, Nicoli Perullo i Yurico Saito.
Ludwig Wittgenstein is supposed to have said that "it did not much matter to him what he ate, so long as it always remained the same." This is the starting point of an article about Alison Knowles' performance. In the years 1967-73 she ate the same sandwich every day, at approximately the same hour, in the same, nonexistent, New York restaurant, Riss. This was no ordinary meal, but an artistic activity, entitled Identical Lunch. Over time, Knowles was joined by other artists. Her friends ate a tuna sandwich and recorded the circumstances of their meals – impressions, flavors, interesting companions, conversations, but also little things they would never have noticed before. The essence of this performance, as well as other artistic actions of Fluxus, to which the artist belonged, was to blur the boundaries between art and life. The author of the article, asking the question about the conditions of diffusion of culinary arts into the sphere of art, refers to the aesthetic theories that derive art from the experience of everyday life: John Dewey, Nicolla Perullo and Yurico Saito.
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Prace Kulturoznawcze, 2017
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The Monist : Food, 2018
This article discusses works of two artists—Marina Abramović (The Kitchen) and
Elżbieta Jabłoń... more This article discusses works of two artists—Marina Abramović (The Kitchen) and
Elżbieta Jabłońska (Supermother)—who explore a clash between heroism and everydayness in the kitchen space. Everyday routine inexorably demands being performed. Its uncompromising decrees spare neither mystics nor the free souls of artists. Even the most spiritual people must eat and drink. To solve the conflict of matter and spirit, these artists draw on different traditions that transcend reality: mysticism and the superheroes of popular culture, respectively. Abramović enters the kitchen as St.
Teresa of Ávila while Jabłońska dons Superman’s cap. Does one have to rise above the
ground to feel that cooking, cleaning, and washing up are not beyond the powers of an
average woman? Are the body and the soul doomed to fight each other permanently?
Each artist’s work suggests different answers and solutions.
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Arts, 2021
The paper explores the multisensory artistic practices of the Polish artist Anna Królikiewicz, in... more The paper explores the multisensory artistic practices of the Polish artist Anna Królikiewicz, in which the sense of taste is pivotal as a medium of memory. Królikiewicz relies on tastes and smells to restore the memory of past moments, places, and people and to give life to the dead. Królikiewicz’s method is unique in that she abandons the exclusively cognitive mode of remem-bering, promoted by ocularcentrism, which distinctively pervades our culture. The artist aspires to stimulate sometimes anemic memory to compose from scratch an image of a place that is strongly marked by the presence of its previous dwellers. She does not propose a cognitive dialog or intel-lectual processing of sensory data; instead, she constructs a relationship ensuing from emotional and empathetic processes. She inquires into the nature of perception, modes of remembering, and possibilities to foster a community around the table. Once-alive existences resurface in Królikie-wicz’s pieces in the form of sensory traces. Her works are on-site experimentations in which the relations between tasting and recollecting are studied. The paper focuses on two site-specific in-stallations—How much sugar? and The Drugstore—where taste is relied on to build tunnels of memory connecting the contemporary residents of Sopot and Gdansk to the Germans who inhab-ited the two cities before the WW2.
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Sztuka Ludowa”, nr (1-2), 2018
Gotowanie i mówienie, to dwa wyróżniki wyjątkowej pozycji człowieka, na które wskazuje Claude Lév... more Gotowanie i mówienie, to dwa wyróżniki wyjątkowej pozycji człowieka, na które wskazuje Claude Lévi-Strauss . Pomimo tego jednak, że smakowanie i mówienie są ulokowane bardzo blisko w wymiarze tak symbolicznym jak i fizycznym, bardzo trudno przyjemność organów wewnętrznych uzewnętrznić w języku. Jak opowiedzieć smak?
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„Dyskurs”, 12, 2011
Still Life and Metamorphose of Life
The aim of the paper is to depict complicated story about the... more Still Life and Metamorphose of Life
The aim of the paper is to depict complicated story about the philosophy underling still life in the different cultural and historical context. The author starts from Caravaggio’s Basket of Fruit in which the image of decay is contrasted with the promise of eternal life. It is the point of departure for the interpretation of modern art and the exploration of various ideological references of contemporary still life. Nowadays art loses transcendental insight and focuses on the pure horror of death. Beauty is replaced by disgust. This thesis is illustrated by works of: Pablo Picasso, Sam Tylor-Wood, Michel Blazy, and Zoe Leonard. The only consolation
which art can offer is grotesque, the eternal return which is showed in Sam Tylor-Wood’s work, or continuous series of transformation in works of Michel Blazy, the image of life which permeates death and death permeated by life.
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„Konteksty. Polska Sztuka Ludowa”nr 1 (312),, 2016
Kuchnia jest obok. Obok oficjalnych pokoi, często od nich oddalona, żeby uniknąć kontaktu z wyzie... more Kuchnia jest obok. Obok oficjalnych pokoi, często od nich oddalona, żeby uniknąć kontaktu z wyziewami gotowania i odrzucającymi resztkami. Działa tu swoista dialektyka przyciągania i odpychania, ponieważ kuchnia jest wprawdzie zapleczem dla bankietu, ale często tłoczą się w niej goście, chcący odetchnąć od elegancji salonu. Kuchnia to codzienność, to obowiązki, coś, co wydaje się lokować na przeciwnym biegunie sztuki. Artyści pojawiają się jednak w kuchni; dzieje się tak z różnych powodów: sięgają oni po jedzenie ponieważ szukają dogodnego spoiwa czasowej wspólnoty, upominają się o „uwięzione” w kuchniach kobiety lub poszukują nowych obszarów dla piękna albo, przeciwnie, kontestują tradycyjne wartości estetyczne. W swoim artykule przywołuję prace, min. Mariny Abramović, Marthy Rosler i Elżbiety Jabłońskiej, a także projekt kuchni frankfurckiej Margarete Schütte-Lihotzky, aby pokazać niejednoznaczność kuchni, która z serca domu może zamienić się w miejsce opresji. Działania artystyczne zestawiam z poglądami Jolanty Brach-Czainy i Luce Giard.
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Pragmatism Today, 2017
The article addresses the aporia of taste in culture. Drawing on theoretical texts and artworks, ... more The article addresses the aporia of taste in culture. Drawing on theoretical texts and artworks, it explores the (im)possibility of a tourist’s authentic culinary experience. The notion of authentic culinary taste, which is highly appreciated in today’s culture, harbors an obvious, irresolvable contradiction. This challenge is related to two factors. Firstly, authenticity is historically contingent and, as such, bound up with change; and, secondly, authenticity has become a marketable commodity in our culture. As the imperative of authenticity becomes more and more pressing, it grows increasingly difficult to meet the requirement of uniqueness while the risk of disappointment soars. The solution is a consciously and actively created experience.
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Performance Research: On Taste, 2017
Flouting the principles of 18th-century aesthetics, Daniel Spoerri fuses physiological taste and ... more Flouting the principles of 18th-century aesthetics, Daniel Spoerri fuses physiological taste and aesthetic taste. Food and eating have provided the major axis of Spoerri’s projects throughout the many years of his artistic pursuits. He has staged several banquets, which have proved important hallmarks of art history. A restaurant-and gallery-owner, he has regularly put on display the celebrated “snare-pictures” – compositions of food rests and meal remnants.
Dinner as such is a pure performance that spans only as long as people eat and can never be replicated in the same form. The remains are what is usually discarded, both after dinner and after a performance, but they are also the only remnants left, representing nostalgia and a desire to preserve what cannot possibly be perpetuated. Spoerri explores the limits of taste and possibilities of preserving it, at the same time interrogating the limits of art.
Spoerri’s art poses an ontological challenge to the identity of artworks which refuse to relinquish their embedment in the everyday. What is it that makes the everyday (a meal) mutate into an artwork (a performance)? I intend to answer this question drawing on pragmatist perspectives, which interrogate the relation between experience and action in the context of artwork.
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The Monist : Food, 2018
Heroism and everydayness in the kitchen space.
The article discusses works of two artists—Marin... more Heroism and everydayness in the kitchen space.
The article discusses works of two artists—Marina Abramović (The Kitchen) and Elżbieta Jabłońska (Supermother)—who explore a clash between heroism and everydayness in the kitchen space. Everyday routine inexorably demands being performed. Its uncompromising decrees spare neither mystics nor the free souls of artists. Even the most spiritual people must eat and drink. To solve the conflict of matter and spirit, these artists draw on different traditions that transcend reality: mysticism and the superheroes of popular culture, respectively. Abramović enters the kitchen as St. Teresa of Avila while Jabłońska dons Superman’s cap. Does one have to rise above the ground to feel that cooking, cleaning, and washing up are not beyond the powers of an average woman? Are the body and the soul doomed to fight each other permanently? Each artist’s work suggests different answers and solutions.
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Smak autentyczności, Kultura, historia, globalizacja, nr 20, 2016, s. 109-117.
The article’s main... more Smak autentyczności, Kultura, historia, globalizacja, nr 20, 2016, s. 109-117.
The article’s main problem is whether in the world dominated by the organized tourism still there would be a place for an authentic culinary experience and what can guarantee truthfulness of such experience.
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Although John Dewey is not commonly associated with food studies, his writings are punctuated wit... more Although John Dewey is not commonly associated with food studies, his writings are punctuated with reflection on cooking and sharing food as well as references to gastronomical experience. The American pragmatist believed that food cooking and sharing could be productively integrated into educational processes. Evern more interesting are passages of Art as Experience which refer to cooking and eating food. Examples borrowed from the realm of gastronomy often usefully illustrate Dewey's philosophical considerations and serve as models of central aesthetic categories. The paper analyses the contexts in which culinary examples are used and their consequences for the Deweyan concept of experience and perceptions of the function and status
of dietary practices in culture.
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After the Revolution, a new form of public life - the restaurant - emerged in France. Located at ... more After the Revolution, a new form of public life - the restaurant - emerged in France. Located at the intersection of the private and the public spheres, the restaurant was shaped by three forces: the chefs, the gourmands and the culinary critics. As the restaurant developed dynamically and refined culinary art underwent democratisation, eating became a specific cultural fact. The text examines the birth of gastronomy and the first food lover's almanac authored by Grimod de la Reynière.
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Discussing Modernity. A Dialogue with Martin Jay, eds. Dorota Koczanowicz, Leszek Koczanowicz, David Schauffler, Amsterdam-New York: Rodopi., 2013
Can cooking be called a fine art? Can banqueting be a source of aesthetic experience? Addresing t... more Can cooking be called a fine art? Can banqueting be a source of aesthetic experience? Addresing these questions in my article, I refer to concepts formulated by Kant, who determined standards of thinking about art. I dsiscuss also the ways in which American thinkers, such as Martin Jay and Arnold Berleant, opposed Kantian aesthetics. In this context, however, it seems to me that the most fruitful idea of art is Dewey's concept of art as experience.
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Conferences by Dorota Koczanowicz
poster by Tomek Pietrek
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Papers by Dorota Koczanowicz
D. Koczanowicz, Twórcza siła niedostatku. Od sztuki gotowania do sztuki przetrwania, „Konteksty. Polska Sztuka Ludowa”, nr 3 (326) 2019, s. 172-176.
D. Koczanowicz, Pamięć podniebienia : smak i archiwizowanie tożsamości w instalacjach Anny Królikiewicz, Konteksty : polska sztuka ludowa : antropologia kultury, etnografia, sztuka, 2020, 74, 138-144.
Smak odzwierciedla naszą pozycją społeczną i zaplecze kulturowe. Jesteśmy tym, co jemy, ale to, co jemy, nie jest to dokładnie kwestia naszego wyboru. Jesteśmy rządzeni przez różne reżimy smaku, a nasze ciała są formowane zgodnie z kulturowo zakorzenionymi normami i wartościami. W oparciu o teorie Bourdieu i Shustermana pokazane jest,
w jaki sposób smak dyscyplinuje nasze ciała i bada możliwości emancypacji.
Dwa filmy fabularne: Uczta Babette i Życie Adeli stanowią artystyczny komponent, pomocny w uwypukleniu omawianych problemów.
D. Koczanowicz, Reżimy smaku: kultura i gusty kulinarne, w: Kuchnia i stół w komunikacji społecznej. Tekst, dyskurs, kultura, red. W. Żarski, T. Piasecki, Atut, Wrocław 2016, s. 309-316.
Ludwig Wittgenstein is supposed to have said that "it did not much matter to him what he ate, so long as it always remained the same." This is the starting point of an article about Alison Knowles' performance. In the years 1967-73 she ate the same sandwich every day, at approximately the same hour, in the same, nonexistent, New York restaurant, Riss. This was no ordinary meal, but an artistic activity, entitled Identical Lunch. Over time, Knowles was joined by other artists. Her friends ate a tuna sandwich and recorded the circumstances of their meals – impressions, flavors, interesting companions, conversations, but also little things they would never have noticed before. The essence of this performance, as well as other artistic actions of Fluxus, to which the artist belonged, was to blur the boundaries between art and life. The author of the article, asking the question about the conditions of diffusion of culinary arts into the sphere of art, refers to the aesthetic theories that derive art from the experience of everyday life: John Dewey, Nicolla Perullo and Yurico Saito.
Elżbieta Jabłońska (Supermother)—who explore a clash between heroism and everydayness in the kitchen space. Everyday routine inexorably demands being performed. Its uncompromising decrees spare neither mystics nor the free souls of artists. Even the most spiritual people must eat and drink. To solve the conflict of matter and spirit, these artists draw on different traditions that transcend reality: mysticism and the superheroes of popular culture, respectively. Abramović enters the kitchen as St.
Teresa of Ávila while Jabłońska dons Superman’s cap. Does one have to rise above the
ground to feel that cooking, cleaning, and washing up are not beyond the powers of an
average woman? Are the body and the soul doomed to fight each other permanently?
Each artist’s work suggests different answers and solutions.
The aim of the paper is to depict complicated story about the philosophy underling still life in the different cultural and historical context. The author starts from Caravaggio’s Basket of Fruit in which the image of decay is contrasted with the promise of eternal life. It is the point of departure for the interpretation of modern art and the exploration of various ideological references of contemporary still life. Nowadays art loses transcendental insight and focuses on the pure horror of death. Beauty is replaced by disgust. This thesis is illustrated by works of: Pablo Picasso, Sam Tylor-Wood, Michel Blazy, and Zoe Leonard. The only consolation
which art can offer is grotesque, the eternal return which is showed in Sam Tylor-Wood’s work, or continuous series of transformation in works of Michel Blazy, the image of life which permeates death and death permeated by life.
Dinner as such is a pure performance that spans only as long as people eat and can never be replicated in the same form. The remains are what is usually discarded, both after dinner and after a performance, but they are also the only remnants left, representing nostalgia and a desire to preserve what cannot possibly be perpetuated. Spoerri explores the limits of taste and possibilities of preserving it, at the same time interrogating the limits of art.
Spoerri’s art poses an ontological challenge to the identity of artworks which refuse to relinquish their embedment in the everyday. What is it that makes the everyday (a meal) mutate into an artwork (a performance)? I intend to answer this question drawing on pragmatist perspectives, which interrogate the relation between experience and action in the context of artwork.
The article discusses works of two artists—Marina Abramović (The Kitchen) and Elżbieta Jabłońska (Supermother)—who explore a clash between heroism and everydayness in the kitchen space. Everyday routine inexorably demands being performed. Its uncompromising decrees spare neither mystics nor the free souls of artists. Even the most spiritual people must eat and drink. To solve the conflict of matter and spirit, these artists draw on different traditions that transcend reality: mysticism and the superheroes of popular culture, respectively. Abramović enters the kitchen as St. Teresa of Avila while Jabłońska dons Superman’s cap. Does one have to rise above the ground to feel that cooking, cleaning, and washing up are not beyond the powers of an average woman? Are the body and the soul doomed to fight each other permanently? Each artist’s work suggests different answers and solutions.
The article’s main problem is whether in the world dominated by the organized tourism still there would be a place for an authentic culinary experience and what can guarantee truthfulness of such experience.
of dietary practices in culture.
Conferences by Dorota Koczanowicz
D. Koczanowicz, Twórcza siła niedostatku. Od sztuki gotowania do sztuki przetrwania, „Konteksty. Polska Sztuka Ludowa”, nr 3 (326) 2019, s. 172-176.
D. Koczanowicz, Pamięć podniebienia : smak i archiwizowanie tożsamości w instalacjach Anny Królikiewicz, Konteksty : polska sztuka ludowa : antropologia kultury, etnografia, sztuka, 2020, 74, 138-144.
Smak odzwierciedla naszą pozycją społeczną i zaplecze kulturowe. Jesteśmy tym, co jemy, ale to, co jemy, nie jest to dokładnie kwestia naszego wyboru. Jesteśmy rządzeni przez różne reżimy smaku, a nasze ciała są formowane zgodnie z kulturowo zakorzenionymi normami i wartościami. W oparciu o teorie Bourdieu i Shustermana pokazane jest,
w jaki sposób smak dyscyplinuje nasze ciała i bada możliwości emancypacji.
Dwa filmy fabularne: Uczta Babette i Życie Adeli stanowią artystyczny komponent, pomocny w uwypukleniu omawianych problemów.
D. Koczanowicz, Reżimy smaku: kultura i gusty kulinarne, w: Kuchnia i stół w komunikacji społecznej. Tekst, dyskurs, kultura, red. W. Żarski, T. Piasecki, Atut, Wrocław 2016, s. 309-316.
Ludwig Wittgenstein is supposed to have said that "it did not much matter to him what he ate, so long as it always remained the same." This is the starting point of an article about Alison Knowles' performance. In the years 1967-73 she ate the same sandwich every day, at approximately the same hour, in the same, nonexistent, New York restaurant, Riss. This was no ordinary meal, but an artistic activity, entitled Identical Lunch. Over time, Knowles was joined by other artists. Her friends ate a tuna sandwich and recorded the circumstances of their meals – impressions, flavors, interesting companions, conversations, but also little things they would never have noticed before. The essence of this performance, as well as other artistic actions of Fluxus, to which the artist belonged, was to blur the boundaries between art and life. The author of the article, asking the question about the conditions of diffusion of culinary arts into the sphere of art, refers to the aesthetic theories that derive art from the experience of everyday life: John Dewey, Nicolla Perullo and Yurico Saito.
Elżbieta Jabłońska (Supermother)—who explore a clash between heroism and everydayness in the kitchen space. Everyday routine inexorably demands being performed. Its uncompromising decrees spare neither mystics nor the free souls of artists. Even the most spiritual people must eat and drink. To solve the conflict of matter and spirit, these artists draw on different traditions that transcend reality: mysticism and the superheroes of popular culture, respectively. Abramović enters the kitchen as St.
Teresa of Ávila while Jabłońska dons Superman’s cap. Does one have to rise above the
ground to feel that cooking, cleaning, and washing up are not beyond the powers of an
average woman? Are the body and the soul doomed to fight each other permanently?
Each artist’s work suggests different answers and solutions.
The aim of the paper is to depict complicated story about the philosophy underling still life in the different cultural and historical context. The author starts from Caravaggio’s Basket of Fruit in which the image of decay is contrasted with the promise of eternal life. It is the point of departure for the interpretation of modern art and the exploration of various ideological references of contemporary still life. Nowadays art loses transcendental insight and focuses on the pure horror of death. Beauty is replaced by disgust. This thesis is illustrated by works of: Pablo Picasso, Sam Tylor-Wood, Michel Blazy, and Zoe Leonard. The only consolation
which art can offer is grotesque, the eternal return which is showed in Sam Tylor-Wood’s work, or continuous series of transformation in works of Michel Blazy, the image of life which permeates death and death permeated by life.
Dinner as such is a pure performance that spans only as long as people eat and can never be replicated in the same form. The remains are what is usually discarded, both after dinner and after a performance, but they are also the only remnants left, representing nostalgia and a desire to preserve what cannot possibly be perpetuated. Spoerri explores the limits of taste and possibilities of preserving it, at the same time interrogating the limits of art.
Spoerri’s art poses an ontological challenge to the identity of artworks which refuse to relinquish their embedment in the everyday. What is it that makes the everyday (a meal) mutate into an artwork (a performance)? I intend to answer this question drawing on pragmatist perspectives, which interrogate the relation between experience and action in the context of artwork.
The article discusses works of two artists—Marina Abramović (The Kitchen) and Elżbieta Jabłońska (Supermother)—who explore a clash between heroism and everydayness in the kitchen space. Everyday routine inexorably demands being performed. Its uncompromising decrees spare neither mystics nor the free souls of artists. Even the most spiritual people must eat and drink. To solve the conflict of matter and spirit, these artists draw on different traditions that transcend reality: mysticism and the superheroes of popular culture, respectively. Abramović enters the kitchen as St. Teresa of Avila while Jabłońska dons Superman’s cap. Does one have to rise above the ground to feel that cooking, cleaning, and washing up are not beyond the powers of an average woman? Are the body and the soul doomed to fight each other permanently? Each artist’s work suggests different answers and solutions.
The article’s main problem is whether in the world dominated by the organized tourism still there would be a place for an authentic culinary experience and what can guarantee truthfulness of such experience.
of dietary practices in culture.
The special guest of the conference is prof. Richard Shusterman, who will give a keynote speech titled Somaesthetics and the Fine Art of Eating.
Szczególną uwagę poświęca ona praktykom artystycznym od F.T. Marinettiego, Abramoyić i Ulaya oraz Marthy Rosler do Julity Wójcik, Elżbiety Jabłońskiej, Anny Królikiewicz, Marije Vogelzang, a w szczególności Daniela Spoerriego. Twórczość tego ostatniego doczekała się interpretacji autorki w pierwszoosobowej opowieści. Z kolei rozważania o sztuce Rirkrita Tirayaniji przenoszą nas do kultury tajskiej, dzięki czemu książka wzbogaca się o perspektywę postkolonialną. Spotkanie i - dodałbym - gościnność wobec Obcego to doświadczenie mocno obecne we współczesnej sztuce jedzenia.
Z recenzji Tomasza Kitlińskiego
O książce rozmawiać będą, oprócz autorki, prof. Tomasz Kitliński i prof. Paweł Leszkowicz. Spotkanie poprowadzi prof. Karolina Jaklewicz.
Wydarzeniem specjalnym będzie pokaz filmu Anny Królikiewicz „Stół”.
Jest pierwszą polską monografią poświęconą kulturoznawczo zorientowanej estetyce jedzenia. Jej podstawowym pytaniem jest to, czy gotowanie należy traktować jako działanie artystyczne, a jedzenie jako doświadczenie estetyczne, czyli czy jedzenie jest sztuką? W kulturze współczesnej kucharze staja się celebrytami i często mówi się o nich jako o artystach. Czy jednak to potoczne przeświadczenie, że gotowanie jest sztuką możne znaleźć uzasadnienie w języku nauki o kulturze? Czy jest szansa, aby kucharka w domowej kuchni poczuła się artystką? Książka wyszła w serii Nowej Humanistyki, wydawanej przez Instytut Badań Literackich PAN.
Do udziału w dyskusji zaproszenie przyjęli prof. Adam Chmielewski, redaktor naukowy pierwszego wydania Estetyki pragmatycznej i dr Wojciech Małecki, autor pierwszej monografii w języku angielskim poświęconej twórczości Richarda Shustermana.
Spotkanie poprowadzi dr Dorota Koczanowicz, redaktorka drugiego wydania Estetyki pragmatycznej.
December 2017
Editorial team: Philipp Dorstewitz, Alexander Kremer, Dorota Koczanowicz
Spis treści
Jedzenie i granice sztuki. Wprowadzenie (Dorota Koczanowicz) . 9
Rodolphe Gasché, Figura czy forma? Punkt widzenia żołądka, przeł. P. Poniatowska 15
Richard Shusterman, Somaestetyka i gastronomia. Kilka myśli o sztuce jedzenia, przeł. P. Poniatowska . 31
Nicola Perullo, Mądrość smaku i smak mądrości. Od filozofii jedzenia do filozofowania jedzeniem, przeł. P. Poniatowska 43
Robert Dobrowolski, Wzniosłe i cielesne pożywienie w sztuce jedzenia i nie-jedzenia . 55
Dominika Zagrodzka, Dlaczego jedzenie musi być piękne? . 69
Anna Królikiewicz, Kiedy wspomnienia stają się formą. Jedzenie jako medium w praktykach site specific . 87
Recenzje
Co z tym jedzeniem? — recenzja Philosophers at Table R. Boisverta i L. Heldke (Dominika Zagrodzka) . 99
Archiwum
Rodolphe Gasché, Sałatka Derridy? . 107
Anna Królikiewicz, Sałatka Derridy 2017 107
Noty o autorach . 109
TABLE OF CONTENTS
Introduction: Food And Agriculture - Opening Avenues For Responsible Public Intervention Philipp Dorstewitz and Dorota Koczanowicz ... 5 (PDF)
I. Food and Agriculture - Pragmatist Perspectives
Analytic vs. Pragmatist Food Ethics: Method and Approach Paul B. Thompson ... 10 (PDF)
Climate Induced Migration: A Pragmatic Strategy for Wildlife Conservation on Farmland Samantha Noll ... 41 (PDF)
A Moral Operating System of Livestock Farming Bart Gremmen ... 52 (PDF)
Deliberative And Pragmatist Agriculture Michiel Korthals ... 59 (PDF)
Eating Abroad: in Search for Culinary Experience Dorota Koczanowicz ... 45 (PDF)
II. Book Reviews
Susan Dieleman, David Rondel, and Christopher (Eds.) (2017): Pragmatism and Justice Brian E. Butler ... 69 (PDF)
Rethinking the Ego/Reconceptualising Philosophy: Shusterman's "Man in Gold" Catherine F. Botha ... 80 (PDF)