Sztuka i terroryzm

thesis
dc.abstract.enThe contemporary art seems to transform violence into kind of a critical gesture that engages aesthetic relations. In this text, we will try to explore - based on the example of the key representative of contemporary British art: Damien Hirst - how contemporary art re-assimilates this debate by forcing the viewer to a radical experience in which the shock, sensation becomes the moment of a certain critical intelligence. Confrontation with the work of art thus opens the space of a "productive paradox" in which the sensation becomes intelligence. Contemporary artists, must confront with this paradox of contemporary art. At the same time, it is more and more clearly visible that the category of violence gained a privileged place in contemporary aesthetics. The aestheticization of violence carried out mainly by the media is thus a challenge to the autonomy of art and the function of the work of art itself. In the presented work, we try to reconstruct the representation of violence in the mainstream art. We decided to do this by analyzing the works of the British artist Damien Hirst, representative of the movement referred to as Young British Artists. The choice of Hirst is motivated not only by the fact that at least once he publicly drew attention to the visual nature of terrorism, but also because of the way in which Hirst has transformed violence into the basic modus operandi of his work; his theory as well as artistic praxis.pl
dc.affiliationWydział Filozoficzny : Instytut Filozofiipl
dc.contributor.advisorMróz, Piotr - 130795 pl
dc.contributor.authorŚliwa, Łukasz - 150071 pl
dc.contributor.institutionUniwersytet Jagielloński. Wydział Filozoficzny. Instytut Filozofii. Zakład Filozofii Kulturypl
dc.contributor.reviewerKubicki, Piotrpl
dc.contributor.reviewerMatuszewski, Krzysztofpl
dc.date.accessioned2020-03-30T10:54:03Z
dc.date.available2020-03-30T10:54:03Z
dc.date.submitted2020-02-17pl
dc.description.additionalDostęp do publikacji jest możliwy w Archiwum UJpl
dc.description.physical252pl
dc.identifier.callnumberDokt. 2020/015pl
dc.identifier.projectROD UJ / Opl
dc.identifier.urihttps://ruj.uj.edu.pl/xmlui/handle/item/152737
dc.languagepolpl
dc.placeKrakówpl
dc.rightsCopyright*
dc.rights.licencebez licencji
dc.rights.urihttp://ruj.uj.edu.pl/4dspace/License/copyright/licencja_copyright.pdf*
dc.subject.plsztuka współczesnapl
dc.subject.plfilozofia sztukipl
dc.subject.plprzemocpl
dc.subject.plDamien Hirstpl
dc.subject.plterroryzmpl
dc.titleSztuka i terroryzmpl
dc.title.alternativeArt and terrorismpl
dc.typeThesispl
dspace.entity.typePublication
dc.abstract.enpl
The contemporary art seems to transform violence into kind of a critical gesture that engages aesthetic relations. In this text, we will try to explore - based on the example of the key representative of contemporary British art: Damien Hirst - how contemporary art re-assimilates this debate by forcing the viewer to a radical experience in which the shock, sensation becomes the moment of a certain critical intelligence. Confrontation with the work of art thus opens the space of a "productive paradox" in which the sensation becomes intelligence. Contemporary artists, must confront with this paradox of contemporary art. At the same time, it is more and more clearly visible that the category of violence gained a privileged place in contemporary aesthetics. The aestheticization of violence carried out mainly by the media is thus a challenge to the autonomy of art and the function of the work of art itself. In the presented work, we try to reconstruct the representation of violence in the mainstream art. We decided to do this by analyzing the works of the British artist Damien Hirst, representative of the movement referred to as Young British Artists. The choice of Hirst is motivated not only by the fact that at least once he publicly drew attention to the visual nature of terrorism, but also because of the way in which Hirst has transformed violence into the basic modus operandi of his work; his theory as well as artistic praxis.
dc.affiliationpl
Wydział Filozoficzny : Instytut Filozofii
dc.contributor.advisorpl
Mróz, Piotr - 130795
dc.contributor.authorpl
Śliwa, Łukasz - 150071
dc.contributor.institutionpl
Uniwersytet Jagielloński. Wydział Filozoficzny. Instytut Filozofii. Zakład Filozofii Kultury
dc.contributor.reviewerpl
Kubicki, Piotr
dc.contributor.reviewerpl
Matuszewski, Krzysztof
dc.date.accessioned
2020-03-30T10:54:03Z
dc.date.available
2020-03-30T10:54:03Z
dc.date.submittedpl
2020-02-17
dc.description.additionalpl
Dostęp do publikacji jest możliwy w Archiwum UJ
dc.description.physicalpl
252
dc.identifier.callnumberpl
Dokt. 2020/015
dc.identifier.projectpl
ROD UJ / O
dc.identifier.uri
https://ruj.uj.edu.pl/xmlui/handle/item/152737
dc.languagepl
pol
dc.placepl
Kraków
dc.rights*
Copyright
dc.rights.licence
bez licencji
dc.rights.uri*
http://ruj.uj.edu.pl/4dspace/License/copyright/licencja_copyright.pdf
dc.subject.plpl
sztuka współczesna
dc.subject.plpl
filozofia sztuki
dc.subject.plpl
przemoc
dc.subject.plpl
Damien Hirst
dc.subject.plpl
terroryzm
dc.titlepl
Sztuka i terroryzm
dc.title.alternativepl
Art and terrorism
dc.typepl
Thesis
dspace.entity.type
Publication
Affiliations

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