DOI Heft:
Omówienia / Commentaries
DOI Artikel:Ronduda, Łukasz: Film fabularny jako narzędzie kuratora i badacza sztuki
Zitierlink:https://digi.ub.uni-heidelberg.de/diglit/artium_quaestiones2020/0242
236 Łukasz Ronduda
Łukasz Ronduda
Academy of Fine Arts, Warsaw
FEATURE FILM AS A CURATOR'S AND ART HISTORIAN'S TOOL
Summary
In the essay the author, Łukasz Ronduda, relates his own work as an artist, a him
director, an art historian and curator, discussed in the light of the cinematic turn and
the formation of common ground between cinema and contemporary art in both artis-
tic and institutional sense. Ronduda looks closely at his two full-length feature Hirns:
Performer (2015) and Serce miłości (Heart of Love) (2017) and highlights their wider
context. The first frame of reference spans from experimental Elms to contemporary
full-length productions dedicated to wide audience. The second reference is his own
work involving academic research, curating, writing a novel and the creation of a found
footage him. In this self-presentation, Ronduda discloses his different attempts to End
the right medium to speak about and analyze contemporary art. The full-length Elm
turned out to be particularly effective medium in its ability to express the truth by
means of fiction, placing him between creation and institutional structure. Film as
a medium of interpreting art seems to productively question fixed boundaries between
research, criticism and art.
Keywords:
cinema, art history, feature film, institutional critique
Łukasz Ronduda
Academy of Fine Arts, Warsaw
FEATURE FILM AS A CURATOR'S AND ART HISTORIAN'S TOOL
Summary
In the essay the author, Łukasz Ronduda, relates his own work as an artist, a him
director, an art historian and curator, discussed in the light of the cinematic turn and
the formation of common ground between cinema and contemporary art in both artis-
tic and institutional sense. Ronduda looks closely at his two full-length feature Hirns:
Performer (2015) and Serce miłości (Heart of Love) (2017) and highlights their wider
context. The first frame of reference spans from experimental Elms to contemporary
full-length productions dedicated to wide audience. The second reference is his own
work involving academic research, curating, writing a novel and the creation of a found
footage him. In this self-presentation, Ronduda discloses his different attempts to End
the right medium to speak about and analyze contemporary art. The full-length Elm
turned out to be particularly effective medium in its ability to express the truth by
means of fiction, placing him between creation and institutional structure. Film as
a medium of interpreting art seems to productively question fixed boundaries between
research, criticism and art.
Keywords:
cinema, art history, feature film, institutional critique