DOI Artikel:
Rome-Dzida, Agata: Grzegorz Klaman: postmodernistyczne dzieło sztuki krytycznej
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.28100#0477
One of the most recognizable examples of a so-called critical art in Poland con-
stitutes the artistic creativity of Grzegorz Klaman. His art seems to evolve according
to all postulates of a postmodernist philosophy especially in the perspective laid out
by Michel Foucault. First of all, we may notice in his art a passage from an attempt
of constructing the alternative, not-contaminated and not -appropriated by “power”
worlds of a new sacrum to a deconstructing attitude describing our social and cultural
dependence from the normative rules of the contemporary reality. A similar evolu-
tion that Foucault proceeded from Madness and Civilization to Discipline and Punish.
Secondly, the replacement of the fragments of the specimen by the ąuotations of Fou-
cault’s works can be considered as a passage from Discipline and Punish and The Birth
ofthe Clinic to The Archaeology of Knowledge.
Based on selected Klaman’s works such as: Economy of body, an action Political
anatomy of body, Pneuma and Sari it is possible to State that Foucault’s philosophy
provides the artist not only with the subjects, materials, or ąuotations but also with
a particular methodological perspective.
Such a strong interrelation between the artistic creativity and a certain philosophi-
cal stance forces the critic to employ a literary method. namely the intertextual analysis
when exploring Klamans works. Klaman uses the intertextuality, however, his works
seem not to enter into a dialogue with Foucault’s texts. Instead, they tend to acknowl-
edge them, stressing their authoritativeness and avoiding the open discussion. Thus,
Klamans Pneuma can be perceived as a focauldian power, Sań as a social body and
the action Political anatomy of body as the action propagating philosopher’s views.
Paradoxically, a critical work of art became an illustration of as text.
For such a situation, we may blame either the art critics or the postmodernist phi-
losophy. The critics because they assumed that the mere employment of a disgusting
materiał is the sufficient premise to create a politically committed work of art. And the
contemporary philosophy because it relativized all values depriving art and science of
any foundations except from the play between its powers.
Grzegorz
Klaman...
Translated by Natalia Pater-Eigierd
stitutes the artistic creativity of Grzegorz Klaman. His art seems to evolve according
to all postulates of a postmodernist philosophy especially in the perspective laid out
by Michel Foucault. First of all, we may notice in his art a passage from an attempt
of constructing the alternative, not-contaminated and not -appropriated by “power”
worlds of a new sacrum to a deconstructing attitude describing our social and cultural
dependence from the normative rules of the contemporary reality. A similar evolu-
tion that Foucault proceeded from Madness and Civilization to Discipline and Punish.
Secondly, the replacement of the fragments of the specimen by the ąuotations of Fou-
cault’s works can be considered as a passage from Discipline and Punish and The Birth
ofthe Clinic to The Archaeology of Knowledge.
Based on selected Klaman’s works such as: Economy of body, an action Political
anatomy of body, Pneuma and Sari it is possible to State that Foucault’s philosophy
provides the artist not only with the subjects, materials, or ąuotations but also with
a particular methodological perspective.
Such a strong interrelation between the artistic creativity and a certain philosophi-
cal stance forces the critic to employ a literary method. namely the intertextual analysis
when exploring Klamans works. Klaman uses the intertextuality, however, his works
seem not to enter into a dialogue with Foucault’s texts. Instead, they tend to acknowl-
edge them, stressing their authoritativeness and avoiding the open discussion. Thus,
Klamans Pneuma can be perceived as a focauldian power, Sań as a social body and
the action Political anatomy of body as the action propagating philosopher’s views.
Paradoxically, a critical work of art became an illustration of as text.
For such a situation, we may blame either the art critics or the postmodernist phi-
losophy. The critics because they assumed that the mere employment of a disgusting
materiał is the sufficient premise to create a politically committed work of art. And the
contemporary philosophy because it relativized all values depriving art and science of
any foundations except from the play between its powers.
Grzegorz
Klaman...
Translated by Natalia Pater-Eigierd