DOI Artikel:
Skalska, Agnieszka: Gest etyczny Katarzyny Kobro
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.23935#0108
102
AGNIESZKA SKALSKA
wspólnej przynależności do niej"67. Rzeźby Kobro obrazują i konstruują zasady tej przynależności. Jest ona
czasoprzestrzennie obliczona, odbywa się ona w określonym momencie - momencie etycznym.
KATARZYNA KOBRO'S ETH1CAL GESTURE
A conversation that took place in 1945 between Katarzyna Kobro (1898-1951) and the Director of the Muséum of Art in Łódź,
Marian Mi-nich, provides the inspiration for this text and also the axis of its narrative. At that time, the artist had donated several of
her pre-war sculptures to the Museum's collection. The concise remarks made during the meeting referred to the functionalist theory
of sculpture and to reflections on its exposition and réception. Each of thèse thèmes will be developed in the text. The purpose of
the discussion is to arrive at an understanding of what the term „ethical moment", which Kobro used at the end of her meeting with
Minich, actually means.
The question of ethics relates to the shape of human relationships, the latter influencing not just the artist's biography, but also
the fate of her sculptures, their display in the Neoplastic Room organized by Władysław Strzemiński. The issue of the maker's inten-
tion, following Mieke Bal, abandoned in studies of artistic output, exists however in pronouncements regarding artistic theory and its
ethics, related in Kobro's case to the idea of functionalism, social utility and the human form of sculpture. Our analysis of Kobro's
nudes and abstract sculptures is thus an attempt to discover the essence of this art's ethical dimension. The instruments of description
are terms taken from Kobro's theoretical writings and philosophical concepts. An important référence is Martin Heidegger's lecture
"Art and Space", in which he introduces the concept of sculpture as a body occupying a place in space, spreading itself ont in the
world. The theory of the relationship between truth and art, sculpture and space, that is fondamental to the Heideggerian triad of build-
ing, dwelling, thinking, becomes an important référence in the analysis of Kobro's concept, the opening of her sculptures to space, the
creating of functionalist projects. It also allows us to corne closer to understanding the essence of her work's "ethical moment", which
she called for in her conversation with Minich.
(translated by Katarzyna Pisarek)
Ibidem, s. 126.
AGNIESZKA SKALSKA
wspólnej przynależności do niej"67. Rzeźby Kobro obrazują i konstruują zasady tej przynależności. Jest ona
czasoprzestrzennie obliczona, odbywa się ona w określonym momencie - momencie etycznym.
KATARZYNA KOBRO'S ETH1CAL GESTURE
A conversation that took place in 1945 between Katarzyna Kobro (1898-1951) and the Director of the Muséum of Art in Łódź,
Marian Mi-nich, provides the inspiration for this text and also the axis of its narrative. At that time, the artist had donated several of
her pre-war sculptures to the Museum's collection. The concise remarks made during the meeting referred to the functionalist theory
of sculpture and to reflections on its exposition and réception. Each of thèse thèmes will be developed in the text. The purpose of
the discussion is to arrive at an understanding of what the term „ethical moment", which Kobro used at the end of her meeting with
Minich, actually means.
The question of ethics relates to the shape of human relationships, the latter influencing not just the artist's biography, but also
the fate of her sculptures, their display in the Neoplastic Room organized by Władysław Strzemiński. The issue of the maker's inten-
tion, following Mieke Bal, abandoned in studies of artistic output, exists however in pronouncements regarding artistic theory and its
ethics, related in Kobro's case to the idea of functionalism, social utility and the human form of sculpture. Our analysis of Kobro's
nudes and abstract sculptures is thus an attempt to discover the essence of this art's ethical dimension. The instruments of description
are terms taken from Kobro's theoretical writings and philosophical concepts. An important référence is Martin Heidegger's lecture
"Art and Space", in which he introduces the concept of sculpture as a body occupying a place in space, spreading itself ont in the
world. The theory of the relationship between truth and art, sculpture and space, that is fondamental to the Heideggerian triad of build-
ing, dwelling, thinking, becomes an important référence in the analysis of Kobro's concept, the opening of her sculptures to space, the
creating of functionalist projects. It also allows us to corne closer to understanding the essence of her work's "ethical moment", which
she called for in her conversation with Minich.
(translated by Katarzyna Pisarek)
Ibidem, s. 126.