Adama Marczyńskiego optyczność w przestrzeni
Journal Title: Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego - Year 2017, Vol 45, Issue 3
Abstract
ELZBIETA BLOTNICKA-MAZUR (The John Paul II Catholic University of Lublin) Opticality in Space – Adam Marczyński’s Works The article aims at comparing selected works by Adam Marczyński considering the issue of opticality or visuality of sculpture. These terms refer to Clement Greenberg’s notes on modern sculpture and his statement that new sculpture under the modernist “reduction” has turned out to be almost as visual as painting. The works by Marczyński from 1960s and 1970s are usually discussed in relation to constructivist painting-object. At the beginning of the 1960s the artist gave up traditional painting and turned to half-spatial collages made of pieces of wood, cardboard or rusty metal. He also started to create sculptural forms during artistic outdoor meetings, like Composition of Variable Elements (1st Biennale of Spatial Forms in Elbląg, 1965) or Light Tower (together with Janusz Orbitowski, Symposium Wroclaw ’70, 1970, unrealized project). The above-mentioned forms are discussed here together with Marczyński’s Interventions presented at the 8th Meeting of Artists and Theoreticians in Osieki (1970). The last one consisted of wooden cases – the form which he has already used to create rhythmic compositions: series Open Arrangements and Decompositions – this time placed directly on the trees, in the natural environment. Beside the perspective of the opticality, it also touches upon the question of dualistic mobility: its interaction with space and relation to the spectator.
Authors and Affiliations
Elżbieta Błotnicka-Mazur
Keywords
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