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To Stay within the Range. Three Attempts to Define Contemporary Roma Art in Poland The concept of contemporary Roma art was introduced into the critical apparatus of aesthetics by Timea Junghaus in 2007, when she curated Paradise Lost, the first Roma Pavilion at the Venice Biennale, an unprecede...
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Ksiegarnia Akademicka Publishing
2020
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| Acceso en línea: | https://doaj.org/article/5d4418b287364ea2bef9aa39831ae252 |
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oai:doaj.org-article:5d4418b287364ea2bef9aa39831ae2522021-11-27T13:12:43ZZmieścić się w ramach10.12797/Politeja.16.2019.61.141733-67162391-6737https://doaj.org/article/5d4418b287364ea2bef9aa39831ae2522020-01-01T00:00:00Zhttps://journals.akademicka.pl/politeja/article/view/1286https://doaj.org/toc/1733-6716https://doaj.org/toc/2391-6737 To Stay within the Range. Three Attempts to Define Contemporary Roma Art in Poland The concept of contemporary Roma art was introduced into the critical apparatus of aesthetics by Timea Junghaus in 2007, when she curated Paradise Lost, the first Roma Pavilion at the Venice Biennale, an unprecedented act and a strong political statement. It is therefore more intriguing than ever to observe attempts to redefine the idea of „contemporary Roma art”. A single exhibition – Kali Berga, one event, the same group of artists and the same set of artworks has inspired two contradictory concepts: Wojciech Szymański anticipated the concept of „post-Roma art”, while Anna Mirga-Kruszelnicka came up with the idea of the „art of the Roma”. As a cultural expert, I analyse the conceptualisation process of the phenomenon of contemporary Roma art. Monika WeychertKsiegarnia Akademicka Publishingarticlecontemporary Roma artpost-Roma artRoma peoplecontemporary artLawKPolitical scienceJENPLPoliteja, Vol 16, Iss 4(61) (2020) |
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DOAJ |
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DOAJ |
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EN PL |
| topic |
contemporary Roma art post-Roma art Roma people contemporary art Law K Political science J |
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contemporary Roma art post-Roma art Roma people contemporary art Law K Political science J Monika Weychert Zmieścić się w ramach |
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To Stay within the Range. Three Attempts to Define Contemporary Roma Art in Poland
The concept of contemporary Roma art was introduced into the critical apparatus of aesthetics by Timea Junghaus in 2007, when she curated Paradise Lost, the first Roma Pavilion at the Venice Biennale, an unprecedented act and a strong political statement. It is therefore more intriguing than ever to observe attempts to redefine the idea of „contemporary Roma art”. A single exhibition – Kali Berga, one event, the same group of artists and the same set of artworks has inspired two contradictory concepts: Wojciech Szymański anticipated the concept of „post-Roma art”, while Anna Mirga-Kruszelnicka came up with the idea of the „art of the Roma”. As a cultural expert, I analyse the conceptualisation process of the phenomenon of contemporary Roma art.
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| format |
article |
| author |
Monika Weychert |
| author_facet |
Monika Weychert |
| author_sort |
Monika Weychert |
| title |
Zmieścić się w ramach |
| title_short |
Zmieścić się w ramach |
| title_full |
Zmieścić się w ramach |
| title_fullStr |
Zmieścić się w ramach |
| title_full_unstemmed |
Zmieścić się w ramach |
| title_sort |
zmieścić się w ramach |
| publisher |
Ksiegarnia Akademicka Publishing |
| publishDate |
2020 |
| url |
https://doaj.org/article/5d4418b287364ea2bef9aa39831ae252 |
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AT monikaweychert zmiescicsiewramach |
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1718408622725136384 |