Applications

Please find here the approved applications to the Social Art Award 2021 – New Greening. The open call was closed on 1 May.

The next Open Call for the Social Art Ward will be opened in early 2023.

 

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15
The Hall of Lost Steps 2
by Izabela Apananska
144
Contest is finished!
https://social-art-award.org/application-award-2021?contest=photo-detail&photo_id=2332
15
144
Title:
The Hall of Lost Steps 2

Author:
Izabela Apananska

Description:
The Hall of Lost Steps 2-oil-on-canvas-70-x-50-cm-2020 Hall of Lost Steps. Studies on selected formulas present in culture that question the hitherto dominant way of practicing historiosophy, broadening the perspective to include what has so far been omitted, excluded, superseded. The aim of the project is to investigate changes in temporal ontology that result in a critique of a homogeneous view of time, history and memory in favor of a heterogeneous approach. Traveling to forgotten and abandoned places, as well as those hide a negative memory, I want to reflect on the presence of the absent, the visibility of the invisible in the context of the thesis about the simultaneous coexistence of the past, present and future. Using reconstruction, quotation and montage technique, I study the contextual action of visual media in relation to history, art and culture history, and anthropology. In this case, the conceptual apparatus created by Walter Benjamin and Abraham Warburg is helpful to me. The ultimate goal of my considerations is to analyze the shaping of the historical and social identity of man. At the same time, giving voice to ghosts of the past, I want to analyze anthropocentric faith in human reason and ethics. Here my criticism refers to Descartes’s thought-based dehumanization of science, the creation of a severance between humans and nature and the denial that animals have the right to feel pain. In consequence, such far-reaching instrumentalization marginalized the others and the weaker (I mean here not only animals but also people) and deprived them of the right to speak, as well as it sanctioned the human tendency to use violence and to dominate over the weaker ones. This logic resulted not only in brutal colonialism but also in the horror of the Holocaust. Based on the materials I have collected about places, in my opinion, strongly marked by memory, I create an interdisciplinary project involving painting, video, sculpture and assemblage. In the future, I also plan to include the publication of a book of my authorship, with a title identical to the title of the project, in the scope of this project. It will be a publication combining artistic realization with essay writing and a historical document. I assume that ultimately this project will include a series of international exhibitions, as well as the exchange of ideas relating to the problem under study with contemporary innovators, changemakers and scientists, writers and artists. The program of this project is a continuation of intensive studies that I have been conducting for many years. The topic of my doctoral dissertation was "The concept of memory and time in an allegorical image", the theoretical basis of the work were the texts of: Henri Bergson, Abraham Warburg, Walter Benjamin, Georges Didi-Huberman. I am particularly interested in the problems arising from the reference of the theory of intertextuality to visual art. I was inspired to take up this problem - research and artistic at the same time , which the main assumption is the concept of historical time without reference to linearity problem mainly due to the innovation of these studies. It is a new model of knowledge about visuality and history, within which there are still many unclear, unexplored areas, both in the field of artistic activities and in theoretical studies including art theory, anthropology and history. In each of these areas, this is a completely new perspective, because it departs from categorization, hierarchization and centralization in favor of studying the so far overlooked periphery. In this case, the work methodology requires a broader view involving many disciplines at the same time. The essence of the "The Hall of Lost Steps" project is a critique of the anthropocentric paradigm. Researching this problem, I still use the same methodology and work within the framework of studies on memory. Getting inspiration from the works of writers who pointed to the relationship between the unrestrained, systematic exploitation of nature, the cruelly instrumentalisation of animals and crimes against humanity and bearing in mind the postulate of including into the area of interest what in the official research discourse has so far been omitted, superseded or taboo I decided to include posthumanism in the area of my interests. I understand this term as an ethical project, the aim of which is to decentralize the human position, to give up dominion over everything that was considered lower, and to abandon the robbery exploitation of nature in favor of harmonious coexistence. It is an extremely topical problem that affects all of us, especially in the context of growing population, technology and consumption. In my opinion, a reflection about the world built outside the anthropocentric paradigm is the only chance to avoid a global ecocide.
Description:
The Hall of Lost Steps 2-oil-on-canvas-70-x-50-cm-2020 Hall of Lost Steps. Studies on selected formulas present in culture that question the hitherto dominant way of practicing historiosophy, broadening the perspective to include what has so far been omitted, excluded, superseded. The aim of the project is to investigate changes in temporal ontology that result in a critique of a homogeneous view of time, history and memory in favor of a heterogeneous approach. Traveling to forgotten and abandoned places, as well as those hide a negative memory, I want to reflect on the presence of the absent, the visibility of the invisible in the context of the thesis about the simultaneous coexistence of the past, present and future. Using reconstruction, quotation and montage technique, I study the contextual action of visual media in relation to history, art and culture history, and anthropology. In this case, the conceptual apparatus created by Walter Benjamin and Abraham Warburg is helpful to me. The ultimate goal of my considerations is to analyze the shaping of the historical and social identity of man. At the same time, giving voice to ghosts of the past, I want to analyze anthropocentric faith in human reason and ethics. Here my criticism refers to Descartes’s thought-based dehumanization of science, the creation of a severance between humans and nature and the denial that animals have the right to feel pain. In consequence, such far-reaching instrumentalization marginalized the others and the weaker (I mean here not only animals but also people) and deprived them of the right to speak, as well as it sanctioned the human tendency to use violence and to dominate over the weaker ones. This logic resulted not only in brutal colonialism but also in the horror of the Holocaust. Based on the materials I have collected about places, in my opinion, strongly marked by memory, I create an interdisciplinary project involving painting, video, sculpture and assemblage. In the future, I also plan to include the publication of a book of my authorship, with a title identical to the title of the project, in the scope of this project. It will be a publication combining artistic realization with essay writing and a historical document. I assume that ultimately this project will include a series of international exhibitions, as well as the exchange of ideas relating to the problem under study with contemporary innovators, changemakers and scientists, writers and artists. The program of this project is a continuation of intensive studies that I have been conducting for many years. The topic of my doctoral dissertation was "The concept of memory and time in an allegorical image", the theoretical basis of the work were the texts of: Henri Bergson, Abraham Warburg, Walter Benjamin, Georges Didi-Huberman. I am particularly interested in the problems arising from the reference of the theory of intertextuality to visual art. I was inspired to take up this problem - research and artistic at the same time , which the main assumption is the concept of historical time without reference to linearity problem mainly due to the innovation of these studies. It is a new model of knowledge about visuality and history, within which there are still many unclear, unexplored areas, both in the field of artistic activities and in theoretical studies including art theory, anthropology and history. In each of these areas, this is a completely new perspective, because it departs from categorization, hierarchization and centralization in favor of studying the so far overlooked periphery. In this case, the work methodology requires a broader view involving many disciplines at the same time. The essence of the "The Hall of Lost Steps" project is a critique of the anthropocentric paradigm. Researching this problem, I still use the same methodology and work within the framework of studies on memory. Getting inspiration from the works of writers who pointed to the relationship between the unrestrained, systematic exploitation of nature, the cruelly instrumentalisation of animals and crimes against humanity and bearing in mind the postulate of including into the area of interest what in the official research discourse has so far been omitted, superseded or taboo I decided to include posthumanism in the area of my interests. I understand this term as an ethical project, the aim of which is to decentralize the human position, to give up dominion over everything that was considered lower, and to abandon the robbery exploitation of nature in favor of harmonious coexistence. It is an extremely topical problem that affects all of us, especially in the context of growing population, technology and consumption. In my opinion, a reflection about the world built outside the anthropocentric paradigm is the only chance to avoid a global ecocide.

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