Pętla obrazów. Wideo według Mariny Abramović
| dc.contributor.author | Krawczak, Michał | |
| dc.date.accessioned | 2012-09-26T07:41:51Z | |
| dc.date.available | 2012-09-26T07:41:51Z | |
| dc.date.issued | 2010 | |
| dc.description.abstract | The connection between video art and performance art has been inseparable since 1967, when the first commercial camera Sony Portapak appeared on the American market. The development of video art and performance art has been parallel. On the one hand, autonomous languages which used different discourses were created, on the other hand, the interaction was inextricable, long-lasting and very stimulating. Marina Abramović, recording her activities as a performer on video and then placing them in the space of her installations, gained a high level of energy in the picture, which became transcendent, a sign of body and life, a meditation. Abramović consciously sacralizes her art and highlights its meditational character. In that way the art became a loop of a video sequence, a multifaceted icon. | pl_PL |
| dc.identifier.citation | "Images" 2009, nr 13-14 (vol. 7), pp. 235-241 | pl_PL |
| dc.identifier.issn | 1731-450X | |
| dc.identifier.uri | http://hdl.handle.net/10593/3431 | |
| dc.language.iso | pl | pl_PL |
| dc.publisher | Wydawnictwo Naukowe UAM w Poznaniu; Wydawnictwo PWSFTViT w Łodzi | pl_PL |
| dc.subject | Performance art | pl_PL |
| dc.subject | Video art | pl_PL |
| dc.subject | Iconography | pl_PL |
| dc.subject | Video loop | pl_PL |
| dc.subject | Installation art | pl_PL |
| dc.subject | Photography | pl_PL |
| dc.title | Pętla obrazów. Wideo według Mariny Abramović | pl_PL |
| dc.type | Artykuł | pl_PL |