The journal has been published annually since 1999. The articles are mainly in English, although other major languages have also been sporadically represented. Every article is accompanied by abstracts in English and Polish.  The publication is devoted to the theoretical and historical aspects of fine arts, film, audiovisual arts, theatre, and music. The successive volumes of monographic character have dealt e.g. with the subjects of globalization in art, cyberculture, re-definition of the artist, post-humanism, new communities in art, artistic ‘allergies’, performative aspects of art, etc. The Polish and international authors contribute to the scholarly knowledge in their respective fields or point out new areas of research.

The journal "Art Inquiry" has been published annually since 1999. The articles are primarily written in English, although other major languages are occasionally represented. Each article is accompanied by abstracts in both English and Polish. This publication is dedicated to the theoretical and historical aspects of fine arts, film, audiovisual arts, theatre, and music. Successive volumes of a monographic nature have addressed topics such as globalization in art, cyberculture, the redefinition of the artist, post-humanism, new communities in art, artistic 'allergies', and the performative aspects of art. Both Polish and international authors contribute to scholarly knowledge in their respective fields and highlight new areas of research.

《Art Inquiry》期刊自1999年起每年出版一次。文章主要以英语撰写，虽然其他主要语言也偶尔出现。每篇文章均附有英文和波兰文的摘要。该期刊专注于美术、电影、视听艺术、戏剧和音乐的理论与历史方面。历届的专辑卷涉及了艺术中的全球化、网络文化、艺术家的重新定义、后人类主义、艺术中的新社区、艺术的“过敏”现象、艺术的表演性等主题。波兰及国际作者为各自领域的学术知识做出了贡献，并指出了新的研究领域。

Art Inquiry

The purpose of this paper is the presentation of a historical perspective to assess the impact of 19th-century European colonization on culture and art. The article discusses the changes that have taken place over the years in the approach to the non-European population as well as its art and culture. From the sense of "the civilization mission of white people" (which is reflected in the poem The White Man’s Burden) in the 19th century, through the interest in tribal art of European Avant-garde artists in the early 20th century, to the period of the beginning of discourse on the negative face of colonialism (e.g. Discours sur le colonialism by Aimé Césaire or visual actions by Ben Enwonwu, Ernest Mancoba). Particular attention has been paid to modern times and settling accounts with colonialism. This trend has been more and more visible since the end of the 1980s (e.g. the controversial Magiciens de la Terre (Paris) exhibition from 1989 or the Documenta exhibitions curated by non-Europeans (e.g. Okwui Enwezor). The period of the 21st century is dominated by the postcolonial trend in art (recognized artists of this profile include Fred Wilson (b. 1954), Sonia Boyce (b. 1962), Kara Walker (b. 1969), Hew Locke (b. 1959), Yinka Shonibare (b. 1962) and Kader Attia (b. 1970))

Aneta Pawłowska

Art Inqiuiry

The white man’s burden. From colonialism to postcolonialism – discourse on non-european art and its position in the artworld from the perspective of the 2020s

白人的负担：从殖民主义到后殖民主义——2020年代视角下非欧洲艺术及其在艺术界的地位的话语

In this article, I discuss the art of Luz María Sánchez, proposing to approach it through the conceptual category of what I term a collection or multiform artwork. I characterize the central themes of her work – violence, death and loss – and highlight the most important characteristics of her artworks, which include multiformity, fluidity, transgressiveness, transdisciplinarity, participativeness and interactivity. I likewise focus on her art’s status as artistic research and its structural and material grounding in databases and collections, as well as on its use in the context of the visual arts of sound, ethnographic research, cybercartography, subversivity and found objects. I explain how Sánchez’s art is research-interventionist in nature: she analyses social events, processes and various forms of power, focusing in particular on different forms of violence. Her works emerge from research-analytical activities based on the materials she collects and the databases she builds, which serve as the foundation for the resulting artworks. Sánchez’s political interests are an expression of indignation and concern at the same time; they express both an activist stance and ethical commitment. In her art, she addresses the fate of Mexican society which has been abandoned by state authorities and left to the mercy of drug cartels and gangs. At the same time, she develops her own personal discourse in the works she creates, discreetly telling her own story which is intertwined with the history of contemporary Mexico. Her works/collections depict a landscape after a catastrophe, expressing a sense of hopelessness and loss. At the same time, however, they paradoxically initiate or promote actions and tactics of resistance

Ryszard W. i Kluszczyńsk

The Work of Art as a Collection. Violence, death and loss in the art of Luz María Sánchez

艺术品作为收藏：暴力、死亡与失落——露兹·玛丽亚·桑切斯艺术中的表现

The aim of this article is to propose a new definition of landscape art. By landscape art we mean all forms of art which refer to any landscape and problematize it, i.e. subject it to artistic analysis, interpretation and intervention, both in a formal and aesthetic, as well as critical sense. Landscape art understood in this way would not be a separate direction or trend in art and would not form a coherent artistic concept. In the article we indicate the current understanding of landscape functioning in the field of art and the reasons why the new definition is useful

Beata Frydryczak

Mateusz Salwa

http://czasopisma.ltn.lodz.pl/index.php/Art-Inquiry/article/view/1481/1348

艺术探究：艺术史与艺术理论中的跨学科方法

The starting point and pivot holding the article together is an attempt to explain what the enigmatic “something more” means as an expression of theorists’ expectations of discourse. The words that constitute the leitmotif, taken from Michel Foucault’s theory and repeated by Mieke Bal, perform the role of “miniature theory” in the text, in the meaning assigned to the concepts by the Dutch scholar. The author of the article tries to interpret their meanings in the context of the foregoing conceptions, and compares semiotic and phenomenological approaches. The research tool that she uses is Pierre Bourdieu’s theories of art rules and the art field as well as the proposals of contemporary German theorists: Andreas Reckwitz, Dieter Mersch and Stephanie Schmidt. Following Grzegorz Sztabiński, she recalls the problem of distinguishing theory from discourse and ponders the validity of this distinction, and the con- sequences of the proposition that discourses are only forms of expression for theory. Changes taking place in discourses are analyzed as the result of transformations in the late modern society, defined by Reckwitz as singularism. Guiding discourses towards “something more” than denoting the states of things changes their function and allows speaking of the “effect of truth”, “effect of meaning”, current “use of work”, performative power of concepts and embodiment of the language of art. Expecta-tions of “something more” have always focused on the problem of identity and disproportion of heterogenic discourses. In the conclusion, the “something more” of discourse is shown as the contemporary form of metaphysical questions asked from the perspective of philosophy of finiteness.

Teresa Pękala

Discourse and „something more”

话语与“更多”

Changes taking place in the area of artistic practice happen in parallel with transformations in the social area. Artistic and architectural activity coexists with theoretical reflection in the field of art. Changes of this kind also translate into assumptions that guide research in the area of art history. Contemporary art is characterized by dynamic changes and re-evaluations, in which practice and theory are intertwined. The nature of these phenomena is also a challenge on the level of academic education dealing with the subject of art, architecture and art history. The specificity of the analyzed phenomena makes it necessary to combine theoretical knowledge with broadly understood practice in this process. The aesthetic premises of contemporary art are widely used in the process of artistic education. An example of this can be activities undertaken by the Kiev National University of Construction and Architecture (KNUCA). Successive lecturers at this university have consistently combined theory with creative practice in the educational process. These premises have found application in architectural design that uses plastic elements. The ties between theory and practice are also inherently inscribed in the history of the history of art department at the University of Lodz. It was largely influenced by the specificity of Łódź as an artistic center in which, very early, before World War II, there was an interest in modern art at the level of theory, practice and museology. This attitude was also close to the academic activity of prof. G. Sztabiński who successfully combined in-depth aesthetic and theoretical reflections with the experiences of an artistic practitioner

Piotr Gryglewski

Denys Chernyshev

Oleksandr Kashchenko

Alexander Shilo

Yuliа Ivashko

Andrii Dmytrenko

Oleksandr Ivashko

Between Practice and Theory. Comments on the Specificity of Art History and Art Education in Poland and Ukraine

实践与理论之间：波兰与乌克兰艺术史与艺术教育特殊性评述

The starting point for the considerations undertaken here is Wolfgang Welsch's concept of "aesthetic thinking". Welsch, referring to the findings of Kant and Nietzsche on the cognitive capacity of man and the fictional nature of reality, claims that it is an aesthetic project, a phan­tasm established each time in human experience. Hence the fluidity, instability of the world and, consequently, the impossibility of its full cognition. From the perspective of this reflection, the Author of the paper looks at the poetry of Wisława Szymborska, who invariably poses the most fundamental questions of a philosophical nature, regarding existence, meaning, truth, human cognitive capabilities, and human relations with the world and other entities. By tracing some of the themes present in Welsch's concept and their literary transformations in selected poems by Szymborska, the Author essentially reconstructs Wisława Szymborska's "aesthetic thinking".

Irena Górska

Aesthetic thinking according to Wisława Szymborska

根据维斯瓦娃·辛波丝卡的美学思考

While in the 1920s surrealism was dominated by the notion of mental automatism and hysteria, in the 1930s surrealist experimentation was mainly concentrated on the notion of paranoia. Introduced by Salvador Dalí in his L'Âne pourri ("Le Surréalisme au service de la Révolution", 1930 No. 1), it was intended to expose normative understanding of perception inadequate to experience. The primary tool used by Dalí was an optically ambiguous image which could be interpreted in different ways. André Breton wrote about critical paranoia in L'Amour fou (1937), referring to Freud's text on Leonardo da Vinci. In Anthologie de l'humour noir, he defined it as "the détournement of the logical function in its usual modes of operation". The notion of paranoiacriticism helps to accentuate a crucial role of such perceptual states and concepts describing cognition as inconclusiveness and polysemy. To a large extent, they mark the boundaries between linguistic and visual articulation. Paranoia seems to be a concept very far from the twentieth-century model of scientific thinking, but if we refer to Wittgenstein's Logical--Philosophical Treatise, we can see that his concept of aspectperception is not far from a surrealist definition of paranoiacriticism.

Agnieszka Kuczyńska

Paranoia-criticism as a surrealist variant of artistic thinking

偏执批评作为超现实主义艺术思维的变体

The ability to translate sensory experience into artistic language (the language of litera­ture, art, theater, and film) offers room for consideration of how artists think. A teaching experi­ment – a student sensory walk – became a starting point for reflecting on the artistic view of mul­tisensory experience. Students could express their observations in the form of an essay, but often they also wrote poetic, or prose forms close to literature, sometimes resembling a report. Such a multisensory "stroll" may refer not only to the sphere of everyday life, but also exist in art; hence we can talk about an architectural walk, a museum-gallery walk, a theatrical walk, or a literary walk. The term "walk" may also be used in science, as proven by G. Bataille or R. Shu­sterman. In the humanities, it is present in many disciplines, so examples from literature, theater, visual and performing arts will be discussed here. Of particular interest are artistic activities, which are an expression of the creative search for an appropriate language, form and discourse for rendering perception, especially of the so-called "lower" senses. The question arises as to how to express sensory experience in words and what theoretical categories, both generalizable and common at the level of scientific and critical discourse, should be used. Many authors make such attempts, and indeed, some of the descriptions created in literature affect our senses so strongly that we can almost feel the taste, smell or texture of the depicted things, phenomena, or people

Monika Błaszczak

Experience of the "lower” senses – the artist's multisensory aisthesis

“低”感官体验——艺术家的多感官感知

In this essay, I attempt to formulate the concept of embodied landscape, i.e., land­scape which transcends traditional ways of understanding a view or sight, or the paradigms of cultural or participatory landscape. I aim for a conceptualization in which landscape becomes a world of multisensory experience that shapes our relationship with the external world; a realm of immersion so deep that all our active senses are thoroughly engaged, anchoring us in the sen­sations that cocreate the here and now. To substantiate the concept, I refer to two paintings by Józef Chełmoński: Bociany (Storks) and Babie Lato (Indian Summer), chosen in view of their interpretative potential that exceeds a mere genre scene. The works are shown to be instances of landscape embodiment, singular moments of intermingling and interaction of everything that, at a point in time, constitutes the experienced rather than observed landscape.

Landscape Embodied (in and through Art)

景观体现（在艺术中及通过艺术）

The purpose of this article is both to try to answer the question: To be wise or to think? and draw the reader's attention to implications regarding wisdom and thinking that can be derived by analyzing the content of M. Heidegger's treatise What Is Called Thinking? Special attention is paid to the thesis he put forward – we do not think yet. In this way, the role of the ar­tist and art in arriving at a definitive answer to the question posed by Heidegger is emphasized. &nbsp; The conclusions that result from the analyses are additionally illustrated with an example taken from fiction. It serves as an exemplification, so one of the many possible forms of aesthetic thin­king inherent in artistic creation is referred to in the considerations, like in the case of Heidegger pointing to poetry.

Publication Information	Publisher: Lodzkie Towarzystwo Naukowe，Publishing cycle: ，Journal Type: journal，Open Access Journals: No
Basic data	Year of publication: 2016，Proportion of original research papers: 0.00%，Self Citation Rate:N.A.， Gold OA Rate: 0.00%

Art Inquiry

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