Jak pocałować niebo. Program estetyczny Györgya Kepesa w kontekście powojennego kryzysu zaufania do instytucji naukowych

Arkadiusz Półtorak

The central aim of this article is to situate the curatorial and artistic practice, ecosophy and aesthetic thought of György Kepes within the political landscape of the cold war United States. Półtorak discusses multiple manifestations of Kepes’ ecological thinking in the 1960s in view of the artist’s pacifist turn, one responding to the complicity of his prior didactic and design-related activities with imperialist politics. György Kepes’ political position in the postwar years is compared to stances embraced by such scientists as Norbert Wiener or Lewis Mumford, who sustained an ambiguous attitude towards their host institutions – embedded within the military-industrial complex – in the cold war years. In the last part of the article Półtorak points at contemporary continuations of Kepes’ ecosophy and the model of cultural practice he proffered in the 1960s.
Słowa kluczowe: ecocriticism, curatorial studies, aesthetics, military-industrial complex

Literatura podmiotowa

Kepes G., Art and Ecological Consciousness, [w:] idem, Arts of the Environment, Henley 1972.

Kepes G., The Visual Arts and Sciences: A Proposal for Collaboration, „Daedalus” 1965, nr 1.

Kepes G., Toward Civic Art, „Leonardo” 1971, nr 1/4.

Literatura przedmiotowa

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Źródła internetowe

Blakinger J.R., The Aesthetics of Collaboration: Complicity and Conversion at MIT’s Center for Advanced Visual Studies, Tate Papers 2016, nr 25, http://www.tate.org.uk/research/publications/tate-papers/25/aesthetics-of-collaboration (dostęp: 24.07.2017).

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