Sustainable art Facing the need for regeneration, responsibility and relations

Sustainable art Facing the need for regeneration, responsibility and relations

The words sustainbility and sustainable development used in political, economic and ecological debates actually refflect historical necessities to consider our planet in terms of global responsibility and not - which has been the case so far - unlimited exploration. Thus, the notion of sustainable art is characterized by social activism.

Table of contents:
Anna Markowska,Introduction; I. SOCIAL PARTICIPATION: Sue Spaid,The future of environmental art or reimagining a sustainable art practice? Real-world problems; Rebecca Liliane Wichmann, Land art and state: surrounding ecology, policy and technology; Magdalena Worłowska, Ecologically oriented Land Art in Poland in the 1960s and 1970s; Magdalena Lange, “It’s all in the genes!” – is it? When art and biotechnology act in concert. The One Trees project; Joanna Zofia Rose, Street art in Reykjavik as a regeneratory and rejuvenating agent; Esra Yıldız, Sustainability, social participation and visual culture in Turkey; Zofia Reznik, Bodies, photos, paint and fire on the streets of Wrocław; Witold Liszkowski and the new public art; Eleonora Jedlińska, Sustainability of deconstruction: the dynamics of Doris Salcedo’s art ; Filip Pręgowski, Paintings in daylight. The work of Kerry James Marshall through the identity discourse; Natalia Krawczyk, Electric Rider/Electric Rise;

II. RETHINKING INSTITUTIONALIZATION AND PRESERVATION OF CULTURAL VALUES: Sofia Ponte, Musealizing “functional art”; Mateusz Salwa, Gardens and the aesthetics of sustainability; Lisa Paul Streitfeld, The conversion of East Berlin: can sustainable social projects celebrating unity overcome the divisiveness of success?; Natalia Smolyanskaya, Polygon; Joanna Filipczyk, Searching for social equilibrium. Marian Bogusz’s activity as “prolegomena” of sustainable art in Poland; Albert Coers, Frequent flyers – one-way-rafts: aspects of possession, production and transportation in contemporary art; Magdalena Zięba, Exhibition Beyond Green. Toward a Sustainable Art. Between art and art of sustainable display; Patrycja Sikora, Sustainable art – facing the need for regeneration, responsibility and relations. About the BWA Studio exhibition in Wrocław; Ewa Wojtowicz, A doppelganger figure. Sustainability of art in the process of re-practices; Małgorzata Micuła, Escaping an object. Michael Landy’s Break Down project; III. AFFECTIVE APPROACH – EMPATHY AND LOVE: Robert Kusek, Wojciech Szymański, Human, all too human, beyond human: animals and late style; Anna Markowska, Travelling for sustainability. On some paintings from Portugal; Ewelina Jankowiak, Still art or already botany? Contemporary Polish artists and posthumanism; Nicole Loeser, On the facts of life – artistic engagement by Christoph Both-Asmus; Dorota Łagodzka, Taking chickens seriously. Empathy and responsibility as sources of Mary Britton Clouse’s art; Mikołaj Spodaryk, Emancipation of animals. Searching for visualization (case study); IV. SUSTAINABLE DESIGN: Irma Kozina, Sustainable design, a romantic utopia or a tool for eliminating negative environmental impact?; Zoryana Hnetsko, Eco-design and sustainable development. Environmental issues at the current stage and the methods of their solution; Dean Chatwin, The endless river: exploring the potential for water to connect the home and the natural environment; Reiner Maria Matysik, River becomes cloud. Sustainability is a waste of energy; Daria Wartalska, Design inspired by Victor Papanek; Jean-Francois Paquay, A new direction for sustainable art: farming with Mole-Hill soil in the Portager; Agnieszka Jankowska-Marzec, Sustainable approach at the Faculty of Industrial Design of the Academy of Fine Arts in Cracow; Conferences and Studies of the Polish Institute of World Art Studies.