Delfina Jałowik
Historyczka sztuki, kuratorka, kustoszka dyplomowana i kierowniczka Działu Sztuki w Muzeum Sztuki Współczesnej w Krakowie MOCAK. Doktorka filozofii. Autorka podcastu o sztuce współczesnej „Odgłosy sztuki”. Redaktorka i autorka tekstów do katalogów oraz artykułów w tomach zbiorowych i czasopismach. Członkini ICOM i AICA. W latach 2005–2011 studiowała na Międzywydziałowych Indywidualnych Studiach Humanistycznych na Uniwersytecie Jagiellońskim na kierunkach: Filozofia i Historia sztuki. W latach 2010–2016 była uczestniczką studiów doktoranckich w Instytucie Filozofii UJ. / Art historian, curator, custodian and Manager of Art Department at MOCAK, the Museum of Contemporary Art in Krakow. PhD in philosophy. Editor and author of texts for catalogues and articles in edited collections and magazines. ICOM and AICA member. During 2005–2011, she studied Inter-faculty Individual Studies in the Humanities Department at the Jagiellonian University in Krakow, graduating with two MA degrees: in Philosophy and Art History. During 2010–2016, she was a PhD undergraduate at the Institute of Philosophy at the Jagiellonian University.
https://open.spotify.com/show/2m40bPxpBW47dIBBqmIEFl?si=GvJtXFlGSUWgxpSjY79lKw
Address: Kraków, Malopolskie, Poland
https://open.spotify.com/show/2m40bPxpBW47dIBBqmIEFl?si=GvJtXFlGSUWgxpSjY79lKw
Address: Kraków, Malopolskie, Poland
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Books by Delfina Jałowik
The works of Wodiczko and Althamer exemplify meaningful and popular contemporary participative practices. The latter are the topic of Claire Bishop’s book Artificial Hells: Participatory Art and the Politics of Spectatorship (2012), in which Bishop develops the term “delegated performance”. Taking as her starting point the description of specific artistic phenomena, the author of the present article considers whether Bishop’s term is applicable to the artistic practices of Wodiczko and Althamer; she analyses the process of their activities and how they differ, as well as the role of the artists themselves and the participants indispensable for the project to take shape. Last but not least, the author considers the question of authorship and attribution of the works.
The works of Wodiczko and Althamer exemplify meaningful and popular contemporary participative practices. The latter are the topic of Claire Bishop’s book Artificial Hells: Participatory Art and the Politics of Spectatorship (2012), in which Bishop develops the term “delegated performance”. Taking as her starting point the description of specific artistic phenomena, the author of the present article considers whether Bishop’s term is applicable to the artistic practices of Wodiczko and Althamer; she analyses the process of their activities and how they differ, as well as the role of the artists themselves and the participants indispensable for the project to take shape. Last but not least, the author considers the question of authorship and attribution of the works.