Abstract
Perception is a particularly interesting and quite diverse phenomenon. It mainly depends on different interpretations presented by recipients. This work aims at constituting a cross-sectional list of analyses of attitudes presented by Warsaw society during contact with sculptures of Makonde artists. Thanks to the support of PTAfr and the courtesy of the Library in Koszykowa Street, on 16-19 January, and on 24 January 2018, research was carried out in reference to the exhibition titled: «Między sztuką a opętaniem. Hebanowe bestiarium ludu Makonde. Fotografie Piotra Sadurskiego» [Between Art and Possession. Ebony bestiary of Makonde people. Piotr Sadurski Photography]. During the exhibition, sculptures from the collection of Ewa and Eugeniusz Rzewuski entered into the artistic dialogue with photographs by Piotr Sadurski. All the exhibited works were mainly in the style of shetani, referring to demonic presentations. Makonde sculptures are an example of contemporary art of East Africa. Their roots should be sought in indigenous traditions and beliefs. Makonde artists come from Mozambique, but as a result of social unrest many of them were forced to leave their homeland. They found themselves safe in Tanzania, where a large part of Makonde people live and create in the Dar Es Salaam area until today. The exhibition featured sculptures of the most outstanding representatives of this trend. Within the research, the respondents attending the exhibition were presented with photographs made in two distinct stylistic conventions: chiaroscuro one and formal one. The primary objective of this is to show some ways of perception of Makonde artists' sculptures, distant in terms of culture, by respondents participating in the Warsaw research.
Highlights
Метою дослідження є вивчення особливостей сприйняття сучасними мешканцями Варшави скульптур народу маконде
In 1955, Erwin Panofsky divided all man-made objects into two classes: works of art perceived through the prism of aesthetics and practical objects, which do not have to be perceived in this way
If, according to Douglas Fraser, we assume that the purpose of the creator of “primitive art” is solely to satisfy the needs of the community in the symbolic sphere, not to awaken aesthetic experience, we need to agree that objects created by a primitive man are not works of art, but, at best, functional items
Summary
Метою дослідження є вивчення особливостей сприйняття сучасними мешканцями Варшави скульптур народу маконде. In 1955, Erwin Panofsky divided all man-made objects into two classes: works of art perceived through the prism of aesthetics and practical objects, which do not have to be perceived in this way. The latter was, in turn, divided into two types: means of communication and tools and instruments. If, according to Douglas Fraser, we assume that the purpose of the creator of “primitive art” is solely to satisfy the needs of the community in the symbolic sphere, not to awaken aesthetic experience, we need to agree that objects created by a primitive man are not works of art, but, at best, functional items. Structuralists and poststructuralists argued that the concept of authorship combined with the idea of individual genius and expression determining creation of a work of art can be defined as a cultural creation that has been given to the society in a peculiar heritage, starting from the preferences of Renaissance collectors (D'Alleva, 2008, p. 158)
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