Suchergebnisse

Cover -- Contents -- Acknowledgments -- Introduction: An Atlas of Ewa Partum's Artistic Practice -- Opening the Archive -- Horizontal Monograph -- Framing Ewa Partum's Artistic Practice -- Chapter 1 Existing Cartographies -- The Trajectory of the Redistribution of Ewa Partum's Practice -- The Genealogy of Ewa Partum's Artistic Practice: Text, Image, Body -- Ewa Partum and Conceptual Orthodoxy -- Negotiating Conceptual and Feminist Perspectives in Ewa Partum's Artistic Practice -- Chapter 2 Ewa Partum's Critical Engagement with Art Infrastructures -- Troubling Terminology: Art Infrastructures and the Socialist Art Institution -- Entering the Professional Art World -- Creating Art Infrastructures: the Galeria Adres (1972-77) -- Re‐entering the Professional Art World: Engaging with the Curatorial in the Context of Redistribution after 1989 -- Conclusion -- Chapter 3 Ewa Partum's Conceptual Art -- Conceptualism as a Circulating Idea -- Practicing Conceptualism -- Conclusion -- Chapter 4 Feminist Identifications in Ewa Partum's Artistic Practice -- Feminist Self-Identification (1980) -- Ewa Partum's Situated Feminism -- Indicating Victims and Oppressors: Feminist Pedagogy in Performances in Socialist Poland (1974-82) -- The Active Body: Rhetoric of Disinterestedness -- The Feminist Emigrant Body: Performances in West Berlin (1982-89) -- The Contemporary Gendered Economic Subject: The Delegated Performance Pearls (2006) -- Translating Ewa Partum's Feminist Art Globally -- Conclusion -- Chapter 5The Spaces of the Political: Ewa Partum's Works in the Public Space -- Public and Private Spheres in Partum's Work -- The Public Space - East and West -- Art in the Public Space in Socialist Europe -- The Production of the Public Space in West Berlin -- The Legality of Space (1971) -- Private Performance (1985) -- Conclusion.

The paper presents research results obtained in the process of processing biodegradable wastes, resulting from agricultural production as well as municipal waste. Aerobic fermenter EWA (stationed within the Institute for Forage Crops Globoder- Kruševac) was using for this purpose, during the one month testing. Biodegradable material with different ratios of components was used for filling aerobic digester. EWA fermenter is certified device that is used to stabilize and hygienic disposal of biodegradable waste, including sewage sludge and animal products produced in accordance with European Union regulations. Fermenter is intended to be used for combustion in boilers for solid fuels with humidity of biomaterials below 30%.

Abstract
This interview considers Polish feminists' participation in both the Black Monday protests of October 3, 2016, and the International Women's Strike held on March 8, 2017. Majewska and Rakowska attest to the long process of organizing and the ongoing histories that these strikes continued. These are histories of workers' struggle as much as of feminist activism, and both Majewska and Rakowska speak to the inseparability of feminist efforts—including work for reproductive justice—from broader anti-capitalist projects in Poland and beyond. The interviewees thus repeatedly link the women's strikes to movements opposing austerity, environmental despoliation, precarization, and nationalism.

Treaties — Operation and Enforcement of — Binding force in municipal law — Enforcement by domestic courts — Treaties ratified and published in the Journal of Laws — Treaties binding without ratification and not published in that Journal — Whether the latter category of treaties can contain provisions on matters reserved for, or already regulated in, laws (statutes) — The law of Poland

The article discusses the possibilities of the emergence of a neo-materialistic aesthetics of the poem. Each of the analyzed examples—Ewa Partum's active poetry, Adam Kaczanowski's toy-art and Andrzej Tobis's photographic archive—reveals different aspects of this aesthetics. The case of Partum shows that the material concreteness of poetry—today also associated with virtuality— requires other ways of perceiving / commenting / documenting the "poems" happening between the media. Active poetry consists in drawing the text (which eventually turns out to be a jigsaw made of letters) out of the formula of the finished object and making the medium of writing/language the material from which the object of artistic attention is "made". I call Tobis's project neo-materialistic, since it shows how we move from the human hybrid level we move to normalization and stabilization (and vice versa). Tobis seems to reach the moment when this normalization is actually happening and, at the same time, he shows levels of transformations, mutations and deviations. Kaczanowski "invents" for his poetry a medium different from the traditional record and the traditional form of the book. This principle of "invention" turns out to be very important, because it decides whether some materializations are poetic objects or not, without specifying any initial aesthetic, political and ideological criteria. In the most general terms this new-materialist aesthetics has been linked here with the transmedia horizon of art and the transformations of materialistic thinking made under the influence of the non-anthropocentric imagination. ; W artykule zostały przedstawione możliwości zaistnienia nowomaterialistycznej estetyki wiersza. Każdy z analizowanych przykładów – poezja aktywna Ewy Partum, toy-art Adama Kaczanowskiego i słowno-fotograficzne archiwum Andrzeja Tobisa – ujawnia inne aspekty tej estetyki. Najogólniej jednak, nowomaterialistyczna estetyka powiązana została tu z transmedialnym horyzontem sztuki oraz z przeobrażeniami myślenia materialistycznego dokonanymi pod wpływem nieantropocentrycznej wyobraźni.