0114 Figurations of Memory in the Virtual Field of Art (History)

  • Filip Lipiński (Author)
    Adam Mickiewicz University in Poznań


    Filip Lipiński, PhD – art historian, American studies specialist. Associate professor at the Institute of Art History at Adam Mickiewicz University in Poznan. Received scholarships from the Fulbright Foundation at City University of New York (2007–2008), as well as Terra Foundation for American Art in France (2008) and the United States (2013). Author of Hopper wirtualny. Obrazy w pamiętającym spojrzeniu (Monografie FNP, Toruń 2013), as well as numerous academic and non-academic articles on modern an contemporary art and art theory published in such magazines as “Oxford Art Journal”, “Artium Questiones”, “Quart”, “Didaskalia” and “Arteon”.

    Dr Filip Lipiński – historyk sztuki, amerykanista. Adiunkt w Instytucie Historii Sztuki na Uniwersytecie im. Adama Mickiewicza w Poznaniu. Stypendysta Fundacji Fulbrighta na City University of New York w Nowym Jorku (2007-8), oraz Terra Foundation for American Art we Francji (2008) i Stanach Zjednoczonych (2013). Autor książki Hopper wirtualny. Obrazy w pamiętającym spojrzeniu (Monografie FNP, Toruń 2013) oraz licznych naukowych i popularnonaukowych artykułów poświęconych sztuce nowoczesnej i współczesnej oraz teorii historii sztuki w czasopismach takich jak „Oxford Art Journal”, „Artium Questiones”, „Quart”, „Didaskalia” czy „Arteon”.

Identifiers (Article)


The article discusses the location of memory and its relations with perception in contemporary art, as well as how memory takes part and resurfaces in artistic practice. I point to the impossibility of introducing a division between individual and collective memory and I refer to the notion of virtuality, which defines the immaterial visuality of memory coming into interaction with the perceived image that constitutes the expanded field of the process of construction and reception of an art work. In the second part of the text I provide a detailed analysis of means of visualising memory – the manifestations of its work that diversify the initial image – in the work of four artists: Zbigniew Libera, Gerhard Richter, Ken Aptekar and Izabella Gustowska. In conclusion, following Rosalind Krauss, I point to the necessity of redefining and "remembering" about the medium in contemporary art, with memory, in the context of the analysed works, as its founding element.


Memory, Perception, Contemporary art, Medium, Art history, Painting, Photography, pamięć, percepcja, sztuka współczesna, medium, historia sztuki, malarstwo, fotografia