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Fotografia wobec krzyku pamięci zagłady spod betonu masowego turyzmu 面对大众旅游混凝土下的灭绝记忆呐喊的摄影作品
Pub Date : 2023-07-01 DOI: 10.4467/20843860pk.23.014.18380
Wojciech Sternak
Photography in the Face of Cry of Remembrance on Genocide from Beneath the Concrete of Mass Tourism In the text, I discuss the problems of the genocide experience in the context of mass tourism. I point out that large-scale Holocaust memorials and genocide museums incorporated into the mass-tourism industry are drowning out cries of remembrance. I propose three categories of commemoration: “Captions”, “Monuments” and “Stand-alone Works”. The latter category includes fine art photography among others. Using the case of the photographic series Koenigsgraben, I point out that the category of “Stand-alone Works” seems to have the greatest potential (next to historical enviro mental activeness) to free the cry of remembrance from beneath the concrete of the monuments.
面对来自大众旅游混凝土下的种族灭绝纪念呐喊的摄影 在文中,我讨论了大众旅游背景下的种族灭绝体验问题。我指出,融入大众旅游业的大型大屠杀纪念馆和种族灭绝博物馆正在淹没纪念的呼声。我提出了三类纪念活动:"标题"、"纪念碑 "和 "独立作品"。后一类包括美术摄影等。我以《柯尼斯堡》摄影系列为例,指出 "独立作品 "类别似乎最有可能(仅次于历史环境精神活动)将纪念的呼声从纪念碑的混凝土下释放出来。
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引用次数: 0
Rzeczy getta warszawskiego - rozmowa o sprawczości, materialności i witalności zabytków archeologicznych jako muzealiów 华沙犹太人区的东西--讨论考古文物作为博物馆的因果关系、物质性和生命力
Pub Date : 2023-07-01 DOI: 10.4467/20843860pk.23.012.18378
A. Zalewska, M. Wróblewska, Monika Stobiecka
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引用次数: 0
Po przemyśle. Humanistyka wobec bioruin i biogruzów 工业之后。人文学科与生物和生物工程的关系
Pub Date : 2023-07-01 DOI: 10.4467/20843860pk.23.010.18376
Marta Tomczok
After Industry. Humanities towards Bioruins and Biorubbles The article is a proposal to apply the concepts of biorubbles and bioruins in relation to post-industrial sites. On the basis of field observations and critical analysis of concepts such as post-industrial places, technofact, ruin or indunatura, the author tries to propose an approach closer to the non-anthropocentric understanding of landscape, in which the emphasis is primarily on the vital nature of destruction and waste. In the detailed part, the article proposes an analysis of artistic projects, e.g. Marcin Doś, Mona Tusz and Diana Lelonek, as well as revitalized or abandoned post-industrial sites (including the Grodziec cement plant and the site of the Orzegów coking plant in Ruda Śląska). The author presents the natural overgrowing of post-industrial rubble as an alternative to planned revitalization, which from the point of view of nature’s needs seems to be a much more successful action than the planned reconstruction of the ecosystem.
工业之后。面向生物素和生物气泡的人文学科 这篇文章建议将生物气泡和生物素的概念应用于后工业遗址。在实地观察和批判性分析 "后工业遗址"、"技术产品"、"废墟 "或 "indunatura "等概念的基础上,作者试图提出一种更接近非人类中心主义景观理解的方法,其中主要强调破坏和废弃物的生命力。 在细节部分,文章分析了一些艺术项目,如 Marcin Doś、Mona Tusz 和 Diana Lelonek,以及振兴或废弃的后工业遗址(包括 Grodziec 水泥厂和位于 Ruda Śląska 的 Orzegów 焦化厂遗址)。作者将工业后废墟的自然生长作为计划振兴的替代方案,从自然需求的角度来看,这似乎是比计划重建生态系统更为成功的行动。
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引用次数: 0
Wprowadzenie: Bio-aktywne rumowisko historii cz. II. Jak zapamiętać zgliszcza? 导言:第二部分:历史的生物活性废墟。如何记住废墟?
Pub Date : 2023-07-01 DOI: 10.4467/20843860pk.23.008.18374
A. Brylska, M. Sadowska, Monika Stobiecka, M. Wróblewska
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引用次数: 0
Nasze postludzkie pragnienia i pożądania (Recenzja książki Jana Stasieńki Media Technologies and Posthuman Intimacy) 我们的后人类欲望和愿望(评扬-斯塔西恩科(Jan Stasienko)的《媒体技术与后人类亲密关系》一书
Pub Date : 2023-07-01 DOI: 10.4467/20843860pk.23.017.18383
Aleksandra Łukaszewicz
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引用次数: 0
Feministyczna hałda pamięci 女权内存堆
Pub Date : 2023-07-01 DOI: 10.4467/20843860pk.23.009.18375
Katarzyna Bojarska
The author analyzes women’s artistic practices, framed as manifestations of environmental art of memory of violence and destruction – both political violence directed against people and violence directed against nature. The analyzed artists appear not so much as contemporary incarnations of Benjaminian angel of history, but rather as figures who while turning backwards descent into the depths, and as such not so much look at the debris as they penetrate it. Their practice is seen here as learning from the coexistence with the matter of the past and the past of the matter – the theoretical tool that the author employs is that of the postindustrial heap (hałda). The author shows how, by analyzing the works of such artists as Joanna Rajkowska, Karolina Grzywnowicz, Diana Lelonek, one can think differently about the relationship with the past and even the very idea of historicity today.
作者分析了妇女的艺术实践,将其视为环境艺术对暴力和破坏--针对人类的政治暴力和针对自然的暴力--的记忆的表现。所分析的艺术家与其说是本雅明式的历史天使的当代化身,不如说是向后转向深处下沉的人物,她们与其说是在观察废墟,不如说是在穿透废墟。在这里,他们的实践被视为从与过去的物质和物质的过去的共存中学习--作者使用的理论工具是后工业堆(hałda)。作者通过分析 Joanna Rajkowska、Karolina Grzywnowicz、Diana Lelonek 等艺术家的作品,展示了如何以不同的方式思考与过去的关系,甚至是今天的历史性观念。
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引用次数: 0
Cykl zdjęciowy Koenigsgraben 柯尼希斯格拉本摄影系列
Pub Date : 2023-07-01 DOI: 10.4467/20843860pk.23.015.18381
Wojciech Sternak
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引用次数: 0
Quipowanie muzeum: O wystawie Queering the Crip, Cripping the Queer w berlińskim Schwules Museum Quipping the Museum:关于柏林施武尔斯博物馆举办的 "瘸子的同性恋,同性恋的瘸子 "展览
Pub Date : 2023-07-01 DOI: 10.4467/20843860pk.23.016.18382
K. Ojrzyńska
Quipping the Museum: Queering the Crip, Cripping the Queer at Berlin’s Schwules Museum The article analyzes Queering the Crip, Cripping the Queer (Schwules Museum, Berlin, 2022/2023) – the first international exhibition which centred on the intersections of queer and crip history, culture, and activism. Drawing on the theoretical framework of cultural disability studies, Ojrzyńska examines its key thematic areas, such as inclusion, aesthetic beauty, history, and resistance. Informed by the minoritarian ethics of representation, Queering the Crip… showed how a museum exhibition can serve as a site of inclusivity and a resource for inclusive practices, nurturing solidarity and a sense of connection across various categories of social exclusion, invisibility, and marginalization, with major focus on “quip” identities, to use the neologism put forward by Quiplash. It expanded the Schwules Museum’s reach beyond those members of the queer community who fit in the bodily and mental “norm” as well as stimulating reflection on the place and role of disability in culture and society. In fact, the exhibition presented disability and queerness as identities and alternative ways of being in the world that can intersect and have a strong subversive political, ethical, and aesthetic potential.
Quipping the Museum:文章分析了柏林施武尔斯博物馆举办的 "阉割同性恋,阉割同性恋"(施武尔斯博物馆,柏林,2022/2023 年)--首个以同性恋和阉割历史、文化和行动主义的交叉点为中心的国际展览。Ojrzyńska 借鉴残疾文化研究的理论框架,探讨了其关键主题领域,如包容、审美、历史和抵抗。在少数派表现伦理的启发下,《瘸子的同性恋......》展示了博物馆展览如何作为一个包容性的场所和包容性实践的资源,在各种社会排斥、隐形和边缘化的类别中培养团结和联系感,主要关注 "魁拔 "身份(Quiplash提出的新名词)。该展览扩大了 Schwules 博物馆的影响范围,使其超越了那些在身体和精神上符合 "标准 "的同性恋群体成员,并激发了人们对残疾在文化和社会中的地位和作用的思考。事实上,展览将残疾和同性恋作为一种身份和另类的世界存在方式,两者可以相互交融,并具有强大的政治、伦理和美学颠覆潜力。
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引用次数: 0
Żywe archiwum. Więcej-niż-ludzkie obecności w siedliskach ruderalnych 活档案。荒野栖息地中的非人类存在
Pub Date : 2023-07-01 DOI: 10.4467/20843860pk.23.011.18377
Martyna Dziadek
The Living Archive. More-Than-Human Presences in Ruderal Habitats Ruderal ecologies can be regarded as places where more-than-human actants start to operate. In this article, places abandoned by a man, are called “prospective ruination” to emphasize the verb of decomposition function and to reorient the cognitive perspective of decay into the future, understood as a new human and more-than-human ruderal assemblages of culture-natures. The author of this text truly believes, that providing this kind of view, expands the Polish imaginary related to the rubble, reorienting the perspective of decay, to the vibrant more-than-human agencies and forces. The subject of the research reflection on ruderal ecologies (Caitlin DeSilvey), which constitute a. living archive, is Karolina Grzywnowicz’s project Weeds exhibited in 2015 at Zachęta in Warsaw. By introducing the term “biomnemonic witness” (gr. Mnemosyne, goodness of memory), the author emphasizes the subjectivity of the plant kingdom and its floral agencies in creating cultural and biological entanglements. The coda of the sketch problematizes the notion of a living archive and determines the trajectory of getting out of the anthropocentric cognitive impasse.
活档案。荒野栖息地中的超人类存在 荒野生态可被视为超人类行动者开始运作的地方。在本文中,被人类遗弃的地方被称为 "未来的废墟",以强调分解功能的动词,并重新定位对未来衰败的认知视角,将其理解为新的人类和超人类的文化-自然的原始组合。本文作者真诚地相信,提供这样一种视角,可以扩展波兰人对废墟的想象,将衰败的视角重新定位为充满活力的超越人类的机构和力量。对构成 "活档案 "的 "原生态"(凯特琳-德希尔维)的研究反思的主题,是卡罗琳娜-格日诺维茨(Karolina Grzywnowicz)2015 年在华沙 Zachęta 展出的项目 "杂草"(Weeds)。通过引入 "生物记忆见证"(gr. Mnemosyne,记忆的美好)一词,作者强调了植物王国及其花卉机构在创造文化和生物纠葛中的主观性。草图的结尾部分对 "活档案 "的概念提出了质疑,并确定了走出人类中心主义认知僵局的轨迹。
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引用次数: 0
Powrót do przeszłości V: pandemia. Nostalgia a świat postpandemiczny 回到过去 V:大流行病。怀旧与大流行后的世界
Pub Date : 2023-07-01 DOI: 10.4467/20843860pk.23.013.18379
Olga Kosińska
One of the phenomena which scope expanded during the period of restrictions related to COVID-19 was a social turn towards the past, observed especially in social media, identified as a nostalgia trend. Understood as a sentimental longing for something that has already passed that causes sadness or pleasure by remembering something and wishing it could be experienced again, nostalgia was one of the tools for dealing with the hardships and uncertainty of the pandemic times. Individual users of social media willingly undertook communication focused around memories, expressing regret for times long gone that had been seen in their idealized form as easier and happier. This trend has been effectively used in marketing focused on nostalgia. It was only effective when it evokes positive memories and evokes good feelings in the recipients that encourages the more to reach for the product or service offered. This specific turn towards this period of time was used as a tool that allowed not having to face terrifying moments and often difficult present, and even more so the unknown future. Thus, uncertain of the future and terrified of the present, the pandemic consumer was all the more susceptible to peaceful and happy images from the past, which both algorithms and commercial entities gave him. In these circumstances, one can point to a specific management of pandemic nostalgia by entities that are essentially external to the individual user.
在与 COVID-19 有关的限制期间,范围扩大的现象之一是社会转向过去,特别是在社 交媒体上观察到,这被确定为一种怀旧趋势。怀旧被理解为对已经逝去的事物的一种感伤的憧憬,它通过回忆某些事情而引起悲伤或快乐,并希望能够再次经历,怀旧是应对大流行病时期的困难和不确定性的工具之一。社交媒体的个人用户愿意进行以回忆为中心的交流,对早已逝去的时代表示遗憾,因为在他们的理想中,这些时代更容易、更幸福。这种趋势在以怀旧为重点的营销中得到了有效利用。只有当它唤起受众的积极记忆和美好情感,鼓励他们购买所提供的产品或服务时,它才是有效的。对这一时期的特定转向被用作一种工具,使人们不必面对可怕的时刻和往往是困难的现在,更不必面对未知的未来。因此,由于对未来的不确定和对现在的恐惧,大流行病的消费者更容易接受算法和商业实体所提供的过去的和平与幸福的图像。在这种情况下,我们可以指出,大流行怀旧情绪是由基本上不属于个人用户的实体进行特定管理的。
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Przegląd Kulturoznawczy
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