Pub Date : 2023-07-01DOI: 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.
{"title":"Fotografia wobec krzyku pamięci zagłady spod betonu masowego turyzmu","authors":"Wojciech Sternak","doi":"10.4467/20843860pk.23.014.18380","DOIUrl":"https://doi.org/10.4467/20843860pk.23.014.18380","url":null,"abstract":"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.","PeriodicalId":187788,"journal":{"name":"Przegląd Kulturoznawczy","volume":"57 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139364658","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-01DOI: 10.4467/20843860pk.23.012.18378
A. Zalewska, M. Wróblewska, Monika Stobiecka
{"title":"Rzeczy getta warszawskiego - rozmowa o sprawczości, materialności i witalności zabytków archeologicznych jako muzealiów","authors":"A. Zalewska, M. Wróblewska, Monika Stobiecka","doi":"10.4467/20843860pk.23.012.18378","DOIUrl":"https://doi.org/10.4467/20843860pk.23.012.18378","url":null,"abstract":"","PeriodicalId":187788,"journal":{"name":"Przegląd Kulturoznawczy","volume":"28 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139365161","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-01DOI: 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。
{"title":"Po przemyśle. Humanistyka wobec bioruin i biogruzów","authors":"Marta Tomczok","doi":"10.4467/20843860pk.23.010.18376","DOIUrl":"https://doi.org/10.4467/20843860pk.23.010.18376","url":null,"abstract":"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.","PeriodicalId":187788,"journal":{"name":"Przegląd Kulturoznawczy","volume":"97 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139364884","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-01DOI: 10.4467/20843860pk.23.008.18374
A. Brylska, M. Sadowska, Monika Stobiecka, M. Wróblewska
{"title":"Wprowadzenie: Bio-aktywne rumowisko historii cz. II. Jak zapamiętać zgliszcza?","authors":"A. Brylska, M. Sadowska, Monika Stobiecka, M. Wróblewska","doi":"10.4467/20843860pk.23.008.18374","DOIUrl":"https://doi.org/10.4467/20843860pk.23.008.18374","url":null,"abstract":"","PeriodicalId":187788,"journal":{"name":"Przegląd Kulturoznawczy","volume":"34 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139365890","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-01DOI: 10.4467/20843860pk.23.017.18383
Aleksandra Łukaszewicz
{"title":"Nasze postludzkie pragnienia i pożądania (Recenzja książki Jana Stasieńki Media Technologies and Posthuman Intimacy)","authors":"Aleksandra Łukaszewicz","doi":"10.4467/20843860pk.23.017.18383","DOIUrl":"https://doi.org/10.4467/20843860pk.23.017.18383","url":null,"abstract":"","PeriodicalId":187788,"journal":{"name":"Przegląd Kulturoznawczy","volume":"21 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139364456","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-01DOI: 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.
{"title":"Feministyczna hałda pamięci","authors":"Katarzyna Bojarska","doi":"10.4467/20843860pk.23.009.18375","DOIUrl":"https://doi.org/10.4467/20843860pk.23.009.18375","url":null,"abstract":"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.","PeriodicalId":187788,"journal":{"name":"Przegląd Kulturoznawczy","volume":"8 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139364745","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-01DOI: 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.
{"title":"Quipowanie muzeum: O wystawie Queering the Crip, Cripping the Queer w berlińskim Schwules Museum","authors":"K. Ojrzyńska","doi":"10.4467/20843860pk.23.016.18382","DOIUrl":"https://doi.org/10.4467/20843860pk.23.016.18382","url":null,"abstract":"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.","PeriodicalId":187788,"journal":{"name":"Przegląd Kulturoznawczy","volume":"25 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139365365","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-01DOI: 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.
{"title":"Żywe archiwum. Więcej-niż-ludzkie obecności w siedliskach ruderalnych","authors":"Martyna Dziadek","doi":"10.4467/20843860pk.23.011.18377","DOIUrl":"https://doi.org/10.4467/20843860pk.23.011.18377","url":null,"abstract":"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.","PeriodicalId":187788,"journal":{"name":"Przegląd Kulturoznawczy","volume":"73 4 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139365683","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-01DOI: 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.
{"title":"Powrót do przeszłości V: pandemia. Nostalgia a świat postpandemiczny","authors":"Olga Kosińska","doi":"10.4467/20843860pk.23.013.18379","DOIUrl":"https://doi.org/10.4467/20843860pk.23.013.18379","url":null,"abstract":"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.","PeriodicalId":187788,"journal":{"name":"Przegląd Kulturoznawczy","volume":"13 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139365615","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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