Pub Date : 1900-01-01DOI: 10.57225/martor.2021.26.10
C. Manolache
"The article discusses various projects (in the real world or on the social media) to do with creating a museum in and about the unknown town of Mizil. The “Museum of the Unknown Town” is the memory of a non-existent town. This is because most museums reconstruct worlds that have ceased to exist. They reinvent them as part of a utopic exercise applied to the past, despite the overwhelming amount of information that they have at their disposal and which they employ. However, knowledge is not the same as storage, but rather, to an extent that differs from case to case, it is also imagination, which enables innovation. The unpredictable connections between images and the texts of different personal experiences have the power not only to sensitise local visitors to the town’s history, but also to make them aware that they are a part of that history, that they can enrich it by cultivating and practising memory. The article argues that the communist past of the town and of Romania in general might be viewed in a more nuanced way, as opposed to the use of clichés and a uniform viewpoint. The author makes use of creative writing as his technique, drawing inspiration from hand-picked images."
{"title":"The Museum of the Unknown City. Part II","authors":"C. Manolache","doi":"10.57225/martor.2021.26.10","DOIUrl":"https://doi.org/10.57225/martor.2021.26.10","url":null,"abstract":"\"The article discusses various projects (in the real world or on the social media) to do with creating a museum in and about the unknown town of Mizil. The “Museum of the Unknown Town” is the memory of a non-existent town. This is because most museums reconstruct worlds that have ceased to exist. They reinvent them as part of a utopic exercise applied to the past, despite the overwhelming amount of information that they have at their disposal and which they employ. However, knowledge is not the same as storage, but rather, to an extent that differs from case to case, it is also imagination, which enables innovation. The unpredictable connections between images and the texts of different personal experiences have the power not only to sensitise local visitors to the town’s history, but also to make them aware that they are a part of that history, that they can enrich it by cultivating and practising memory. The article argues that the communist past of the town and of Romania in general might be viewed in a more nuanced way, as opposed to the use of clichés and a uniform viewpoint. The author makes use of creative writing as his technique, drawing inspiration from hand-picked images.\"","PeriodicalId":324681,"journal":{"name":"Martor. The Museum of the Romanian Peasant Anthropology Review","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127990620","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 : 1900-01-01DOI: 10.57225/martor.2021.26.03
E. Berezina
The paper questions the ethics of displaying lacquer miniatures representing the Soviet past drawing on the example of an exhibition and publishing project Russian History: The Twentieth Century in Lacquer Miniature undertaken by the All-Russian Museum of Decorative, Applied and Folk Art (Moscow). In November 2017, almost 300 lacquer miniatures were displayed to commemorate the centenary of the Russian Revolution and other upheavals of the twentieth century. While recognizing the efforts of the curators to introduce the imagery of lacquer painting into the actual discussion on the communist past, I argue that the project irons out the controversial nature of the Soviet regime and literally “lacquers” history. I criticize the project for (1) using lacquer miniatures merely as illustrations of the historical events; (2) ignoring political, economic and cultural conditions of imagery making; (3) evading discussion of the problematic past. The review suggests questions to be asked about the representation of history in lacquer miniatures that could help museum curators working with Soviet imagery in crafts.
{"title":"Lacquered History: Soviet Crafts and Problematic Memory of the Communist Past","authors":"E. Berezina","doi":"10.57225/martor.2021.26.03","DOIUrl":"https://doi.org/10.57225/martor.2021.26.03","url":null,"abstract":"The paper questions the ethics of displaying lacquer miniatures representing the Soviet past drawing on the example of an exhibition and publishing project Russian History: The Twentieth Century in Lacquer Miniature undertaken by the All-Russian Museum of Decorative, Applied and Folk Art (Moscow). In November 2017, almost 300 lacquer miniatures were displayed to commemorate the centenary of the Russian Revolution and other upheavals of the twentieth century. While recognizing the efforts of the curators to introduce the imagery of lacquer painting into the actual discussion on the communist past, I argue that the project irons out the controversial nature of the Soviet regime and literally “lacquers” history. I criticize the project for (1) using lacquer miniatures merely as illustrations of the historical events; (2) ignoring political, economic and cultural conditions of imagery making; (3) evading discussion of the problematic past. The review suggests questions to be asked about the representation of history in lacquer miniatures that could help museum curators working with Soviet imagery in crafts.","PeriodicalId":324681,"journal":{"name":"Martor. The Museum of the Romanian Peasant Anthropology Review","volume":"97 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124817938","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 : 1900-01-01DOI: 10.57225/martor.2021.26.09
Heléna Huhák, Lóránt Bódi
The COURAGE Registry is a digital research tool that allows exploring the legacy of cultural opposition in former Eastern European socialist countries by cataloging and describing relevant collections on dissident culture across Eastern Europe and worldwide. The linked database reveals a great variety of nonconformist cultural practices that were formerly largely unknown and promotes comparative research of similar phenomena in Eastern European societies and cultures. The researchers on the project tended to treat visual sources as traces of the past equally as important as written documents. Images were not only illustrations of the given narratives but, in some cases, visual documents were the only sources that preserved the memory of the alternative or underground activity, while in other cases, it was the act of taking pictures that resulted in the confrontation with official cultural policy. This article aims to provide insight into the basic dilemmas and issues that the project faced dealing with images for the database through three examples. Firstly, we focus on the photo documentation of an exhibition of the Hungarian art group Inconnu that was made by the secret police following the destruction of the artworks. Secondly, we show how photos were also taken by official photographers who operated in the so-called “grey zone.” Finally, our third example refers to Fortepan, a unique public initiative that focuses on the digital preservation of private photographs created between 1900 and 1990.
{"title":"The COURAGE Registry: A Gateway to the Cultural Heritage of Eastern European Nonconformism","authors":"Heléna Huhák, Lóránt Bódi","doi":"10.57225/martor.2021.26.09","DOIUrl":"https://doi.org/10.57225/martor.2021.26.09","url":null,"abstract":"The COURAGE Registry is a digital research tool that allows exploring the legacy of cultural opposition in former Eastern European socialist countries by cataloging and describing relevant collections on dissident culture across Eastern Europe and worldwide. The linked database reveals a great variety of nonconformist cultural practices that were formerly largely unknown and promotes comparative research of similar phenomena in Eastern European societies and cultures. The researchers on the project tended to treat visual sources as traces of the past equally as important as written documents. Images were not only illustrations of the given narratives but, in some cases, visual documents were the only sources that preserved the memory of the alternative or underground activity, while in other cases, it was the act of taking pictures that resulted in the confrontation with official cultural policy. This article aims to provide insight into the basic dilemmas and issues that the project faced dealing with images for the database through three examples. Firstly, we focus on the photo documentation of an exhibition of the Hungarian art group Inconnu that was made by the secret police following the destruction of the artworks. Secondly, we show how photos were also taken by official photographers who operated in the so-called “grey zone.” Finally, our third example refers to Fortepan, a unique public initiative that focuses on the digital preservation of private photographs created between 1900 and 1990.","PeriodicalId":324681,"journal":{"name":"Martor. The Museum of the Romanian Peasant Anthropology Review","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125812307","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 : 1900-01-01DOI: 10.57225/martor.2021.26.06
Smaranda Ciubotaru
Inaugurated in 2018, the Museum of Recent Art (MARe) in Bucharest has rapidly become one of the leading contemporary art institutions in Romania. Rivaling state-financed museums, MARe’s approach to exhibiting contemporaneity is dialectical, exchanging the conventional, chronologically determined museological method for anachronism. This approach provides a framework through which the perpetual theoretical correspondence between past, present, and future artistic practices is facilitated. Focusing on art that circumvented the official visual discourses of the communist regime and on art that emerged after the Romanian Revolution of 1989, MARe’s novel museological method has, however, been impaired by the museum’s failure to fully account for the country’s totalitarian history. The absence of context, an unethical silence that can be seen as a symptom of Romania’s unresolved tension towards its communist past, underpins both the conception of the museum’s building and that of its permanent collection. Impeding discussions of nationalization, coercive state mechanisms, and the imposition of Socialist Realism, MARe further limits the emergence of art historical narratives by reaffirming the traditional, hierarchical superiority attributed to fine art forms.
{"title":"Recent and Radical: Excess, Absence, and Erasure in the Museum of Recent Art","authors":"Smaranda Ciubotaru","doi":"10.57225/martor.2021.26.06","DOIUrl":"https://doi.org/10.57225/martor.2021.26.06","url":null,"abstract":"Inaugurated in 2018, the Museum of Recent Art (MARe) in Bucharest has rapidly become one of the leading contemporary art institutions in Romania. Rivaling state-financed museums, MARe’s approach to exhibiting contemporaneity is dialectical, exchanging the conventional, chronologically determined museological method for anachronism. This approach provides a framework through which the perpetual theoretical correspondence between past, present, and future artistic practices is facilitated. Focusing on art that circumvented the official visual discourses of the communist regime and on art that emerged after the Romanian Revolution of 1989, MARe’s novel museological method has, however, been impaired by the museum’s failure to fully account for the country’s totalitarian history. The absence of context, an unethical silence that can be seen as a symptom of Romania’s unresolved tension towards its communist past, underpins both the conception of the museum’s building and that of its permanent collection. Impeding discussions of nationalization, coercive state mechanisms, and the imposition of Socialist Realism, MARe further limits the emergence of art historical narratives by reaffirming the traditional, hierarchical superiority attributed to fine art forms.","PeriodicalId":324681,"journal":{"name":"Martor. The Museum of the Romanian Peasant Anthropology Review","volume":"140 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115730029","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 : 1900-01-01DOI: 10.57225/martor.2021.26.12
Kinga Povedák
In this paper, I present my ethical dilemma concerning a secret police case rich in surveillance images that I encountered during the course of my research in the Historical Archives of the Hungarian State Security (ÁBTL). After reading the operative file of a religious community under surveillance during the 1980s, I decided to approach the group, discuss the images and texts I had found about them, and involve them in the research process. However, the group expressed their explicit intention not to engage in the research process. Even though the guidelines and legal framework regarding the publishing of secret police archival materials would allow me to publish the images and the content of the ÁBTL dossier, I decided to respect the religious community’s intention and their refusal to collaborate. I therefore discuss issues of different ethical standards and accountability in the light of my “failed” ethnographic attempt and reflect on the ethical responsibility of the researcher. I present how the visual images of this particular case file were eventually included in an exhibition in what I see as an ethically appropriate solution to articulate issues of distrust in researchers as a legacy of surveillance and past secret police atrocities.
{"title":"Methodological Notes on Visual Ethics: “Choosing Not to Reveal”","authors":"Kinga Povedák","doi":"10.57225/martor.2021.26.12","DOIUrl":"https://doi.org/10.57225/martor.2021.26.12","url":null,"abstract":"In this paper, I present my ethical dilemma concerning a secret police case rich in surveillance images that I encountered during the course of my research in the Historical Archives of the Hungarian State Security (ÁBTL). After reading the operative file of a religious community under surveillance during the 1980s, I decided to approach the group, discuss the images and texts I had found about them, and involve them in the research process. However, the group expressed their explicit intention not to engage in the research process. Even though the guidelines and legal framework regarding the publishing of secret police archival materials would allow me to publish the images and the content of the ÁBTL dossier, I decided to respect the religious community’s intention and their refusal to collaborate. I therefore discuss issues of different ethical standards and accountability in the light of my “failed” ethnographic attempt and reflect on the ethical responsibility of the researcher. I present how the visual images of this particular case file were eventually included in an exhibition in what I see as an ethically appropriate solution to articulate issues of distrust in researchers as a legacy of surveillance and past secret police atrocities.","PeriodicalId":324681,"journal":{"name":"Martor. The Museum of the Romanian Peasant Anthropology Review","volume":"160 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115603152","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 : 1900-01-01DOI: 10.57225/martor.2021.26.04
Maria Cristache
"The representation of tangible and intangible heritage from the socialist period in Romania has increased and diversified since the House of the People opened for visitors in 1994. Permanent and temporary exhibitions focused on various aspects of life under socialism—from food, housing, and entertainment to the lifestyle of the Ceaușescu couple—have flourished especially in the 2010s. In this article, I examine the different ways in which exhibitions represent the socialist past by displaying objects linked to consumption, leisure, and domesticity and by organizing interactive experiences around the material culture and spaces associated with socialism. The main questions addressed are: Whose perspectives and experiences of the socialist period do these exhibitions represent? What are the direct and indirect ways in which these exhibitions make political commentaries? What are the ethical issues raised by the strong interactive component of some of these experiences? In order to answer these questions, I will look at four exhibitions opened after 2010: Casa Ceaușescu (Ceaușescu Mansion) and 80east in Bucharest, Muzeul Consumatorului Comunist (Museum of the Communist Consumer) in Timișoara, and Muzeul Traiului în Comunism (Museum of Living in Communism) in Brașov. My analysis is informed by research on the representation of socialism in museums since 1989, by reflections on the ethical responsibility of museums and on the political commentary they generate. Based on the analysis of the exhibitions and on interviews with the founders of these initiatives, I discuss the dimension of space and issues of representation, the interactive component as a source of authenticity and its relation with trust, and the political relevance and position of these exhibitions."
“自1994年人民之家向游客开放以来，罗马尼亚社会主义时期的物质和非物质遗产的代表性不断增加和多样化。从食物、住房、娱乐到Ceaușescu夫妇的生活方式，关注社会主义下生活的各个方面的永久和临时展览在2010年代蓬勃发展。在这篇文章中，我通过展示与消费、休闲和家庭生活相关的物品，以及围绕与社会主义相关的物质文化和空间组织互动体验，研究了展览代表社会主义过去的不同方式。讨论的主要问题是:这些展览代表了谁对社会主义时期的看法和经验?这些展览以什么直接和间接的方式进行政治评论?这些体验中强大的互动成分引发了哪些道德问题?为了回答这些问题，我将看看2010年以后开放的四个展览:布加勒斯特的Casa Ceaușescu (Ceaușescu大厦)和80east, Timișoara的Muzeul Consumatorului Communist(共产主义消费者博物馆)和Brașov的Muzeul Traiului n Communism(共产主义生活博物馆)。我的分析是基于对1989年以来社会主义在博物馆中的表现的研究、对博物馆伦理责任的反思以及它们所产生的政治评论。基于对展览的分析和对这些倡议的创始人的采访，我讨论了空间的维度和表现的问题，作为真实性来源的互动成分及其与信任的关系，以及这些展览的政治相关性和地位。”
{"title":"Experiences of Socialism in Romanian Exhibitions: Ethical Implications of Display, Invisibility, and Engagement","authors":"Maria Cristache","doi":"10.57225/martor.2021.26.04","DOIUrl":"https://doi.org/10.57225/martor.2021.26.04","url":null,"abstract":"\"The representation of tangible and intangible heritage from the socialist period in Romania has increased and diversified since the House of the People opened for visitors in 1994. Permanent and temporary exhibitions focused on various aspects of life under socialism—from food, housing, and entertainment to the lifestyle of the Ceaușescu couple—have flourished especially in the 2010s. In this article, I examine the different ways in which exhibitions represent the socialist past by displaying objects linked to consumption, leisure, and domesticity and by organizing interactive experiences around the material culture and spaces associated with socialism. The main questions addressed are: Whose perspectives and experiences of the socialist period do these exhibitions represent? What are the direct and indirect ways in which these exhibitions make political commentaries? What are the ethical issues raised by the strong interactive component of some of these experiences? In order to answer these questions, I will look at four exhibitions opened after 2010: Casa Ceaușescu (Ceaușescu Mansion) and 80east in Bucharest, Muzeul Consumatorului Comunist (Museum of the Communist Consumer) in Timișoara, and Muzeul Traiului în Comunism (Museum of Living in Communism) in Brașov. My analysis is informed by research on the representation of socialism in museums since 1989, by reflections on the ethical responsibility of museums and on the political commentary they generate. Based on the analysis of the exhibitions and on interviews with the founders of these initiatives, I discuss the dimension of space and issues of representation, the interactive component as a source of authenticity and its relation with trust, and the political relevance and position of these exhibitions.\"","PeriodicalId":324681,"journal":{"name":"Martor. The Museum of the Romanian Peasant Anthropology Review","volume":"386 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116486058","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 : 1900-01-01DOI: 10.57225/martor.2021.26.11
Mădălina Cristea
"This article deals with scarcity of goods, consumption, and the ethics of photographing scarcity of goods in contemporary Cuba. It is based on a six-month ethnographic research conducted in 2015 and 2018 respectively and shows some of the photographs I took during these two visits. In the first part I discuss the scarcity and distribution of goods in and out of socialist environments, differences between capitalism and communism and non-traditional methods of consumption. How do desires of consumption impact people in contemporary communist Cuban society? What is the role of Cuban diaspora in sending so-called capitalist goods to Cuba? It also draws a connecting line between a state-controlled communist economy and specific forms of capitalist entrepreneurship, through the existence of a black market and the distribution of goods between people. The second part of the article questions my position in the field as an outsider who was gradually familiarized with the Cuban understanding of the world more generally, and of consumption specifically. How did locals react to photographs taken by foreigners like me? How can two children share one pair of roller skates and distribute their happiness? Making visible certain aspects of scarcity in contemporary communist Cuban society made me realize that photography has a profound ethical dimension."
{"title":"The One-footed Roller Skater. A Visual Ethnography of Contemporary Cuba","authors":"Mădălina Cristea","doi":"10.57225/martor.2021.26.11","DOIUrl":"https://doi.org/10.57225/martor.2021.26.11","url":null,"abstract":"\"This article deals with scarcity of goods, consumption, and the ethics of photographing scarcity of goods in contemporary Cuba. It is based on a six-month ethnographic research conducted in 2015 and 2018 respectively and shows some of the photographs I took during these two visits. In the first part I discuss the scarcity and distribution of goods in and out of socialist environments, differences between capitalism and communism and non-traditional methods of consumption. How do desires of consumption impact people in contemporary communist Cuban society? What is the role of Cuban diaspora in sending so-called capitalist goods to Cuba? It also draws a connecting line between a state-controlled communist economy and specific forms of capitalist entrepreneurship, through the existence of a black market and the distribution of goods between people. The second part of the article questions my position in the field as an outsider who was gradually familiarized with the Cuban understanding of the world more generally, and of consumption specifically. How did locals react to photographs taken by foreigners like me? How can two children share one pair of roller skates and distribute their happiness? Making visible certain aspects of scarcity in contemporary communist Cuban society made me realize that photography has a profound ethical dimension.\"","PeriodicalId":324681,"journal":{"name":"Martor. The Museum of the Romanian Peasant Anthropology Review","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114402934","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 : 1900-01-01DOI: 10.57225/martor.2021.26.01
D. Crowley, J. Kapaló, G. Nicolescu
This special issue problematizes the often-uncritical use of images in publications and displays about communism. It poses a number of questions for anthropologists, historians, museologists and others: when does an image or a museum display present itself as problematic and for whom? Under what circumstances is it ethically justifiable to exhibit or publish such images or, conversely, to put images aside, leaving them undisplayed? When do arguments based on “the public good” outweigh the right to personal privacy, individual integrity and cultural patrimony of source communities?
{"title":"Introduction. Visual Ethics after Communism","authors":"D. Crowley, J. Kapaló, G. Nicolescu","doi":"10.57225/martor.2021.26.01","DOIUrl":"https://doi.org/10.57225/martor.2021.26.01","url":null,"abstract":"This special issue problematizes the often-uncritical use of images in publications and displays about communism. It poses a number of questions for anthropologists, historians, museologists and others: when does an image or a museum display present itself as problematic and for whom? Under what circumstances is it ethically justifiable to exhibit or publish such images or, conversely, to put images aside, leaving them undisplayed? When do arguments based on “the public good” outweigh the right to personal privacy, individual integrity and cultural patrimony of source communities?","PeriodicalId":324681,"journal":{"name":"Martor. The Museum of the Romanian Peasant Anthropology Review","volume":"32 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127443655","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 : 1900-01-01DOI: 10.57225/martor.2021.26.13
D. Crowley
In this interview with the authors of How to Look Natural In Photos, a 2021 photobook featuring images from archives containing secret police records from Poland before 1989, Beata Bartecka and Łukasz Rusznica outline their approach to the republication of this material. They reflect on the nature of images which represent violence or trauma alongside the seemingly banal photographs of mundane scenes and objects recorded by the security forces, as well as the ethics of reproducing portraits of secret police officers. The material on which the book is based is in the possession of Instytut Pamięci Narodowej (The Institute of National Remembrance), an organization created in 1998 by act of the Polish parliament that has been subject of heated debate in the country. Critics have accused it of producing an overly simple view of modern Polish history, one populated by heroes, victims and villains. Bartecka and Rusznica reflect on their relations with this institution and the potential for open interpretations of such material.
在对《如何在照片中看起来自然》一书作者的采访中，Beata Bartecka和Łukasz Rusznica概述了他们对这些材料的再版方法。《如何在照片中看起来自然》是一本2021年出版的照片集，其中包含1989年之前波兰秘密警察记录的档案中的图像。它们反映了代表暴力或创伤的图像的本质，以及安全部队记录的平凡场景和物体的看似平庸的照片，以及复制秘密警察肖像的道德。这本书所依据的资料由波兰国家纪念研究所(institut Pamięci Narodowej)所有，该机构是根据波兰议会法案于1998年成立的，在波兰国内一直是激烈争论的对象。批评人士指责该书对波兰现代史的看法过于简单，充斥着英雄、受害者和恶棍。Bartecka和Rusznica反思了他们与这个机构的关系，以及对这些材料进行公开解释的潜力。
{"title":"How to Look Natural in Photos: An interview with Beata Bartecka and Łukasz Rusznica","authors":"D. Crowley","doi":"10.57225/martor.2021.26.13","DOIUrl":"https://doi.org/10.57225/martor.2021.26.13","url":null,"abstract":"In this interview with the authors of How to Look Natural In Photos, a 2021 photobook featuring images from archives containing secret police records from Poland before 1989, Beata Bartecka and Łukasz Rusznica outline their approach to the republication of this material. They reflect on the nature of images which represent violence or trauma alongside the seemingly banal photographs of mundane scenes and objects recorded by the security forces, as well as the ethics of reproducing portraits of secret police officers. The material on which the book is based is in the possession of Instytut Pamięci Narodowej (The Institute of National Remembrance), an organization created in 1998 by act of the Polish parliament that has been subject of heated debate in the country. Critics have accused it of producing an overly simple view of modern Polish history, one populated by heroes, victims and villains. Bartecka and Rusznica reflect on their relations with this institution and the potential for open interpretations of such material.","PeriodicalId":324681,"journal":{"name":"Martor. The Museum of the Romanian Peasant Anthropology Review","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114452890","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 : 1900-01-01DOI: 10.57225/martor.2021.26.02
Tatiana Vagramenko, G. Nicolescu
The article tells the story of the use and perception of images of violence from an unusual trial against a group of believers, arrested in 1952 in Ukraine. Visitors to an exhibition held in 2019 at the Museum of Art in Cluj-Napoca were invited to look at two sets of photographs: originals and spruced-up copies coming from a recently opened criminal file retrieved from the SBU (former KGB) archive in Kiev. Through the reconstruction of the story of the people who suffered the arrest, we attempt to question the use of research ethics and of heritage in relation to retrieving from archives and displaying violent images of the past. What are the attributes and limits of showing? And what can we learn from the hand at work, the process of actively manipulating the image?
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