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embarrassing

Tatiana Czekalska, Leszek Golec, the exhibition "The fifth activity," Art Museum in Lodz, 1996 (cat avatar and pin)


recently heard that some cite the authors are embarrassing . Strangely coinciding in time with reading my interview with Agnieszka Brzeżańska in which she confesses: texts on art I am no longer able to read, they weary me terribly, are collections of ribbons that do not generate any knowledge or information are usually sterile text ("Notes for 6 weeks ", No. 62, July-August 2010) . sighed with relief that I have a companion for distress, a sense of emptiness and sucking in the stomach with me very often when interacting with the texts on art. I read them less and less, because the little that is for me intellectual adventure, a Polish criticism is bland and dull, and for good measure extremely predictable. It is better to deal with literature, and - in my case even kryminałami.

Criticism produces neat and useless articles, descriptions of the most solemn - Polish critic omówieniami stands! - kind of ritual gesture: "I support this, and you're rooting for then." There is no discovery, no glamorous heroics, hardly what or who gives food for thought and discovering new lands. He quotes the same thing over and over again, reference is still the same name. If the controversy, according to court dance scheme or a testosterone infusion cocks, which shows that the struggle to being opinion leaders. I agree in this view, with James Banasiakiem, who had just said goodbye to the criticism. Burned out quickly, I must admit. I disagreed with his tendency to idle disputes and abuse of words, but I definitely agree: the need for more life, personal risk, more energy and emotion put into the criticism.

why I believe that rely on obscure authors, the risk that the author is not the intellectual top, it should provide a rather good than to be a source of criticism obciachu sense. Embarrassing - which is in general a criterion? Personals, outside considerations, negative, receiving the courage and ability to conduct research on their own. Who said that Polish art world are individualists? On the contrary: it is very a uniformity.

*

view on obciachu has been cited by Adam Mazur, when he discussed the work of Leszek Golec during a seminar at the Center of Polish Sculpture. Leszek Golec and cooperating with him Tatiana Czekalska are artists working in the margins of Polish artistic life. Marginalization in their case, thus means only that participate in it on her own terms, from time to time, consistently relying on its own worldview. Probably not they want the media popularity. Their activity, posture dramatically antyantropocentryczna, their views are of the order that their art is becoming increasingly tribune to promote the idea of \u200b\u200bvegetarianism, silent life, meditation, getting rid of aggression, a new spirituality.

If anything Thus artists are marginalized, it is their own choice. But not me see their situation in this way, repeatedly written about them, remember them today, actors active art scene - the organizers of exhibitions, etc. However, I understand that it is more about a certain helplessness criticism in the interpretation of this activity. Criticism of the art emergency and the manifest Zmijewski does not know what to do with Czekalska and heads. Criticism reinterprets them and does not invest in any location on the map of artistic events. They are somewhere on the side of a very exotic way of supplement.

Meanwhile, their activities can be recognized in the context of the new concept of spirituality, Steiner and Agamben to bow, not just the other day, Heidegger invoked by Mark Goździewskiego, relational aesthetics cries out for application. Well, and I had the audacity to call in the context of Golec and Czekalska - the name of Anthony De Mello. This is according to Adam's proof of my courage or bezrefleksyjności in the confrontation with the embarrassing. Intellectual probably. I'll wait until Adam publish the text and then can write a long controversy. But now I want to say that De Mello, a Jesuit, extremely well educated Indian, gained popularity in Poland in the 90s, as the author combines the tradition of the spirituality of the West and the East. His letters, written in more colloquial language and przystępniejsze than Thomas Merton, played a similar role to the writings of American Trapisty, such as Erich Fromm and DTSuzuki. Reasonable and adequate penetration is the intellectual background of the time when the data are discussed works of authors, and not ahistorical recourse fashionable in our time of authors (which after all did not deny the value). About Agambenie or relational aesthetics in Poland in the 90s not heard (the latter was founded after 2000). However, publications such as Empty Cloud, Santorski or profit, and the Company (and many others) seemed essential items from the canon of fascination with Eastern spiritual and philosophical systems. I do not think Agamben's writings współkształtowały Czekalska Golec and attitude. One is the background was important, even if not directly influenced by.

So, therefore, caution with this embarrassing - it could be a sign of ignorance.

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New contest for the position of director of the Bunker of Art - and what provokes reflections Empty

Blogger Since I am now able to view the statistics, I see that the state interest in my entries for the contest for the position Bunker Art Gallery director. I am very happy. I think it is very important to critically accompany the officials of having a real impact on the shape of the emerging culture, to exercise civil control (although they do not like much and they do anything to not have to be observed and evaluated.) Culture, high culture, creating the things that can be misunderstood, shocking, which for some reason do not conform to popular tastes determining the existence of cultural institutions and most public officials, should be taken under protection. Not only to be reminded, but the high, ambitious culture is simply indispensable for the development of society. It recalls the values \u200b\u200btaught to think critically, can not freeze in the rut of thinking, teaches tolerance and many other very valuable things. Institutions that support, more - play a key role in the production of culture, should be treated with special care - and by people involved in their activities, the organizers and the audience. Because they offer a vaccine against belief that "this is about to be," can not be otherwise. Teaches art criticism, independence of thought, occupy its own position. He teaches sensitivity and - despite the current growing market - the belief that counts more, selflessness.

In Poland, public cultural institutions did not survive the global governance reform after 1989. In addition to legal and financial oversight of incorporation of one instance does not exercise control over them, so many of them became the test bed of losing kolesiowskiej of corruption, conflicts of interest related to the systems of power. The form, profile, management of our institutions of art - all this gives to the reform and great change. I do not always, and not just the responsibility of the directors, who often move through a minefield, between a rock and a hard place, but also do not want to relieve them of responsibility. Never - would be wrong my memory - I have not seen the director of cultural institutions protesting against the opening of the founding body. How many wish to keep the stool, and how much responsibility for the institution? I do not want at this time judge, but the institutions necessary to be opened in this - they make management more transparent. Waste of human energy, an ability that takes place there, is simply extraordinary and reprehensible. As a serial

employee as a "curator / coordinator" in Contemporary Art, I can not give up at the same time as the main critic of the institutions in Poland. That's my dilemma also shows the problem of Polish critics. The roles of servant and critic of the mechanisms involved in the operation of public institutions particularly disagree with each other. So when I read the biting remarks - most recently James Banasiak - about Polish criticism that this should be accompanied by visions and breakthroughs (or perhaps simply to create them), then - yes - I agree with them, but I see a greater need and greater gaps. Today, especially today!, A year after the Congress of Culture, which was followed by several community initiatives, consisting of artists and cultural managers, having to create a grassroots współkształtującego changes within the institutional framework of the Polish culture, it is time for the entrenchment. It's time that these movements have created a technique wydoroślały and more efficient operations (because the officials do not of themselves will be more manageable). Extremely

we lack the institutional criticism. Critical description of the manner in which they operate, how they are profiled, we have a vision of how to invest in their site of action, how they see their roles as those roles are played. Conversations with critics working in the mainstream press and journalists dealing with culture, indicate that it is not selling well and popular topic.

Please report to me willing, I will try to find ways to pay for a person able to make a critical analysis of the Polish institutions today.

recall only: http://www.rewolucjakulturalna.pl/. What happens next with the demands?

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so erudite essay

Far from you, part of the archival

Far from you, the monument


Anetta Mona Chisa and Lucia made Tkacova Lida Clementisovą heroine of their own work, because her fate did not give them peace. Upon learning of his wife accidentally prominent Slovak Communist, Vladimir Clementis, who after the war he was Minister of Foreign Affairs of Czechoslovakia, and was later convicted in a show trial Slansky'ego to death in 1952, began with the growing attention to gather information. Lida Clementisova is an important figure not because of myself, my own accomplishments, ideas and works. The official versions of recent history the Czech Republic and Slovakia, if at all there is to mention it is because of her husband. There is no Clementis, is devoted to him, with conviction and for life. The fate of Lida, inextricably intertwined with the fate of her husband, were marked by tragic moments. Like stills from the movie memorable, and you can not get rid of them.

bank manager and daughter of opera singer became fascinated by a young lawyer, committed communist activist. The fascination was mutual. Fortunately, before the war did not last long, he was imprisoned dementis and interned, lived in exile, she rode behind him, for example, to England, where he had to cope without a good knowledge and funds. After the war Clementis for a short time found himself at the height of his power, being one of the authors of the coup, and contributing to the government CSRL. But already in 1950, has been accused. Imprisoned for two years, were subjected to torture, his wife also. Occasionally exchanged lists. He did not know that she is trapped, it was not possible to tell with that. He did not know that she knows that he has been sentenced to death. Before the execution was allowed to meet Lida with him. She was exhausted. Are being monstrous masquerade: it dressed up to look like a healthy and living in freedom. Were given injections of arsenic, which meant that had full cheeks. The last meeting of the spouses took several minutes, during which they could not betray the feelings and knowledge about their own situation. Lida through the night scrubbing the floor in his cell. After the death sentence on Clementisie, was released. Commemorating the rest of his life devoted husband. She has published, among others their list, in two books.

Form Clementisovej artists has become a challenge. Wanted to pay tribute to her perseverance and suffering, sacrifice. The path we chose Clementisova, led to the destination, which has traditionally been the outstanding participation of women partners, women in general, and - what can I say - is questioned not only by the avant-garde circles, is sometimes regarded as mortification than merit. The attitude assumed Clementisovej omission of their own needs, plans and ambitions, they melt in the plans and ambitions of her husband. The removal of the shade, being useful, waiting, expectancy, nursing the memory of a hero. Clementisova is transparent, it shows its hero. It is like glass.

Anetta Mona Chisa and Lucia Tkacova not analyze this phenomenon. Do not criticize the more Lida Clementisovej, do not make critical vivisection of collective memory. Their intention was to commemorate a particular woman on the basis of what is known about it from things existing in the collective consciousness of the Slovak and Czech. The exhibition focuses on a particular public image of women. With his absence, and for some debris, which had penetrated into the collective memory, the artists create their own tribute, but more appropriate would be the word "hutch", "weave", "make" (like a puzzle) - the absence, insinuations, debris, flashes in the background, spectral presence. Since

Lida form is vague and does not have a clear outline, the artist did not try to catch it in a cohesive network, finishing the story, do not try to dopowiadać, fill gaps and dorysowywać lines where they run out. At the exhibition "Far from you" in Karlin Studios, Prague, there is a modest and simple arrangement: strips of printed paper stuck to windows, not enough visible projection ... A bit of a photocopy of musical notation and a schematic portrait of women, flowers in pots, slide show, a sketch on the wall and the projection that runs from time to time. Well, the rug on the floor. That's how it roughly looks like.

I asked for a response to the exhibition, a discussion, a hotter reaction. Nothing like this has happened. There is probably demonstrate more clearly confirmed, that Lida Clementisova the shadows are still not married. In a similar vein reacted Wikipedia. The resulting password - English and Slovak. After a while, someone raised an objection to the merits of putting information in the form of a separate article devoted to this form. There is no independent account of his achievements. What is not true, because for example has released several books. Wikipedia should indeed make sense to rely on the fact that it brings awareness of lesser-known characters, I just discovered, those which would not have chance to own password in a printed encyclopedia. English, however, the password has been erased. Slovakian remained intact.



*** empty space - from the exhibition starts. So we have sentences cut from books, wherever found herself Clementisovej mention. The action spills to the outside world. In libraries, where they come from the book were like negatives of action. Quotes have been illegally cut from the books that the holes have been returned to the place of loan. The planned as part of the exhibition were also cited archival list of marriage - and again brought to this book, which were arranged on a single card. The few published photos Clementisovej were treated cruelly: cut her face. Operation easy, even infantile, brings to mind the reality of operations to enchant, cast a curse on someone. It is also a gesture autodestrukcyjny niepogodzonych women about their physical appearance, which grab the scissors to remove yourself from sight, using censorship as absolute as the political. A piece of documentary film with the statement Clementisovej is displayed on the glass, which a woman takes on the appearance of the spectrum.

Everything, therefore, underlines the invisibility of Lida, it is irrelevant to her husband's biographers and historians. Slurred presence in the background, somewhere on the side or behind.

In the remainder of the exhibition we are dealing with something that at first glance resembles miscellaneous bunch. We have things without much of a load, even with a grossly short-term-life, as well as the trivial from the perspective of recognized value systems. As soon as one reaches the edge of the output dropped carelessly on the ground. It was on the grass and impressed geometric structure. Well, was impressed plan mapped cell. Anyone can enter the picture and feel for yourself how tight was the cell in which the heroine spent the month of the exhibition. Moreover, the picture was in fact aimed at the real location of the prison room Clementisovej.

movie displays on the wall depicted an empty school children reciting the last letter to his wife Clementis. Letter full of tension and the fake peace, not to bother his wife, is in the mouth of students as school reading, children poszturchują to jąkają, transgress from foot to foot and take the show on camera. Video shows how tragic story gradually watering down and actually do it is not in popular communication.

Mona Chisa and Tkacova also devised a way to use sound. The last letter to his wife was transcribed on the sound system Solresol. Notation was to be taken by everyone concerned. The tragic history could be made an instrument, sing, play. Lida Clementisova was, after an opera singer. You could also put yourself in Lida. The artists have prepared a diagram of makeup, which applied in exile in London, where it came from her picture. Make-up anyone can do. Thus, my face can change a little in the face of Lida.

What were they doing in Karlin Studios klematisami pots? They could take it. The artists have applied again model „zrób to sam”. Model majsterkowicza królował w naszych krajach za komuny, kiedy niedostatki w zaopatrzeniu w dobra materialne uzupełnialiśmy zaradnością i sprytem. Model ten powraca, trochę na fali ekologii, antykonsumpcjonizmu i poszukiwania możliwości wyrażenia swoistości naszego doświadczenia historycznego.

Artystki postanowiły, że nie będą budować pomnika dla Lidy. Wykorzystały pomniki już istniejące. Sfotografowały wszystkie monumenty w Pradze i pokazały jak można wykorzystać kwiaty, by kultywować pamięć o kimś. Nazwa „clematis” odnosi się do nazwiska małżonków. If you would like to commemorate a brave woman, you need to plant clematis in the memorial of their choice. Clematis oplecie him green shoots, blossom and transform into a memorial statue to pleniącej lush nature and oblivion. From the plant will not see the statue. The hero becomes a stand for flowers. This idea seems to be a great and unavoidable. How else to commemorate this woman? It is impossible to put a monument.

***

exhibition moved me very much, although it troubled me quite a creativity of artists. One gets the impression that they multiply the concepts of one nature and one another.

Despite these objections, I think "Far From You" as a very ambitious attempt to refer to history and memory of women residents of post-communist countries. How to pay tribute to the power of survival? How to erect a statue of silent heroism, which by this force is expressed? How can we talk about love in times of Stalin's purges? Although it sounds łzawo, if not affection, fate, Lida would have been different.

She might have his own life, after all, was an opera singer - a woman who had a voice, although it gave up.



Far from you