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1

'SOMETIMES HUMAN HISTORY COMES FIRST, FOLLOWED BY AN IMAGE, WHILE AT OTHER TIMES IT IS THE REVERSE...'. CONVERSATION WITH MARIA KIESNER ABOUT 'WEDUTY WARSZAWSKIE' (WARSAW VEDUTE) AND THE DISTRICT OF PRAGA (Polish title - below)

100%
Szerszen T.
Konteksty - Polska Sztuka Ludowa
|
2009
|
vol. 63
|
issue 1-2(284-285)
291-296
EN
(Title in Polish - ' Czasami najpierw jest historia ludzka, a potem obraz, czasami odwrotnie...'. Zapis rozmowy z Maria Kiesner o Wedutach watszawskich i warszawskiej Pradze'). A recorded conversation with Maria Kiesner, authoress of a cycle of paintings entitled 'Weduty warszawskie', who seeks inspiration in the modernistic and soc-modernist architecture of Warsaw, and has a studio in the district of Praga.
2

ENTROPY AND ARCHITECTURE. THE WRITTEN STADIUM (Entropia i Architektura. Stadion napisany)

100%
Szerszen T.
Konteksty - Polska Sztuka Ludowa
|
2009
|
vol. 63
|
issue 1-2(284-285)
172-173
EN
Stadion X-lecia (the 10th Anniversary Stadium) is no longer, and its sole trace is a hole in the ground...This text, a commentary to the book Stadion X: Miejsce, którego nie bylo (ed. J. Warsza), delves into the symbolic presence/absence of the Stadium in an attempt at conceptualising the tension between its modernist, monumental architecture and disintegration (which could be perceived as a form of entropy - a phenomenon which stirred the interest of artists (R. Smithson) and philosophers (G. Bataille)).
3

Gare Austerlitz

100%
Szerszen T.
Konteksty - Polska Sztuka Ludowa
|
2014
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vol. 68
|
issue 3-4(306-307)
196-202
EN
Sebaldian topography, similarly to his prose, misleads us by creating tangled, complex images – veritable “lines of motion, lines of life”, elements of a phantom psycho-geography mutually superimposed as in a palimpsest. This psycho-geographical context takes us to Paris, the scene of the closing and extremely important fragments of Austerlitz. The text is inseparably connected with a journey on foot (which, as is always the case with Sebald, features a rhizomatic, convoluted character) near the oldest Parisian railway station and within the surrounding 13th arrondissement, and involves walking in circles, a series of seemingly chaotic movements and transferences, and a narration whose meaning comes into being somewhere between the Seine, the New Library, the National Museum of Natural History, and the Pitié-Salpêtrière Hospital… The text is a sui generis photonovel, with the author following Austerlitz all over Paris.
4

THE ABATTOIR, 1929 A.D. (Rzeznia A.D. 1929)

100%
Szerszen T.
Konteksty - Polska Sztuka Ludowa
|
2009
|
vol. 63
|
issue 4(287)
126-129
EN
A report by Eli Lothar concerning Parisian slaughterhouses, published in 1929 in the avantgarde periodical 'Documents', is actually an anthropological meditation about the symbolic borderline between that which is human and that which is animal...
5

THE TOWNS OF WALTER BENJAMIN (Miasta Waltera Benjamina)

100%
Szerszen T.
Konteksty - Polska Sztuka Ludowa
|
2008
|
vol. 62
|
issue 3-4(282-283)
40-46
EN
Throughout his whole life Walter Benjamin created mini-portraits of towns, synthetic 'images of thought', sometimes no larger than the text on a postcard. They mark the places in which the life of the author of 'Le Livre des passages' merges, as closely as possible, with writing and the text. This is the place where that which is theoretical and that which is experienced are already inseparable and undistinguishable. Benjamin's images of cities are never a journalistic 'capturing of life': following the example of the poet Stefan George, he introduced the concept of 'denkbilder', which contains tension between the past and the present, between recollection and experience. Benjamin believed in the cabalistic power of the word. Just as Proust treated names, so he conceived the names of towns as symbols: Berlin, Jerusalem, Marseilles, Moscow, Naples, New York, Paris, Riga, San Indignant...
6

ANTHROPOLOGY AS A MASK, A COSTUME, A METAPHOR: THE CASE OF MICHEL LEIRIS AND ROGER CAILLOIS (Antropologia jako maska, kostium, metafora: przypadek Michela Leirisa i Rogera Caillois)

100%
Szerszen T.
Konteksty - Polska Sztuka Ludowa
|
2009
|
vol. 63
|
issue 3(286)
170-172
EN
Michel Leiris and Roger Caillois are the authors of two rather strange autobiographical works 'L''Âge d'Homme', and a self-analytical essay 'La Nécessité d'esprit', not published during the author's lifetime. Leiris began writing 'L'Âge d'Homme' before he was thirty years old, and Caillois completed 'La Nécessité d'esprit' - his first book - when he was less than twenty years of age. In other words, we are dealing with two works that treat the problem of the autobiography in a truly surrealistic manner: they are the stories of a life that has not been lived but has barely began. 'L'Âge d'Homme' and 'La Nécessité d'esprit' also relate, in a less unobvious way, to a different theme: the attitude of the authors to 'scientificality'. After all, Leiris and Caillois were men of science (an ethnographer and a sociologist). Reading their learned analyses, one could have the impression that anthropology is a metaphor, a mask or a theatrical costume. In the case of Leiris, the onset of interest in ethnography coincided with the inauguration of work on 'L'Âge d'Homme'. This was also the moment when the author became involved in editing the avant-garde periodical 'Documents', in which anthropology and ethnography were for the first time applied as a sui generis quasi-science, a scientific discourse transferred, laid open, at times mocked and simultaneously proposed misleadingly as a scientific debate. It was precisely for the needs of 'Documents' that Leiris assumed the role of an ethnographer, and adapted himself - in the manner of one of the insects described by Caillois - to 'writing science'. For Caillois too science - sociology, anthropology - is a mask concealing the temptation to write an autobiography, a metaphor of one's existential situation. Here, the key figure is that of the praying mantis, a combination of sexuality and autobiographical qualities. Similarly to Judith, the praying mantis is connected with an autobiographical project of describing emptiness, a life not lived, whose place has been taken by science. The texts by Leiris and Callous render us helpless. We are not certain whether that which has been presented as a scientific discourse is actually one. Or is it a metaphor, a mask, a game played by textual mirrors, in whose course the authors themselves have provided the best possible keys to an interpretation of their texts that, in turn, function as perverse auto-commentaries. This is a science that, in the fashion of the headless Accphale, is always missing something, in which something is not in its proper place, but is shifted and multiplied. This is a science that resembles a cruel praying mantis, and has been created to make the naive researcher feel at loss.
7

WHAT IS THE USE OF THE RUINS OF MODERNISM? FROM WOLA TO HOTEL PALENQUE - AND BACK AGAIN (Cóz nam po ruinach modernizmu? Z Woli do Hotelu Palenque i z powrotem)

100%
Szerszen T.
Konteksty - Polska Sztuka Ludowa
|
2010
|
vol. 64
|
issue 2-3(289-290)
252-262
EN
'While thinking about the space of Warsaw and the heritage of socialist realism - including the non-extant 10th-Anniversary Stadium and the soon to be demolished fountains in the Edward Szymanski Park in the Wola district - I simply cannot evade a particularly evocative phantom. I have in mind a vision of Hotel Palenque on the Yucatán Peninsula. A place that became famous (probably only virtually: has anyone actually seen Hotel Palenque?) thanks to Robert Smithson'. The presented text is an attempt at looking at modernistic architecture via the context of its disintegration - the processes of destruction and entropy. This motif seems to play an essential part in contemporary art: it emerges both in the works of the classics (Smithson, Gordon Mata-Clark) and the young artists (Cyprien Gaillard). The point of departure for these reflections is the local example of a 'socialist realistic-modernistic' park in Warsaw, once extremely 'modern' and today - decaying and sentenced to modernisation (tantamount to recomplete redesigning).
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