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"THE CHARM OF THE PRL". MEMORY CULTURE, (POST)SOCIALIST NOSTALGIA AND HISTORICAL TOURISM IN POLAND

100%
Balcerzak A.
Slovenský národopis (Slovak Ethnology)
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2021
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vol. 69
|
issue 2
255 - 273
EN
The article explores the mechanisms of memory culture and the commercialization of the socialist heritage from the period of the People’s Republic of Poland (PRL) (from 1945 to 1989) as a tourist destination, societal practice and cultural resource in today’s Warsaw. At the intersection of heritage studies, historical tourism and material culture, the ethnographic analysis focuses on three empirical case studies as examples of the commercial popularization of the history of the PRL. These are the communist heritage tours offered by WPT 1313 and the documentation of the socialist heritage at the Museum of Life in the PRL and the Neon Museum. These commodified products of Warsaw’s tourism and entertainment culture fill a gap in the tourist market, based on the prototypical, nostalgic longing of tourists for a sensual and emotional experience of the “authentic past”. This predominantly participant observation-based ethnographic study on the practices, spaces, images and agents filling this touristic niche, illustrates how they create sensual-emotive, aesthetic and performative fields of reifying, discovering and experiencing the socialist past. Finally, the paper focuses on how these polyvalent mechanisms shape the tourist infrastructure of Warsaw oscillating between critical distancing and entertaining appropriation of the socialist heritage.
2

AVANT-GARDE ART DISPLAY RECREATIONS HISTORISED: MUZEUM SZTUKI IN ŁÓDŹ AS A REFERENTIAL CASE?

86%
Lorente J. P.
Muzeológia a kultúrne dedičstvo
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2021
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vol. 9
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issue 3
5 – 15
EN
Museums can no longer pretend to be mere containers of art or other cultural treasures; their fascinating legacy for posterity is definitely not just the respective collection, but also its idiosyncratic articulation and ulterior resignification. This essay surveys sifting trends in the re-staging of modern museographies; but instead of using New York’s MoMA as the obvious paradigm, pride of place is given here to the Muzeum Sztuki in Łódź (Poland). Its original Neoplastic Hall survived only from June 1948 until October 1950; but it was reconstructed ten years later, prefiguring other museographical remakes of avant-garde art displays. Thereafter, it also became, in many ways, a typical example characterising postmodern museological trends. All in all, it could perhaps be discussed nowadays in the light of critical museology as a referential case in the history of heritagised museographies.
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