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Exhibitions dedicated to communist Poland in polish museums in 1989–2017 from a quantitative (statistical) perspective

100%
Wąchała-Skindzier M.
Muzealnictwo
|
2022
|
vol. 63
185-193
EN
The objective of the research was a survey identification of the presence of the history of Communist Poland, PRL, in museum narrative in 1989–2017. Importantly, this is a repeated, supplemented, and more thorough research versus the one presented in the paper ‘PRL in Museum Narrative over the Last 25 Years’ published in 2014 in the Światowid. Rocznik Muzeum PRL-u (w organizacji) periodical. The research discussed in the present paper forms part of a doctoral dissertation, constituting the research’s second stage. As a result of the conducted research based on survey answers provided by museums and on individual research a database containing 642 exhibitions was created. When processing the data, quantitative analysis was adopted. After data cleaning the following statistical trends were analysed: exhibition duration over the whole research period, percentage of leading themes, percentage of themes in respective cities. The conducted analysis has permitted to observe trends in museum narrative concerning PRL. Also the most popular exhibition duration over the research period has been identified (up to two years and permanent exhibitions). The most popular categories have been named: art history, political history, history of everyday life. Three groups of urban centres where museum narrative is present to a varied degree have been named. The fourth group contains cities in whose museums the topic of PRL has not been tackled over the last 28 years, or such projects cannot be reliably confirmed.
2
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INVISIBLE DESTINY? BORDERLANDS AND BORDERLANDERS AS THE TOPIC OF MUSEUM DISPLAYS AFTER 1989

86%
Sacha M. I.
Muzealnictwo
|
2019
|
vol. 60
174-188
EN
The question of presenting the heritage of the Borderlands and the life of its inhabitants in Polish museums after 1989 is tackled. The main focus of interest are displays perceived as: 1) visual and public form of knowledge transfer; 2) the way of overcoming the trauma of losing one’s native land; 3) tools for creating collective identity and 4) effects of the participation of Borderland circles in creating the display. The goal of the study is an overview of contemporary exhibitions dedicated to the Eastern Borderlands, and the experience of their loss as the result of WW II. Since the residents of the Borderlands were relocated to the ‘former German’ territories, the overview centres on the displays from the Western and Northern Territories. Apart from the local and national aspects, what matters is also the international dimension related to museum presentations of the ‘lost land’ and the fate of migrants. Therefore, the activity of Polish institutions is initially shown in the European context, through recalling the legal framework and working conditions of so called East German museums commemorating the ‘German East’ lost by Germany. The question of the reasons for the disproportion in the presentation of the topic between Poland and Germany is posed, while the to-date achievements of Polish museologists are presented.
3
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Canonization of the avant-garde: on the publication Avant-garde museum

72%
Lubiak J.
Muzealnictwo
|
2021
|
issue 62
128-131
PL
Monumentalna publikacja Awangardowe muzeum (red. Agnieszka Pindera, Jarosław Suchan, Muzeum Sztuki w Łodzi, Łódź 2020) zestawia i analizuje cztery projekty muzealnicze: Muzea Kultury Artystycznej w Rosji Radzieckiej, działalność Société Anonyme w Stanach Zjednoczonych i grupy „a.r.” w Polsce oraz Kabinett der Abstrakten w Hanowerze. Kluczem doboru jest to, że koncepcję każdego z projektów opracowali awangardowi artyści, co więcej w założeniach mieli oni również kierować realizacją tych przedsięwzięć. Publikacja podzielona jest na trzy części: artykuły badawcze, teksty źródłowe oraz katalog dokumentów i prac. Badanie awangardowych projektów muzealniczych obejmuje cztery obszary: koncepcję, kolekcję, organizację i ekspozycję. Kwestie te nie są wyodrębniane w badaniach, raczej celowo splatane. Głównym założeniem książki jest ukazanie, w jaki sposób awangarda instytucjonalizowała samą siebie. Ta teza zostaje poddana refleksji w niniejszej recenzji. Podobnie jak konsekwencje tej publikacji, do których należy m.in. wpisanie awangardy do kanonu historii sztuki i uświęcenie jej dorobku jako niepodważalnej wartości.
EN
The monumental publication Avant-garde Museum (ed. Agnieszka Pindera, Jarosław Suchan, Muzeum Sztuki w Łodzi, Łódź 2020) juxtaposes and analyses four museum projects: Museums of Artistic Culture in Soviet Russia, the activity of the Société Anonyme in the USA, Poland’s ‘a.r.’ Group, and the Kabinett der Abstrakten, the selection criterion being that each was conceived by Avantgarde artists; additionally, in the projects’ assumptions the artists were to run the implementation of the projects. The publication has been divided into three sections: research papers, source texts, and the catalogue of documents and works. The study of the Avant-garde museum projects spans over four areas: the concept, collection, organization, and display. However, these issues are not isolated in the research, but more purposefully integrated. The main goal of the study is to show how the Avant-garde institutionalized itself. This very thesis is reflected upon in the present paper. Just like the consequences of this publication: e.g., entering the Avant-garde into the canon of art history and sanctifying its output as an unquestionable value.
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