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Wspólny pokój. O praktyce kuratorskiej

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Berendt Z., Majewska A.
Didaskalia. Gazeta Teatralna
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2022
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issue 168
98-133
EN
The authors of the article attempt to expand the discourse on curatorial practices in the field of performing arts by introducing the notion of shared room. By making reference to their own experience in curating, they create a metaphor which serves both as a tool for describing the precarious position of curators and for designing alternative strategies of doing this work based on the ideas of solidarity, relationality and sharing. In the first part the authors present their understanding of curatorial practice situating it in the context of those definitions of curating that they recognise as dominating in the Polish context. The second part of the article deals with four aspects of the shared room metaphor: its relational ontology; the precarious condition of its inhabitants; the strategies of sharing employed in it; and the reproductive work done in it and understood as creative practice.
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Disappearing Objects in Georges Didi‑Huberman’s Curatorial Practices

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Doroszuk H.
Annales Universitatis Paedagogicae Cracoviensis. Studia de Arte et Educatione
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2018
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vol. 13
56-65
EN
In this essay, I undertake an analysis of the first exhibition curated by Didi‑ Huberman, L’Empreinte (Imprint), which took place in Centre Pompidou in 1997. In this project, the French philosopher and art historian intentionally bypassed the usual products of artmaking, instead choosing to focus on what is left alongside this process. The project in Centre Pompidou transferred the technique of imprinting into the context of art of the 20th-century, investigating the tactile transmission of form from one surface to another. I will examine how Didi‑ Huberman’s attempt was influenced by the notion of survivance of forms, formulated by Aby Warburg, and how it offers an alternative to traditional approaches to original/ copy issue.
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