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Idealism in museum

100%
Klekot E.
Muzealnictwo
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2022
|
vol. 63
53-58
EN
The extensive volume edited by Robert R. Janes and Richard Sandell titled Museum Activism is composed of papers by over 50 authors. They are in majority case studies, with examples from most varied institutions. Museum activism is the opposite to museum social alienation; in this respect, the first definitely draws from the many-years’ experience of New Museology and participatory museum. Museum activism advocates are negative about the commercial populism and the success measured by turnout only, and not that measured exclusively by the differentiation of the museum offer and its accessibility to minority and marginalized groups. According to the Editors, contemporary museums are more morally obliged to engage in social activism, since in the times of a radical drop of social trust worldwide, museums still constitute one of the social institutions considered as trustworthy. Many of the actions described in the book concern the sphere of museum accessibility broadly speaking, both in the sense of physical access and possibility to participate in the programme, and barriers of social nature. Another sphere of museum activism is made up of curatorial practices. The texts point to many dimensions of activist curatorial practices which, however, first of all become the space for questioning the myth about museum’s neutrality in many respects: the colonial collection genesis, attitude towards climate, narratives constructing national identity, or finally the issue of the presence of curator’s voice in an exhibition. In many of the papers the role of museums in the context of the responsibility for the climate, of raising social awareness, of constructing a new narrative on the relation between man and the world, as well as the necessity to revise one’s own praxis are reiterated.
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Prolegomena do etnografii „pomników historii i kultury narodowej”. Dziedzictwo jako wymiar nowoczesnej historyczności

100%
Klekot E.
Rocznik Antropologii Historii
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2011
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issue 1-2
33-48
EN
Taking as her starting point the concept of “historicity”, understood as a way of conceiving the past through different social practices [Hirsh and Stewart 2005], the author reflects on the results of her long term ethnographic research on two prominent “monuments of Polish history and culture”: namely the royal castles in Warsaw and Cracow. Following up on Hirsh and Stewart’s insight that academic history is one of the modern historicities, the article proposes taking “history” and “heritage” (understood by David Lowenthal [1998] as two co–existing sets of past–oriented practices) for two modes of modern historicity, arguing that to some extent they also correspond to different modes of representation of the past in modernity, as described by Bann [1984]. Pointing to the late modern crisis of representation, the author studies the politics of the representation of the past, focusing on historic monuments. It is suggested that their status is legitimized on two levels of power relations. On the macroscale the stance of subsequent political systems and governments are considered, and the material and institutional solutions that result from them are considered, while on the micro–scale the political involvement of the two historic monuments emerges from expert discourses and practices. It is on the micro–scale level of power relations, that historic value is ascribed to objects, and they become heritagized. Ethnographic research of historic monuments should therefore recognize the modes of historicity involved, and describe their selective character and legitimizing practices, opening up the field to further analysis of the power relationships involved.
3
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Idealizm w muzeum

100%
Klekot E.
Muzealnictwo
|
2022
|
vol. 63
53-58
PL
Na obszerny tom pod redakcją Roberta R. Janesa i Richarda Sandella, zatytułowany Museum Activism, składają się artykuły ponad 50 autorów. Są to w większości studia przypadków, a przykłady pochodzą z instytucji muzealnych bardzo różnego rodzaju. Muzealny aktywizm to przeciwieństwo społecznej alienacji muzeów; pod tym względem niewątpliwie czerpie on z wieloletnich doświadczeń nowej muzeologii oraz muzeum partycypacyjnego. Jego rzecznicy negatywnie oceniają rynkowy populizm i sukces mierzony wyłącznie frekwencją, a nie zróżnicowaniem oferty muzealnej i jej dostępnością dla grup mniejszościowych i wykluczonych. Zdaniem redaktorów tomu współczesne muzea są tym bardziej moralnie zobowiązane do społecznego aktywizmu, że w czasach radykalnego spadku społecznego zaufania na całym świecie muzea nadal stanowią jedną z instytucji społecznych budzących największe zaufanie. Wiele opisywanych w książce działań dotyczy szeroko pojętego obszaru dostępności muzeum, zarówno w sensie fizycznego dostępu i możliwości uczestnictwa w programie, jak i barier natury społecznej. Innym obszarem działań muzealnego aktywizmu są praktyki kuratorskie. Teksty wskazują na wiele wymiarów aktywistycznych praktyk kuratorskich, które jednak przede wszystkim stają się przestrzenią kwestionowania mitu neutralności muzeum w bardzo wielu obszarach: kolonialnej genezy zbiorów, stanowiska wobec klimatu, konstruowania tożsamościowych narracji narodowych czy wreszcie kwestii obecności głosu kuratora/-ki na wystawie. W wielu miejscach powraca też rola muzeów w kontekście odpowiedzialności za klimat, podnoszenia świadomości społecznej, budowania nowej narracji o relacji człowieka ze światem oraz konieczności rewizji własnych praktyk.
4
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Etnodizajn a ludowość w polskim wzornictwie

100%
Klekot E.
Artium Quaestiones
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2021
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issue 32
229-250
EN
In the first decade of the 2000s, a new wave of “folk inspirations” became visible in the work of Polish designers, which was celebrated by exhibitions, publications, conferences and a special festival. Interestingly, all the Polish-language coverage of these events almost unanimously avoided Polish vocabulary suggesting any connection with “folk” (n.: lud, adj.: ludowy) and used the English-sounding term “etnodizajn” (or “ethnodesign”), which actually did not exist in any official Polish or English dictionary. “Etnodizajn” is definitely not the first case when Polish designers have used the “natural resources” of the “folk art tradition”. This article discusses the early 21st century etnodizajn as embedded in the Romantic tradition of understanding the meaning of the folk, pointing at its endurance both in design practices and cultural politics. Following the design strategies of companies and studios linked to etnodizajn, the author presents, on one hand, projects that neatly fit into a century-old strategies of purely formal inspirations, and on the other, those projects that search beyond the beaten track of folk art.
5
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Narracje o pewnej podróży

100%
Klekot E.
|
2011
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vol. 65
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issue 2-3(293-294)
60-64
EN
Presumably, if Aby Warburg had not lectured on 21 April 1923 in Kreuzlingen on Images from the Pueblo Territory in North America, the only writers interested in his trip in the South-West in 1895-1896 would have been his biographers. However, the fact that Warburg, hospitalized in Kreuzlingen sanatorium, decided that the first lecture he was going to deliver since his mental collapse in November 1918 would be based on his memories of the American trip, put the powerful interpretative machine of modern humanities into motion. Since then different narratives on his trip have appeared, based on different versions of his lecture (no one published during his life and with his consent), his diary, letters and photographs. However, the question why he had decided to delve in his American memories while preparing a lecture that was supposed to prove his mental stability remains open for speculations. One of the reasons of this choice may have been Warburg’s entanglement in his German identity, that actually had been a direct cause of his collapse only a month after the armistice of 1918.
6
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Questionnaire - Answer

88%
Klekot E.
Polish Journal of Landscape Studies
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2018
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vol. 1
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issue 1
101-103
EN
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7
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Odczarować podłą maskę reprezentacji

50%
Klekot E.
Zbiór Wiadomości do Antropologii Muzealnej
|
2017
|
issue 4
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