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1

„Trup w szafie” – krytycznie o bezkrytycznym Muzeum Stalina w Gor

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Lorenc M.

Przegląd Zachodni

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2020

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issue 3 (376)

197-218

EN

The aim of the paper is to critically reflect on the Joseph Stalin Museum in Gori. The basic question is: what non-spatial values does the Museum evoke? Or, reversing the perspective: how do certain spatial values construct and perpetuate the non-spatial values of this ideologized commemorative premise? In order to answer them, the author prepared in situ photographic documentation during her field study and then compared it with the photos available on the Internet. In order to research the collected empirical material, the author attempted to create her own qualitative method, which she called the political topography method (TPM). The research procedure in which it is used involves four steps and, after the selection of the empirical material, includes: acquisition, analysis and interpretation of data from unwritten sources. The theoretical framework of the study consisted of three conceptions: Michel Foucault's power/knowledge, Pierre Bourdieu's symbolic violence and Yi-Fu Tuan's relations in space. Combining them, it was possible to demonstrate that the spatial solutions used in the museum in Gori serve the apotheosis of Stalin as the winner of the Great Patriotic War. It is a synthesis of practices typical for a museum, funeral and commemoration. The paramount example of this approach is to be found on the upper floor of the museum which constitutes the most important part of the exposition, namely a hall-mausoleum with a posthumous mask of the dictator. It imparts a sacred character to the entire museum complex. This is a reality petrified from times preceding the 20th Congress of the Communist Party of the Soviet Union, at which Khrushchev denounced the disastrous effects of the cult of the individual.

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FORGOTTEN METAMUSEOLOGICAL CONCEPTS OF WOJCIECH GLUZIŃSKI

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Lorenc M.

Muzeológia a kultúrne dedičstvo

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2022

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vol. 10

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issue 1

19 - 31

EN

Wojciech Gluziński’s metamuseological concepts, developed in the 1960s and 1970s, found their fullest expression in the book U podstaw muzeologii [On the fundamentals of museology] from 1980. Its author was then considered to be one of the pioneers of museological theory in the world. Nevertheless, he is now almost forgotten. This is evidenced by the latest publications of ICOFOM dealing with the history of twentieth-century museology, which exclude Gluziński. The reason for this lack is the language barrier, which makes it difficult to evaluate his achievements in terms of content. The recognition of this state of affairs was the reason for the preparation of this review article using the methods of analysis and criticism of the literature, for which the basis was sources and studies available only in Polish. The basic questions boiled down to how Gluziński understood the museum and what, according to him, the subject of museology was. The answer to the first question was the concept of a “pure” museum, while to the second, the concept of “museum sense”.

3

Dzisiejsze wczoraj. Pamięć o wojnie w polskiej sztuce współczesnej po 1989 roku

100%

Lorenc M.

Pamięć i Sprawiedliwość

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2015

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issue 1(25)

221-241

EN

Yesterday Today: Memory of the War in Polish Contemporary Art after 1989 The purpose of this text is to attempt a synthetic portrayal of the issue of memory of the Second World War as a source of inspiration in Polish contemporary art since 1989. The year 1989, which marked the beginning of systemic transformation in Poland, was also the beginning of the process of transformation of the paradigm of collective memory of World War II. The appearance of issues omitted in the institutionalized discourse of the period of the Polish People’ s Republic contributed to an increase in artists’ interest in the mechanisms of constructing the collective image of the past. The particular ‘memory boom,’ which involved a sharp increase in the number of publications on so-called ‘white spots’ in the history of Poland, also manifested itself in the visual arts, among others, in the works of Mirosław Bałka, Zbigniew Libera, Wilhelm Sasnal, Piotr Uklański and Artur Żmijewski. Most of the works created in the 1990s and in the first decade of the 21st century concerned the memory of the Holocaust and Polish-Jewish relations during the German occupation. In many cases, the means of artistic expression employed by their creators evoked controversy and objections by those who found them inappropriate. The basic objections raised against artists referring to ‘war issues’ were: the instrumental references to the issue of the Holocaust, dictated by trends, and the lack of deep reflection on the attitudes of perpetrators, victims and witnesses of the events at that time. The fact that artists drew from collective images brought with it other effects also. Many works created in this period served the following functions: c a t h a r t i c – involving the purification through art of the recipient’ s feelings and emotions, h e u r i s t i c – resulting from treating creation and its outcomes as a research process whose important elements include the posing of hypotheses and their verification, m n e m o t e c h n i c a l – being an exercise in memory through the medium of art and, finally – c o m m e m o r at i v e, embedded – following Pierre Nora – in the era of commemoration and the call to remembrance. The manners of portraying themes of memory of the war in Polish contemporary art since 1989 seem to have confirmed the social aspect of artistic creation, involving – in the case being discussed – the exposing of, but also the formation of collective images of the past.

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„Trup w szafie” – krytycznie o bezkrytycznym Muzeum Stalina w Gor

FORGOTTEN METAMUSEOLOGICAL CONCEPTS OF WOJCIECH GLUZIŃSKI

Dzisiejsze wczoraj. Pamięć o wojnie w polskiej sztuce współczesnej po 1989 roku