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Mieszkając wśród obrazów Edwarda Narkiewicza

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Bentall K., Tchorek-Bentall S.

Konteksty - Polska Sztuka Ludowa

2018

vol. 72

issue 4(323)

236-239

Jest to kolaż myśli na temat Edwarda Narkiewicza zebranych z moich notatek i fragmentów dziennika pisanych w ciągu kilku lat i pierwotnie połączonych i napisanych na kalce kreślarskiej dla wydarzenia, które odbyło się z okazji Nocy Muzeów w pracowni na ulicy Smolnej w maju 2012 roku – Edward Narkiewicz z kolekcji Mariusza Tchorka.

This is a collage of thoughts about Edward Narkiewicz, collected from my notes and fragments of a diary written in the course of several years and originally combined and recorded on tracing paper for “Edward Narkiewicz from the collection of Mariusz Tchorek”, an event that took place upon the occasion of the Long Night of Museums at the studio in Smolna Street (May 2017).

Refleksje wokół ujawniania – lub obramowania – rzeczy

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Twitchin M., Tchorek-Bentall S.

Konteksty - Polska Sztuka Ludowa

2018

vol. 72

issue 4(323)

273-278

This article explores some conditions of thinking through archives, specifically when what is in question is the event of an encounter with an artistic project. Taking Tchorek and Kantor as conceptual personae engaged with this question – speaking of archival legacies and transmission in the cases of the Foksal, the Cricoteka, the Museum of Modern Art Warsaw, and the Tchorek-Bentall Foundation – the article addresses such questions as the following: with respect to these archives, how might the conceptual personae of Tchorek and Kantor allow us to map something of the theoretical constellations that they name within European art history? What if the spirit of Tchorek was not only present in the past future of the Foksal archive, but also in a future past of the Cricoteka? How might reading Tchorek allow us to re-read Kantor without simply repeating him (as if the questions he himself posed were already the answers proposed)? How do notions of “archive” relate to those of “place”? What kind of a “thing” might either one disclose the other to be? And what kinds of thing are haunting in the impression they make on what they are not? What kind of artwork could an archive be – not only conceptually but also, in some “impossible” sense (at least, in Kantor’s terms), practically? Indeed, might Kantor’s emballage offer an example of a “theory’”– in practice – of Tchorek’s “place”? How and why do “things” become institutionally visible in the way they are imagined afterwards through the claims of art historians or theatre scholars? How, in such a case, does an archive relate to the question of an art practice? And how, to begin with, to distinguish quotation from ventriloquism, especially in a language that one does not understand?

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2 Konteksty - Polska Sztuka Ludowa

2 Tchorek-Bentall S.

1 Bentall K.

1 Twitchin M.

2 2018

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Mieszkając wśród obrazów Edwarda Narkiewicza

Refleksje wokół ujawniania – lub obramowania – rzeczy