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Ścieżka dźwiękowa wygnania. Archiwa afektywne Karoliny Grzywnowicz

100%
Balisz-Schmelz J.
Konteksty - Polska Sztuka Ludowa
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2020
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vol. 74
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issue 1-2 (328-329)
378-386
PL
Artykuł stanowi analizę długofalowego projektu Karoliny Grzywnowicz zatytułowanego Każda pieśń zna swój dom (2018–), którego celem jest gromadzenie piosenek śpiewanych przez uchodźców podczas ich wędrówki. Jak staram się dowieść, zachodzi głęboki związek między artystyczną formą archiwum, medium jakim jest muzyka oraz kondycją wygnania. W obliczu utraty geopolitycznego i materialnego kontekstu, piosenki – łączące w sobie aspekty kognitywne i afektywne – pozwalają na adaptację do zmieniających się warunków otoczenia, stając się zarazem substytutem utraconego domu i stabilizatorem zagrożonej tożsamości. Aporyczna natura archiwum mówi z kolei tyleż samo o pielęgnowaniu pamięci, co o przemocy zapomnienia. Afekt i archiwum spotykają się zwłaszcza wówczas, gdy mowa o prawach człowieka, migracjach i inkorporowanej pamięci, a także o radzeniu sobie z traumą, opresją i wykluczeniem. W tej perspektywie, artystyczne archiwum piosenek wygnania nie tylko umożliwia poszerzenie horyzontu pamięci kulturowej, lecz działa również na rzecz epistemicznej sprawiedliwości tworząc soniczną przestrzeń dla uniwersalnej wspólnoty słuchaczy – świadków moralnych.
EN
This paper discusses an on-going project: Every song knows its home (2018–) by the Polish artist Karolina Grzywnowicz. The aim of the project is to collect songs sung by refugees during their wandering. The author of the articles argues that there exists a deep convergence between the artistic form of the archive, the medium of music, and the condition of the exile. In the face of the lost geopolitical and material context, songs that merge the affective and cognitive aspect of human attitude towards surrounding reality are a substitute of a home and preserve endangered identity. The aporic nature of an archive refers to the cultivation of memory as much as to the violence of forgetting. Affect and archive meet exactly in relation to issues connected with human rights, migration, and the incorporation of memory, and play a substantial role in the processes of dealing with trauma, oppression, and exclusion. With her artistic archive of songs Grzywnowicz not only includes them in the range of culture by broadening the horizon of cultural memory, but also advocates epistemic justice creating sonic space for the universal community of listeners – moral witnesses.
2
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Opowieści dla przyszłości ludzi i roślin. Performowanie spekulacji w ogrodzie botanicznym

89%
Berendt Z., Majewska A.
Kultura Współczesna. Teoria. Interpretacje. Praktyka
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2021
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vol. 113
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issue 1
74-87
EN
This article describes the residency of the multimedia artist Karolina Grzywnowicz and a research team that accompanied her at the Botanic Garden of the Jagiellonian University in Kraków. In the first section the authors offer a critical analysis of the discourses produced by the Garden and embedded in the modernist paradigm where nature and culture are perceived as separate constructs. This paradigm is juxtaposed with the imagination crisis (in envisaging the spatial scale of ecological crises and their processes) and human responsibility. The second section focuses on a performance tour of the Garden prepared by Grzywnowicz and her team at the end of their two-week-long project. The authors analyse this event using the category of speculative practice proposed by Isabelle Stengers. How does the narrative constructed by the artist resonate within the discourse created by the Garden? Has the artist’s speculative practice resulted in an alternative approach to the human–matter relationship? Has it changed the way in which people think about the Garden?
3
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Mnogie natury spektaklu. O konieczności przekraczania estetyki performatywności w badaniach nad nowym tańcem

89%
Berendt Z.
Kultura Współczesna. Teoria. Interpretacje. Praktyka
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2020
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vol. 111
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issue 4
145-156
EN
This article suggests that the already classic paradigm of research in performing arts – developed by Erika Fischer-Lichte in The Transformative Power of Performance: A New Aesthetics – needs reconsidering, with a particular focus on new dance and chorography. This proposal results from the recent hybridisation of performing arts, inclusion of discursive content in performances on a par with choreography, and the changed position of the viewer in new dance performances. An analysis is offered of Druga natura (Second Nature), a dance performance by Karolina Grzywnowicz (visual artist) and Agata Siniarska (choreographer and performer), which takes place within the space of an artistic installation. A broader perspective is adopted which includes a discussion of the institutional (production and operation) and aesthetic conditions for new dance in Poland. The characteristics of the performance’s contexts (modern dance aesthetics, Pola Nireńska’s biography, the history of the Holocaust in the dance community) are analysed alongside the viewer’s experience designed as a multi-sensory and intellectual experience.
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