Polishness of Polish Art. Essays -- Art, Żmijewski’s Art

In polish trick after year 2000 there is a lot more interest in storey, especially topics related to serviceman War II, Holocaust , Polish-German and Polis-Jewish relations as well as raw muniment like PRL times and libertanian impulse . Interest about record in Polish guile is non a new phenomenon. The aboriginal postwar art was related to war time trauma. But in art after year 2000 new occurance can be ascertained interest in concrete diachronic facts is less important than wondering(a) about history, about how it is constructed, what is is used for, how it is used, as well as how history is mixed with fiction and how it functions in our vision. This creative idea about anatomical structure of historical facts and its use in todays reality can be pronounce as a dehistoricize (in analogy to term deconstructure) in Izabela Kowalczyks public opinion (Kowalczyk, 2008). She argue that art of dehistoricize shows up as an alive discourse, which is taking nonplus paradocs ycally now. As Jacques Derrida indicated, prefix de- may mean an appeal to genesis and not destruction (Magliola, 1984 89) as is the case of art of dehistoricizing and the process of constructing history itself. Art of dehistoricizing makes history alive, recalling ghosts of the past (Kowalczyk, 2008). The basis of it is what is happenning now (art piece, exhibition) and the result of what happened are historical facts.This act of dehistoricizing art is a contrast to what dominated polish art scene in early nineties. Critical art was focusing on the study of entanglement entity, the experience of corporal punishment, on the problems of another, or the ubiquity of power in Michel Foucaults understanding (Foucault, 2000). He is inscribing nature of history between freedom and control, whic... ...ybrid, mutant, bound intimately with life and death, with time and eternity, enveloped in a Mobius strip of the collective and the singular,... (Nora, 198920). So I understand done this, that process of lieux de memoire, the fragments of history are assigned into the post keeping of the author and the viewer. As Ewa Domaska is pointing into individual memory in collective memory of symbols, icons, cultural and historical toposes, which were replicated and continue in the social conciousness, through its constant reproduction in encyclopedias, handbooks, newspapers, films, etc. Exactly through those icons, our society sees past, they are becoming memory markers, and where they are recalled through our memory they straight away relate to cheering events (Domaska, 2006). Thus Spiegelmans father personal memories are no prolonged personal, they become collective.