conferences and studies of the polish institute of world art studies

conferences and studies of the polish institute of world art studies

CONFERENCES AND STUDIES OF THE
POLISH INSTITUTE OF WORLD ART
STUDIES
Vol. XIII: Politics of erasure. From “damnatio memoriae” to alluring void, ANNA MARKOWSKA (ed.)
Spis treści / Contens: ANNA MARKOWSKA, Introduction; DAMNATIO MEMORIAE - OBLIVION AS
CONDEMNATION TO DEATH: AGATA KUBALA, Damnatio memoriae and Roman imperial art; ANNA
GUT, The condemnation of memory in the modern epitaphs of Central Pomerania; JOANNA
FILIPCZYK, Fine arts in the context of the “degermanization” in the region of Opolian Silesia after
1945; PIOTR BERNATOWICZ, Removal of Communist monuments: obliteration of the past or healing
the memory?; FORGETTING HOLOCAUST?: AGNIESZKA KŁOS, The disappearing memory of
Birkenau. A story of the power of nature; ELEONORA JEDLIŃSKA, A nook at Wolborska Street, or
expunged remains of Jewish culture in Łodź; ANNA MARKOWSKA, Conspicuously absent Jews, alien
environments: Polish artists Mirosław Bałka and Rafał Jakubowicz on the Holocaust; FIGHT FOR
THE REASSESSMENT OF REPRESENTATION AS ADMINISTERING JUSTICE: HADARA SCHEFLAN
Polski Instytut Studiów nad Sztuką Świata
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KATZAV, Re-representation – critical art and the return of the repressed; ANNA ZIĘBIŃSKA-WITEK,
Historical museums: between representation and illusion; XANTHI TSIFTSI, Void, the art of erasure.
Representing absence in the Jewish Museum Berlin; MARTA SMOLIŃSKA, Jan Berdyszak. Between
paradigms of modernity or nowhere? Subjective remarks across the post-war history of art in Poland;
LUCIA POPA, Removing Romania: the Western art world colonized by the “East”; AGNĖ NARUŠYTĖ,
Memory of erased time in The Soldier’s Diary by Lithuanian artist Gintaras Zinkevičius; ANDRZEJ
JAROSZ, The absent ones – placing the post-war Wrocław painting in the context of Polish art;
AGATA SOCZYŃSKA, Marek Oberlander – a painter undesired by the time; ALICJA PALĘCKA,
Visualizing the other: ethnographic film as thick description; JED SPEARE,Washing up memories:
some strategies of Milan Kohout’s performance activism; TYRANNY OF THE VISIBLE AND THE
TYRANNY OF THE IDEA: CAMELIA GRADINARU, Visual tyranny as autopoiesis; RAFAŁ
EYSYMONTT, The town as a palimpsest. Erasing and recovering the medieval town; MICHAŁ
ZAWADA, Imaging iconoclasm; JAKUB ZARZYCKI, Polish history painting in the second half of the
nineteenth century as a “quasi-metanarrative”. Visible tyranny of Idea?; ZUZANNA ILNICKA,
Gerhard Richter’s failing memory. The October 18, 1977 and the need to allow doubt;
MAŁGORZATA KSENIA KRZYŻANOWSKA, „Nothing is getting as old as modernity” – i.e. why the
trend for Nine Graphic Artists Group has passed; AGNIESZKA SINICKA,Wilhem Sasnal’s
photophobia; ANNA STEC, Anish Kapoor, Memory; ANNA SIKORA-SABAT, Romantic creation and
socialist erasure: representation of Vincent van Gogh in the printed media of the People’s Republic
of Poland; ETHOS OF DEPRIVATION OR IRREVOCABLE AMBIVALENCE: MAGDALENA ZIĘBA,
Authenticity (aura) recycled. Erasing originality in appropriation art; RAFAŁ ILNICKI, Digital Lethe
of transhumanism: weak mind uploading as erasure of individual and collective memory;
AGNIESZKA BANDURA, Politics of replacing in New Romanticism; KATARZYNA BOJARSKA,
Spectrality and the possibility of seeing (loss). Photography against the referentiality of history;
BARBARA SZCZEPANIAK, Strategy of erasing, manipulation and destruction in photography –
interpretation Aneta Grzeszykowska’s Album; ALICJA KLIMCZAK-DOBRZANIECKA, PATRYCJA
SIKORA, Erasure. Memory Exercises.
Polish Institute of World Art Studies & Tako Publishing House, Warsaw–Torun 2014
978–83–62737–66–6 (179 pp.)
Polski Instytut Studiów nad Sztuką Świata
IS BN
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