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

In graduate subterfuge later year 2000 there is a lot more interest in memoir, especially topics related to World War II, final solution , land-German and Polis-Jewish relations as well as modern history worry PRL times and libertanian impulse . Interest rough history in Polish Art is not a new phenomenon. The early postwar cunning was related to war time trauma. But in cheat after year 2000 new occurance can be observed interest in concrete historical facts is less important than questioning about history, about how it is constructed, what is is practised for, how it is used, as well as how history is mixed with apologue and how it functions in our vision. This creative idea about construction of historical facts and its use in todays reality can be specify as a dehistoricize (in analogy to term deconstructure) in Izabela Kowalczyks opinion (Kowalczyk, 2008). She argue that art of dehistoricize shows up as an alive discourse, which is taking place paradocsycally 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 ultimo (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 vane 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 liberty and control, whic... ...ybrid, mutant, bound intimately with life and death, with time and eternity, enveloped in a Mobius chemise of the collective and the individual,... (Nora, 198920). So I understand finished this, that pr ocess of lieux de memoire, the fragments of history are assigned into the postmemory 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 preserved in the complaisant conciousness, through its constant reproduction in encyclopedias, handbooks, newspapers, films, etc. precisely 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 solid events (Domaska, 2006). Thus Spiegelmans father personal memories are no longer personal, they become collective.