Didaskalia 1 / 2012 3

GAZETA TEATRALNA English Issue 1/2012 2 / I 3 Dorota Ogrodzka. OCCUPATION AS ART. PUBLIC SPACE FOR CREATING 10 Małgorzata Dziewulska. CULTURE, STUPID! THE MEDIA PERFORMANCES of Artur Żmijewski Dramatyczny Theatre in Warsaw: Mass, project by Artur Żmijewski 13 Joanna Jopek. i wAnt You out of mY sight, fAggot Polski Theatre in Wrocław: Rainbow Stand 2012, director: Monika Strzępka 18 Anna R. Burzyńska. S/T komuna//warszawa and Liquid Theatre: Railway Opera II 22 Krystyna Duniec, Joanna Krakowska. DiDn’t theY mourn them? 31 Marta Bryś. Art Does not Come from justiCe. An interview with Bożena Umińska-Keff III 36 Julia Hoczyk. PhYsicalitY, iDentitY, or: five YeArs of solo ProjeCt 41 Marta Michalak. A few minor subjeCts. An interview with Mikołaj Mikołajczyk IV 48 Agata Adamiecka-Sitek, Weronika Szczawińska. THE GENDER OF THE PERFORMER 56 Monika Kwaśniewska. A study of AbsenCe: oPheliA, gertruDe, AnD jAnulkA face historY, mYth, AnD PolitiCs in jAn klAtA’s H. AND …FIZDEJKO’S DAUGHTER 62 Contributors 62 List of Photos didaskalia 1 / 2012 3 / DOROTA OGRODZKA OCCUPATION AS ART Public Space for Creating n an interview for Krytyka Polityczna in February 2012 Claire with art, and to place it on overriding level, stressing its reality. If it is Tancons – an American curator and art historian who has been effective, is it still – or was it ever – art? researching and describing the Occupy Wall Street movement, Majmurek directly asks for and marks the need to gain irrevocable was asked by Jakub Majmurek whether “these protests and the solutions – are the protests and all their equippage art, or not. Tancons European Indignados – with their masks, banners, happenings – are initially seems to get mired down in categories, but swiftly reverses I 1 they a form of art?” We can easily glean that the suggested cause the situation, problematizing how the category of “art” is understood. of this question was the theater props and signifiers identified by She points out less the masks and the performative nature of the ges- Majmurek, which, he believes, immediately make us think in terms tures than the activists themselves, whom she sees as artists. She aims of art. A sign of art from this perspective turns out (we might assume, her gaze at their space and their intellectual, environmental resources. considering the set of instruments the journalist names) to be a formal “The meetings of the future Occupy Movement activists, where obligation. protest strategies were established, generally took place in a place In the cited question, which throws us with its interpolative open- called 16 Beaver. This is a space for meetings, activities, and discus- ness, yet holds a strain of diagnosis, an aesthetic structure is entered sions. The artists who created it were to a large extent formed through through recognizing gestures, symbols, and language as proper to devotion to political art in an open course organized by the Whitney art – something which comes across as a natural and unambiguous Museum in the 1990s – they received very solid training in Marxism, decision. Decor, sparkle, and costumes – we focus attention on the feminism, and post-colonialism.”5 mimetic tools used to build the illusion, even the banners, which are The “isms” listed here to some extent serve as a banner, as a mask – borderline forms, on the crossroads between politics and masquerade, as a background for a message, simultaneously concealing and reveal- are listed in one breath with happenings, and cited as more evidence ing. It appears that they give an identity to those who carry them, and of the supposed “artisticness” of the events on Wall Street. Tancons sees this to be the identity of an artist and intellectual. They Majmurek asks about New York and the Indignados, but in this link their carriers to the political art system, like a pass or a stamp conversation the horizon of interest is significantly broader: it left at each of their actions, giving it the rank of symbolic efficacy includes the current events in Warsaw, the ACTA affair,2 and the and artistic critique. The discourses mentioned in the researcher’s riots around the squats. When in January 2012 Polish government argument reveal a similarity to the masks previously exhibited – they announced Poland’s inclusion in ACTA, an avalanche of commen- signal a structure in which everyone who grasps for it and uses it can taries and harsh words of disapproval spread through forums and be included. social web-sites, while several official state sites were plunged into Following this lead, we might come to the conclusion that actions blackness with remarkable speed as a hackers’ boycott. The “NO are named art because their initiators have the correct status, while to ACTA!” symbol was like a flag in the days that followed. It was the place where they work is a space as they define it. This is, how- swiftly taken out into the streets – the emotions which had theretofore ever, neither a gallery nor a museum – whose ambivalent nature has remained on the screen now appeared as a fact in the city space. been repeatedly exposed in visual culture studies – places that are The crowds spilled out into the streets, and the commentators markedly non-neutral, inflected. Not through the gesture of whiten- stressed with astonishment that suddenly what had been the main ing the walls and tying ropes to keep the viewers from the objects, but nerve of the collective events – the mutual reluctance of communities from tying ropes of the relevant discourses. 16 Beaver is not conse- with polarized ideological affiliations, mutual aggression and strug- crated by its name, nor by its rank as an art institution, yet it is loaded gles over particular points of view, hermetic languages – ceased to with significance, saturated with the language and standpoints forged be of importance. “At the anti-ACTA demonstrations soccer fans and there. “Made” as a space for art events, produced as a field for social LGBT activists stood arm in arm, along with anarchists and union demonstrations. In itself it stands as a foundation for art conceived representatives – as well as people who were coming to a demonstra- differently from the production, presentation, and observation of arti- tion for the first time. They were not just protesting against certain facts. It is the materialization of the definition, the spatial model of copyright regulations – but against the arrogance of the authorities the paradigm. and the lack of social dialogue,”3 wrote Witold Mrozek on his blog, Though this shift might seem insignificant, Tancons stresses that which was, nota bene, devoted to the Warsaw Theater Meetings festi- it is key. “The OWS movement is art not in the sense of producing a val. The context of theater returns. work of art, but in that it has reinvented social relations; it teaches This situation of collective excitement, the materialization of us to think of art in categories other than the production of objects for Turner’s communitas,4 for some reason tempts us to keep pairing it display in galleries.”6 The essence has become new relationships, a didaskalia 1 / 2012 4 / reformulated division of strengths and alternate forms of communica- means agreement. The alphabet is very simple, made up of only a few tion. The freshness and performative efficacy of the creator appears elements, and it spreads quickly, intuitively. And it has a real mean- in the production of dissent, opposition, presence, and perhaps criti- ing – it is not only a postulate, it is also performative – it produces a cally, in the spirit of Henri Lefebvre7: the production of a space, in particular kind of unity, beyond discussion, deliberations, and recon- this case, a public space. It is no longer masks, but a solid course in ciling positions. Marxism combined with visual tools imported from the sphere of It makes a slogan that is beyond language, without the laborious discussion and action in the public interest that qualify art, providing work of transcending differences and negotiating a common program. scaffolding for its political nature. The artistic aspect of these actions Wherever the Indignados appear, they are sure to mark their presence. reveals itself in the production of social relations and as an execution A few sequences later we see another action by the occupants – as (to recall Artur Żmijewski’s famous statement) of the postulate of if it were nothing, they enter the hall of one of the biggest banks in social applied art per se.8 Brussels. There are over a dozen of them. Here, in the glass and aes- There is a suggestive image in a recent documentary film by Tony thetically refined interiors of the Dexia Bank, in the very heart of the Gatlif,9 whose title is derived directly from the movement that shook city, their stretched shirts, sneakers, and kerchiefs worn round their Europe in the past months: Indignados. It is a word taken from the necks issue a challenge to the white of the collars and the glistening pages of a famous book by Stephen Hessel, Time for Outrage,10 which cufflinks. The action is swift, well prepared, and skillful. Without leaves no room for indifference. It is as powerful as a fist, and its sim- shouting or excessive emotion, almost coldly. Practically without plicity has caused millions of arms to raise skyward. speaking they unrolled the pre-prepared banners. The canvases were A sea of waving hands has become a manifestation of presence, spread over the windows, the markers started moving – ordinary which is even more clearly marked in the silence. There is a com- pieces of paper were filled with these slogans: “We won’t pay for the pelling silence over the center of Madrid, one of the main fires of crisis!” and “Down with capitalism!” A moment later the glass walls the outrage.

Load more