Resztki, Ruiny, Pozostałości, Szczątki, Piksele – Archiwa Możliwych Przeszłości I Przyszłości Tom 1

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Resztki, Ruiny, Pozostałości, Szczątki, Piksele – Archiwa Możliwych Przeszłości I Przyszłości Tom 1 Performatyka Poza kanonem tom 1: Resztki, ruiny, pozostałości, szczątki, piksele – archiwa możliwych przeszłości i przyszłości redakcja Łucja Iwanczewska WIELE KROPEK Kraków 2021 Performatyka. Poza kanonem, t. 1: Resztki, ruiny, pozostałości, szczątki, piksele – archiwa możliwych przeszłości i przyszłości, red. Łucja Iwanczewska, WIELE KROPEK, Kraków 2021, bit.ly/performatykapozakanonem1 REcEnzEnt naukowy REdaKcJa mERytORyczna REdaKtORKa prowadząca prof. dr hab. Dariusz Kosiński dr Łucja Iwanczewska Agnieszka Urbańczyk WydaWca PROJEKt OKŁADKI PROJEKt typogRafIczny Tomasz P. Bocheński Klaudia Węgrzyn Tomasz P. Bocheński ADIuSTACJa JĘzyKOWO-StyLISTYCZNA I korekty SKŁAD I ŁAMANIE dr Marta Błaszkowska, Anna Bocheńska, Tomasz P. Bocheński, Katarzyna Bolęba-Bocheńska, Maciej Nawrocki, Sandra Popławska, Agnieszka Urbańczyk Tomasz P. Bocheński Książkę złożono w programie Adobe® Na okładce i stronie tytułowej wykorzystano InDesign® pismem Gaultier projektu Mateusza grafiki należące do domeny publicznej, Machalskiego, dystrybuowanym przez Capitalics p0chodzące z biblioteki cyfrowej POLOna, oraz krój Bahnschrift, stanowiący adaptację Publikacja dofinansowana zgodnego z normą Deutsches Institut für Nor- przez Wydział Polonistyki mung pisma drogowego dIn 1451 z 1931 roku, Uniwersytetu Jagiellońskiego dokonaną przez Microsoft® w 2016 roku SOmE RIghtS RESERvEd. Copyright © for the texts by WIELE KROPEK & individual authors, mmXXI Copyright © for this edition by Pracownia edytorska WIELE KROPEK Tomasz P. Bocheński, mmXXI Wszystkie teksty i materiały ilustracyjne udostępniane są w trybie otwartym z zachowaniem praw autorskich w użyciu niekomercyjnym Creative Commons by-nc-4.0 – bit.ly/3jtpDBa Wydanie pierwsze, Kraków, marzec 2021 Pracownia edytorska WIELE KROPEK First edition, Cracow, Poland, March 2021 ul. Henryka i Karola Czeczów 24 m. 12 30-798 Kraków e-ISbn 978-83-952903-2-9 tel. 792 116 003, e-mail: [email protected] SpiS treści ŁucJa IWanczEWSKa Wstęp. „Jak gdyby” archiwa....................7 Archiwa potencjalnych przeszłości i przyszłości Performowanie archiwum mIchaŁ PIaSEcKI RadOSŁaW PIndOR Inwentaryzacja powierzchni Ziemi, zapis świata, Ponowne odegranie. Reperformans jako narzędzie który wkrótce zniknie. Archiwum Planety pamiętania w projektach Przemka Branasa ... 87 (Archive de la Planète) Alberta Kahna jako przykład archiwum globalnej katastrofy . 15 baRtosz cudaK Homoseksualne sekrety – poszukiwania matEuSz Borowski Karola Radziszewskiego . .103 Kontr-archiwa i redefinicje dokumentalności....37 KInga KuRySIa maŁgORzata SugIERa Ciało jako archiwum wykonanej pracy. Archiwa antropocenu.......................57 Praca maszyn Gilles’a Lepore’a, Michała i Macieja Mądrackich w kontekście końca socjalizmu i prze- mian przestrzennych miasta Mielec ..........123 Archeologie archiwum Przedstawienia archiwum nataLIa Toporowska PatRycJa KORczagO Bunt na Argo. Queerowe archiwum W poszukiwaniu zaginionych historii – jako strategia konstruowania tożsamości performatywne wędrówki po archiwum w Argonautach Maggie Nelson ............141 Piwnicy na Wójtowskiej w Warszawie . 199 JaKub PaWLaK anna PInIEWSKa Performans autobiograficzny i narraty wizacja Performans Tisza be-Aw Teatru 21. Niepełno- gwałtu na przykładzie wybranych wersji utworu sprawne ciała – żywe archiwa historii..........223 Me and a Gun Tori Amos ..................161 Wanda ŚWIątkowska maRIa WOdzIńSKa Teatr wobec archiwum. Strategie ożywiania Dwa archiwa ludobójstwa. i profano wania na przykładzie wybranych Zmiana w statusie archiwum ................179 spektakli ostatniej dekady ...................237 JOanna zĘtaR Archiwa Przeszłości w Teatrze Pamięci – studium przypadku Ośrodka „Brama Grodzka – Teatr NN” .................................257 bIbLIOgRafIa.............................273 IndEKS OSObowy ....................... 287 Łucja Iwanczewska Katedra Performatyki na Wydziale Polonistyki ORcId 0000-0002-2257-7017 Uniwersytetu Jagiellońskiego [email protected] WStęp „Jak gdyby” archiwa om Resztki, ruiny, pozostałości, szczątki, piksele – archiwa możliwych Tprzeszłości i przyszłości stanowi pokłosie pierwszej z planowanego cyklu konferencji Performatyka. Poza kanonem, zorganizowanej przez Katedrę Performatyki Uniwersytetu Jagiellońskiego. Planując i przygotowując kolejną edycję konferencji, poświęconą współcze- snym praktykom produkcji i negacji wiedzy, przedstawiamy efekt minionej w postaci namysłów, refleksji, diagnoz zaproponowanych przez studentów i doktorantów z wielu różnych ośrodków w Polsce. Cykl konferencji Performatyka. Poza kanonem pomyślany jest jako transdyscyplinarna wymiana pomiędzy różnymi ośrodkami uniwer- syteckimi, między teoretykami i praktykami oraz jako laboratorium wypracowujące wiedzę o poruszeniach i przemianach dotyczących współczesnej humanistyki. Multidyscyplinarność, wielość pól wiedzy, metod badawczych, prezentacja różnych sposobów myślenia, zaan- gażowanie wielu rodzajów doświadczeń, aktywizowanie wyobraźni, pomnożone studia przypadków – pozwalają na wyprowadzenie zawar- tych w książce tematów i problemów poza kanon, kanoniczne usta- lenia i sposoby przyglądania się badanym zjawiskom. Poza kanonem znajdują się natomiast miejsca na eksperymenty myślowe, nowe / inne formy krytyczności, ćwiczenia wyobraźni (o przeszłości i przyszło- ści), wymyślanie i nadawanie sensu przestrzeniom nieodkrytym lub zakrytym poznawczymstatus quo. Sformułowanie „poza kanonem” rozumiemy jako rodzaj otwarcia – na możliwe inności, przyszłości, Performatyka. Poza kanonem, t. 1: Resztki, ruiny, pozostałości, szczątki, piksele – 7 archiwa możliwych przeszłości i przyszłości, red. Łucja Iwanczewska, Kraków 2021 przemiany istniejących podziałów, hierarchii, dominant (społecznych, kulturowych, instytucjonalnych, relacyjnych). Kategorię organizującą wątki tematyczne tej książki stanowi archiwum. Przygotowując konferencję, zaprosiliśmy młodych badaczy do wspólnego namysłu nad zarówno kategorią archiwum, jak i krytycznymi ujęciami procesów i strategii archiwizacji. Piszę o wspólnym namyśle, konferencja miała bowiem formułę dialogu, uczestnicy spotykali się z nami, pracownikami Katedry Performatyki, i dyskutowali o swoich propozycjach tematycznych, strategiach interpretacyjnych, doborze materiału i pomocnych metodologiach. Można śmiało powiedzieć, że przedstawiana książka jest wynikiem spotkań, rozmów, kontaktu, współmyślenia – intelektualnym projek- tem wzajemności i współpracy. Autorzy przyglądają się materialnej dokumentacji przeszłości – szczątkom, przedmiotom, miejscom, resztkom, pikselom poddanym medialnej archiwizacji, ożywianym w różnego rodzaju performansach resztkom historii, społecznych wydarzeń, kulturowych przemian i wstrząsów. Kulturowe resztki przechowywane w pamięci, ciałach, śladach egzystencji, medial- nych (audialnych, wizualnych, teatralnych, tekstowych, inter- netowych, architektonicznych) zapośredniczeniach czy obrazowych spamach konstruują naszą wiedzę o przeszłości, porządkują lub naruszają kulturowe dominanty, mogą także stanowić materiał do ustanawiania alternatywnych i spekulatywnych scenariuszy przyszłości – taka perspektywa rzuca światło na to, o czym jest ta książka. Szeroko otwarte archiwa różnych kultur pozwoliły Autorom na różnorodne gry i negocjacje z tą kategorią: na gesty ustanowień nowych archiwów, poszukiwania i odnajdywanie zaginionych historii, konstruowanie wiedzy z materialnych resztek i przetworzeń doku- mentacji, szukanie alternatywnych obiegów archiwalnych treści lub tropienie emocji i afektów poza prymatem funkcji przedstawieniowej i znaczeniowej wybranych tekstów kultury. Performatyka w naszym rozumieniu i praktykowaniu stanowi prze- strzeń (i dyscyplinę) zapraszającą do poszukiwań i wędrówek pomiędzy dyscyplinami, językami i konsekwencjami ich używania. Dostarcza narzędzi do rozumienia mechanizmów wytwa rzania i praktyko wania przestrzeni kulturowych i społecznych. Wypracowane w jej polu 8 ŁucJa IWanczEWSKa, Wstęp. „Jak gdyby” archiwa metodologie i teorie pozwalają poruszać się sprawczo pomiędzy ramami wiedzy, ustanowionymi kanonami, anachronicznymi para- dygmatami. Umożliwia krytyczne patrzenie na strategie wytwarzania historii i przeszłości, wychyla się także ku możliwym przyszłościom. Przygląda się wzajemnym relacjom ludzi i nie-ludzi. Przebywa na tere- nie życia społecznego, sztuki, nauk ścisłych, historii, mediów, tech- nologii. Jest tam, gdzie coś się wytwarza, ustanawia, żyje, pozostaje, wchodzi w relacje, działa, czasem znika. Performans jest wszędzie. Performatyka też. Przez pryzmat performatywności kategoria archiwum wymyka się konceptualnym i teoretycznym ograniczeniom. Jacques Derrida „gorączkowo” rozmawia na stronach tej książki z Rebeccą Schneider, archiwa wizualne dyskutują z cielesnymi, projekty przyszłości – z rekonstrukcjami przeszłości, perspektywy lokalne i peryferyjne natomiast ze zjawiskami globalnymi. Gdybym miała zaproponować rozumienie kategorii archiwum, najbliższe podejmowanym przez Autorów problemom i koncepcjom, powiedziałabym, że chodzi tutaj o „jak gdyby” archiwum. Nawiązuję tutaj wprost do „filozofii jak gdyby” Rosi Braidotti1. Filozofia ta koncentruje się na zdolności 1 Rosi Braidotti, Poprzez nomadyzm, przechodzenia z jednego zbioru wiedzy w drugi, z jednego zbioru przeł. Aleksandra Derra, „Teksty Drugie” 2007, nr 6: Antropologia i literatura, s. 112–113. doświadczeń w inny, „jak gdyby” pomiędzy nimi istniały jakieś związki, relacje, powiązania. Opisywanie, analizowanie owych przepływów i powiązań nigdy nie odbywa się poprzez zawłaszczenie. Interpretacja, ujmowanie zjawisk, ustanowienia
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