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Politics of Erasure POLITICS OF ERASURE FROM “DAMNATIO MEMORIAE” TO ALLURING VOID Conferences and Studies of the Polish Institute of World Art Studies Vol. XIII Editorial Board Agnieszka Kluczewska-Wójcik & Jerzy Malinowski In collaboration with INSTITUTE OF ART HISTORY, UNIVERSITY OF WROCŁAW POLISH INSTITUTE OF WORLD ART STUDIES POLITICS OF ERASURE FROM “DAMNATIO MEMORIAE” TO ALLURING VOID Edited by Anna Markowska Polish Institute of World Art Studies & Tako Publishing House Warsaw–Toruń 2014 Publication financed by: The Ministry of Science and Higher Education (agreement no. 634/ P-DUN/2014) Reviewers Dr hab. Irma Kozina Prof. dr hab. Waldemar Okoń Photos Authors’ archives (unless otherwise stated) © Copyright by Polish Institute of World Art Studies in Warsaw © Copyright by Tako Publishing House 2014 ISBN 978–83–62737–66–6 Polish Institute of World Art Studies ul. Warecka 4/6 m 10, 00–040 Warszawa e-mail: [email protected] Wydawnictwo Tako ul. Słowackiego 71/5, 87–100 Toruń tel. +48 517 304 188 e-mail: [email protected] www.tako.biz.pl This book can be ordered by mail Polish Institute of World Art Studies: [email protected] Tako Publishing House: [email protected] TABLE OF CONTENTS Anna Markowska Introduction.......................................... .................................... 9 Damnatio memoriae - oblivion as condemnation to death Agata Kubala Damnatio memoriae and Roman imperial art. ............... 15 Anna Gut The condemnation of memory in the modern epitaphs of Central Pomerania. ............ 25 Joanna Filipczyk Fine arts in the context of the “degermanization” in the region of Opolian Silesia after 1945 . 35 Piotr Bernatowicz Removal of Communist monuments: obliteration of the past or healing the memory?.......... 47 Forgetting Holocaust? Agnieszka Kłos The disappearing memory of Birkenau. A story of the power of nature . ..................... 59 Eleonora Jedlińska A nook at Wolborska Street, or expunged remains of Jewish culture in Łódź. ................. 73 Anna Markowska Conspicuously absent Jews, alien environments: Polish artists Mirosław Bałka and Rafał Jakubowicz on the Holocaust. ............................ 81 Table of contents Fight for the reassessment of representation as administering justice Hadara Scheflan Katzav Re-representation – critical art and the return of the repressed. ........................ 91 Anna ZiębińskaWitek Historical museums: between representation and illusion . ....................... 97 Xanthi Tsiftsi Void, the art of erasure. Representing absence in the Jewish Museum Berlin. 107 Marta Smolińska Jan Berdyszak. Between paradigms of modernity or nowhere? Subjective remarks across the post-war history of art in Poland. ............................... 115 Lucia Popa Removing Romania : the Western art world colonized by the “East” . 125 Agnė Narušytė Memory of erased time in The Soldier’s Diary by Lithuanian artist Gintaras Zinkevičius . 131 Andrzej Jarosz The absent ones – placing the post-war Wrocław painting in the context of Polish art . 143 Agata Soczyńska Marek Oberländer – a painter undesired by the time. 157 Alicja Palęcka Visualizing the other: ethnographic film as thick description . 165 Jed Speare Washing up memories: some strategies of Milan Kohout’s performance activism . 171 Tyranny of the visible and the tyranny of the idea Camelia Gradinaru Visual tyranny as autopoiesis . ................................. 183 Rafał Eysymontt The town as a palimpsest. Erasing and recovering the medieval town. 191 Michał Zawada Imaging iconoclasm .................................... ................................... 205 Jakub Zarzycki Polish history painting in the second half of the nineteenth century as a “quasimetanarrative”. Visible tyranny of Idea?. ............................... 213 Table of contents Zuzanna Ilnicka Gerhard Richter’s failing memory. The October 18, 1977 and the need to allow doubt . 221 Małgorzata Ksenia Krzyżanowska „Nothing is getting as old as modernity” – i.e. why the trend for Nine Graphic Artists Group has passed .......................................... ...................................... 225 Agnieszka Sinicka Wilhem Sasnal’s photophobia . ............................. 235 Anna Stec Anish Kapoor, Memory ................................................... 241 Anna SikoraSabat Romantic creation and socialist erasure: representation of Vincent van Gogh in the printed media of the People’s Republic of Poland. 247 Ethos of deprivation or irrevocable ambivalence Magdalena Zięba Authenticity ( aura ) recycled. Erasing originality in appropriation art. 253 Rafał Ilnicki Digital Lethe of transhumanism: weak mind uploading as erasure of individual and collective memory . ............................... 265 Agnieszka Bandura Politics of replacing in New Romanticism . 271 Katarzyna Bojarska Spectrality and the possibility of seeing (loss). Photography against the referentiality of history. ............................. 281 Barbara Szczepaniak Strategy of erasing, manipulation and destruction in photography – interpretation Aneta Grzeszykowska’s Album .............................................. 287 Alicja Klimczak-Dobrzaniecka, Patrycja Sikora Erasure. Memory Exercises . ............................... 301 Table of contents Alluring void Maria Magdalena Morawiecka Terra incognita . On cartographic silence on old maps (Middle Ages and the beginning of the Early Modern Period) . 317 Magdalena Worłowska “Let selfeffacement be my way of blazing” – erasure in the vegetal works of Philippe Jaccottet and Bob Verschueren . 323 Konrad Niemira Isolation / Erasure / Oblivion. An artwork in Marcel Proust’s A la recherche de temps perdu . 329 Małgorzata Nieszczerzewska Erasure of time. Photographs of abandoned places . 337 Conferences and Studies of the Polish Institute of World Art Studies . 346 POLITICS OF ERASURE FROM “DAMNATIO MEMORIAE” TO ALLURING VOID Anna Markowska Introduction Words “elimination” or “marginalisation” have estimation of his role in Soviet revolution is more dreary connotations in the history of the 20 th ambiguous. Although he was one of the major century. Not so long ago dictators ordered to re- figures in the Soviet Politburo, deeply involved in move figures from pictures, at the same time eras- shaping the new Bolshevik order, his being ousted ing facts and removing the unwanted versions of from the Communist Party and exile from the So- history along with those that have lost the favour viet Union secured him compassion in the Western of the authorities. Nicolai Yezhov, the chief of the world. Many intellectuals believed he was a symbol NKVD Soviet secret police, was retouched out of of the “right” way of the revolution, interrupted a photograph taken on 22 th of April 1937 repre- and wrecked by Stalin. On the photograph from senting an inspection of building the Volga Canal 5th May 1920 we can see him standing close to Lev (ills. 1–2). He accompanied Kliment Voroshilov, Kamenev near the tribune where Lenin is giving Vyacheslav Molotov and Joseph Stalin – the leader a speech to a large audience. An empty space where of the Soviet Union himself – and they all were pre- both of them stood was all that was left after they sented while smiling, chatting and strolling along fell into Stalin’s disgrace. It is widely known now – the river bank. The "bloody dwarf" – as Yezhov although during Communist times Poles were not was named – conducted the Great Purge and as he allowed to say it aloud – that the Red Army which came into power thanks to Stalin’s graciousness, he liberated our country from the Nazi Germany’s also fell from it because of the loss of his leader’s regime imposed its own terror. Poles were robbed favours. It was noticed, not without a black sense and abused during the Soviet Army offensive. And of humour, that he was replaced by the waters of the famous photograph depicting the placement of the Volga Canal in Moscow. Noticeably, Yezhov the flag over the Reichstag shows two watches on was a People’s Commissar of Water Transport. He the Soviet soldier’s wrist. On the retouched version simply vanished – physically persecuted to death the soldier has got only one. Andrzej Poczobut, and morally in disgrace of memory. Although he a journalist from “Gazeta Wyborcza”, in his article disappeared from the official Soviet iconography Wyretuszowani (The retouched) gives a contempo- because of falling into disgrace, his comeback af- rary example of Kirill, Patriarch of Moscow with ter the perestroika was not in glory and he was not a Brequet wristwatch. The watch actually disap- rehabilitated posthumously. Not a nonperson any- peared from the retouched photo but its reflection more, he can be again linked to documentary re- remained on the highly polished table.1 cords, he regained his legal status but not his fame. Contrary to Yezhov, Lev Trotsky managed to extri- cate himself from an obvious moral label and the 1 Poczobut (2013: 12–13). Anna Markowska with the strategies of widely understood erasure in visual arts (i.e. exclusion, annulment and deprecia- tion) in terms of particular works of art, museum narrations or urban spaces; on the other hand, it attempts to look at the ways of writing history because here the required and necessary virtue of synthesis sometimes transforms into a injurious scheme. Thus, oscillation between the general con- sciousness of the method and its precise use within case studies becomes not only a presentation of sig- nificant works of the Polish art of the 20 th century Ill. 1. Inspection of building the Volga Canal:
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