Experiencing Cultural Visualisations: the Anthropology of (re-)Construction
The proposed analysis of the category of modernity within the perspective of postmodern critical history of art aims at showing how the relations with an image change where the issue of image as cultural visualisation of experience – i.e. as the speakable language – has been reversed toward a questi...
Guardat en:
| Publicat a: | URI:https://journals.openedition.org/td, |
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| Autor principal: | |
| Format: | Article ou chapitre numérique |
| Idioma: | Anglais |
| Publicat: |
Teksty Drugie
2024
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| Accés en línia: | Accès Université d'Orléans et IFPM |
| Sumari: | The proposed analysis of the category of modernity within the perspective of postmodern critical history of art aims at showing how the relations with an image change where the issue of image as cultural visualisation of experience – i.e. as the speakable language – has been reversed toward a question of experiencing the image. The field of the observation is analysis of the image of a certain (specific) town as a record of social participation in which memory can be watched, i.e. memory becomes visible as a performative category. This is effectuated by means of an aesthetic experience which leads to generation of memory as a cultural experience and to rehabilitation of the notion of emotion and sentimental involvement in perceiving/experiencing art (as in Gernot Boehm). Analysed is a project by young Polish artist Aleksandra Polisiewicz titled Wartopia, a project referring to plans and realisation of a Socialist Warsaw appears as a continuation of the project in question. The idea of tabula rasa which governed the fascist plans has namely been implemented by the other totalitarian regime i.e. communism and its own visions of a Socialist Warsaw that led to an experiment materialised. |
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