During its impressive career over the last decades the term 'performative' has been attributed with many parallel meanings in the humanities, philosophy, arts, or economics. Empty Stages, Crowded Flats additionally applies the notion of the performative to the context of curating with the aim to unfold a potential that so far has been mostly unused. The book is following J. L. Austin, Judith Butler, and others in their belief in the performative capacity to transform reality with words and other cultural utterances, but it also emphasises the often dismissed, colloquial notion of the performative as something being 'theatre-like', believing that those two strands are in fact interdependent and intertwined. Empty Stages, Crowded Flats investigates an array of staged situations, from choreographed exhibitions, immaterial museums, theatres of negotiation, and discursive marathons, to street carnivals and subversive public-art projects, and asks how 'theatre-like' strategies and techniques can in fact enable 'reality making' situations in art, and how, as a consequence, curating itself becomes staged, dramatised, choreographed, and composed. With contributions by Frédérique Aït-Touati, Knut Ove Arntzen, Nedjma Hadj Benchelabi, Claire Bishop, Beatrice von Bismarck, Rui Catalão, Vanessa Desclaux, Tim Etchells, Galerie, Karin Harrasser, Shannon Jackson, Ana Janevski, Lina Majdalanie, Ewa Majewska, Florian Malzacher, Maayan Sheleff, Gerald Siegmund, Claire Tancons, Kasia Tórz, Rachida Triki, Jelena Vesić, Joanna Warsza, and Catherine Wood. A publication by House on Fire, Live Art Development Agency & Alexander Verlag Berlin. The book series Performing Urgency is supported by the Culture Programme of European Union.
In one of the first scholarly book in English on Miron Białoszewski (1922–1983), Joanna Niżyńska illuminates the elusive prose of one of the most compelling and challenging postwar Polish writers. Niżyńska’s study, exemplary in its use of theoretical concepts, introduces English-language readers to a preeminent voice of Polish literature. Niżyńska explores how a fusion of seemingly irreconcilable qualities, such as the traumatic and the everyday, imbues Białoszewski’s writing with its idiosyncratic appeal. Białoszewski’s A Memoir of the Warsaw Uprising (1977, revised 1991) describes the Poles’ heroic struggle to liberate Warsaw from Nazi occupation in 1944 as harrowing yet ordinary. His later prose represents everyday life permeated by traces of the traumatic. Niżyńska closely examines the topic of autobiography and homosexuality, showing how Białoszewski discloses his homosexuality but, paradoxically, renders it inconspicuous by hiding it in plain sight.
In this provocative and insightful book, Joanna Beata Michlic interrogates the myth of the Jew as Poland's foremost internal "threatening other," harmful to Poland, its people, and to all aspects of its national life. This is the first attempt to chart new theoretical directions in the study of Polish-Jewish relations in the wake of the controversy over Jan Gross's book Neighbors. Michlic analyzes the nature and impact of anti-Jewish prejudices on modern Polish society and culture, tracing the history of the concept of the Jew as the threatening other and its role in the formation and development of modern Polish national identity based on the matrix of exclusivist ethnic nationalism.
This book analyses of their reaction to the battle itself and to its political and diplomatic implications. It is a study, where possible, of public opinion. The first chapter of the book is a detailed description of life in occupied Warsaw from 1939 to 1944, as this forms an indispensable background to the work.
WHERE THE BEAST IS BURIED is the first English-language book about Joanna Rajkowska and her unique practice of work in public space, in extremely diverse cultures and geographies: from Konya in Anatolia, through Warsaw and Berlin up to Curitiba in Brazil. A collection of stories, essays, interviews and images covers her best-known projects. The most intimate insight into them offer her own stories, which form a dramatic enquiry into both the personal and the conceptual roots of her work. ,
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