Artykuł śledzi przemiany społecznego funkcjonowania rzeczy w Polsce w okresie tzw. transformacji ustrojowej. Skupiając się na kategorii podróbki, autorka pokazuje proces wykształcania typowych dla kapitalizmu zachodniego waloryzacji towarów w rzeczywistości postkomunistycznej. Przywołanie klasycznych rozpoznań Marksa na temat fetyszyzmu towarowego oraz współczesnych komentarzy teoretyków kultury materialnej i wizualnej, pozwala na przemyślenie statusu nowych towarów i marek na przełomie lat 80. i 90. w Polsce. Figura staje się tu narzędziem analitycznym, ale również sama podlega przekształceniu w kontakcie z materiałem badawczym.
According to the famous statement by Robert Musil, ‘there is nothing in this world as invisible as monuments, attention runs down them without stopping for a moment.’ However, the moment when they suddenly become visible as the centre of intense social conflicts, it is difficult to believe they had been invisible for so long. This article analyses practices of contemporary iconoclastic gestures directed at monuments, examining the differences between recent iconoclastic acts in the United States and in Poland. Contrary to progressive anti-racist iconoclastic practices in the United States, the authors argue that the recent wave of attacks against monuments in Poland, connected to the state-sanctioned politics of ‘de-communization’, derives from a conservative vision of history and the public sphere. Drawing on Eve Kosofsky Sedgwick’s concept of ‘paranoid reading’, the authors show how the ‘de-communization’ project activates a particular ‘way of seeing’: paranoid looking, through which public spaces are turned into environments filled with objects that need to be suspiciously examined and assessed. The paranoid look works against the invisibility of monuments, aiming to extract objects from the landscape in order to further examine them in search of any suspicious elements – formal and stylistic features, more or less intelligible symbols and so on that will shed light on their under-acknowledged capacity for both culpability and criticality.
A conversation revolving around Francis Alÿs's exhibition Reel-Unreel, presented at the CCA Ujazdowski Castle in Warsaw, from October 11, 2014, to January 11, 2015, curated by Ewa Gorządek.
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