The Impossible Collection
Curator as Translator | Where have all the workers gone... When will we ever learn?
Networking Meeting and Workshop
22-23 November 2007, Wyspa Art Institute , PL
Every answer is automatically followed by another question. The reason is obvious: there is no master narrative to forever fix the meaning of a historical event. Neither is there a subject of history to make experience of it. What we have got instead is cultural memory. It never recalls the event in its alleged original meaning but rather through different forms of its cultural articulations, in short, through its cultural translations: the culture of everyday life, cultural effects on gender formation, literary and visual culture, etc. This is where this atmosphere of uncanniness evoked by historical places comes from. They are familiar, yet strange because we perceive them always in a (cultural) translation of what is giving them the actual meaning, namely the original event.
The workshop will deal with this trouble in the form of short presentations and discussion.
Boris Buden, “Cultural Translation: Why it is important and where to start with it?” http://translate.eipcp.net/transversal/0606/buden/en
Stefan Nowotny, “The Stakes of Translation” http://translate.eipcp.net/transversal/0606/nowotny/en
Charity Scribner, Requiem for Communism, Cambridge Ma, London: MIT Press, 2003. Introduction:The Second World, 2-23.
The workshop serves as a theoretical basis for the issues at stake in the exhibition project The Impossible Collection (08-09 2008) and takes place in connection with the following events:
Performance by Elzbieta Jabłonska
The performance by Elzbieta Jabłonska will take place within her own installation “Kitchen”, from 2003, reconstructed at Wyspa Institute of Art at the request of the “Translate: The Impossible Collection” event. This well-known and thoroughly discussed work is an oversized random kitchen in which both the artist and the audience can barely reach the top of the cupboard. It has usually been presented to date within the feminist framework. Here it appears in a new dimension, as a voice in the discussion about the status of an artwork, its materiality, issues of collecting and displaying a piece as well as the artistic escapes from this framework. This performance allows a new interpretation and recontextualization of artistic intentions and the very piece itself.
Curator: Maks Bochenek
MOBILE ARCHIVE is a project which arose at the Israeli Center for Digital Art in Holon. The archive contains more than 1,200 titles, including works by Israeli and international artists who have exhibited at the Center and works by artists who have contributed works over the years.
On view: 23rd November –15th December 2007