Holocaust, remembrance, trauma in contemporary art from Hungary and Poland Holokauszt, emlékezet, trauma a kortárs művészetben Magyarországról és Lengyelországból
Jan Elantkowski
[email protected] Primary Source Analysis: BMVD-080.10, BBV-080.10, ERA-080-10 Eötvös Loránd University (ELTE), Faculty of Humanities, Institute of Art History, Múzeum krt. 6-8, I floor, room 110 Thursday, 8:30-10:00
The aim of this course is to focus on various aspects and problems concerning representation of Holocaust, remembrance, and trauma in contemporary art from two of post-socialist countries: Hungary and Poland (topics listed below). Since it is a primary source analysis, its main objectives are critical reading (everybody before the class as homework) and analysis of the texts (together during the classes). All the texts will be sent to participants per e-mail in an electronic version/as a link. All participants are obliged to be prepared for every class by reading the texts, also through active participation. Discussion starts with each participant sharing her/his thoughts on a given text. The seminar will be held in English; therefore, good command of this language is required. The condition to be classified will consist of the following factors: presence at classes (attendance list; up to three missed classes allowed) and active participation in the discussion (50%); and a final essay (50%). There is no possibility of gaining grade without adequate active participation during the semester. The essay (4-5 pages long - text only, Times New Roman, 12, interspaces 1,5, the usual margin) shall analyze works of art of a chosen artist from Hungary or Poland, the one that deals with remembrance/trauma/representation of Holocaust (academic paper - sources!), and shall be delivered in a printed version at latest during the class on the 11/26.
09.17. Introduction
09.24. Piotr Piotrowski, Art and Democracy in Post-Communist Europe. Reaktion Books, London, 2012 (chapter 5: “Between Real Socialism and Nationalism”. 155-201. Part one)
10.01. Piotr Piotrowski, Art and Democracy in Post-Communist Europe. Reaktion Books, London, 2012 (chapter 5: “Between Real Socialism and Nationalism”. 155-201. Part two)
10.08. Dóra Hegyi, Zsuzsa László, Zsóka Leposa (eds.), War of memories. A Guide to Hungarian Memory Politics. tranzit.hu, Budapest, 2015 (“Turning a Non-Place into a Place. An interview by Dóra Hegyi with members of the Living Memorial”. 79-92.; “How to Practice Memory that Takes Responsibility. Péter György in conversation with Zsuzsa László about his recent works on memory cultures”. 109-123.)
10.15. József Készman, “The Semantics of Good and Evil Everyday Holocaust”. In: Júlia Fabényi (ed.), The Forgotten Holocaust (exhibition catalogue), Műcsarnok, Budapest, 2004. 17-23. Paweł Śpiewak, “Representing the Unrepresentable”. In: Marta Budkowska, Polish art and the Holocaust (exhibition catalogue), Emanuel Ringelblum Jewish Historical Institute, Warsaw, 2013. 14-19.
10.22. Hedvig Turai, “Past Unmastered. Hot and Cold Memory in Hungary” In: Third Text. Vol. 23., Issue 1, January 2009. 97-106.
11.05. Norman L. Kleeblatt, “The Nazi Occupation of the White Cube: Piotr Uklański’s The Nazis and Rudolf Herz’s Zugzwang”. In: Shelley Hornstein, Laura Levitt, Laurence J. Silberstein (eds.), Impossible Images. Contemporary Art after Holocaust, New York University Press, New York & London, 2003. 179-194.
11.12. Péter Forgács’ video works Deirdre Boyle, “Meanwhile somewhere… A discussion with Péter Forgács”. In: Millenium Film Journal. 37. (2001). http://mfj-online.org/journalPages/MFJ37/DeirdreBoyle.htm
11.19. Eleonora Jedlińska, “Rafał Jakubowicz - Synagogue/Swimming pool”. In: PRO MEMORIA, Information Bulletin the Auschwitz-Birkenau State Museum and the Auschwitz-Birkenau Death Camp Victims Memorial Foundation, Information Bulletin, No 27, June 2007. 91-98. http://www.jakubowicz.art.pl/wpcontent/uploads/Eleonora_Jedlinska_Synagogue_Swimming_pool_ang.pdf
11.26. Małgorzata Kuśnierz, Mariusz Sobczyński (eds.), Wojciech Wilczyk. Post-industrial Spaces (exhibition catalogue). MOCAK - Museum of Contemporary Art in Kraków, Cracow, 2012. + “There’s no such Thing as an Innocent Eye” (photo series). (Deadline for submitting final essays)
12.03. Artur Żmijewski’s films (text to be announced)
12.10. Evaluation, grading
