1991-2021: THIRTY YEARS AFTER A SERIES OF INTERNATIONAL MULTIDISCIPLINARY ROUNDTABLE DISCUSSIONS
Preliminary Programme (links, dates, and hours to be specified, all subject to eventual changes) In December 1991, the Soviet […]
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Visual representation of the Holodomor
When we were beginning to think about what we as artists and also the third generation of survivors can tell about the Holodomor we fully realized that visual representation of mass starvation in the arts is not easy. Depiction of violent events and historical traumas is already hard enough because it demands from the artist not only talent but also a deep understanding of historical context and an ethical approach to the sensitive topic. Famine is an invisible enemy. How to show the total lack of something? How to visualize very slow death, extended in time?
A language to heal
The documentary film Liebe Oma, Guten Tag! What we leave behind (2017) by sisters Jūratė and Vilma Samulionytė tackles persistent silences within one family in Lithuania in a telling way for how sensitive the past is in the Baltic and East European context.
Displaced time
This article focuses on the site-specific exhibition “Displaced Time: 10 Photographs from Restricted Collections” as a model of remembrance and an act against oblivion. The article analyses “Displaced Time” as part of ongoing memory work that aims to explain and understand the mechanisms of the Soviet period and its influence on contempora ry society. In order to analyze the power relations between photographs and archives, this article also explores the power relations between the photographer and the subject – the photographic gaze – as well as the power relations between the photograph and the reader – the agency of images.
Nomadic Memory
Memory can be retained and archived. You can, however, also manipulate it, obliterate its fragments and sometimes whole segments, using its stores as a tool in a political fight with minorities. Historical memory is only seemingly a domain of objective knowledge.
The point of departure for my artivistic practice is always work with archival material. With time, my experiences led me to outline a specific understanding of historical memory as a process in which the most important role is played by the migration of ideas, a peculiar kind of nomadism.
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Repetition of Silence Monuments for a new time
When we look at our monuments, why is there so much presence and, at the same time, so much absence? Or is there not enough presence and not enough absence? Or is there too much presence and not enough absence? Or is there not enough presence and too much absence? And what can we do about this (dis)balance?
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The voices of women across the generations
In this article the author, a multidisciplinary artist, reflects on the process of making the video project Red, 2015, (21:45 min.) and a sound installation The White Wall, 2015 (9:30 min.) about post-Soviet times and transgenerational silence about experiences with the Soviet Union.
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Reconstruction of contested history Vilnius, 1939–1949
The narrative in this article is based on a reconstruction of my personal curatorial experience while working on the exhibition “A Difficult Age: Vilnius, 1939–1949”. The exhibition’s chronological framework – 1939 to 1949 – was established with a focus on historical realities and aimed to frame the narrative of the guest exhibition. The public knowledge of the history of multi-national Vilnius is full of conscious and unconscious omissions, in large part caused by oblivion, but no less by the unwillingness to remember, ignorance, and the refusal to know or even fear of finding out. The narrative based on the history of visual art and artists’ lives is a way to bring up controversial topics and open new perspectives.
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A city of amnesia Marcin Kącki’s Białystok. White Power. Black Memory
In his book of reportage: Białystok. White Power, Black Memory Marcin Kącki documents oblivion and denial of the memory of the former Jewish inhabitants of the city; paradoxically, it is also a call for this memory to be restored. In other words, we are dealing here with the two basic attitudes and forms of remembering historical trauma, distinguished by LaCapra: The first results in the process of “working-through”; the other is based on denial and results in “acting-out”.
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BRINGING BACK THE SILENCED MEMORIES (UN)OFFICIAL COMMEMORATIONS OF THE HOLOCAUST IN BELARUS
This article addresses the problem of the underrepresentation of the traumatic past in the example of the official commemoration of the Holocaust in Belarus. The silenced memories hinder the process of reconciliation and have real consequences for urban planning and cultural life. Thus, in order to address the tragedy that has been excluded from the official commemoration in Belarus, artists and journalists have created projects to fill the void in remembrance. The article describes how art and media projects have resolved the problem of the underrepresentation of certain events in the official culture and make vernacular memory available to many people.
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A language to heal
The documentary film Liebe Oma, Guten Tag! What we leave behind (2017) by sisters Jūratė and Vilma Samulionytė tackles persistent silences within one family in Lithuania in a telling way for how sensitive the past is in the Baltic and East European context.
-
Displaced time 10 photographs from restricted collections as a model for remembrance
This article focuses on the site-specific exhibition “Displaced Time: 10 Photographs from Restricted Collections” as a model of remembrance and an act against oblivion. The article analyses “Displaced Time” as part of ongoing memory work that aims to explain and understand the mechanisms of the Soviet period and its influence on contempora ry society. In order to analyze the power relations between photographs and archives, this article also explores the power relations between the photographer and the subject – the photographic gaze – as well as the power relations between the photograph and the reader – the agency of images.
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Visual representation of the Holodomor From commemoration practices to contemporary art
When we were beginning to think about what we as artists and also the third generation of survivors can tell about the Holodomor we fully realized that visual representation of mass starvation in the arts is not easy. Depiction of violent events and historical traumas is already hard enough because it demands from the artist not only talent but also a deep understanding of historical context and an ethical approach to the sensitive topic. Famine is an invisible enemy. How to show the total lack of something? How to visualize very slow death, extended in time?
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Nomadic Memory Artivism as the Practice of Recovering Memory
Memory can be retained and archived. You can, however, also manipulate it, obliterate its fragments and sometimes whole segments, using its stores as a tool in a political fight with minorities. Historical memory is only seemingly a domain of objective knowledge. The point of departure for my artivistic practice is always work with archival material. With time, my experiences led me to outline a specific understanding of historical memory as a process in which the most important role is played by the migration of ideas, a peculiar kind of nomadism.
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