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Robert Kuśmirowski
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MM Robert Kusmirowski
Tiré du site Internet de JRP/Ringier : "The Polish artist Robert Kusmirowski (*1973) is known for his intense stagings of places and spaces of past times. Using simple materials, the artist creates meticulous simulations which appear to the eye like perfect replicas of places and objects. These spaces of the past, so carefully transferred and combined with the present, make his installations appear to have broken through the principle of irreversible time. His works are pervaded by a nostalgia which, however, does not fall victim to melancholy or romanticism. No attempt is made to re-establish the past, but rather to reflect upon an individual and collective relationship to time and history. The publication is a continuation of his spatially comprehensive installation, which he produced for his solo exhibition at the migros museum für gegenwartskunst in 2006, a mysterious, old training camp recalling the Soviet technology dream during the Cold War. The book is in-between the improbable report by an atomic energy commission and a technical manual with its folding plans and instructions."
DUSTribute
The catalogue is being published on occasion of the exhibition "DUSTribute" (March - May 2022) by the Polish artist Robert Kusmirowski (born in 1973 in Lódz, Poland), with a new, comprehensive interview by Thomas Häusle and a text by Sina Wagner. For Kunstraum Dornbirn, Kusmirowski created a new, temporary and site-specific environment. Visually and atmospherically, his work was based on the film classic "Stalker" (1979) by Soviet director Andrei Tarkowsky. In the former assembly hall, the artist developed a post-apocalyptic scenery that completely transformed the space. Visitors found themselves in a world whose appearance resembled a fictional journey through time. Historical, cinematic and narrative reference systems interweave to form a story of existential peril and eerie beauty.
Reenactment Case Studies
Reenactment Case Studies: Global Perspectives on Experiential History examines reenactment's challenge to traditional modes of understanding the past, asking how experience-based historical knowledge-making relates to memory-making and politics. Reenactment is a global phenomenon that ncompasses living history, historical reality television, performance art, theater, historically-informed music performance, experimental archeology, pilgrimage, battle reenactment, live-action role play, and other forms. These share a concern with simulating the past via authenticity, embodiment, affect, the performative and subjective. As such, reenactment constitutes a global form of popular historical knowl...
Scale in Contemporary Sculpture
The first book to devote serious attention to questions of scale in contemporary sculpture, this study considers the phenomenon within the interlinked cultural and socio-historical framework of the legacies of postmodern theory and the growth of global capitalism. In particular, the book traces the impact of postmodern theory on concepts of measurement and exaggeration, and analyses the relationship between this philosophy and the sculptural trend that has developed since the early 1990s. Rachel Wells examines the arresting international trend of sculpture exploring scale, including American precedents from the 1970s and 1980s and work by the 'Young British Artists'. Noting that the emergenc...
Unruly Heritage
Heritage is almost univocally conceived of as valuable and good, something we care for and preserve for ourselves and future generations. Although traditionally associated with the unique and monumental, heritage has over the last decades been broadened in response to claims to incorporate more diverse and globally representative legacies. While such claims are of course welcome, they do not embrace the bulging unruly and obnoxious legacies that now haunt us; legacies that have become so conspicuously manifest that they are claimed as diagnostic of a new epoch, the Anthropocene. This book targets this exclusion. It claims that the current 'clash' between prevailing conceptions of heritage as...
Holocaust Icons
Oren Baruch Stier traces the lives and afterlives of certain remnants of the Holocaust and their ongoing impact. He shows how and why four icons—an object, a phrase, a person, and a number—have come to stand in for the Holocaust: where they came from and how they have been used and reproduced; how they are presently at risk from a variety of threats such as commodification; and what the future holds for the memory of the Shoah.
Of this Tale, I Cannot Guarantee a Single Word
Accompanying catalogue for 'Of this Tale, I cannot guarantee a single word', an exhibition curated by graduating students from the Curating Contemporary Art Department. Exploring the way in which stories are told, 'Of this Tale, I cannot guarantee a single word' looked to literature, comic books, cinema, documentary and oral traditions. Equally the writing in this catalogue not only explores the artists in the show, but also the different genres and media through which we come to learn the stories that form our shared history.
"Lernen, mit den Gespenstern zu leben"
Ein Gespenst geht um – etwas kehrt wieder, tritt in Erscheinung, obgleich es bereits für tot erklärt wurde, sucht Körper, Orte und Objekte heim, obwohl ihm kein Platz in der Gegenwart der Lebenden eingeräumt wird. Neuzeit und Moderne widmeten sich der Bekämpfung des Geisterglaubens und erzeugten doch zugleich ganze Heerscharen von Gespenstern – so sorgte gerade das gespensterskeptische Zeitalter der Aufklärung für eine diskursive Verstärkung des Gespensterglaubens, und die Massenmedien erweisen sich als Brutstätten medialer Phantasmagorien. Auch im beginnenden 21. Jahrhundert sind die Geister noch wach: Sie bevölkern in vielfältigen Figurationen weite Teile der Populärkultur,...
