International Conference: “Writings of Archives II: Archives and Artistic Creation”

International Interdisciplinary Conference: “Writings of Archives II: Archives and Artistic Creation”.

11-13 December 2017, Institute of Polish Culture UW.

All sessions will be translated into English. Free entry.


Monday, December 11

9:00 Registration

9:30-10:00 Opening address and welcome speech: Stanislas Pierret, cultural attaché of the French Embassy, Nicolas Maslowski, director of CFC and Agnieszka Karpowicz, deputy director of IPC [in French translated into English]

10:00 Presentation of the projectAnnick Louis (University of Reims /EHESS) and Clara Zgola (EHESS/ University of Warsaw), Ephemeral beings and objects: boundaries of the archives [in French translated into English] 

10:30-12:30 Session 1. Chair: Nicolas Maslowski (CFC)

10:30 Ana Maria Guasch (University of Barcelona), Art, Archive and Exhibition: “Other Art History” of 20th and 21st centuries [in Spanish translated into English]

11:30 Dinah Ribard (EHESS) Archives of Work, Archives in WorkPottery and Poetry [in French translated into English]

12:00-12:30 Discussion [in French and in Spanish translated into English]


12:30-14:00 Lunch


14:00-16:00 Session 2. Chair: Agnieszka Karpowicz (University of Warsaw)

14:00 Frédérik Detue (University of Poitiers), Artistic Archives: Art of Testimonies Assembling [in French translated into English]

14:30 Małgorzata Zawadzka (CFC, The Anna and Jaroslaw Iwaszkiewicz Museum in Stawisko), Photographic memory. Stawisko Museum’s albums of Jarosław Iwaszkiewicz’s family photographs [in French translated into English]

15:00 Camille Bloomfield (Paris-13 University), Auto-Archive as Mode of Existence: digital world in the service of performance-poetry [in French translated into English]

15:30-16:00 Discussion [in French translated into English] and Coffee


16:00-17:30 Session 3. Chair: Grzegorz Godlewski (University of Warsaw)

16:00 Magdalena Zych (Jagiellonian University in Krakow), „I never thought about it before”. The stories of Awkward Objects of Genocide in ethnographic collections of vernacular art [in English]

16:30 Nina Kennel (EHESS), Narratives of Events and Artworks: Negus by Invernomuto[in English]

17:00-17:30 Discussion [in English]

Tuesday, December 12

10:00-12:30 Session 4. Chair: Marcin Napiórkowski (University of Warsaw)

10:00 Ana Longoni (CONICET-Argentina), On the Use of Archives: notes on Conceptualsismos del Sur project’s archives politics[in Spanish translated into English]

10:30 Klara Kemp-Welsh (The Courtauld Institute of Art),Reassembling the Social: Networking experimental artists’ archives of the 1970s [in English]

11:00 Agata Jakubowska (Adam Mickiewicz University in Poznań), Materiality of the Zofia Kulik and KwieKulik Archive [in English]

11:30 Zofia Cielątkowska (CFC, independent researcher), The Archive of Gestures: Artistic Practices and the Power of Discourse [in English]

12:00-12:30 Discussion [in Spanish translated into English]


12:30-14:00 Lunch


14:00-16:30 Session 5. Chair: Włodzimierz Pessel (University of Warsaw)

14:00 Jesús R. Velasco (Columbia University), The Third Thesis: Hypomnemata and the Form of Memory [in English]

14:30 Dorota Sosnowska(University of Warsaw), Theaster Gates Black space and Robert Kuśmirowski’s Trauma ruins – archives, leftovers and performance? [in English]

15:00 Paula Klein (University of Poitiers), The City as Exploded Archive: “señalamientos” and project-pieces in Argentinean art (Vigo, Greco, Ginzburg, Macchi) [in English]

15:30 Daniel García Andújar (Technologie to the people), A Castle in Ruins. Decoding the Empire [in English]

16:00-16:30 Discussion [in English] and Coffee


16:30-18:00 Session 6. Chair: François-Ronan Dubois (CFC)

16:30 Katarzyna Bojarska (The Polish Academy of Sciences) An Archive of Her Own [in English]

17:00 Marie-Eve Lacasse (Paris 8 University), Natalie Barney’s Archive: Aspern’s syndrome[in English]

17:30 Magdalena Mazik (MOCAK/Museum of Contemporary Art in Krakow), Live Images. The Archive’s potential and challenges for educational practices [in English]

18:00-13:00 Discussion [in French and English]


Wednesday, December 13

10:00-12:00 Session 7. Chair: Łukasz Zaremba (University of Warsaw)

10:00 Iwona Kurz (University of Warsaw), Anna Baumgart’s Knowledge out of non-existing Archives [in English]

10:30 Pablo Santa Olalla (University of Barcelona), Travel and Archive as Artistic Research Methodologies in the Early Works of Muntadas [in English]

11:00 Marta Dziewańska (The Museum of Modern Art in Warsaw), R.H. Quaytman: History in Motion[in English]

11:30 Katarzyna Wincenciak (MOCAK Museum of Contemporary Art in Krakow), Władysław Hasior’s Cinema. Performativeness and agency in the context of slides from the artist’s archives [in English]

12:00-12:30 Discussion [in English] and Closing Remarks/End of Conference

12:30-13:00 Lunch 


Daniel García Andújar

Title: A Castle in Ruins. Decoding the Empire

Abstract: The Real Sitio de San Lorenzo de El Escorial (the Monastery of El Escorial) is a large building complex (a palace, the monastery itself, a museum and a library) set in San Lorenzo de El Escorial, a town 45km northwest of Madrid. This colossal building would be joined by the Archivo General de Simancas (General Archive of Simancas), which was established as a royal archive by Philip II (it what was one of the most outstanding logistical and technical enterprises of that time). The question we should ask ourselves is, was Philip II aware at the time that information is power, and that, further, controlling information would help him maintain power, for himself and his heirs? The technological developments which have taken place through history have had a direct influence on governmental systems. And speaking, as we are, about libraries, bookshops, archives and books, we must admit that the main way of gathering information, storing and distributing content played an essential part in the spreading of the most influential ideas on contemporary politics. Art world audiences, museum and art centre visitors, and those taking part in various cultural events no longer wish to be restricted to only receiving information on these events, and they now demand to have the chance to interact with them, to be active participants in the actual mechanism for the transmission of information and in the process whereby this information is converted into knowledge. Citizens (whose capabilities have almost been reduced to those of mere consumers) are now unleashing forces which will “flatten” governments, creating a new civil society.


Camille Bloomfield

Title: Auto-Archive as Mode of Existence: digital world in the service of performance-poetry

Abstract: Ephemeral, yettransmissible,the performance-poetry as genre is linked with online archiving. The performance-poetry, situated beyond institutionalized poetry, between literature and theatre, presented as hic et nunc experience is also paradoxical. This paper investigates several projects (I will refer to French websites and social media) in order to analyze the auto-archive gesture of performance-poetry in his different dimensions.

Katarzyna Bojarska

Title: An Archive of Her Own 

Abstract: In my presentation, I would like to take a closer look at quite recent album of Konrad Pustoła’s photographic oeuvre, which was edited and published after the artist’s premature death. The album – as a very specific, affective vision of the archive – was put together by the artist’s female partner, who survived him. I would like to interpret her gesture in relation to Ariella Azoulay’s photographic archives of potential history, as well as Roni Horn’s, Tacita Dean’s and Zoe Leonard’s artistic strategies of questioning and reclaiming the power of the archive and of the photographic image.


Zofia Cielątkowska

Title: The Archive of Gestures: Artistic Practices and the Power of Discourse

Abstract: The talk will be devoted to the issue of African-American representation in visual arts with special emphasis on photography. The talk will be a selective story told with the medium of the “picture” accompanied by the critical analyzes: ‘what does it mean to represent’ and ‘why photography was (is?) important’ in that story.


Frédéric Detue

Title: Artistic Archives: Art of Testimonies Assembling 

Abstract: This paper discusses and investigate the techniques of artistic assembly of testimonies in literature, theatre and comics in order to articulate the differences between each medium and its documentary value. On what level aestheticand documentary values of these operations and techniques are related to each other?


Marta Dziewańska

Title: R.H. Quaytman: History in Motion

Abstract: R. H. Quaytman has been working – since 2001 – on an ongoing series of paintings, called ChaptersChapters are bound together by a unifying theme, yet they vary greatly. Culled from or referencing a range of sources, they seem to point beyond themselves and evoke some vast collective image archive. The groups forming each chapter share some features (some variable, some not) and the term “chapter” seems not only to name the more or less separate installations, but also provides them a certain sense of open-endedness. All this creates a landscape of contingency: a mix of transparency and opacity, spontaneity and notation, tenet and the deviation from it. It is a way of archiving, but without precise end; continuation, but not without surprises; a novel without conclusion(s). In my presentation, I will examine the ways in which Quaytman’ oeuvre approaches the history/the archive: where is it posited; how is it defined. I will look at the ways in which the idea of the past, present and that of the future appear and how plastic they are.


Ana Maria Guash

Title: Art, Archive and Exhibition: “Other Art History” of 20th and 21st centuries 

Abstract: The presence of a section devoted to the art of archives at Documenta XII exhibition in Kessel with, among others, Maria Eichhorn and Walid Raad contributions, seeks to confirm our hypothesis about “archival turn” considered as modus operandi and paradigm, a conceptual frame that structures both, artistic and exhibition practices of the first decades of the 21st century.


Agata Jakubowska 

Title: Materiality of the Zofia Kulik and KwieKulik Archive

Abstract: Zofia Kulik belongs to the artists who devote much of their time and energy to working with archives. In her case we are talking about a complex archive (consisting of materials dealing with her solo work, as well as the activities of the duo KwieKulik) that she keeps in her house and perceives as an object of constant care. She (re)arranges it, describes, (re)uses in her new works etc. While, as many other archives, this one is also a subject of a process of digitalization, that aims at making it more available, it still remains a material space that contains multiple physical objects. In my paper I am going to concentrate on material aspects of this archive. On the archive as a physical space, on archival collection as a collection of material objects and on material practice of maintaining and also studying the archive.


Klara Kemp-Welsh

Title: Reassembling the Social: Networking experimental artists’ archives of the 1970s

Abstract: Experimental art in late socialist east-central Europe served as a powerful zone of contact and artists’ archives are treasure troves for the recovery of connections between dispersed local scenes. Reconnecting dialogues across archives enable us to map historical constellations into a wider network – treating particular documents and objects as “connectors” within wider processes of global exchange. My paper draws on the archives of Klaus Groh, Andrzej Partum, KwieKulik, Edgardo Antonio Vigo and others to explore the networked character of experimental art of the 1970s in relation to Havel’s definition of the “parallel culture” as one characterized by a focus on alternative channels of distribution.


Nina Kennel

Title: Narratives of Events and Artworks: Negus by Invernomuto

Abstract: Negus (2016) is a film by an Italian duo of artist-Djs called Invernomuto (Simone Bertuzzi and Simone Trabucchi). The presentation will try to observe how the investigative process expands into the film’s formal aspect, as well as in the “documents” created by the artists alongside the filmic account. We will try to unfold the hypothesis suggested by the film where historical events appear as outgrowths of reggae lyrics and vinyl iconography — therefore inverting the idea of these objects as recordings or traces of past events.


Paula Klein

Title: The City as Exploded Archive: “señalamientos” and project-pieces in Argentinean art (Vigo, Greco, Ginzburg, Macchi)

Abstract: To unmask the city, to render visible the invisible, to penetrate the veil of obscurity that routine casts over familiar urban spaces. Through artworks that are presented as “projects” to be realised, if not “protocol-pieces” that require a collective performance on behalf of the public, the Argentinean artists Edgardo Antonio Vigo, Alberto Greco and Carlos Ginzburg transform public space into an open archive. In the late 1960s and the early 1970s, Greco’s Vivo-Ditos or “live art”, Vigo’s “signalings” or “instructional works”, and Ginzburg’s “revulsions” and “signalisations” of urban space devised the act of demarcating everyday spaces as politically subversive. In this process of revealing that which is in front of our eyes, photographic documentation emerges as the only material trace of an essentially ephemeral work of art. In 2004, Argentineans Jorge Macchi and María Negroni adopted the principal of the protocol-piece in order to propose a series of constrained urban walking tours. Buenos Aires tour emerges as another possible archive of the city, constructed from collected urban refuse, found objects, and the photographic documentation of the routes walked by the artists.


Iwona Kurz 

Title: Anna Baumgart’s Knowledge out of non-existing Archives

Abstract: In her works, Anna Baumgart, Polish visual artist (b. 1966) very often refers to the historical archives. I would like to analyse Baumgart’s usages of archival sources (and their lack) as a way of reflection on problems posed by the archives and the methods of their regulations and control. In Baumgart’s view, the historical process is disputable – but there is still something that can be done to change it.


Marie-Eve Lacasse

Title: Natalie Barney’s Archive: Aspern’s syndrome

Abstract: Archives of Natalie Barney (1876-1972), an iconic figure of lesbian literary and social milieu of avant-garde Paris are conserved in Jacques Doucet Library in Paris. It is constituted of 36 000 mainly unpublished notes. Even inaccessible for the public, those “silly archives” (J. Halberstam, The Queer Art of Failure, 2011) are very enlighteningon many levels. How can a researcher avoid the Aspern’s syndrome in this case? Furthermore,what a closed archive can tell us?


Ana Longoni

Title: On the Use of Archives: notes on Conceptualsismos del Sur project’s archives politics

Abstract: Conceptualsismos del Sur is a collective initiative bringing together a set of researchers and artists scattered around various parts of Latin America and Europe, which proposes to establish itself as a platform for common thought and action dealing with contemporary relations between art and politics. It was founded in 2007 by a group of researchers concerned with the need to intervene politically in the neutralisation processes of critical potential of a set of ‘conceptual practices’ that took place in Latin America since the early 1960s. Since its foundation, the network has been involved in a long-term reflection on the uses and politics of archives, working on the organisation and constitution of some of the most important artists’ archives in South America. The latest publications include Desinventario (2015) and Arte y disidencia política: Memorias del Taller 4 Rojo (2015). The paper, as a form of self-critique reflection, discusses and evaluates different project’s archives politics, their potentialities and limits.


Annick Louis, Clara Zgoła

Title: Ephemeral beings and objects: boundaries of the archives

Abstract: Classicworks of historians Arlette Farge (Le goût des archives)and Natalie Zemon-Davis (Fiction in the Archives) demonstrates the importance of the writing in the research process engaged with archival material. Furthermore, the relation of archival material and writing results described by them creates new objects and hypothesis. In this paper we will like to discuss the productivity of the encounter that occur between archives and fictional narratives and confront us with advanced analytical and theoretical challenges.


Magdalena Mazik 

Title: Live Images. Archive’s potential and challenges for educational practices

Abstract: The paper discusses the rules of preservation and access to different kinds of sources: books and archive materials. Not only does it provide practical instructions but also reveals an inspiring role of the museum regulations for programming of educational and research projects. The presentation is based mainly on the case study of the Mieczysław Porębski Library, enriched with selected educational activities run by the Museum of Contemporary Art in Kraków MOCAK from 2012 till 2017. Mieczysław Porębski’s Library has existed at MOCAK Museum of Contemporary Art in Kraków (Poland) from its very beginning (2012), combining the functions of a reading room and a permanent exhibition. Professor Mieczysław Porębski (1921-2012), historian, art theoretician and critic, donated to the museum his private book collection of more than 5 000 items. In the space arranged to replicate the studio in the Professor’s flat in Krakow, there is an exhibition of works by his artist friends – representatives of the canon of Polish post-war art. Its form puts the inspiring tension between categories like: library/museum exhibition, text/image, private/public under consideration.


Pablo Santa Olalla

Title: Travel and Archive as Artistic Research Methodologies in the Early Works of Muntadas

Abstract: Conceptual art is the framework within which a specific artistic actor appeared: the agent-traveller. He/she is not the one who simply travels or sends freights through the transport networks, but the one who internalises mobility within his/her practice. The emergence of this figure can be traced back to the context of augmented mobility of the Jet Age. Most agent-travellers introduced the archival dispositive in their practices. As fast movement and communications brought shortening of distances and acceleration of time  and thus transformations in the perception of the world , archival strategies such as data collection, classification, seriality and indexicality won a place within the art field. In this paper, the linkage between travel and archive as artistic research methodologies will be addressed departing from the early works of Muntadas.


Dinah Ribard

Title: Archives of Work, Archives in Work: Pottery and Poetry

Abstract: Writing, especially poetic writing, is highly present in the work of potters and ceramists, craftsmen and artists. It archives the past of pottery – craftsmanship, ancient techniques and theories – and the past of the ceramist – his experiments and experiences, the sense of his return or resort to craftsmanship to make a work of art. Poetry can sometimes be seen directly on pottery, on unique works or reproducible objects; sometimes it becomes an instrument for action – an action in itself. Books and catalogues devoted to an artist’s ceramic work reproduce this writing on clay; as an archive of artistic labor, they may publish pieces of poetry presented as having accompanied, been a commentary on, perhaps the thinking of the production of a work. They may even publish old exhibition leaflets sometimes written in the form of poems. The reflection proposed in this paper will be based on several cases, including Jacqueline and Bernard Courcoul: a couple of contemporary ceramists, Jean-Antoine Peyrottes: a 19th century poet-potter, Dave the Slave: a slave from North Carolina whose potteries decorated with rhyming couplets (and signed) are now on display in museums.


Dorota Sosnowska

Title: Theaster Gates Black space and Robert Kuśmirowski’s Trauma ruins – archives, leftovers and performance?

Abstract: Black space is a term used by American artist Theaster Gates in reference to places abandoned by their inhabitants due to process of gentrification. By collecting the leftovers – raw material for his art – he re-constructs a kind of archive, which becomes a model of black identity celebration. On the other side of the world Polish artist Robert Kuśmirowski reconstructed ruins that never existed. His Traumagutstrasse was site-specific work which encapsulated detailed, real life scale fragment of ruined building. False things that were referring to the history that never happened constituted the artistic archive as real and material as historical one. I would like to compare those two artists and two ways of playing with leftovers to ask how they perform in those two seemingly different contexts. I would like to present two models of thinking about the relationship between history and present day mediated by leftovers, remains, ruins and archives. But in the end, I would like to use those examples to show how seemingly homogenous and supposedly white Polish identity is entangled in racial context; how almost inexistent blackness and lost during war and communist times Jewish identity play in Poland a role of the leftover – remain that strongly subvert the cohesion of national identity and launches some new performative and artistic strategies.


Jesús R. Velasco

Title: The Third Thesis: Hypomnemata and the Form of Memory

Abstract: Walter Benjamin’s third thesis on the concept of history posits that nothing is really lost for history; my intervention delves into the question of how to deal with non-archival archives, with the specific case of the ephemeral wall of post-its in Union Square, or the memorial in Paris’ Place de la République.


Katarzyna Wincenciak

Title: Wladyslaw Hasior’s Cinema. Performativeness and agency in the context of slides from the artist’s archives

Abstract: Wladyslaw Hasior claimed that camera was accompanied his creative activity ever since. After his death, he left more than 20 000 diapositives to Muzeum Tatrzańskie. Slides were arranged in 385 separate thematic sets. The material collected by the artist escapes the Archives category. Hasior has often used the notion of a Photographic Notebook and a Cinema to describe his work. Their assumptions are close to the Atlas – starting with Warburg’s Mnemosyne. Hasior’s activities even more: it was not only to categorize the photos, but also to present it. Cinema is an audio-visual spectacle. Its performativity is lead in a way Mieke Bal describes a narrative text, in which the story of a specific plot was passed with the actors (which were both Hasior, and each picture). The concept of an actor in this case automatically directs us towards the actor-network concept and the agency. Hasior’s collection of photographs is only part of the huge legacy left behind by the artist in his Gallery. Then it gives a chance for intertextuality of archive, that occur in two ways. First, when working on creating each Notepad sets. We might see that Hasior was one of the earliest proponents of this postmodern method of analysing ancient, modern art, his own artworks folk or plebeian art. The statements made by him are not intended to trace the formation of an iconographic thread over the ages, but rather to expand the field of art. Hence references to nature, trashes, cemeteries, garden dwarfs or primitive art. The second intertextuality is the interplay between the various fields of the artist’s activity. This does not apply only to Notepad sets called “Inspirations”. It is a kind of interdependence and continuous exchange, that works bidirectionally within: artist’ assemblages, monuments, his atelier – as a visual and performing space, composition of photos, slides as artefacts, NotepadCinema as a performative work. It is also an intertextuality on the external factor: the anthropology of the 20th century and the study of the visuality.


Małgorzata Zawadzka

Title: Photographic memory. Stawisko Museum’s albums of Jarosław Iwaszkiewicz’s family photographs

Abstract: This paper presentsthe collections of familyphotographs (8 000 pieces) of Polish writer Jarosław Iwaszkiewicz archived in the museum of his name in order to discuss his attitude toward the autobiographical traces captured by those artefacts. To do so we will refer to Roland Barthes and Susan Sontag concepts of photographic memory.


Magdalena Zych 

Title: „I never thought about it before”. The stories of Awkward Objects of Genocide in ethnographic collections of vernacular art

Abstract: “I never thought about it before”, said the curator from one the museums where we were searching for vernacular art objects related to the Holocaust memory. This statement will be the frame of the story about the visual representations of the difficult past in the difficult present. Eastern Europe witnessed 14 million deaths in a period of little more than a decade between 1933 and 1945. It can be assumed that every community produced artistic responses to that traumatic memory, but Holocaust scholarship has yet to attend seriously to vernacular arts of witness. To this end, this paper discusses the project Awkward Objects of Genocide. Through a survey of objects in Polish ethnographic museums (as well as other Polish and German public and private collections), the creation of a public database, and the development of collaborative, arts-based interventions, it aims to highlight the vernacular art of witness for Polish and international publics. The ultimate goal of the project is to reframe and draw new attention to this fascinating, under-recognized category of object in order to: (1) broaden what we understand as “Holocaust art”; (2) expand the field of Holocaust memory studies to include a range of “bystander” perspectives; and (3) challenge traditional approaches to folk art and ethnographic museology more broadly. The presentation, prepared by academics-curators-artist research team (Erica Lehrer, Roma Sendyka, Magdalena Zych, Wojciech Wilczyk), will be illustrated by Wojciech Wilczyk’s photographs.


Daniel García Andújar is a visual media artist, activist and art theorist from Spain, the founder of the Technologie to the peopleorganization. He lives and works in Barcelona. His work has been exhibited widely, including Manifesta 4, the Venice Biennale and documenta 14 Athens, Kessel.


Camille Bloomfield researcher and lecturer at Paris-13 University (PRCE) affiliated to La Pléiade research group. Specialist of the OuLiPo literary movement, former archivist of the OuLiPo collection at BNF (National Library) where she was responsible for the digitalisation of OuLiPo archive, translator of artistic manifestos. Her book, Raconter l’Oulipo. Histoire et sociologie d’un groupe (1960-2000) was published in 2017 by Honoré Champion.


Katarzyna Bojarska Assistant professor at the Institute of Literary Research, Polish Academy of Sciences, works in the Department of Late Modernity Literature and Culture. Author of articles and translations devoted to the relations of art, literature, history and psychoanalysis. Translated among others Michael Rothberg’s Multidirectional Memory. Remembering the Holocaust in the Age of Decolonization and Susan Buck-Morss’ Hegel, Haiti and Universal History. Author of a book Wydarzenia po Wydarzeniu: Białoszewski– Richter – Spiegelman [Events after the Event: Białoszewski – Richter – Spiegelman] (2012). Co-founder and editor of academic journal View. Theories and Practices of Visual Culture.


Zofia Cielątkowska (independent researcher, CFC) Philosopher, curator and writer. Doctor of Humanities in Philosophy (2013), Graduate of Philosophy (2006) and Curatorial Studies (2008). Her writing and curatorial research focus on social contexts in visual arts, theatre and performance (with focus on issues such as the problems of identity within the social context, language, gender, and feminism, the mechanisms of power and symbolic violence, as well as the contemporary problems of exclusion and marginalization (post-)(neo-)colonial studies). She is currently researching on African American representation in photography and female drama writers.


Frédéric Detue researcher and lecturer (MC/ assistant professor) at University of Poitiers, he is a member of FoReLLIS research centreand is co-directing the seminar about Knowledge of testimonies at EHESS. Since 2016 he is directing a research program about migration representations and is currently preparing an essay about romanticism and totalitarianism.


Marta Dziewańska is a curator and writer, currently Curator of Research at the Museum of Modern Art, Warsaw and a PhD candidate in Philosophy at the Polish Academy of Sciences. She has curated and collaborated on several major exhibitions including Andrzej Wróblewski: Recto/Verso. 1948-1949, 1956-1957 (Museum of Modern Art in Warsaw and Museo Reina Sofia in Madrid), Maria Bartuszova: Provisional Forms (Museum of Modern Art in Warsaw); Alina Szapocznikow: Sculpture Undone 1955-1973 (WIELS Contemporary Art Centre in Brussels); Awkward Objects: Alina Szapocznikow and Maria Bartuszova, Pauline Boty, Louise Bourgeois, Eva Hesse, and Paulina Ołowska (Museum of Modern Art in Warsaw). She is co-editor of Andrzej Wróblewski. Recto/VersoPost-Post Soviet? Art, Politics & Society in Russia at the Turn of the Decade1968-1989Political Upheaval and Artistic Change and editor of Ion Grigorescu: In the Body of the Victim. She also regularly contributes texts to art magazines and exhibition.


Ana Maria Guash Professor of the Department of Contemporary Art History at the University of Barcelona. She has also been a teacher at the Universities of Seville and Complutense de Madrid. She wrote The Art of the 20th Century: from the Second World War to Our Times, The Art of the 20th Century and Its Exhibitions: 1945-1995The Manifestos of Postmodern Art: Texts of Expositions 1980-1995The Last Art of the 20th Century: From Postminimalism to Multiculturalism: 1968-1995Art Criticism: Theory and PraxisCriticism in Dialogue: Interviews About Art and Contemporary ThinkingDiscrepant Dialogues in Art Criticism (2000-2011)Formal, Textual and (Con) textual Art Criticism. Currently, Guasch focuses her investigations on three areas: Archiving – Memory and Contemporary Art, Art History and Visual Studies, and Contemporary Art and Globalization. Those fields of investigation were developed in exhibitions; “The Places of Memory: The Art of Archiving and Remembering,” Visual Autobiographies: Between the Archive and the IndexArt and Archive: Genealogies, Typologies, and Discontinuities. Guasch has been a Visiting Fellow in the Universities of Princeton, Yale, Columbia, San Diego, and The School of the Art Institute of Chicago and Visiting Scholar at the Getty Research Institute in LA. Since 2007 she has been the Project Director of Critical Cartography of Art and Visuality in the Global Age: New Methodologies, Concepts, and Analytic Scopes. She also directs and coordinates Global Art Archive, a research group that studies archives and their role as a liaison between collective memory and individual development. She is part of the London-based international study Visual Culture Studies in Europe (HERA), and Art and Globalization research group in Paris (INHA). Since 1975, Anna Maria has worked relentlessly as a critic of art in numerous national and international publications.


Agata Jakubowska Associate Professor at the Department of Art History at Adam Mickiewicz University in Poznań, Poland. She is the author of, among others, On the Margins of a Mirror: The Female Body in Polish Women Artists’ Works (in Polish, 2004); A Multiple Portrait of Alina Szapocznikow’s Oeuvre (in Polish, 2008); Awkward Objects: Alina Szapocznikow (ed., Museum of Modern Art, Warsaw, 2011), and numerous articles on Polish women artists. She is currently working on a project devoted to the history of women-only exhibitions, and on a book devoted to the Polish sculptor Maria Pinińska-Bereś (1931–1999). Since 2009, she has served as the vice president of the Polish section of the International Association of Art Critics (AICA).


Klara Kemp-Welsh was educated at University College London and the School of Slavonic and East European Studies (BA French and Art History, MA Russian and East European Literature and Culture, PhD History of Art). After completing her doctorate on East-Central European Conceptualism, supervised by Professor Briony Fer, she was the recipient of a Leverhulme Early Career Fellowship, followed by an AHRC Early Career Fellowship and an Igor Zabel Association working grant. Before joining The Courtauld in 2009, she lectured at University College London, the University of the Arts London (Camberwell), and the University of York. Her next book, Networking the Bloc. International Relations and Experimental Art in Eastern Europe 1968-1989, will be published in 2018.


Nina Kennel graduated from Geneva School of Art and Design in Switzerland and EHESS, currently PhD candidate in Literature and Arts at EHESS under the supervision of Dinah Ribard.


Paula Klein PhD in Comparative Literature from Poitiers’s University, Paula Klein specializes in French and Latino-American Literature of the 20th and 21st-Century (Cortázar, Levrero, Aira, Copi, Perec, Roubaud). Graduated from the Buenos Aires University (Argentine) and from the École d’Hautes Études en Sciences Sociales (EHESS-Paris), she worked as a fellow researcher at the Bibliothèque Nationale de France on the Oulipo’s archives. She has recently published: « La escritura del dolor en los diarios de Mario Levrero: protocolos, reglas de vida y de escritura » (Cahiers du CRLA, 2017), « Un ejercicio de olvido : estrategias de Babel y de los babélicos a fines de los años 80 » (Almacenes de un tiempo en fuga : Revistas culturales en la modernidad hispánica, 2014), « Cortázar et l’Oulipo : Départ d’un jeu » (De ligne en ligne, 2014). She is actually teaching at the University of Paris-Est-Créteil.


Iwona Kurz Associate Professor in the Section for Film and Visual Culture; historian of Polish modernity, Deputy Director of the Institute of Polish Culture, member of the Team for Research of 19th century Culture and the Team for Research of Holocaust Memory. She is the author of Twarze w tłumie [Faces in the Crowd. Views of the Heroes of Collective Imagination in Polish Culture 1955–1969], the co-author of Obyczaje polskie. Wiek XX w krótkich hasłach [Polish Customs. 20th Century in Short Entries], editor of Film i historia. Antologia [Film and History. Anthology], and Return to the Archives ­thematic issue of Contemporary Culture; co-editor of readers Antropologia ciała [Anthropology of the Body] (2008) and Antropologia kultury wizualnej [Anthropology of Visual Culture] (2012). She leads the research project „Visual Culture in Poland: Language, Concepts, Meta-pictures”, is also a co-leader of project „Creation and Analysis of Sources in Performance Arts” and participates in projects devoted to research on 19th century expositions and memory of Holocaust.She is a co-editor of the academic journal „View. Theories and Practices of Visual Culture”


Marie-Eve Lacasse independent researcher, art critic and writer. Graduate from Paris 7 University (M.A. 2007), currently doctoral student at Paris 8 University, her first book, Peggy dans les phares, was published in 2017 by Flammarion. She is from Canada, but lives in Paris since 2003. Her writing and research focus on social and politic contexts of archives, especially Natalie Barney’s ones.


Ana Longoni writer and researcher in CONICET in Argentina, specialized in the articulations between art and politics in Latin America since the XXth century. She received a B.A. in Literature and a Ph.D. in Arts from the Universidad de Buenos Aires, where she currently lectures. She also teaches at the Independent Studies Programme of MACBA (Barcelona) and other universities. She has published, alone or in collaboration, among other works: Del Di Tella a Tucumán Arde (From the Di Tella Institute to Tucumán Arde), Traiciones (Treasons), El Siluetazo (The Silhouttes), Conceptualismos del Sur (Southern Conceptualisms), Leandro Katz, and Vanguardia y Revolución (Avant-garde and Revolution). She is an active member of the Southern Conceptualisms Network. As curator, she works in Roberto Jacoby, The Desire is born from Collapse (Museo Nacional Reina Sofìa), Losing the Human Form (Museo Reina Sofia, MALI, MUNTREF), and Oscar Masotta: Theory as Action (MUAC).


Annick Louis researcher and lecturer (MCF/associated professor) at EHESS (CRAL) and University of Reims. Graduated from University of Buenos Aires, she completed her PhD at EHESS. Specialist of Argentinian writer Jorge Luis Borges, her research focus on social and historical contexts of literature and its epistemological dimensions. Shas also been a teacher or a fellow at the Universities of Yale, Erlangen (Humboldt Fellowship) and Buenos Aires. She investigates literary institutions and traditions, the notion of author, textuality, reception or edition. She is the author ofBorges face au fascisme 1. Les causes du présentBorges face au fascisme 2. Les fictions du contemporain, shehasco-edited Lire Borges aujourd’hui, Josefina Ludmer, Cours 1985. Quelques problèmes de théorie littéraire.


Magdalena Mazik manager of the Library at MOCAK Museum of Contemporary Art in Kraków. PhD Candidate at the Chair of Anthropology of Literature and Cultural Studies, the Faculty of Polish Studies Jagiellonian University. Her research field contains writings by Polish art theoreticians, art books, institutional critique and culture animation.


Pablo Santa Olalla has a BA degree in Fine Arts and MA degree in Advanced Studies in Art History, both from the University of Barcelona. He is currently working in a PhD thesis about the relational networks between the conceptualist art practices in Latin America and Spain, within the framework of the Research Group Art Globalization Interculturality and the research project Decentralized Modernities: Art, politics and counterculture in the transatlantic axis during the Cold War. Pablo is also interested in curating and archiving art. He collaborates with the Muntadas’ Archive (ARXIU/AM), and takes part of the On Mediation Seminar on Curatorial Theories and Practices as technical assistant and coordinator.


Dinah Ribard researcher and lecturer at EHESS, member of the Grihl research group. She published among others; Histoire Littérature Témoignage. Ecrire les malheurs du tempsEcriture et action XVIIe-XIXe siècle, une enquête collective, and articles « Le menuisier et l’enfant », Gradhiva 2/ 2014, « Evénement, événementialité, traces », Recherches de Science Religieuse, 1/ 2014, « Penser l’histoire avec la peinture », in Alain Cantillon and Nigel Saint (eds), Early Modern French Studies, « Témoigner en poésie. Le cas de Marc de Larréguy », Poétique.


Dorota Sosnowska Assistant Professor in the Section for Theatre and Performance; cultural theorist interested in theatre and performance, she participated in the project European Collected Library of Artistic Performance and currently is a member of the research project Creation and Analysis of Sources in Performance Arts. Her academic work is devoted to issues of source, archive, documentation and media in theatre and performance studies. She is the author of the book Królowe PRL. Sceniczne wizerunki Ireny Eichlerówny, Niny Andrycz i Elżbiety Barszczewskiej jako modele kobiecości [The Queens of the People’s Republic of Poland. The Theatre Roles of Irena Eichlerówna, Nina Andrycz and Elżbieta Barszczewska as Models of Femininity], she edited books about contemporary art: the Polish edition of Sarah Thornton’s Seven days in the Art World, Stanisław Dróżdż’s BetweenThe Edge of It. She is the vice President of Propaganda  foundation.


Jesús R. Velasco Professor and Director of Graduate Studies Department of Latin American and Iberian Cultures, Institute for Comparative Literature and Society / Center for Contemporary Critical Thought, Law School at Columbia University. He teaches Medieval and Early Modern Studies, he has taught at the University of California, Berkeley, Universidad de Salamanca, Université Sorbonne Nouvelle, and the École Normale Supérieure. Among his publications are books and articles on Medieval and Early Modern knighthood, history of the book and reading, medieval political theory, law and culture, Occitan poetry, etc. He has been one of the executive directors of the Journal of Medieval Iberian Studies and a member of the MLA Committee on Scholarly Editions. He was the recipient of the 2010 John K. Walsh award. He served as Chair of the Department of Latin American and Iberian Cultures between 2013 and 2016.


Katarzyna Wincenciak graduated of Art History at the Jagiellonian University and Warsaw Film School. PhD student at the Art Institute, Polish Academy of Sciences. She worked for the Museum of Modern Art in Warsaw on digitization of archives of Alina Szapocznikow and Eustachy Kossakowski. Since 2011 has been working in Museum of Contemporary Art in Krakow MOCAK, where she takes care of the artistic and photographic archives. She was the coordinator of exhibitions Wladyslaw Hasior. European Rauschenberg?; Krzysztof Niemczyk. Situationist, writer, painter and curator of exhibitions Read more; Space: The MOCAK Collection and Popes at MOCAK. She took part in different conferences including FORMAT15 Conference: The Evidence in Derby. The main subject of her studies are the photographic archives of artists that were mainly using other techniques of creations (painters, sculptors etc.), the issue of digitalization and publication online the private photography and the concepts of performativity and agency referring to archives.


Małgorzata Zawadzka graduated of Art History and French Studies at the University of Warsaw, curator and scholar, she works as archivist at Anna et Jaroslaw Iwaszkiewicz’s Museum in Stawisko and lectures at University of Warsaw and of Bialystok. PhD in in French Literature from University of Warsaw (2013), she wrote a doctoral dissertation about the French poet Jean Cocteau and his relation with arts. She is interested in literature and visual arts, art history and photography.


Clara Zgola researcher and lecturer (PhD candidate) in the Centre de Recherches sur les Arts et Langage at French National Center for Scientific Research/School of Advanced Studies in Social Sciences-Paris and in the Institute of Polish Culture at University of Warsaw, associated researcher in Centre for French Culture and Francophone Studies. She was a member of the research grant team “Topographies: City, Map, Literature” (NPRH)and is co-directing with Annick Louis the international research project “Writing of archives”.She is the principal investigator of the project “Literary Explorations of the City”and “Parisian Identities of Contemporary French Novelists”(NCN). She is an author of numerous articles in academic peer-reviewed journals, as well as essays and chapters in books, has recently co-edited the volumes Foucault’s philosophy genealogy and heritage and Les cultures en marge(s), is currently preparing a book about Parisian identities of 20th and 21st century French writers.


Magdalena Zych is a cultural anthropologist and curator at the Seweryn Udziela Ethnographic Museum in Krakow. Among her responsibilities is coordinating research projects at the museum. She is the co-author and co-editor of the books dzieło-działka [The art of the allotment] (2012) and Wesela 21 [Weddings 21] (2015). She is working on her doctoral dissertation about contemporary ethnographic collections at Jagiellonian University’s Institute of Ethnology and Cultural Anthropology.

Sessions chairs:

Grzegorz GodlewskiAgnieszka KarpowiczMarcin NapiórkowskiWłodzimierz PesselŁukasz Zaremba,

François-Ronan Dubois, Nicolas Maslowski 




Data publikacji: 03-12-2017

Institute of Polish Culture
Krakowskie Przedmieście 26/28
00-927 Warszawa
tel.+48 22 552 03 24
22 552 26 04

University of Warsaw
ul. Krakowskie Przedmieście 26/28
00-927 Warszawa
tel. +48 22 552 00 00
NIP 525-001-12-66

Faculty of Polish Studies

Project and realisation: