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A New Commission at the National Museum in Warsaw Is Dangerously Homophobic

The new commemorative religious installation at the National Museum is hostile towards the LGBTQ community and does not uphold the values it claims to propagate.

耶日·卡利纳,“毒井”(2020)(由笔者为Hyperallergic图)金博宝188

什么是国家博物馆的使命是什么?作为政府资助的机构,它是,在我看来,以保存收藏为国家,启发和教育。在波兰的文化景象,以及对LGBTQ社区艺术和艺术机构的增加武器最近发生的事件仔细观察,它变得明显,关键博物馆的董事所定义的波兰民族的方式是有意非包容性。

演示这一立场的一个艺术品在九月在年底亮相国家博物馆在华沙。金博宝188在博物馆的庭院最新的佣金是由波兰艺术家教宗若望保禄二世的雕塑耶日·卡利纳。纪念片,标题为“中毒嘛” (2020) (on display through November 8th, 2020), portrays the pontiff as a supernatural titan holding a meteorite as if attempting to throw it into a red pond surrounding him. It evokes a feeling of déjà vu, and rightly so. Kalina’s sculpture is a riposte to Maurizio Cattelan’s famous piece showing the same pope crushed by a meteorite,“香格里拉诺娜霍拉”(1999). When first displayed in Poland at the Zachęta National Gallery of Art in 2000, “La Nona Hora” caused public outrage because of its seemingly blasphemous nature. The installation was damaged and the gallery’s then director, Anda Rottenberg, was forced to resign.

When I found out about the new commission, I was disappointed but not surprised. The idealized image of John Paul II as shown in Kalina’s installation corresponds with the collective consciousness of this country’s fundamental catholic traditions. The pope constituted a symbol of hope and resistance to foreign oppressors in the pre-1989 communist regime and his appointment as the head of the church was considered to be a strong catalyst for change. The sentiment around him remains, even though his pontificate was highly criticized — predominantly for silencing the child sex abuse scandal in the Catholic Church.

作为与数百约翰·保罗二世的全国各地的雕像,这个人是最多平庸和象征意义,以及执行,势单力薄。虽然卡林娜的关于“香格里拉娜拉霍拉”苦是有点无聊,这是周围的红塘和其链接到当前时刻这是有问题的。在a recentstatementforOnet.pl波兰最大的在线新闻门户网站之一,卡利纳从反射共产主义时代的扩展它的意义在波兰当代“红色革命的相乘形式,”特别是“彩虹的。”

耶日·卡利纳, “Poisoned Well” (2020) (© Bartosz Bajerski and courtesy Muzeum Narodowe w Warszawie)

Poland is at the very bottom of the list of modern democratic countries in terms of state support for LGBTQ communities. There is an absolute lack of protections for health services, against hate crimes and hate speech, and additionally, the community has become a scapegoat for the current right-wing ruling party, Law and Justice. Within the last few years, we have witnessed the introduction of围绕波兰反LGBTQ区,警察的暴行,以及一般反LGBTQ +说辞。这里的气氛是经过今年夏天的“波兰石墙”事件,这下子玛戈逮捕,女权主义和酷儿集体中的一员之后特别紧张“停止Bzdurom”(“停止胡说”)。

“毒井”也代表在波兰跨越艺术和文化机构主管个人系统解雇。仅在去年,国家博物馆在华沙审查其沉淀2件女权主义作品香蕉吃抗议。此前同年,在波兰的开拓当代艺术机构之一的前主任,Ujazdowski城堡当代艺术中心in Warsaw,马乌戈热塔Ludwisiak,改为彼得Bernatowicz,谁被指控反犹太主义和厌女症。

耶日·卡利纳, “Poisoned Well” (2020) (© Bartosz Bajerski and courtesy Muzeum Narodowe w Warszawie)

国家博物馆的领导点的文化机构的波兰社会中的作用的大问题上的立场。在工作的揭幕下一个特殊的公告,导演卢卡斯Gaweł呼吁市民不要“纠缠在什么都没有做与艺术表达的自由意识形态争论的博物馆”,而是鼓励在这个项目上“的讨论,在社会艺术的作用“。这个呼吁提出质疑文化机构有责任向公众开放。博物馆可以从合作的艺术家撇清?它是道德上可以接受认可的艺术要求仇恨和歧视?对于许多市民的这些问题的答案似乎简单,但它不是与波兰的机构,已失去其独立性,并逐步采用执政党的社会文化议程,因为它赢得了2015年议会选举的情况。

The situation at the National Museum in Warsaw is not a singular event or an oversight. It is a sign of gradual governmental control and creeping authoritarianism in the art ecology. “Poisoned Well” is representative of a dangerous direction in Polish arts and culture: that of using contemporary art as bait to encourage hostility toward minority groups. This needs to stop.

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