Barbara Maria Gawęcka, RETROSPEKTIVNA IZLOŽBA MARINE ABRAMOVIĆ „THE CLEANER / DO CZYSTA“ U MEDIJSKOM IZVEŠTAVANJU
DOI: 10.29362/2022.2619.gaw.463-474
Marina Abramović je jedna od najprepoznatljivijih umetnica današnjice. Cilj članka je opisivanje atmosfere koja je vladala za vreme trajanja retrospektivne izložbe Marine Abramović „The Cleaner / Do Czysta“ u Centru savremene umetnosti u Torunju 2019. godine, koja je bila opširno opisivana na stranicama poljske štampe. Na izložbi je bilo 120 dela. Bilo je prezentovano nekoliko umetničinih ranih slikarskih radova. Određenim danima su bili pokazivani davni performansi koje su predstavljali performeri sa kastinga i koje je obučila Abramović. Na izložbi se takođe mogla videti cela fotografska i zvučna dokumentacija pojedinih umetničkih radova, zajedno sa predmetima koji su u njima korišteni. Izložba je još pre otvaranja budila velike kontroverze. Na dan otvaranja ispred zgrade torunjskog Centra savremene umetnosti posetioci su mogli da čuju od razdražene gomile na ulazu da njihov odlazak na izložbu predstavlja smrtni greh. Pored zgrade Centra je stajala grupa koja se molila, a takođe i druga demonstracija Krucijate ružanjcove za otadžbinu (Krucjata Różańcowa za Ojczyznę) sa transparentima i belo-crvenim zastavama u kojoj su učestvovale osobe iz cele Poljske i koje su došle u Torunj na poziv medija zbog odbrane Poljske pred njenom predajom kultu satane. Čini se da je sama retrospektivna izložba Marine Abramović, naveliko opisivana u štampi, na radiju i televiziji izazivala manje kontroverzi i pažnje Poljaka nego svi prateći događaji.
Barbara Maria Gawęcka, MARINA ABRAMOVIĆ’S RETROSPECTIVE EXHIBITION “THE CLEANER / DO CZYSTA” IN MEDIA COVERAGE
The article aims at presenting the atmosphere before and during Abramović’s retrospective exhibition “The Cleaner / Do Czysta”, held in 2019 at the Centre of Contemporary Art in Toruń, and widely reported in Polish media. The exhibition presented 120 works, including several early paintings by Abramović. On certain days old performances were recreated by performers selected during earlier auditions and trained by Abramović. The exhibition also showed the entire photographic and phonographic documentation of individual artistic activities as well as objects used in them. Even before the opening, the exhibition created major controversies. On the first day, the people entering the event could hear from the crowd milling in front of the Centre of Contemporary Art that by visiting the exhibition they committed a mortal sin. Two groups took position near the entrance – people praying the rosary aloud and a demonstration representing the Rosary Crusade for the Motherland [a daily prayer movement], holding banners and Polish flags. The latter group comprised people from all over Poland, who came to Toruń after a media call to protect Poland from being submitted to the cult of Satan. It seems that the exhibition itself, though extensively discussed in the media, stirred up fewer controversies and attracted less attention among the Poles than all the events surrounding it.
