„Zapis socjologiczny” na modernistycznym blokowisku, czyli jak Barbara Gryka reinterpretuje działania Zofii Rydet

The article analyzes Barbara Gryka’s performative-photographic project Architecture from the Inside, created between 2018 and 2019 in the LSM Housing Cooperative in Lublin, designed by Oskar and Zofia Hansen. It focuses on the artist’s work with the local community, particularly on her approach to photographing the residents, which is juxtaposed with the documentary practice of Zofia Rydet, to whom Gryka directly refers. Drawing on Richard Shusterman’s theory of the “performativity of the photographic gesture,” I will demonstrate how Gryka involved the residents in the photographic process, thereby granting them partial agency over their own representation. Furthermore, the article argues that Gryka’s work can largely be understood as an autoetnographic project, in which the artist’s experience of living in the Hansen estate becomes the central subject of artistic inquiry.

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Publication Details

Journal
Przegląd Kulturoznawczy
Published
2024-12-12
DOI
https://doi.org/10.4467/20843860pk.24.040.21235
Primary Topic
Polish Historical and Cultural Studies
Type
article
Field-Weighted Citation Impact
0.00
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article

„Zapis socjologiczny” na modernistycznym blokowisku, czyli jak Barbara Gryka reinterpretuje działania Zofii Rydet

Michalina Sablik
Przegląd Kulturoznawczy
Polish Historical and Cultural Studies
article

„Zapis socjologiczny” na modernistycznym blokowisku, czyli jak Barbara Gryka reinterpretuje działania Zofii Rydet

Michalina Sablik
article en

Abstract

The article analyzes Barbara Gryka’s performative-photographic project Architecture from the Inside, created between 2018 and 2019 in the LSM Housing Cooperative in Lublin, designed by Oskar and Zofia Hansen. It focuses on the artist’s work with the local community, particularly on her approach to photographing the residents, which is juxtaposed with the documentary practice of Zofia Rydet, to whom Gryka directly refers. Drawing on Richard Shusterman’s theory of the “performativity of the photographic gesture,” I will demonstrate how Gryka involved the residents in the photographic process, thereby granting them partial agency over their own representation. Furthermore, the article argues that Gryka’s work can largely be understood as an autoetnographic project, in which the artist’s experience of living in the Hansen estate becomes the central subject of artistic inquiry.

Przegląd KulturoznawczyVol. 62(4)
University of Warsaw (PL)
Openalex Percentile: Top 52%
Polish Historical and Cultural Studies
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