PODCAST

Postcritical Psychogeographies. From Weak Resistance to Weak Avant-Garde.



This podcast is based on the premise that comparisons are useful, however should also be limited and conducted with caution. It also reclaims transdisciplinary approach as one that can allow grasping the formation and evolution of such phenomena as resistance and avant-garde. The aesthetic experience, understood as one conducted by the senses, in a cultural context, is the most general premise of theories, social movements, art projects and other things discussed here.

This podcast is sponsored by the Ministry of Culture of the Republic of Poland (Yearly artistic stipend for the project Minoritarian avant-garde? Towards weak art)

PILOT
Introduction to Postcritical Psychogeographies
Ewa Majewska

20.03.25
08:45




Why would I want to move between the weak resistance and weak avant-garde? Because I think that an act of weak resistance, a disagreement with the canon, always takes place before a weak avant-garde event, project or agency appears.
I called this podcast Postcritical Psychogeographies because I like the situationists and lettrists, you could say that I grew up reading them and about them, and doing psychogeography with my friends in Warsaw. I also grew up with the critical tradition, and my use of ‘postcritical’ is a way to expand, not stop, that current’s legacy.

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EPISODE 1
Introducing the concept of weak avant-garde
Ewa Partum versus the neo-avant-garde practice
Ewa Majewska

10.06.25
36:15




In this episode we discuss the concept of weak avant-garde in relation to the artwork of Ewa Partum, her three performances from the early 1980. In these artworks the artist challenged her own position as recognized artist, and invited stupidity, idioticism, naivete as her allies. Theories of Boris Groys and Jack Halberstam are referenced, and the discussion goes direction neo-avant-garde - showing that Partum's artwork, just as many post-1960 art project by women, people of ethnic and sexual minorities, as well as groups, do not fit in the ‘neo-avant-garde’, as defined by Hal Foster and Benjamin Buchloch, but nevertheless can be seen as avant-garde practices.

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