Performativity occurs in, and on behalf of the present. This can be seen with special clarity in the speech act of provocation. In this article, the performative of provocation is analysed by focusing on two works by the Polish artist Artur Zmijewski: Berek (Game of Tag) (1999) and 80064 (2005). Both works deal with the Holocaust in provocative ways and were highly controversial when they were exhibited. In their problematic nature these works substantiate Slavoj Žižek’s paradoxical statement that a coherent, truthful account of the traumatic past belies its own truthfulness. A narrative of trauma cannot be a clear narrative. This requires a different artistic, semiotic posture: not representation but performativity, so that conventional prescriptive moral rules can be replaced by an effective, affect-based ethics. Zmijewski’s videos shake up the fixed notions of Nazi victims and Holocaust survivors. And that is the first necessary step towards opening up the debate to a series of questions about the role of Polish people in the Holocaust. The importance and even necessity of these questions is demonstrated by the recent legislation in Poland that outlaws blaming Poles for the crimes of the Holocaust.

中文翻译：

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挑衅的表演性：阿图尔·兹米耶夫斯基 (Artur Zmijewski) 的案例

述行性发生在当下，并代表当下。这可以在挑衅的言语行为中特别清楚地看出。在这篇文章中，通过聚焦波兰艺术家 Artur Zmijewski 的两件作品来分析挑衅的表演：Berek (Game of Tag) (1999) 和 80064 (2005)。这两件作品都以挑衅的方式处理大屠杀，并且在展出时引起了极大的争议。就其问题性质而言，这些作品证实了 Slavoj Žižek 的自相矛盾的陈述，即对创伤性过去的连贯、真实的描述掩盖了其自身的真实性。创伤的叙述不可能是清晰的叙述。这需要一种不同的艺术、符号学姿态：不是表现，而是表现性，以便传统的规范性道德规则可以被有效的、基于情感的伦理所取代。Zmijewski 的视频动摇了纳粹受害者和大屠杀幸存者的固定观念。这是就波兰人民在大屠杀中的作用的一系列问题展开辩论的第一步。这些问题的重要性甚至必要性在波兰最近的立法中得到了证明，该立法禁止将大屠杀罪行归咎于波兰人。