Abstract The artistic practice of the Polish-born Ewa Partum can be divided chronologically into Polish (1965–1982), West Berlin (1982–89) and transnational / global (from 1989) periods. This essay focuses on the specificity of the conceptual art developed by Partum and her self-historicization as a conceptual artist. At the same time, it regards the local and global historicization of conceptual art as fragmentary and contradicting processes. The study examines local genealogy of Partum's conceptual strategies as part of a localized reflection on the geopolitics of knowledge; it considers a specific position of cultural production that is characteristic of Central and Eastern European neo-avant-gardes. It examines Partum's model of conceptual art in relation to Polish and Western practices. It is argued that Western conceptualism was only a point of reference for Partum's art. Works such as Presence / Absence or Luncheon on the Grass realized by Partum in years 1965–1972 formed a basis from which the artist responded to knowledge of the transnational conceptual movement that was disseminated through Mail Art and Fluxus networks. Analysis reveals Partum's model of conceptual art to be contrapuntal, as it is not subordinate to either its western inflection or local (Polish) cannons and protocols.

中文翻译：

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如果你想说点什么——用语言的语言说话：Ewa Partum 的观念艺术模型

摘要 波兰出生的 Ewa Partum 的艺术实践可以按时间顺序分为波兰（1965-1982）、西柏林（1982-89）和跨国/全球（从 1989 年）时期。本文关注帕图姆发展的概念艺术的特殊性以及她作为概念艺术家的自我历史化。同时，它将观念艺术的本土化和全球历史化视为碎片化和矛盾的过程。该研究考察了 Partum 概念策略的地方谱系，作为对知识地缘政治的局部反思的一部分；它考虑了文化生产的特定位置，这是中欧和东欧新前卫艺术的特征。它考察了帕图姆与波兰和西方实践相关的概念艺术模型。有人认为，西方概念主义只是帕图姆艺术的一个参考点。帕图姆在 1965 年至 1972 年间创作的《在场/缺席》或《草地上的午餐》等作品奠定了艺术家对通过邮件艺术和 Fluxus 网络传播的跨国概念运动知识做出回应的基础。分析表明，帕图姆的概念艺术模型是对位的，因为它既不服从于西方的变形，也不服从于当地（波兰）的大炮和协议。