This essay revisits one of Polish artist Zofia Kulik’s most important ‘photocarpets’, produced in a moment of hope, retrospection yet continuing war in 1993; seen by an international public in 1997. Visually, its composition is dominated by late Soviet sculptures symbolising Mother Russia and military aggression, yet the composition, ‘kilim-like’, with an additional reference to Polish Catholicism, involves bilateral and rotational symmetries which undermine significations of power and might with various other symbols: bodies, naked or draped, and Polish TV screenshots from both the military and entertainment worlds. ‘Dazzle’, the camouflage-related military term is also related to tears and (repressed) mourning. The female artist’s attitude to gender is crucial. The piece is both a ‘revisualisation’ and ‘rewriting’, relating both to the author’s previous texts on the artist from 1999 and 2001, and Kulik’s own rediscovery of her Ukrainian heritage, which reframes her own vision and understanding of the piece in 2022.

中文翻译：

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所有的导弹都是一枚导弹重新审视：Zofia Kulik 的作品令人眼花缭乱

这篇文章重温了波兰艺术家 Zofia Kulik 最重要的“摄影地毯”之一，它是在充满希望、回顾但仍在继续战争的 1993 年制作的；1997 年被国际公众看到。从视觉上看，它的构图以象征俄罗斯母亲和军事侵略的晚期苏联雕塑为主，但构图“基利姆式”，另外提到了波兰天主教，涉及双边和旋转对称，破坏了权力和权力的含义与其他各种符号：身体，裸体或披着衣服，以及来自军事和娱乐界的波兰电视屏幕截图。与伪装有关的军事术语“Dazzle”也与眼泪和（压抑的）哀悼有关。女性艺术家对性别的态度至关重要。这件作品既是“重新可视化”又是“重写”，