摘要：Abandoned sites of trauma often become objects of art-based research. The forensic turn offered artists the requisite tools to approach uncommemorated post-violence sites to interact with their human and non-human actors. The usage of artistic methods allows us to inspect nondiscursive archives and retrieve information otherwise unavailable. The new wave of “forensic art” joins the efforts of post-war artists to respond to sites of mass killings. In the post-war era, sites of trauma were presented as (implicated) landscapes, or unhospitable terrains. The tendency to narrow space to the site and to contract the perspective is continued today by visual artists entering difficult memory grounds, looking down, inspecting the ground with a “forensic gaze”. A set of examples of such artistic endeavors, following the research project Uncommemorated Genocide Sites and Their Impact on Collective Memory, Cultural Identity, Ethical Attitudes and Intercultural Relations in Contemporary Poland (2016–2020) is discussed as “bystanders’ art.”
