| Abstract | In 2001, Joanna Rajkowska, a Polish contemporary artist, made a trip to Israel, after which she decided to make people aware of the significance of Warsaw’s Jerusalem Avenue [Aleje Jerozolimskie], one of the Polish capital’s main streets. She intended to point out the street’s history in a vacuum, as she claimed, caused by the absence of Jewish community after World War II. She “planted” an artificial palm tree—in her view a plant typical of Jerusalem streets—in the middle of a major traffic circle in the center of Warsaw. Even though Rajkowska made a project based on “just” one of the forgotten pasts, it revealed a whole new potential for “other” pasts in that particular space, which suddenly became impossible to be taken for granted as they had been before. Furthermore, the artist opened a new social space in which pasts were brought back to interact with the present. The palm quickly became the object and symbol of much more contemporary Polish struggles: for gay rights, for nurses’ wages, for liberal values, and the right to think differently. Rajkowska’s palm tree managed to bring these and many other issues to the general public, to make it aware of the everyday inhabited space, to make that space visible—with all its ambiguities, different layers of meanings, interpretations of the past, and visions of the future—while transforming that very public along the way.
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