Art as Organization of Life: Katarzyna Kobro and El Lissitzky (original) (raw)
Related papers
Transnationality, Internationalism and Nationhood. European Avant-Garde in the First Half of the Twentieth Century (= Groningen Studies in Cultural Change 48), eds Hubert van den Berg, Lidia Głuchowska, Leuven/ Paris/ Walpole, MA: Peeters Publishers, 2013, ISBN: 978–90–429–2756–8. , 2013
This paper is a characteristic of the coexistence of the Avant-garde internationalism and some national aspects in the classical works and theory of the Central European Avant-garde. I also discussed questions and media of networking in the cultural transfer and so-called new art history with regard to the works from so-called peripheries
Katarzyna Kobro and open-space
In this essay, I want to discuss issues related to the avant-garde theory, to present the relationships of Polish avant-gardists with artists from other countries by using the example of the artistic work of Katarzyna Kobro. In the first chapter I will show the solutions of mainly Polish theoreticians on the theme of avant-garde, in the second chapter I will talk about the work of the avant-garde group "a.r", while in the third chapter I will present the character and scope of Katarzyna Kobro's work.
Lidia Głuchowska, Artists from Poland in the International Milieu of Classical Berlin Avant-Garde Die Aktion, Der Sturm, and Die Novembergruppe, 2020
Lidia Głuchowska, Artists from Poland in the International Milieu of Classical Berlin Avant-Garde Die Aktion, Der Sturm, and Die Novembergruppe, w: Polish Avantarde in Berlin, red. Małgorzata Stolarska-Fronia, Berlin, Peter Lang, 2020, s. 81-121, ISBN: 978-3-631-81416-1 81 Herwarth Walden, the founder of the famous gallery and art magazine Der Sturm, described Berlin as the "Hauptstadt der Vereinigten Staaten von Europa." In the first three decades of the 20th century it became the most important metropolis in East Central Europe, which attracted artists from the whole region and from the European peripheries, especially those who were closer to the international utopia of the new world than to the particular concepts of new states and national art, among them numerous painters, architects, and writers from Poland.The Nestor of the Polish avant-garde in Berlin was Stanisław Przybyszewski, who in 1894 published the first monograph of work by Edvard Munch and the first on theory of Expressionism avant la lettre, based on his work, which he called Psychical Naturalism.The most spectacular presentation of Polish new art in the capital of Germany was the special issue of the magazine Die Aktion called "Polnische Kunst" [Polish Art] and the exhibition of the group Bunt [PL: Revolt; DE: Colourful,
An Exercise in Participation: Op and Kinetic Art in Poland circa 1966
The Other Transatlantic: Kinetic and Op Art in Eastern Europe and Latin America, ed. M. Dziewanska, D. Roelstraete, A, Winograd (Warsaw Museum of Modern Art., 2018), 241-260.
This essay illuminates the seeming contradictions that surrounded the development of Op and kinetic art in the People’s Republic of Poland in the mid- to late-1960s; it highlights and analyzes the tensions between the assertions of Polish art’s originality and the complaints about its parochialism. It does so based on a brief study of works by Adam Marczyński (Kraków), Zbigniew Gostomski (Warszawa), Jan Chwałczyk (Wrocław) and Jan Ziemski (Lublin) coupled with a critical reading of the “Study of Space” by Wojciech Fangor and Stanisław Zamecznik (1958), often considered the first presentation of Op art and enviroment in Poland.
Art in a Disrupted World: Poland, 1939–1949
2021
With Art in a Disrupted World, art historian Agata Pietrasik presents a study of artistic practices that emerged in Poland during and after World War II. Pietrasik highlights examples of artworks by a number of Polish-born artists that were created in concentration camps and ghettos, in exile, and during the years of social, political, and cultural disintegration immediately following the war. She draws attention to the ethics of artistic practice as a method of fighting to preserve one’s own humanity amid even the most dehumanizing circumstances. Breaking out of entrenched historical timelines and traditional forms of narration, this book brings together drawings, paintings, architectural designs, and exhibitions, as well as literary and theatrical works created in this time period, to tell the story of Polish life in wartime. Employing an accessible, essayistic style, Pietrasik offers a new look at life in the ten years following the outbreak of World War II and features artists—including Marian Bogusz, Jadwiga Simon-Pietkiewicz, and Józef Szajna—whose work has not yet found substantial audiences in the English-speaking world. Her reading of the art and artists of this period strives to capture their autonomous artistic language and poses critical questions about the ability of traditional art history writing to properly accommodate artworks created in direct response to traumatic experiences.
Dark Times: Art and Artists of Vilnius in 1939–1941
2020
The aim of this paper is to discuss and reconstruct in general features the reality of the Vilnius artistic community from late autumn 1939 to June 1941. This period of less than two years significantly changed the configuration of the artistic community of the city, the system of institutions shaping the art scene as well as the artistic goals. It also brought forth new names and inspired new images. These changes were above all determined by political circumstances: the war that broke out in Poland on 1 September 1939; the ceding of Vilnius and the Vilnius region to Lithuania; two Soviet occupations: in the autumn of 1939 and June 1940, and the subsequent Nazi occupation a year later. The influence of politics on the art scene and the life of artists has been explored in institutional and other aspects by both Lithuanian and Polish art historians, but the big picture is not yet complete, and the general narrative is still under construction. A further aim of this paper is to highl...