2018 | 13 | 19-28
Article title

Art, Memory and Angel by Czesław Dźwigaj

Title variants
Languages of publication
The article analyses the process of implementing the idea of commemorating the victims of December 70 in Szczecin. Disputes, discussions and decisions accompanying this monument are doubly symptomatic: they reveal a problem with the presence of contemporary art in public space, and the question of who and what should be the main purpose of commemorative sculpture. After 1989, the Szczecin agora reflected the political transition of the state, additionally characterised by the “short duration” complex (existence as a “Polish city” only after 1945). Art plays a role in ordering (and subordination) of public sphere, and, as such a tool (building politically handy identity symbols), it is perceived by the authorities. Its specificity, however, allows it to escape social and political control. The second area of consideration is the analysis of the relationship between commemorative function (desired by the founders) and the operation of contemporary art, in reference to the theory of cultural forms of memory. The three-dimensional urban game of visibility was played out in Szczecin around three public sculptures: two unrealised designs, and the final work by Czesław Dźwigaj.
  • TRAFO Trafostacja Sztuki w Szczecinie Gallery for Contemporary Artcontemporary art in public space, art after communism, commemorative sculpture
  • 1. hal. (1998). Tłum na ulicy. In: Głos Szczeciński, 14.12.1998.
  • 2. Jurczyk M. (2001). Statement by the Independent Social Movement of Marian Jurczyk, Takenfrom the habilitation thesis provided by Jerzy Lipczynski
  • 3. Klim A. (1998). Fantomy pamięci. In: Gazeta Wyborcza, 14.12.1998.
  • 4. Lipczyński J. (2006). było nie było. [O wystawie „było nie było” w galerii Amfilada w Szczecinie, 26.05 – 24.06.2006 r.] (wystawa indywidualna). Quote from the habilitation thesis provided by the artist.
  • 5. Mouffe Ch. (2013). Krytyczne praktyki artystyczne jako interwencje przeciwhegemoniczne (Critical Artistic Practises as Counter-hegemonic Interventions). In: Draganovic J.A., Szynwelska A. (eds.). (2013). Problematyczna, niewygodna, niejasna. Rola sztuki w przestrzeni publicznej. W poszukiwaniu możliwego paradygmatu (This Troublesome, Uncomfortable and Questionable Relevance of Art in Public Space). Gdańsk: CSW Łaźnia.
  • 6. Piotrowski P. (2012). Art and Democracy in Post-Communist Europe. Trans. A. Brzyski. London: Reaktion Books.
  • 7. Rembas M. (2003). W grudniu po południu. In: Gazeta Wyborcza Szczecin, 05.12.2003.
  • 8. Saryusz-Wolska M. (ed.). (2009). Pamięć zbiorowa i kulturowa. Współczesna perspektywa niemiecka, Kraków: TAiWPN Universitas.
  • 9. Springer F. (2013). Zaczyn. O Zofii i Oskarze Hansenach. Kraków: Karakter.
Document Type
Publication order reference
YADDA identifier
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.