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  1. 2 Rogozinska R.

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1

Nothing Stands in the Mandorla

100%
Rogozinska R.
Konteksty - Polska Sztuka Ludowa
|
2007
|
vol. 61
|
issue 2(277)
169-174
EN
Jan Berdyszak referred to the icon in 'Reserved Places' and 'Facies', two series from the 1970s. The first was based on the motif of a flaming rhomb, characteristic especially for the 'Saviour in Majesty' icon, while the second recalls the imprint of the face of Christ on fabric, produced, according to tradition, in a mysterious, divine manner. In both series Berdyszak resigned from a presentation of figures for the sake of a shape indicating the (non) presence of Christ or, to put it differently, an evocation of the places from which God has vanished - an oval of a head without a face, and a rhomb, frequently combined with a circle (mandorla) and a square. The empty space delineated by Berdyszak by means of gaps, fissures and openings becomes 'space proper', a place for contemplating the invisible, an epiphanic space. The material elements of the composition are reduced to a 'casing', concealing that which remains invisible to the eyes or, to use the name of another series by the same artist, they produce a 'passe-partout' of sorts and, simultaneously, a transition to an entity (passe-par-tout). This approach contradicts the profound humanism of Eastern-rite painting, based on the dogma of the incarnation. The veraicon in particular depicts humanity in a highly expressive and poignant manner within the perspective of suffering and death. This is also the reason why the fact that Jan Berdyszak applied 'the true icon of Christ', or actually its damaged form, to demonstrate the experiencing of God in a void and nothingness, so close to mysticism, could be interpreted as a symptom of radical (provocative?) iconoclasm. The character and message of both series is excellently rendered in Paul Celan's well-known Mandorla: 'In der Mandel - was steht in der Mandel/ Das Nichts./ Es steht das Nichts in der Mandel./ Da steht es und steht'.
2

Towards the Icon

100%
Rogozinska R.
Konteksty - Polska Sztuka Ludowa
|
2007
|
vol. 61
|
issue 2(277)
175-177
EN
The icon has become a permanent fixture of Western culture and occupies a prominent place within the 'museum of the imagination' of the average viewer. Encountered in churches, both Catholic and Protestant, featured in museums and innumerable art galleries, smuggled across borders, purchased at prestigious art auctions and in street flea markets, created with the preservation of ancient rules and models as well as counterfeit, paraphrased and reproduced, it has gained an army of art lovers across the world. The popularity of Russian Orthodox Church painting has its repercussions also in contemporary art. The spectrum of artistic attitudes and manners of depiction derived from the icon is extensive and situated between two extremities: imitation and purely mental inspiration, illegible in the formal shape of the artwork, produced on the basis of avant-garde individualism. Artists inspired by the icon include representatives of the most varied currents and conventions. From Klimt and Moreau, the Russian avant-garde, Matisse, Kandinsky, Modigliani, Pronaszko, Chwistek, and Hiller, to Mondrian, Berdyszak, Bednarczyk, Damasiewicz, Sadley, Rothko, Tapies, Klein, Wiktor or Warhol, they executed works of astonishing formal variety, frequently at first glance totally unlike the original.
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