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Moc nieobecności. Janowi Berdyszakowi (1934-2014) in memoriam

100%
Rogozińska R.
Zeszyty Naukowe Centrum Badań im. Edyty Stein
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2014
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issue 12
265-272
PL
Brak
2
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Christos Mandzios – pomiędzy Polską a Grecją

100%
Rogozińska R.
Sacrum et Decorum. Materiały i studia z historii sztuki sakralnej
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2021
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vol. XIV
30-52
PL
Twórczość Christosa Mandziosa, Greka urodzonego i zamieszkałego w Polsce, choć różnorodna formalnie, wielowątkowa, wykraczającą poza tradycyjne media, dyscypliny, środki wyrazu artystycznego, jest związana z tradycją sztuki (staro)greckiej, zwłaszcza w sensie pojmowania istoty wszelkich działań twórczych w kategoriach Prawdy i Piękna. Za reminiscencję owej więzi uznać można obecność figury ludzkiej przybierającej kształt sylwetowego „antropoida” (według określenia artysty), jakby wywiedzionego z czasów prearchaicznych, z idoli cykladzkich bądź mykeńskich epoki brązu. Wykonany z przeróżnych tworzyw – z granitu, brązu, papieru pakowego, szkła, chleba, ognia, ziemi, ziarna, trawy, z „materii” światła i cienia – staje się nośnikiem znaczeń egzystencjalnych, religijnych, duchowych, niekiedy też politycznych. Obok realizacji trwałych i efemerycznych rzeźbiarz podejmuje działania paraplastyczne, zwykle w miejscach nacechowanych bezdomnością – w domu dziecka, więzieniu, Monarze, na Dworcu Kolejowym Wrocław Główny. Obok cyklu prac oraz działań performatywnych Realizacje Paschalne, mających związek z symboliką i obrzędowością Wielkiego Tygodnia, w artykule poddano analizie zróżnicowany w swych przejawach plastycznych cykl Zjawiska Świetlne, związany z metafizyką światła. Szczególną uwagą objęto akcje Wypalanie – Brama oraz zdarzenie Ślady przeprowadzone na murach Zakładu Karnego nr 1 we Wrocławiu 11 listopada 1997 r. Z jednej strony rzeźbiarz przejawia silną skłonność do eksperymentów formalnych, do ciągłego przekraczania granic sztuki, funkcjonowania na pograniczu różnych dyscyplin artystycznych, z drugiej konsekwentnie traktuje znaczną część swego dorobku jako medium innych, pozaformalnych wartości, ugruntowanych na transcendentaliach klasycznej metafizyki chrześcijańskiej.
EN
The work of Christos Mandzios, a Greek born and resident in Poland, although formally diverse, multithreaded, going beyond traditional media, disciplines and means of artistic expression, is related to the tradition of (ancient) Greek art, especially in the sense of understanding the essence of all creative activities in terms of Truth and Beauty. What can be considered a reminiscence of that bond is the presence of the human figure, taking the shape of an “anthropoid” (according to the artist’s definition), as if derived from pre-archaic times, from Cycladic or Mycenaean Bronze Age idols. Made of various materials - granite, bronze, wrapping paper, glass, bread, fire, earth, grain, grass, the “matter” of light and shadow - it becomes a carrier of existential, religious, spiritual and sometimes political meanings. In addition to permanent and ephemeral works, the sculptor undertakes para-artistic activities, usually in places marked by homelessness: in an orphanage, a prison, the Monar addiction rehabilitation centre, the Wrocław-Główny Railway Station. Apart from the series of works and performative activities entitled Realizacje Paschalne [Paschal Works], related to the symbolism and rituals of the Holy Week, the paper analyses the cycle Zjawiska Świetlne [Light Phenomena], varied in artistic means and related to the metaphysics of light. Particular attention is paid to the happenings: Wypalanie – Brama [Burning out – Gate] and Ślady [Traces], performed on the walls of Prison No. 1 in Wrocław on 11th November 1997. On the one hand, the sculptor shows a strong inclination towards formal experiments, towards constantly transgressing the boundaries of art, to functioning at the boundary of various artistic disciplines; on the other hand, he consistently treats a significant part of his oeuvre as a medium of other, non-formal values, grounded in the transcendentals of classical Christian metaphysics.
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Szukając Oblicza. Droga do twórczości sakralnej Danuty Waberskiej

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Rogozińska R.
Sacrum et Decorum. Materiały i studia z historii sztuki sakralnej
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2013
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vol. 6
90-105
EN
Graduate of the School of Fine Arts in Poznań, Danuta Waberska has spent the vast majority of her professional life in the service of the Church, specializing in the field of sacred art. This work has taken up thirty years of her life. Today, her paintings can be found in many churches, museums, religious community centres, and private collections throughout Poland and abroad. Before supernatural themes first emerged in her paintings, the newly minted artist (who leaves the School of Fine Arts in Poznań in 1969) worked within the New Figuration movement, expressing typical moods of existential pessimism, the drama of alienation, and spiritual emptiness In subsequent years (at the turn of the 1970s and the 1980s), Waberska shows an increased interest in spiritual matters and the related symbolism of geometry and light. Readings in the mystics, Zen Buddhism, symbolic poetry, and depth psychology provide a mine of inspiration for her figural scenes, still-lifes, landscapes, and semi-abstract paintings. The first biblical paintings in the Jacob Wrestling with the Angel series appear, and Signs inaugurate the motif of Tobias and the Angel, later taken up on several more occasions. A spiritual breakthrough in 1985 pushes the artist to devote herself entirely to the service of the Church and sacred art. Her religious paintings primarily include depictions of the face of Christ, the Divine Mercy, the saints and the blessed of the Western Church, and Marian images. Waberska is remarkable for her artistic skill and innovative iconography, the aura of deep faith which emanates from her canvases, her complete devotion to religious art, and numerous evocative depictions of the metaphysical dimension of human life. All this makes her an important and noteworthy figure in the field of Polish Christian art. Her impressively large (and still growing) oeuvre calls for serious in-depth research, which, it should be hoped, will soon be undertaken
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Treis. O malarstwie Jerzego Cwiertni [1928-2009]

100%
Rogozińska R.
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2011
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vol. 65
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issue 2-3(293-294)
275-285
EN
A presentation of the works of Jerzy Ćwiertnia, painter, poet, essayist and philosopher, against the background of the artist’s world outlook – original and suffused with mysticism and idealism. The fundamental goal of his oeuvre was the extraction of the spiritual beauty of Nature, which, in his opinion, is the source and essence of all being. By transcending the framework of the Judaeo-Christian sacrum–profanum dichotomy Ćwiertnia fully shared the convictions of Hindu aesthetics, namely, that it is impossible to realise beauty and attain liberation by turning away from the world. Although in Ćwiertnia’s paintings references to Nature remain only allusions, they play a fundamental role; after all, without them the unchanging original harmony permeating the universe could never disclose itself. The author focused her attention on the painting entitled Treiz – the first in a series of canvases planned by the artist; each composition was to deal with a successive number of the Pythagorean Sacred Decade. Actually, it turned out to be Ćwiertnia’s last work. Reflections concerning the painting created as the quintessence of the discussed oeuvre fill a copious text, a meticulous analysis of the artist’s achievements. His limited participation in artistic life, ostentatious and radical convictions enrooted in the spirituality of the East, protest against the system of (anti)values dominating in Christian Europe responsible for the suffering of creatures close to him, alienation vis a vis national specificity, and lofty ethical and aesthetic demands - all these factors were the reason why the artist’s comprehensive activity has up to now never become the topic of a suitable study.
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