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Etnodizajn a ludowość w polskim wzornictwie

100%
Klekot E.
Artium Quaestiones
|
2021
|
issue 32
229-250
EN
In the first decade of the 2000s, a new wave of “folk inspirations” became visible in the work of Polish designers, which was celebrated by exhibitions, publications, conferences and a special festival. Interestingly, all the Polish-language coverage of these events almost unanimously avoided Polish vocabulary suggesting any connection with “folk” (n.: lud, adj.: ludowy) and used the English-sounding term “etnodizajn” (or “ethnodesign”), which actually did not exist in any official Polish or English dictionary. “Etnodizajn” is definitely not the first case when Polish designers have used the “natural resources” of the “folk art tradition”. This article discusses the early 21st century etnodizajn as embedded in the Romantic tradition of understanding the meaning of the folk, pointing at its endurance both in design practices and cultural politics. Following the design strategies of companies and studios linked to etnodizajn, the author presents, on one hand, projects that neatly fit into a century-old strategies of purely formal inspirations, and on the other, those projects that search beyond the beaten track of folk art.
2
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Polish-Italian Design Dualism. Artistic Projects by Dorota Koziara

88%
Wiśnicka A.
pl.it / rassegna italiana di argomenti polacchi
|
2017
|
issue 8
160-175
EN
Polish-born, Milan-based designer, Dorota Koziara has been active on the international design scene for two decades. Her artistic career has swung between her national roots and the well-established traditions of Italian design. Working alongside the iconic Alessandro Mendini, Koziara gained a brand-new way of self-expression, smoothly intermingling between the two cultures. Her activity covers an outstanding range of projects, she is also the winner of the Third Millennium International Sculpture Competition held in Italy. Her achievements on both Polish and Italian design scenes are a unique example of how fluid contemporary trends based on national heritage can be. In this border-free society, the influences and relations between Polish and Italian design seem to be highly important. After centuries of inspiration and domination by Italian art, today’s scene shows a different approach to multicultural dialogue, the results of which are apparent in Koziara’s works. The article focuses on her achievements in the light of reciprocal Polish-Italian influences.
3
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Geneza wzornictwa i początki produkcji srebrnej biżuterii i galanterii w Spółdzielni Przemysłu Ludowego i Artystycznego ORNO w Warszawie (1949–1954)

75%
Myśliński M.
TECHNE. Seria Nowa
|
2023
|
vol. 1
|
issue 11
145-172
EN
The article presents the design and production of silver jewelry developed at the turn of the 1940s and 1950s, produced in the ORNO Folk and Artistic Industry Cooperative, operating in Warsaw in the years 1949–2003. The basis of the discussion is the so-called “The Great Book of ORNO” - a handwritten catalog of products, kept by the president of the cooperative, Romuald Rochacki, in the years 1949–54. The Book, which has not yet been the subject of analysis, contains drawings of approximately 280 works, enriched with information about the authors, the time of filing the design, production, artistic and technical assessments, etc. The analysis of the drawings and information about the cooperative entered into the Book allows us to indicate the genesis of the design ORNO – based on the idea of self-education and improvement of the creative skills of the cooperative members, as well as the knowledge about Polish art taught to them during lectures and sightseeing trips. ORNO silver jewelry is an important trend in Polish applied art design after 1945.
PL
Tekst przedstawia kształtujące się na przełomie lat 40. i 50. XX wieku wzornictwo oraz produkcję srebrnej biżuterii, wytwarzanej w Spółdzielni Przemysłu Ludowego i Artystycznego ORNO, działającej w latach 1949–2003 w Warszawie. Podstawą omówienia jest tzw. Wielka Księga ORNO – rękopiśmienny katalog wyrobów, prowadzony przez prezesa spółdzielni Romualda Rochackiego w latach 1949–1954. W Księdze, która dotychczas nie stała się przedmiotem analizy, widnieją rysunki około 280 dzieł, wzbogacone informacjami o autorach, czasie zgłoszenia wzoru, produkcji, ocenach artystycznych i technicznych itp. Analiza rysunków oraz wpisanych do Księgi informacji o spółdzielni pozwala wskazać genezę wzornictwa ORNO – opartego na idei samokształcenia i doskonalenia twórczych umiejętności członków spółdzielni, a także przekazywanej im wiedzy o sztuce polskiej, poznawanej na wykładach i wycieczkach krajoznawczych. Srebrna biżuteria ORNO stanowi istotny nurt polskiego wzornictwa sztuki użytkowej po 1945 roku.
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