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„Carissimo Kurek”, czyli o braterstwach awangardy

100%

Stacewicz-Podlipska J.

Pamiętnik Teatralny

|

2018

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issue 3(267)

205-212

EN

The exhibition “Enrico Prampolini. Futuryzm, scenotechnika i teatr polskiej awangardy” (“Enrico Prampolini. Futurism, Stage Design and the Polish Avant-gard Theatre”), open at the Muzeum Sztuki in Łódź between 9 June and 10 October 2017, was one of the most intense encounters with the Avant-garde last year, which was a jubilee year. The exhibition offered an erudite journey that followed the interests of the curator Przemysław Strożek, a researcher specialising in Italian Futurism and its reception in Poland. Despite a clearly defined goal of setting side by side the creations of Prampolini and the achievements of Polish Avant-garde theatre, it was not a classical “thesis exhibition,” which can be regarded as the curator’s fault or as his credit, and the judgment on this point depended mostly on how well versed in Avant-garde movements the viewer was. A complex, multi-threaded narrative that the exhibits amassed in a rich and representative selection were telling proved not accessible enough for some of the public, while other visitors found it exquisitely enlightening. The connexions between avant-gardists of different countries were displayed in a subtle way, and the space in which the visitors could explore them afforded a chance to investigate the exhibition freely and at one’s own pace. The endevour was all the more appealing due to the fact that the setting made a clear linear narrative virtually impossible, favouring a meandering and dialogical tale instead. The outcome was a fascinating maze of compelling, and sometimes difficult to discern, feedback relations between the Polish and Italian avant-gardes of the 1920s and 1930s.

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Carissimo Kurek, czyli o braterstwach awangardy

84%

Stacewicz-Podlipska J.

Pamiętnik Teatralny

|

2018

|

vol. 67

|

issue 3

205-212

EN

The exhibition “Enrico Prampolini. Futuryzm, scenotechnika i teatr polskiej awangardy” (“Enrico Prampolini. Futurism, Stage Design and the Polish Avant-gard Theatre”), open at the Muzeum Sztuki in Łódź between 9 June and 10 October 2017, was one of the most intense encounters with the Avant-garde last year, which was a jubilee year. The exhibition offered an erudite journey that followed the interests of the curator Przemysław Strożek, a student of Italian Futurism and its reception in Poland. Despite a clearly defined goal of setting side by side the creations of Prampolini and the achievements of Polish Avant-garde theatre, it was not a classical “thesis exhibition,” which can be regarded as the curator’s fault or as his credit, and the judgment on this point depended mostly on how well versed in Avant-garde movements the viewer was. A complex, multi-threaded narrative that the exhibits amassed in a rich and representative selection were telling proved not accessible enough for some of the public, while other visitors found it exquisitely enlightening. The connexions between avant-gardists of different countries were displayed in a subtle way, and the space in which the visitors could explore them afforded a chance to investigate the exhibition freely and at one’s own pace. The endevour was all the more appealing due to the fact that the setting made a clear linear narrative virtually impossible, favouring a meandering and dialogical tale instead. The outcome was a fascinating maze of compelling, and sometimes difficult to discern, feedback relations between the Polish and Italian avant-gardes of the 1920s and 1930s.

PL

Wystawa Enrico Prampolini. Futuryzm, scenotechnika i teatr polskiej awangardy, którą od 9 czerwca do 8 października 2017 roku oglądać można było w łódzkim Muzeum Sztuki stanowiła jedno z najintensywniejszych spotkań z awangardą w minionym, jubileuszowym roku. Ekspozycja oferowała erudycyjną wyprawę śladami zainteresowań kuratora Przemysława Strożka, badacza włoskiego futuryzmu i dziejów jego polskiej recepcji. Pomimo jasno sprecyzowanego celu, jakim było zderzenie twórczości Prampoliniego z osiągnięciami polskiej awangardy teatralnej, nie była to klasyczna wystawa z „z tezą”, co można było uznać zarówno za niewątpliwą zasługę jak również winę kuratora, a osąd w tej sprawie zależał w głównej mierze od stopnia przygotowania merytorycznego odbiorcy. Wielowątkowa opowieść, jaką snuły zgromadzone tu w bogatym i reprezentatywnym wyborze eksponaty dla części publiczności okazywała się bowiem nie dość przystępna, dla innej zaś rewelacyjna. Zagadnienie międzynarodowych kontaktów pomiędzy przedstawicielami awangardy zaprezentowane zostało w sposób nienachalny, a oddana do użytku zwiedzającego przestrzeń dawała możliwość swobodnej, dostosowanej do stopnia znajomości tematu, eksploracji. Przedsięwzięciu temu sprzyjał teren ekspozycji, który, uniemożliwiając zastosowanie w pełni konsekwentnej, linearnej narracji, skłaniał do opowieści meandrującej i dialogicznej. W efekcie powstał fascynujący labirynt zaprezentowanych sugestywnie, a niekiedy także ukrytych sprzężeń zwrotnych, zachodzących pomiędzy polską i włoską awangardą lat 20. i 30. XX wieku.

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AWANGARDA, TOTALITARYZM, GLOBALIZACJA: WSPÓLNE DOŚWIADCZENIE? WYBRANE ZAGADNIENIA SZTUKI XX WIEKU NA UKRAINIE I W POLSCE

67%

Kal E.

Ars inter Culturas

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2018

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vol. 7

145-188

EN

The text constitutes a reference to the article on applying social realism discourse in pop-art and modern popular culture (“Ars inter Culturas” 5 (2016): 209-239) and an elaboration by means of including Ukrainian art. It reminds about Ukrainian artists’ contribution to the development of the avant garde of the first half of 20th century and social realism ideas of involvement, “growing of art into” life as well as its presence in various areas of social practice. It also recalls the mediatory role of Władysław Strzemiński between Russian and Polish avant garde. Furthermore, on the basis of examples the author analyses formal strategies adopted from avant garde by the output of social realism, points to iconographic patterns of Ukrainian works from which Polish artists got inspiration according to their programme and critics’ recommendations. Also, differences resulting from the relations between patternmutation are important, as well as the duration of the doctrine which was in force from the first half of the 30s to the end of the 80s of the 20th century in Russia while in Poland in the years of 1949/50-1954/55. In both countries, it had important but different consequences, which results in different attitudes to realism as a general artistic strategy. Contemporary communication and globalisation processes have led to standardisation of visual language also in post-soviet countries, and internet memes play a significant role in it. In the world of the Internet, the elements of social realism discourse become memes detached from old meanings, lose their historical and political sense, become an element of entertaining exoticism which enhances forgetting about an oppressive character of the doctrine which, especially in Ukraine, has led not only to the exclusion but also to the extermination of artists.

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„Carissimo Kurek”, czyli o braterstwach awangardy

Carissimo Kurek, czyli o braterstwach awangardy

AWANGARDA, TOTALITARYZM, GLOBALIZACJA: WSPÓLNE DOŚWIADCZENIE? WYBRANE ZAGADNIENIA SZTUKI XX WIEKU NA UKRAINIE I W POLSCE