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Katarzyna Kobro i Władysław Strzemiński: w poszukiwaniu realnej utopii

100%
Suchan J., Ziębińska-Lewandowska K.
Powidoki
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2019
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issue 2: Re-konstruktywizm
148-155
EN
The text, prepared on the occasion of the exhibition "A Polish Avant-garde: Katarzyna Kobro and Władysław Strzemiński" presented at the Pompidou Centre in 2018, captures the artwork of both artists as an attempt to realize a "real utopia". On the one hand, it points to the utopian attitude of Kobro and Strzemiński, on the other hand, however, to the realism present in it. It combines the utopian character with their conviction that artistic activity can contribute to the social change and to the establishment of a new better order, realism – with the awareness that every era, every time demands its own, still new answers to the question of what this utopian order would look like and with the intuition that the advent of a better world will not be achieved as a result of a one-off revolution, but rather as the effect of gradual transformations of both the material reality and the way people think. Thus according to the authors, the concept of "real utopia" understood in this way can be used as a tool to reinterpret the achievements of the couple of Polish avant-guard artists.
2
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Konstruktywizm i re-konstruktywizm w twórczości Katarzyny Kobro

100%
Sztabiński G.
Powidoki
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2019
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issue 2: Re-konstruktywizm
16-23
EN
Katarzyna Kobro's artistic and theoretical oeuvre is most often discussed within the framework of the history of Constructivism. The prefix "re" used in the second component of the title of this article is to draw attention to other interpretative possibilities. They take into account either the characteristics of the artist's works that have been ignored earlier or different, contemporary interpretative contexts. The characteristic features of Kobro's sculptures considered here are their smooth integrating into the space (instead of breaking through and conquering typical of Constructivism) and the openness of the possibility to move around in it (instead of directing and disciplining movements). The contexts taken into consideration in this respect are "female aesthetics" and Michel Foucault's critical reflections on the role of space in Jeremy Bentaham's "Panopticon" idea. Both these interpretative perspectives aim at emphasizing the need for freedom in Kobro's sculptures, instead of the previously emphasized features of economics and functionalism
3
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„Jedyny słuszny drogowskaz: forma” – Władysław Strzemiński, Katarzyna Kobro a De Stijl

100%
Kurc-Maj P.
Powidoki
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2019
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issue 2: Re-konstruktywizm
156-165
EN
The Polish avant-garde and the group De Stijl were not only connected by a similar time of activity, but also by a common goal consisting in a plan to create a new and to some extent autonomous artistic culture based on abstraction, which would become the basis for modernization of the environment. The relations between the Polish artistic milieu and the Dutch avant-garde date back to the 1st International Congress of Progressive Artists in Duesseldorf in May 1922. The most important, however, are those which found their expression later, in the mid-1920s, and combined the works of De Stijl and the pioneers of the Polish constructivist avant-garde in Poland, Władysław Strzemiński and Katarzyna Kobro. The article focuses on the analysis of the attitude of these two artists to the legacy of De Stijl and the impact the Dutch art had on their creative work, in particular on their concept of composition of space and functionalism and the importance of shaping artistic forms
4
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Koluszki. Niedokończony projekt Strzemińskiego

75%
Jaśkiewicz M.
Powidoki
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2020
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issue 3
186-191
EN
The details of Władysław Strzemiński and Katarzyna Kobro's stay in Koluszki were a white spot in their biographies for many years. The fact that some of Kobro and Strzeminski's activities were associated with the years of their residence in Koluszki indicated that this period was worth special attention. The author based his research partly on the memories of Koluszki inhabitants. He interviewed extensively the descendants of Strzemiński's pupils from schools in Koluszki. He also managed to get access to unknown photographs and school archives. The research and its analysis, which lasted for two years, gave a surprising and completely unknown picture of the life and activity of Kobro and Strzemiński in Koluszki between 1927 and 1931.
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