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EN
The avant-garde is one of the best researched phenomena in Polish art history. This research results in an ongoing verification of the hitherto dominant theses, formulated at the beginning of the 1970s, concerning the scope of the concept of the avant-garde, the link between the radicalism of its artistic experimentation and the slogans of social revolution, or the avant-garde’s one-sided political entanglements. The conceptual scope is broadened to include the participation of avant-garde artists in pro-state activities in the Second Republic of Poland and their interest in the issues of memory and history, as well as in the utopias of the regeneration and causality of art. These new approaches are exemplified by the multifaceted celebrations of the “Year of the Avant-garde” (2017). Consequently, the avant-garde has become not a contestation, but an essential part of the Polish cultural code, and its history is inscribed in the contemporary debate on the models of modernity developed by Polish culture in the 20th century.
PL
Awangarda należy do najlepiej zbadanych zjawisk w polskiej historii sztuki. Efektem badań jest dokonująca się współcześnie weryfikacja dominujących dotąd, a sformułowanych na początku lat 70. XX w. tez o zakresie pojęcia awangarda, powiązaniu radykalizmu jej artystycznego eksperymentu z hasłami społecznej rewolucji czy jednostronnych uwikłaniach politycznych. Zakres pojęciowy jest poszerzany, aby uwzględnić także udział artystów awangardowych w działaniach propaństwowych w II Rzeczypospolitej Polskiej, ich zainteresowania kwestiami pamięci i historii, jak również utopiami regeneracji i sprawczości sztuki, czego przykładem mogą być wielowątkowe obchody Roku Awangardy (2017). W konsekwencji awangarda staje się nie kontestacją, ale istotną częścią polskiego kodu kulturowego, a jej historia wpisywana jest we współczesną debatę na temat modeli nowoczesności, jakie wypracowała kultura polska w XX w.
Prace Historyczne
|
2020
|
vol. 147
|
issue 4
869-881
EN
The period of the Second Polish Republic was a time of dynamic processes of unification and modernisation. They were also reflected in art and architecture. This should not come as a surprise given the fact that Polish artists were involved in the struggle for independence on the battlefields, while they also documented Polish military efforts during the World War I. Later on, they held positions in the state administration, especially in the administrative structures responsible for art patronage and education; finally, they were also active in the field of national propaganda. The authorities of the Second Polish Republic appreciated the importance of modern art, especially that the restoration of independence coincided with a debate about the various definitions of the Polish national style. This debate, which involved supporters of vernacular stylisation and those who promoted modernism, found its complex reflection in the Polish General Exhibition in Poznań in 1929. The exhibition confirmed that the leading role in the process of modernisation was assumed by architecture and urban planning.
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