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1
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White Memory, La memoria finalmente, The Future at Last, L’arte differente: arte contemporanea polacca e Italia in quattro recenti cataloghi

100%
Quercioli L.
pl.it / rassegna italiana di argomenti polacchi
|
2018
|
issue 9
221-225
2
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Lista eksponatów wystawy zorganizowanej z okazji sesji naukowej poświęconej 150-leciu urodzin Karola Adamieckiego (17 marca 2016 r.)

63%
Staniek-Stpiczyńska E.
Studia Ekonomiczne
|
2016
|
vol. 277
201-203
3
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“The War Brought Us Close and the Peace Will Not Divide Us”: Exhibitions of Art from Czechoslovakia in Warsaw in the Late 1940s

51%
Skarupsky P.
Ikonotheka
|
2016
|
vol. 26
95-110
EN
In his book Awangarda w cieniu Jałty (In the Shadow of Yalta: Art and the Avant-garde in Eastern Europe, 1945–1989), Piotr Piotrowski mentioned that Polish and Czechoslovakian artists were not working in mutual isolation and that they had opportunities to meet, for instance at the Arguments 1962 exhibition in Warsaw in 1962. The extent, nature and intensity of artistic contacts between Poland and Czechoslovakia during their coexistence within the Eastern bloc still remain valid research problems. The archives of the National Museum in Warsaw and the Zachęta – National Gallery of Art which I have investigated yield information on thirty-fi ve exhibitions of art produced in Czechoslovakia that took place in Warsaw in the period of the People’s Republic of Poland. The current essay focuses on exhibitions organised in the late 1940s. The issue of offi cial cultural cooperation between Poland and Czechoslovakia was regulated as early as in the fi rst years after the war. Institutions intended to promote the culture of one country in the other one and associations for international cooperation were established soon after. As early as in 1946, the National Museum in Warsaw hosted an exhibition entitled Czechoslovakia 1939–1945. In 1947 the same museum showed Contemporary Czechoslovakian Graphic Art. A few months after “Victorious February”, i.e. the coup d’état carried out by the Communists in Czechoslovakia in early 1948, the Young Czechoslovakian Art exhibition opened at the Young Artists and Scientists’ Club, a Warsaw gallery supervised by Marian Bogusz. It showed the works of leading artists of the post-war avant-garde, and their authors were invited to the vernissage. Nine artists participated in both exhibitions, i.e. at the National Museum and at the Young Artists and Scientists’ Club. A critical analysis of art produced in one country of the Eastern bloc as exhibited in another country of that bloc enables an art historian to outline a section of the complex history of artistic life. Archival research yields new valuable materials that make it impossible to reduce the narration to a simple opposition contrasting the avant-garde with offi cial institutions.
4
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The Exhibition-Organising Activity of the Committee for Cultural Cooperation with Foreign Countries (1950–1956) Based on the Example of Selected Exhibitions at the Zachęta Central Bureau of Art Exhibitions

51%
Zychowicz K.
Ikonotheka
|
2016
|
vol. 26
63-94
EN
The documentation of the Committee for Cultural Cooperation with Foreign Countries, which was an offi cial agency active in the years 1950–1956, is currently deposited at the Central Archives of Modern Records in Warsaw and constitutes an invaluable source for any Polish scholar interested in the history of exhibitions. It contains large amounts of interesting data which make it possible to ascertain the character of Polish exhibitionorganising activity in the fi rst half of the 1950s. In the six years of its existence the Committee organised ca. one hundred exhibitions. The essay concerns exhibitions hosted in the main building of the Central Bureau of Art Exhibitions, i.e. the Zachęta. Foreign exhibitions prepared by the Committee were intended to justify the state’s cultural strategy based on promoting the aesthetics of Socialist Realism, which programmatically referred to 19th-century Realism and its historical traditions. Exhibitions of art produced in the countries of the Eastern bloc presented the local version of Social Realism plus 19th-century painting that could be described as “Critical Realism”. Bringing to Poland exhibitions of folk art from the “brotherly” countries of the Eastern bloc was an important element of the Committee’s policy, as in the years 1949–1956 attempts were made to use folk art in the process of remodelling the country in the Socialist spirit. The Committee for Cultural Cooperation with Foreign Countries was established in 1950 in order to centralise, expand and politicise artistic exchange. On the whole, however, the idea to centralise all of the cultural exchange with foreign countries turned out to be a utopia. In 1955, just as the so-called thaw was beginning, the Ministry of Culture and Art offered the proposal to decentralise the exchange and to dissolve the Committee.
5
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The Space of a Book. The Images of Words

51%
Zawadowska A., Rudaś-Grodzka M.
pl.it / rassegna italiana di argomenti polacchi
|
2018
|
issue 9
204-215
6
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Partnerstwo publiczno-społeczne. Współpraca Towarzystwa Przyjaciół Warszawy z Muzeum Historycznym m.st. Warszawy w latach 1963−2002

26%
Michalec B.
UR Journal of Humanities and Social Sciences
|
2022
|
issue 3(24)
PL
Już pod koniec lat sześćdziesiątych XX w. można było zauważyć w Polsce współpracę muzeów ze stowarzyszeniami, dziś nazwalibyśmy to modelowym partnerstwem publiczno-społecznym. Przykładem takiego partnerstwa jest współpraca pomiędzy Towarzystwem Przyjaciół Warszawy (TPW) a Muzeum Historycznym m.st. Warszawy, która rozpoczęła się w 1963 r. i trwała nieprzerwanie przez wi ele lat jeszcze po śmierci prof. Stanisława Lorentza, dyrektora Muzeum Narodowego w Warszawie, współzałożyciela i pierwszego prezesa TPW. Jej efektem była działalność kulturalna, naukowo-badawcza czy edukacyjna. W ramach tej współpracy powołano oddział Muzeum Historycznego m.st. Warszawy – Muzeum Woli. Inicjatywa utworzenia tej placówki wyszła z kręgu członków oddziału wolskiego TPW. Wydarzeniami kulturalnymi organizowanymi wspólnie przez muzeum i stowarzyszenie były wystawy kolekcjonerskie, ale także sympozja, sesje naukowe oraz odczyty. Od samego początku jednym z podstawowych zadań muzeum i celów działalności Towarzystwa Przyjaciół Warszawy było krzewienie wiedzy o burzliwej przeszłości tego miasta. Niniejszy artykuł w sposób chronologiczny przedstawia realizowane we wspólnej przestrzeni działalności przedsięwzięcia, które pozwoliły skonsolidować środowisko warszawskich historyków, historyków sztuki, muzealników, varsavianistów i kolekcjonerów. Inicjatywy te przyczyniły się do wzbogacenia oferty kulturalnej miasta, z której mogła skorzystać większość mieszkańców i turystów odwiedzających stolicę. Współpraca pomiędzy TPW a Muzeum Historycznym m.st. Warszawy rozwijała się także poza terenem Warszawy. Pracownicy muzeum i społecznicy z TPW przekazywali kolejnym pokoleniom wiedzę o dziedzictwie materialnym i niematerialnym stolicy. Do dziś wiele eksponatów udostępnianych na wystawy przez osoby prywatne pozostaje w zbiorach Muzeum Warszawy.
EN
By the end of the 1960s, cooperation between museums and associations could be noticed in Poland, today we would call it a model public-social partnership. An example of this is the cooperation between the Society of Friends of Warsaw (TPW) and the Historical Museum of the Capital City of Warsaw, which took place from 1963 and lasted uninterrupted for many years, even after the death of prof. Stanisław Lorentz, director of the National Museum in Warsaw, co-founder and first president of TPW. The result of this cooperation was cultural, research and educational activity. In the field of this cooperation, a branch of the Historical Museum of the Capital City of Warsaw − the Museum of Wola - was founded. The establishment of this facility was initiated by the members of the Wola branch of TPW. Another cultural event organized in cooperation between the museum and the association was the organization of not only collector's exhibitions, but also the holding of symposia, scientific sessions and lectures. From the very beginning, one of the basic tasks of the museum and the goals of the Society of Friends of Warsaw was to spread knowledge about Warsaw's turbulent past. This article presents the undertaken and implemented projects in a chronological manner, finding a common space of activity so as to consolidate the community of Warsaw historians, art historians, museologists, Varsovianists and collectors. Cooperation in the public and social field contributed to the enrichment of the cultural offer in the city, thanks to which the majority of residents and tourists visiting the capital could take advantage of it. Cooperation between TPW and the Historical Museum of the Capital City of Warsaw developed significantly and went beyond the city. Museum employees and social activists from TPW passed on to the next generations knowledge about the material and nonmaterial heritage of the capital. To this day, many exhibits made available for exhibitions by private persons remain in the collections The Museum of Warsaw.
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