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1

THE ACTIVITY OF ARTISTS AND ANIMATORS OF CULTURE IN THE PRAGA DISTRICT OF WARSAW (Dzialalnosc artystów teatru i animatorów kultury na warszawskiej Pradze)

100%
Rozga M.
Konteksty - Polska Sztuka Ludowa
|
2009
|
vol. 63
|
issue 1-2(284-285)
252-266
EN
The activity of artists recently working in the Praga district comprises a unique cultural phenomenon. The authoress discusses various theatrical groups and is interested predominantly in overlapping artistic and social initiatives. The article shows that the socio-cultural animation conducted in the district is part of a current described as 'the theatre infected with anthropology'.
2

THE WARSAW PRAGA KNOWN AND UNKNOWN (Warszawska Praga, znana i nieznana)

100%
Elsztein P.
Konteksty - Polska Sztuka Ludowa
|
2008
|
vol. 62
|
issue 3-4(282-283)
212-236
EN
The sketch deals with the Warsaw district of Praga, the author's birthplace. In a presentation of less known historical facts from the turn of the nineteenth century he tries to evoke the daily ambiance of a noisy and busy part of town, always in a hurry. In doing so, he cites numerous descriptions by assorted publicists, poets and writers - the chroniclers of Warsaw and especially Praga.
3

A PRAGA BALLADE (Praska Ballada)

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Lojko A.
Konteksty - Polska Sztuka Ludowa
|
2009
|
vol. 63
|
issue 1-2(284-285)
81
EN
The author, a photographer working in the Warsaw district of Praga, discusses the works of Jacek Sielski - a press photographer documenting the life of the district from the 1970s on. 'Just as old love is recalled fondly even if it never had a happy end, so the photographs by Jacek Sielski, in the manner of an old ballad, lead us along the streets and lanes of Praga, producing tears of nostalgia', wrote the author, recalling the long lost world of his youth.
4

STADION BAZAR (Stadion Bazar)

100%
Sulima R.
Konteksty - Polska Sztuka Ludowa
|
2009
|
vol. 63
|
issue 1-2(284-285)
135-149
EN
The Warsaw open-air market in the 'abandoned' Tenth Anniversary Sports Stadium is described as a cognitive figure of essential diagnostic value and not as an ethnographic oddity. According to the accepted interpretation, Stadion Bazar (the Stadium Bazaar) is a figure not of a relic, vanishing after the closure of the almost twenty-years old Europe Fair (Jarmark Europa), but of that which is emerging and anticipated in the form of intensifying trans-cultural processes. Stadion Bazar is a Polish localization of the well-known 'ethno-landscapes' by Arjun Appadurai, a sui generis laboratory of the forms and styles of Polish postmodernity. An important part is played by a recognition of the 'borderland syndrome' (the frontier between the East and the West) and the 'revolutionary' role (in relation to the central systems) performed by an informal and, simultaneously, powerful 'parallel economy' conducted in the open-air stalls of the bazaar. The author analyses the cultural consequences of the presence of Stadion Bazar in a capital city, and its influence on the transformations of the semantics of urban space and the dynamics of the styles of Polish pop-culture and consumption models.
5

WARSZAWSKA PRAGA. A SCATTERED SELF-PORTRAIT (Warszawska Praga. Autoportret rozproszony)

100%
Kuzko K.
Konteksty - Polska Sztuka Ludowa
|
2009
|
vol. 63
|
issue 1-2(284-285)
174-184
EN
The intention of this article is to analyse accounts by artists working in the Praga district and concerning this part of Warsaw. The titular artists ascribe to Praga a number of positive values, including authenticity and a 'conducive ambiance'. The authoress portrays the prime protagonists of the Prague 'colonisation', their relations with the original residents of Praga, the dynamically developing 'Neighbours for neighbours' festival', and a local artistic venue - 'Sklad Butelek'. By referring to the theory expounded by Pierre Bourdieu, A. Chelstowska demonstrates that Praga is becoming part of the game played by artists. She perceives the changes taking place in the district within the context of a global history of the emergence of art quarters in large cities. Moreover, she analyses the myth of the art quarter and Bohemia (her understanding of the myth is the same as Roland Barthes' conception of contemporary mythicality). Finally, the study describes a number of reflections about the value of authenticity and the similarities between the part played in culture by the artist and the ethnologist.
6

THE EAST WARSAW TOWER OF BABEL. 'JARMARK EUROPA', OR WHERE AFRICA MEETS ASIA (Wschodniowarszawska Wieza Babel. Jarmark Europa, czyli tam gdzie Afryka spotyka sie z Azja)

100%
Bruni A.
Konteksty - Polska Sztuka Ludowa
|
2009
|
vol. 63
|
issue 1-2(284-285)
150-159
EN
For several years 'Stadion 10-lecia' (the 10th Anniversary Stadium) in Warsaw was the site of an enormous market ('Jarmark Europa'), with traders from Asia, Africa and East Europe representing different nationalities, languages, religions and customs. The author discusses primarily two groups of the 'protagonists': the Vietnamese and the Africans, and upon the basis of observations and conversations proposes a 'thick description' of the examined phenomenon.
7

THE 'POLICY OF A STROLL'. THE CONSTRUCTION AND EXPERIENCING OF THE URBAN SPACE OF THE WARSAW DISTRICT OF PRAGA ('Polityka przechadzki'. Konstruowanie i doswiadczanie przestrzeni miejskiej warszawskiej)

100%
Jablonska N.
Konteksty - Polska Sztuka Ludowa
|
2009
|
vol. 63
|
issue 1-2(284-285)
226-235
EN
The authoress describes the art projects and undertakings carried out in Praga, as well as their tourist consequences, relevant for the revitalisation of this neglected part of town, additionally known for its ill repute. The text is a contribution to the experiencing and construction of urban space.
8

78 TARGOWA STREET. THE HISTORY OF A PHOTOGRAPHER'S STUDIO (Targowa 78. Historia zakladu fotograficznego)

100%
Sujecki J.
Konteksty - Polska Sztuka Ludowa
|
2008
|
vol. 62
|
issue 3-4(282-283)
250-252
EN
A brief introduction to the history of a photographer's studio, once working in 78 Targowa Street.
9

NUTRITIOUS DIFFERENCE. THE WARSAW DISTRICT OF PRAGA AND A GAME PLAYED IN THE FIELD OF ART (Pozywna innosc. Warszawska Praga i gra w polu sztuki)

100%
Chelstowska A.
Konteksty - Polska Sztuka Ludowa
|
2009
|
vol. 63
|
issue 1-2(284-285)
174-184
EN
The intention of this article is to analyse accounts by artists working in the Praga district and concerning this part of Warsaw. The titular artists ascribe to Praga a number of positive values, including authenticity and a 'conducive ambiance'. The authoress portrays the prime protagonists of the Prague 'colonisation', their relations with the original residents of Praga, the dynamically developing 'Neighbours for neighbours' festival, and a local artistic venue - 'Sklad Butelek'. By referring to the theory expounded by Pierre Bourideu, the authoress demonstrates that Praga is becoming part of the game played by artists. She perceives the changes taking place in the district within the context of a global history of the emergence of art quarters in large cities. Moreover, she analyses the myth of the art quarter and Bohemia (her understanding of the myth is the same as Roland Barthes' conception of contemporary mythicality). Finally, the study describes a number of reflections about the value of authenticity and the similarities between the part played in culture by the artist and the ethnologist.
10

63 TARGOWA STREET (Targowa 63)

100%
Kroh M.
Konteksty - Polska Sztuka Ludowa
|
2008
|
vol. 62
|
issue 3-4(282-283)
268-282
EN
The authoress, who lived in Targowa Street (the district of Praga) for 15 years, from 1948 to 1963, presents the reality of the district from that period as seen by a child and a girl. A confrontation of feelings originating in an intelligentsia home and the reality encountered on a daily basis in her closest surrounding.
11

TRADE AT THE VERY END (Na koniec handel)

100%
Straczek I.
Konteksty - Polska Sztuka Ludowa
|
2009
|
vol. 63
|
issue 1-2(284-285)
160-165
EN
'In the past, the very core of the Stadium was the top tier, where the most attractive commodities were sold, and which produced the urban legends and myths that sustained the daily press. When on 30 September 2007 the top tier was closed, the traders moved to the 'Aeroplane', a sandy square between trams tracks and a bus station. After the announcement of the construction of a National Stadium, only rubbish remained in the terrain facing Waszyngtona Square, and the area along Grochowska and Zieleniecka streets became a dense network of stalls. The outcome assumed an interesting form of high, linked constrictions made out of brown-grey pressed metal and metal sheet, with plastic foil and canvas carefully attached to this skeleton. Every day, this structure offered commodities, which filled assorted gaps and eliminated shortages. (...) The Stadium has already experienced several agonies. Perhaps one should define its death as a process? One thing is certain: no one is capable of halting it'.
12

STADION X - A PLACE THAT NEVER EXISTED. ON PERFORMATIVE PROJECTS WITHIN THE SPACE OF THE 10TH ANNIVERSARY STADIUM (Podroz do Azji)

100%
Warsza J.
Konteksty - Polska Sztuka Ludowa
|
2009
|
vol. 63
|
issue 1-2(284-285)
166-171
EN
Stadion X-lecia (the 10th Anniversary Stadium) was erected in 1955 with the wartime rubble of the destroyed capital. For forty years its purpose was to protect the good name of communism, but paradoxically the best known events from that period was the tragic self-immolation of Ryszard Siwiec in 1968, the papal Mass celebrated in 1983, and the concert given by Stevie Wonder in 1989. In the mid-1980s it ceased fulfilling sports functions, slowly turned into a ruin, and became a post-communist phantom. During the 1990s it was 'enlivened' by the Vietnamese intelligentsia and Russian traders - the pioneers of capitalism, who placed on the top tier of the Stadium camp beds full of commodities. Suddenly, the 'Jarmark Europa' market proved to be the only multi-cultural place in town, a storehouse of biographies, appliances, and history, as well as one of the greatest tourist attractions. A place which theoretically did not exist could be interpreted in numerous, often contradictory, ways: as an Asian suburb, a wild forest, a kingdom of the provisional, controlled chaos and cheap shopping, a declining sports club, a ruin of socialist realistic architecture, an archaeological site suitable for field work conducted by botanists, a seat of Jehovah's Witnesses, and many others. Performative projects within the space of the Stadium and the market emerged in response to the heterogeneous character of the site, its years-long (non-) presence in the middle of a post-communist city, and the invisibility of the Vietnamese minority. A Journey to Asia - an Acoustic Walk in the Vietnamese Sector of the 10th Anniversary Stadium (2006) and six other actions in the 2007/2008 season (Boniek!, A Scene-of-crime Inspection, The Liquidation of 'Jarmark Europa', Radio Stadium Calling, Truncheoning and Schengen) were subjective expeditions made by artists, sportsmen and activists to the reality of the 'already non-existent Stadium, but also indicated its controversial existence. Participation and para-documentary projects (a stroll, a sports match, a spectacle given on a construction site, an exhibition featuring live people) considered questions of memory, degradation, the force of the imagination, ambiguity, and the future or the challenging exotic qualities of the site.
13

PORTRAITS OF PRAGA. ON THE ETHNOGRAPHIC QUALITIES OF CERTAIN PHOTOGRAPHS (Praskie portrety. O etnograficznosci pewnych fotografii)

100%
Dudek D.
Konteksty - Polska Sztuka Ludowa
|
2009
|
vol. 63
|
issue 1-2(284-285)
205-225
EN
The transposition of certain aspects of culture calls for the application of such measures of expression, which possess the power to evoke and reflect a certain ambiguity. The photograph, conceived as a record of culture, is precisely such an instrument, which makes their exploration possible. By acting in this way, it constitutes an interesting source for the anthropologist. The authoress describes photographs by Zelda Klimkowska and Jacek Sielski, whose selection was published in the album 'Praga. Prawa strona Warszawy' (Praga. The Right Bank of Warsaw) as well as works by Krzysztof Mich in the album 'Moje miasto Praga' (My Town of Praga). On the one hand, she tries to solve a question about the essence of the anthropological dimension of the described photographs, while on the other hand she attempts to record the selected narrations to which the analysed photographs refer. These narrations make it possible to examine the world of the described protagonists. Anthropology, whose very core is 'anthropos', is by no means compelled to deal with man as such, a representative of a community or a group. Why can the anthropologist not focus on a person and his unique history? This is the task attempted by the authoress. The recorded histories comprise a certain retrospection and reflection.
14

'NEIGHBOURS FOR NEIGHBOURS' ('Sasiedzi dla sasiadów')

100%
Lojko A.
Konteksty - Polska Sztuka Ludowa
|
2009
|
vol. 63
|
issue 1-2(284-285)
94-105
EN
This text accompanied 'Sasiedzi' (Neighbours), an exhibition of photographs by the author, shown as part of the 'Neighbours for neighbours' show, describing the milieu of artists representing assorted disciplines and working in Praga (especially in 3 Inzynierska Street).
15

THE RÓZYCKI BAZAAR. THE MYTH OF THE MARKETPLACE IN AN ANTHROPOLOGICAL INTERPRETATION (Bazar Rózyckiego)

100%
Sidorek D.
Konteksty - Polska Sztuka Ludowa
|
2009
|
vol. 63
|
issue 1-2(284-285)
106-130
EN
A study about one of the oldest working open air markets in Warsaw, whose years-long existence exerted a certain impact on its character and, first and foremost, on its conspicuous mythologisation. The authoress tried to characterise the specificity of the site and the factors creating the myth, and to describe the life of the bazaar (commerce, gambling) upon the basis of the reminiscences of the residents and habitués of the Praga district as well as the stall keepers. She also embarked upon an attempt at tackling the question of the 'Warsaw quality' preserved especially in the market, and asks about the reasons for narrowing it down to the described quarter. Finally, the text considers the impact of the systemic transformation upon the future of marketplaces (including trade on the Stadion Dziesieciolecia (the 10th Anniversary Stadium).
16

RESERVATION PRAGA (Rezerwat Praga)

100%
Popowski S.
Konteksty - Polska Sztuka Ludowa
|
2009
|
vol. 63
|
issue 1-2(284-285)
60-69
EN
The author discusses the myth of the Praga district in Warsaw, and mentions fashionable publications and photographic albums promoting a nostalgic approach to this part of town. With this often natve and simplifying description as his point of departure he goes on to propose a narration about the places and events comprising a contemporary image of Praga, based on his own biography. The author does not evade nostalgia and enchantment with Praga, but at the same time he robs the portrait of all illusions of romantic idealisations. The text depicts the life of the bazaars, drinking dens, and streets of old right-bank Warsaw, together with its brutality, poverty and polluted rawness; nonetheless, the author remains capable of delighting in the beauty of a world that is no more.
17

SEEKING A HOME IN A CLUB. TAMING PRAGA IN THE CASE OF THE SATURATOR CLUB (Klub Saturator. W poszukiwaniu domu w klubie. Oswajanie Pragi)

100%
Sadowski J.
Konteksty - Polska Sztuka Ludowa
|
2009
|
vol. 63
|
issue 1-2(284-285)
236-251
EN
The study was written upon the basis of material collected in the course of studies conducted in the Praga district in 2006-2008 as part of the Urban Anthropology: The Myth of Praga. Contemporary Praga. Artists in Praga laboratory group supervised by Dr Zbigniew Benedyktowicz. The presented monograph is a portrait of the Saturator Club - one of those new places in Praga which testify to the changes taking place in the district as well as one of the most interesting venues of its sort in Warsaw. The author - a young anthropologist - focused his attention on the fact that Saturator attracts people representing an above-the-average openness, tolerance and interest in others. The club itself is provocative and controversial, frequently difficult to bear, but many of its clients seem to feel best here. The author tried to view Saturator from assorted perspectives: as a club, a site and an organisation. In doing so he wondered what makes the club exceptional and considered the impact it has on the perception of Praga. The collected material shows a willingness to flee the general current of club culture and clubbing patterns, and the need to feel at home. This observation comprises the prime thesis of the study, whose author, by basing himself on anthropological theories and publications, attempted to place the examined phenomena within a wider context and propose their interpretation.
18

'THE CHARMING FORM OF SQUATTING' ('Przewrotna forma squociarstwa': zapis rozmowy przeprowadzonej z dyrektorami czterech praskich teatrów: ...'Teatr Academia', ... 'Komuna Otwock', ...'Teatr Remus', ...'Studium Teatralne')

100%
Rozalski M.
Konteksty - Polska Sztuka Ludowa
|
2009
|
vol. 63
|
issue 1-2(284-285)
297-303
EN
A record of a conversation conducted with the directors of four Praga theatres: Roman Wozniak - The Academia Theatre, Alina Galazka - The Otwock Commune, Katarzyna Kazimierczuk - The Remus Theatre, and Piotr Borowski and Gianna Bienvenuto - The Theatrical Study.
19

'JARMARK EUROPA' - A CONVERSATION ('Jarmatrk Europa' - zapis rozmowy)

100%
Paradowska J., Davies N., Olszanski T., Paczkowski A.
Konteksty - Polska Sztuka Ludowa
|
2009
|
vol. 63
|
issue 1-2(284-285)
131-134
EN
A registered discussion about Stadion X-lecia (the 10th Anniversary Stadium), the 'Jarmark Europa' market and a symbolic boundary between the East and the West, held on 12 December 2007 at the Powszechny Theatre in Warsaw.
20

'ON THE OTHER SIDE OF THE VISTULA' ('Z tamtej strony Wisly')

100%
Rozalski M.
Konteksty - Polska Sztuka Ludowa
|
2009
|
vol. 63
|
issue 1-2(284-285)
334-337
EN
The author analyses the myth of Warsaw's artistic district of Praga. He compares the run of the mill opinions disseminated in the media with the mundane reality of the local art studios. Praga has been proclaimed an artistic quarter comparable with those functioning in, i. a. West Berlin. It turns out that the everyday life of the town house in Lubelska Street and other similar ones in Praga requires much effort and multiple organisational solutions, making it possible for this emergent artistic quarter to survive and develop.
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