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Käthe Kollwitz and Otto Nagel: Two Exhibitions of “Progressive Artists” at the Zachęta in the Framework of Cultural Cooperation with the German Democratic Republic

100%
Welbel S.
Ikonotheka
|
2016
|
vol. 26
111-136
EN
The essay focuses on a discussion of two exhibitions hosted at the Zachęta Central Bureau of Art Exhibitions in Warsaw that were organised in collaboration with the Committee for Cultural Cooperation with Foreign Countries. This Committee, which existed in the years 1950–1956, was an offi cial agency responsible for Poland’s cultural relations with foreign countries. Its programme refl ected the state policy and focused on cooperation with countries of the Eastern bloc. The events discussed in the essay were organised as part of the cooperation with the German Democratic Republic; they were solo exhibitions of the work of two German artists, Käthe Kollwitz in 1951 and Otto Nagel in 1955. They were linked by the person of the painter Otto Nagel, who, being the guardian of Kollwitz’s legacy, acted as the commissioner of her posthumous exhibition. The essay contains a critical analysis of the texts published in the catalogues and of other printed matter associated with the exhibitions as well as an analysis of related press reviews.
2
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The Transition to Art: Poster Exhibitions at the Outset of the Poster’s Institutionalisation

100%
Matul K.
Ikonotheka
|
2016
|
vol. 26
239-251
EN
What happened when the poster, originally an advertising medium, became an object of appreciation in the museums of Communist Poland? What criteria did it have to comply with in order to be accepted into a temple of art, a museum? The article analyses poster exhibitions organised at the Zachęta Central Bureau of Art Exhibitions in the 1950s. During this period, the interest of museum curators, critics and art historians in this medium must be envisioned as always being underpinned by political and propagandist interests; the transition of the poster to the status of a work of art is analysed here in this double, i.e. cultural and political, perspective.
3
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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

100%
Zychowicz K.
Ikonotheka
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2016
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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.
4
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The Post-War History of Pictorialism as Exemplifi ed by Exhibitions at the Zachęta and the Kordegarda (1953–1970)

88%
Kobylińska-Bunsch W.
Ikonotheka
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2016
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vol. 26
193-212
EN
Existing academic works examining Polish artistic photography in the 1950s and 1960s are most often based on an analysis of the debates taking place within professional circles and the views of specifi c artists as expressed in the specialist periodicals that were published at that time. Such diagnoses are frequently based on a single and very particular source, namely the monthly magazine Fotografi a. The pages of this periodical project an image of an artistic society enjoying a relatively high degree of autonomy. The present study represents a different research approach, inspired e.g. by the works of Bruce Altshuler and Kenneth Luckhurst, who postulated the re-orientation of art history away from biographical works focused on the individual subject towards a discipline understood as the history of exhibitions. Following the course set by these scholars, one may come to the conclusion that an analysis of the place which photography held in the offi cial exhibition strategy implemented in the 1950s and 1960s in the prestigious Warsaw galleries of the Kordegarda and the Central Bureau of Art Exhibitions (CBWA) may provide an interesting and new contribution to the current state of research. A study based on an examination of the history of exhibitions may help to answer the question whether all forms of photography were equally approved by the authorities at a time when the rules of the cultural policy of the People’s Republic of Poland became more lenient. It also makes it possible to evaluate the degree to which autonomy and heterogeneity (features which may be associated with the magazine Fotografi a) were legitimised through presentation in a state-owned, politicised public space. Conducted from the perspective of exhibition history, the analysis presented herein makes an important shift in the signifi cance of Pictorialism – from a topic on the margins of academic interest to a harbinger of modernity, and thus a central subject in the discourse on Polish photography in the post-war period. Rather surprisingly, it appears to be the slogan that legitimised the more innovative and modern forms of photographic art in the offi cial contexts of the day.
5
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Towards Socialist Architecture: Architectural Exhibitions at the Zachęta in the Years 1950–1955

88%
Czapelski M.
Ikonotheka
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2016
|
vol. 26
31-61
EN
Exhibitions of contemporary designs accompanied by their public criticism and assessment by a commission were meant to be a tool in implementing Socrealism in Polish architecture – a process which had been announced in 1949. The First National Exposition of Architectural Design (OPA, 22 January – 28 February 1951), housed in the Zachęta – National Gallery of Art building in Warsaw, was one of the most widely advertised events of this kind. Its discussion exposes the peculiar atmosphere of these events, the strategies of persuasion and instruction as employed by the organisers in relation to ideological and aesthetic issues, and the reactions of the architects participating in the debates, who generally tried to avoid the aggressive tone of the polemic. In addition, the primacy of technocratic economics, which was later to become one of the key elements of policies concerning the construction industry in the People’s Republic of Poland, was fi rst revealed at the OPA, if only still in the background. The exhibition at the Zachęta, treated as a production meeting in progress, was to be a preparatory stage for a sweeping exhibition that would present an all-inclusive vision of both historical and contemporary Polish architecture. Such an event accorded with the universal schemata of rituals of social life structured in keeping in line with Stalinism, but the path to the First General Exhibition of Architecture in the People’s Republic of Poland (PWA, 8 March – 22 April 1953) turned out not to be easy. Problems concerning its fi nancing and venue, as well as the lack of political support, resulted in its opening, in the Zachęta building, soon after Stalin’s death. In general, the exhibition’s arrangement followed regional divisions, i.e. both the historical and contemporary material were arranged according to region. An analysis of this plan reveals that it was profoundly ill-suited to the realities of producing architecture in the state-owned design offi ces when the emphasis on typicality was increasing. The initial stage of the critique of Socrealism is also inseparably linked with the PWA; the essay appraising the exhibited designs as delivered at the First National Council of Architects in April 1953 must be considered the fi rst text of this kind. Both the OPA and the PWA are, above all, reminders of the practice of institutional coercion and of the ideological approach to history that were typical of Stalinism. At the same time, however, it should not be forgotten that the exhibition of 1953 resulted in the publication of a series of valuable publications concerning history and art, while the Regional Architectural Shows, instituted in order to select designs to be exhibited at the PWA, evolved into recurring events which in some centres are still organised today.
6
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WSZYSTKO JEST KOLEKCJĄ. OSIEKI – KŁOPOTLIWA SUKCESJA?

51%
LEŚNIEWSKA A. M.
Sztuka i Dokumentacja
|
2018
|
issue 18
9-13
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