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Zbylut Grzywacz. Sceny z KORridy

100%
Cembrzyńska P.
Polska 1944/45-1989. Studia i Materiały
|
2023
|
issue 20
175-200
EN
The article discusses the iconographic and ideological message of Zbylut Grzywacz’s paintings from the Beef Cycle, painted in the second half of the 1970s. The series is shown in the context of the supply problems in the Polish People’s Republic, the events of June ‘76 and the post-Yalta order of Europe. The question of the rudiments of actual historical events presented in Grzywacz’s work is combined with inquiries into the role of the painter’s dialogue with the traditions of art and tauromachy.
PL
Artykuł omawia ikonograficzny i ideowy przekaz malowanych w drugiej połowie lat siedemdziesiątych ubiegłego wieku obrazów z cyklu Wołowy Zbyluta Grzywacza. Serię pokazano w kontekście peerelowskich problemów aprowizacyjnych, wydarzeń Czerwca ’76 oraz pojałtańskiego porządku podziału Europy. Zagadnienie zawartych w dziele Grzywacza rudymentów rzeczywistych wydarzeń historycznych łączy się z dociekaniami dotyczącymi roli dialogu malarza z tradycją sztuki oraz tradycją tauromachii.
2
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Pomnik chłopa – przystanki sensu, stacje rozpadu: Rozważania o pisaniu historii

100%
Cembrzyńska P.
Didaskalia. Gazeta Teatralna
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2021
|
issue 165
277-301
EN
The article deals with the relationship between the writing of history and the creation of allegories. The question of the contextual and creative nature of interpretation/organisation of meaning is placed at the centre of consideration. The starting point is the Albrecht Dürer’s Monument to Commemorate the Victory over the Rebellious Peasants woodcut – an example of an interpretative puzzle showing the discursive entanglements of interpreters. Through contemporary artistic references to the Dürer’s work, the phenomenon of a turn towards folk history is also presented. The analysis of the Daniel Rycharski’s mobile Pomnik Chłopa (Monument to a Peasant), inspired by the Dürer’s woodcut, which travels across Poland, aims at bringing closer the mechanism of creating connotational shifts and reflecting on the interpenetration and divergence of various ways of thinking about peasant history. Melancholy, to which Dürer and Rycharski refer in their works, is shown as a figure of the desire for meaning and the disintegration of meaning.
3

Fotografie wroga

32%
Cembrzyńska P.
Res Publica Nowa
|
2013
|
issue 4
48-55
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