View allAll Photos Tagged Strzeminski,
The "Sundial" is located in the eastern part of the park, at Nowomiejska Street.
It was created in 1975 and shows a fragment of the solar system. The creator of the clock is Andrzej Jocz - Polish sculptor, academic teacher at the Academy of Fine Arts. Władysław Strzemiński in Łódź and at the Łódź University of Technology.
My next trip through the city in search of unusual light and color.
The creator of the work entitled "The Face of Beauty", created on a tenement at Wschodnia Street, is Paulina Nawrot, a graduate of the Academy of Fine Arts. Władysław Strzemiński in Łódź.
Park Staromiejski in Lodz.
"The head of John the Baptist" is a realization within the framework of the Uniqa Art Lodz project.The sculpture is made of epoxy resin dyed with carbon dust.The sculptor is Szymon Ryczek - a graduate of the Faculty of Graphic Arts and Painting of the Władysław Strzemiński Academy of Fine Arts in Lodz.
"Głowa Jana Chrzciciela” to realizacja w ramach projektu Uniqa Art Łódź. Rzeźba jest wykonana z żywicy epoksydowej zabarwionej pyłem węglowym. Autorem rzeźby jest Szymon Ryczek - absolwent Wydziału Grafiki i Malarstwa Akademii Sztuk Pięknych im. Władysława Strzemińskiego w Łodzi.
Władysław Strzemiński (1893–1952), Chair, ca. 1932.
At an exhibition in 2019 in Kunstmuseum The Hague NL.
More of Polish constructivists at:
johanphoto.blogspot.com/2020/05/een-poolse-avant-garde-co...
"Remanufacture/Herring. A Tribute to Władysław Strzemiński" – painter, journalist, and pioneer of the constructivist avant-garde (1920-1930).
This work is by Italian street artist Opiemme.
The artist superimposed the alphabet created by Władysław Strzemiński onto the shape of a socialist realist primary school building in Łódź. She used the font as a decorative typographic element, appearing in vertical stripes on the building's facade. Łódź, Poland.
Thank you all for comments & faves :)
Marét Ánne Sara
++++++ FROM WIKIPEDIA +++++++
documenta 14 is the fourteenth edition of the art exhibition documenta and took place in 2017 in both Kassel, Germany, its traditional home, and Athens, Greece. It was held first in Athens from 8 April till 16 July,[1] and in Kassel from 10 June till 17 September 2017. As part of the concept of the artistic director Adam Szymczyk, the exhibition is proceeding in both countries. Most featured artists are working at both locations.[2]
The documenta is a series of contemporary art exhibitions. It takes place every five years (originally every four years) and lasts 100 days each; It is therefore also referred to as a museum of 100 days. The first documenta was organized in 1955 and went back to the initiative of Arnold Bode. The location of the Documenta is normally Kassel.
Participants
A Abounaddara, Akinbode Akinbiyi, Nevin Aladağ, Daniel García Andújar, Danai Anesiadou, Andreas Angelidakis, Aristide Antonas, Rasheed Araeen, Michel Auder
B Alexandra Bachzetsis, Nairy Baghramian, Sammy Baloji, Arben Basha, Rebecca Belmore, Sokol Beqiri, Roger Bernat, Bili Bidjocka, Llambi Blido, Ross Birrell, Nomin Bold, Pavel Brăila, Geta Brătescu
C Miriam Cahn, María Magdalena Campos Pons and Neil Leonard, Vija Celmins, Banu Cennetoğlu, Panos Charalambous, Nikhil Chopra, Ciudad Abierta, Marie Cool Fabio Balducci
D Anna Daučíková, Moyra Davey, Agnes Denes, Yael Davids, Manthia Diawara
E Maria Eichhorn, Hans Eijkelboom, Niño de Elche, Bonita Ely, Theo Eshetu
F Aboubakar Fofana, Peter Friedl
G Guillermo Galindo, Regina José Galindo, Israel Galván, Pélagie Gbaguidi, Apostolos Georgiou, Yervant Gianikian and Angela Ricci Lucchi, Gauri Gill, Marina Gioti, Beatriz González, Douglas Gordon
H Hans Haacke, Hiwa K, Constantinos Hadzinikolaou, Irena Haiduk, Ganesh Haloi, Anna Halprin, Dale Harding, David Harding, Maria Hassabi, Edi Hila, Susan Hiller, Olaf Holzapfel, Gordon Hookey
I iQhiya Collective, Sanja Iveković
K Amar Kanwar, Romuald Karmakar, Andreas Ragnar Kassapis, Anton Kats, Bouchra Khalili, Daniel Knorr
L Katalin Ladik, David Lamelas, Rick Lowe, Alvin Lucier, Gym Lumbera
M Ibrahim Mahama, Narimane Mari, Hans Ragnar Mathisen/KeviselieMata Aho Collective (with Bridget Reweti, Sarah Hudson, Terri Te Tau, Erena Baker), Mattin with Dafni Krazoudi, Danai Liodaki, Ioannis Sarris and Eleni Zervou, Jonas Mekas, Angela Melitopoulos, Phia Ménard, Lala Meredith-Vula, Gernot Minke, Marta Minujín, Naeem Mohaiemen, Danny Matthys
N Joar Nango, Mari Narimane, Otobong Nkanga, Kettly Noël, Hasan Nallbani, Rosalind Nashashibi and Nashashibi/Skaer, Negros Tou Moria (Kevin Zans Ansong)
O Emeka Ogboh, Olu Oguibe, Rainer Oldendorf, Pauline Oliveros, Joaquín Orellana Mejía
P Christos Papoulias, Véréna Paravel and Lucien Castaing-Taylor, Dan Peterman, Angelo Plessas, Nathan Pohio, William Pope.L, Postcommodity, Prinz Gholam
Q R. H. Quaytman
R Oliver Ressler, Pedro G. Romero, Ben Russell, Abel Rodríguez, Tracey Rose, Roee Rosen, Lala Rukh, Arin Rungjang
S Georgia Sagri, Khvay Samnang, Máret Ánne Sara, Mounira Al Solh, Vivian Suter, Ashley Hans Scheirl, David Schutter, Algirdas Šeškus, Nilima Sheikh, Ahlam Shibli, Zef Shoshi, So Crates, Annie Sprinkle and Beth Stephens, Eva Stefani, K. G. Subramanyan, El Hadji Sy, Sámi Artist Group (Britta Marakatt-Labba, Keviselie/Hans Ragnar Mathisen, Synnøve Persen)
T Ariuntugs Tserenpil, Terre Thaemlitz, Kidlat Tahimik
U Piotr Uklański
V Cecilia Vicuña, Annie Vigier & Franck Apertet (les gens d’Uterpan), Antonio Vega Macotela
W Wang Bing, Lois Weinberger, Elisabeth Wild, Stanley Whitney, Ruth Wolf-Rehfeldt, Ulrich Wüst
X Zafos Xagoraris
Z Sergio Zevallos, Mary Zygouri, Artur Żmijewski[3]
Deceased artists or defunct groups whose works will be included
A Stephen Antonakos (1926–2013), Arseny Avraamov (1886–1944)
B Étienne Baudet (ca. 1638–1711), Franz Boas (1858–1942), Lorenza Böttner (1959–1994), Lucius Burckhardt (1925–2003) & Annemarie Burckhardt (1930–2012), Abdurrahim Buza (1905–1986)
C Vlassis Caniaris (1928–2011), Sotir Capo (1934–2012), Cornelius Cardew (1936–1981), Ulises Carrión (1941–1989), Agim Çavdarbasha (1944–1999), Jani Christou (1926–1970), Chryssa (1933–2013), Andre du Colombier (1952–2003)
D Bia Davou (1932–1996), Ioannis Despotopoulos (1903–1992), Beau Dick (1955–2017), Thomas Dick (1877–1927)
E Maria Ender (1897–1942)
F Forough Farrokhzad (1935–1967)
G Tomislav Gotovac (1937–2010)
H Nikos Hadjikyriakos-Ghikas (1906–1994), Oskar Hansen (1922–2005), Sedje Hemon (1923–2011)
K Tshibumba Kanda Matulu (1947–1981 disappeared), Kel Kodheli (1918–2006), Spiro Kristo (1936–2011), KSYME-CMRC (founded 1979)
L Maria Lai (1919–2013), George Lappas (1950–2016)
M Ernest Mancoba (1904–2002), Oscar Masotta (1930–1979), Pandi Mele (1939–2015), Benode Behari Mukherjee (1904–1980)
N Krzysztof Niemczyk (1938–1994)
P Benjamin Patterson (1934–2016), Ivan Peries (1921–1988), David Perlov (1930–2003), André Pierre (1915–2005), Dimitris Pikionis (1887–1968),
R Anne Charlotte Robertson (1949–2012), Erna Rosenstein (1913–2004)
S Scratch Orchestra (1969–1974), Allan Sekula (1951–2013), Foto Stamo (1916–1989), Gani Strazimiri (1915–1993), Władysław Strzemiński (1893–1952), Alina Szapocznikow (1926–1973)
T Yannis Tsarouchis (1910–1989)
W Lionel Wendt (1900–1944), Basil Wright (1907–1987), Andrzej Wróblewski (1927–1957)
X Iannis Xenakis (1922–2001)
Z Androniqi Zengo Antoniu (1913–2000), Pierre Zucca (1943–1995)[4]
Die documenta 14 war die 14. Ausgabe der documenta, einer der weltweit bedeutendsten Reihen von Ausstellungen für zeitgenössische Kunst. Die documenta 14 fand in Kassel vom 10. Juni bis zum 17. September 2017 sowie in Athen als zweitem, konzeptuell gleichberechtigten Standort vom 8. April bis zum 16. Juli 2017 statt. Dabei wurden Künstler eingeladen, an beiden Orten zu arbeiten.[1]
Vorplanungen
Geschäftsführung
Der Aufsichtsrat der documenta hatte Annette Kulenkampff im April 2013 – als Nachfolgerin für den in Ruhestand gehenden Bernd Leifeld – zur Geschäftsführerin der documenta und Museum Fridericianum gGmbH bestellt. Sie trat ihre Position im Juli 2014 an und verantwortete seither die Durchführung sowie den Etat der Ausstellung. Kulenkampff war seit 1997 als geschäftsführende Verlegerin im Hatje Cantz Verlag tätig und dort auch für die seit 1992 erscheinenden Kataloge zu den Ausstellungen documenta 9, documenta 10, documenta 11 und documenta 13 zuständig.[2] Im April 2013 wurde die Zusammensetzung der Findungskommission bekanntgegeben.[3] Kulenkampff beendete ihre Tätigkeit zum 1. Juni 2018.[4]
Findungskommission
Bis November 2013 hatte die achtköpfige Findungskommission den Auftrag, einen Vorschlag für die künstlerische Leitung der kommenden documenta zur Vorlage beim Aufsichtsrat zu erarbeiten. Die Findungskommission bestand aus:
Chris Dercon – Direktor der Tate Gallery of Modern Art, London
Suzanne Cotter – Direktorin des Museu de Arte Contemporânea de Serralves, Porto
Joanna Mytkowska – Direktorin des Museum für Moderne Kunst, Warschau
Kim Hong-hee – Direktorin des Seoul Museum of Art, Seoul
Koyo Kouoh – Künstlerische Direktorin der Raw Material Company, Dakar
Susanne Gaensheimer – Direktorin des Museums für Moderne Kunst, Frankfurt/Main
Osvaldo Sánchez – Direktor von inSite05, Mexiko-Stadt
Matthias Mühling – Kurator der Galerie im Lenbachhaus, München
In einer Pressekonferenz am 22. November 2013 in Kassel wurde der aus Polen stammende Adam Szymczyk, damals Direktor der Kunsthalle Basel, als künstlerischer Leiter der Documenta 14 ab Anfang 2014 bekannt gegeben.[5]
Konzept
Adam Szymczyk, künstlerischer Leiter der Documenta 14
Am 6. Oktober 2014 stellte Adam Szymczyk offiziell das documenta-Konzept in der Kunsthochschule Kassel vor. Eine Besonderheit dieses Konzepts war, dass über Kassel hinaus Athen als zweiter gleichberechtigter Standort ausgewählt wurde. Szymczyk erklärte seine Entscheidung damit, dass es Zeit für einen Blickwechsel und eine völlige Transformation der documenta durch einen Ortswechsel sei. Die ausstellenden Künstler wurden eingeladen, sowohl in Kassel als auch in Athen tätig zu sein. Der Arbeitstitel für die documenta 14 lautete Von Athen lernen. Szymczyk sehe in Athen das vom „erniedrigenden Stigma der Krise“ gezeichnete Opfer einer „neokolonialen“ und „neoliberalen“ Haltung, kommentierte Philipp Meier in der Neuen Zürcher Zeitung.[6]
Zudem stellte Szymczyk sein Team in der Kunsthochschule vor. Diese Kuratoren und Publizisten unterstützten Szymczyk: Pierre Bal-Blanc (Kurator und Direktor des Contemporary Art Center in Brétigny), Marina Fokidis (Initiatorin und künstlerische Leiterin der Kunsthalle Athena), Hendrik Folkerts (Ex-Kurator am Stedelijk Museum in Amsterdam), Henriette Gallus (Leiterin der Kommunikation d14, war Pressesprecherin der documenta 13, Mitglied des Aufsichtsrats Bergen Assembly, Norwegen), Annie-Claire Geisinger (zuständig für Öffentlichkeitsarbeit der George Economou Collection in Athen), Quinn Latimer (amerikanische Autorin und Kritikerin), Andrea Linnenkohl (Assistentin Szymczyks, war Kuratorin im Kasseler Fridericianum), Hila Peleg (Kuratorin und Filmemacherin), Christoph Platz (Leiter der Ausstellungsabteilung, Kunsthistoriker), Dieter Roelstraete (Senior Curator am Museum of Contemporary Art in Chicago), Fivos Sakalis (Journalist und Kommunikationsberater), Katrin Sauerländer (Kunsthistorikerin), Monika Szewcyzk (Kuratorin), Katerina Tselou (Kuratorin und Koordinatorin des kuratorischen Teams der 4. Athens Biennale 2013), Bonaventure Soh Bejeng Ndikung (Curator-at-Large für die documenta 14, Leiter von SAVVY Contemporary) und Natasha Ginwala (Kuratorische Beraterin der documenta 14).[7]
Das Konzept, die documenta neben Kassel auch in Athen stattfinden zu lassen, führte zu Ängsten in der Region Kassel, da man fürchtete, Bedeutung einzubüßen. So lehnten die Kasseler Tageszeitung HNA, die lokale CDU und der Vorsitzende des Verbands der City-Kaufleute in Kassel das Konzept des polnischen Kurators entschieden ab.[8]
Info-Container der Documenta auf dem Friedrichsplatz
Erstmals wurde auf ein striktes Corporate Design verzichtet, stattdessen entwarfen vier Teams das visuelle Erscheinungsbild aus vollkommen heterogenen Elementen.[9]
Website und Katalog der documenta 14: Die Schweizer Laurenz Brunner und Julia Born aus Berlin
documenta 14 Reader und das Public Paper: Ludovic Balland Typography Cabinet aus Basel
Erscheinungsbild mit Leitsystem in Kassel und das Magazin »South as a State of Mind«: Mevis & Van Deursen aus Amsterdam
Erscheinungsbild mit Leitsystem in Athen und zusätzliche grafische Elemente: VIER5 aus Paris
In Athen wurde im April eröffnet, in Kassel erfolgte die Eröffnung am 10. Juni 2017, an beiden Standorten dauerte die Ausstellung traditionell je 100 Tage. Zu beiden Eröffnungen waren der Bundespräsident Frank-Walter Steinmeier und der griechische Präsident Prokopis Pavlopoulos anwesend. Für die Dauer der Überschneidung der Ausstellungsorte bot Aegean Airlines als Sponsor eine Verbindung zwischen dem Flughafen Kassel-Calden und dem Athener Flughafen an.
Kritik an Konzept und Umsetzung
In der Zeit der documenta fand in Athen die Athen Biennale parallel statt. Das Programm der seit 2007 stattfindenden Biennale war als Gegenentwurf zur deutschen Kunstschau angelegt. Viele griechische Künstler stellten in Frage, dass Deutsche ihnen erklären könnten, wer sie seien. Die documenta wende sich vor allem an ausländische Touristen und nicht an die Bewohner Athens. Der Athener Künstler Poka-Yio sagte, "diese Ausstellung hätte genauso gut in Zürich, in Basel oder sonst wo stattfinden können"[10].
Der Regisseur Alexis Alatsis wies darauf hin, dass zu spät in Athen für die documenta geworben wurde und der Unterschied zu anderen kulturellen Events nicht genügend herausgestellt worden sei. Auch sei die Strategie, die Ausstellung an vielen dezentralen Orten auszurichten, gescheitert. Athen sei nicht mit Kassel vergleichbar[11].
Vermittlungsprogramm / Education program – Spaziergänge
Das Fridericianum. Der Spruch „Museum Fridericianum“ wurde neu gestaltet von Banu Cennetoğlu
Im Bereich der Kunstvermittlung, dem Education program, wurden erstmals sogenannte Spaziergänge angeboten. Spaziergänge sind Führungen in den Ausstellungsorten und zur documenta-Kunst. Ein Ansatz im Konzept der Spaziergänge der documenta 14 ging auf die Promenadologie (Spaziergangswissenschaft) von Lucius Burckhardt zurück. So wurden die Spaziergänge von der Abteilung education program wie folgt beschrieben: „Die Wege, Routen und Parcours der Besucher_innen kreuzen und verflechten sich, wenn sie sich auf die Spuren von Annemarie und Lucius Burckhardt und ihrer Methode der Spaziergangswissenschaften begeben. Ihre unkonventionelle Praxis und Gedanken zur Stadt- und Landschaftsplanung in Kassel waren ein Ausgangspunkt, um über das Gehen nachzudenken. Bei einem Spaziergang mit einem Mitglied des documenta 14 Chors können die Besucher ihre eigenen Perspektiven einbringen, hinterfragen und miteinander ins Gespräch kommen während sie die Ausstellung entdecken und enträtseln.“ Die Spaziergänge wurden von 160 eigens dafür ausgebildeten Menschen zwischen 18 und 80 Jahren, die als Mitglied des Chors oder auch Choristen bezeichnet wurden, durchgeführt. Die Aufgabe des Chors war es, während des Ausstellungs-Spazierganges durch das gemeinsame Anschauen und Erfahren der Arbeiten der documenta 14 – Dialoge, Diskussionen und Debatten anzustoßen. Historisch bot der Chor in der griechischen Tragödie eine Vielfalt von Hintergrundinformationen an, um dem Publikum dabei zu helfen, der Aufführung zu folgen. Im Gegensatz zum historischen griechischen Chor sollten die Choristen der documenta 14 die Teilnehmer der Spaziergänge dazu anregen, eine aktive Rolle im gemeinsamen kritischen Denken über die Kunst der documenta einzunehmen, Fragen anzusprechen und dabei den jeweiligen Kontext der documenta 14 einzubeziehen.
Es gab vier Schwerpunkte, die bei den Spaziergängen angeboten wurden, welche in unmittelbarem Zusammenhang mit den jeweiligen Ausstellungsorten standen: „Fridericianum“, „documenta Halle und Friedrichsplatz“, „Alte Hauptpost und Gottschalk-Halle“ und „Neue Galerie zum Palais Bellevue“.
Finanzierung
Der Gesamtetat war anfangs auf 37 Millionen Euro ausgelegt, wobei auf die Stadt Kassel und das Land Hessen jeweils 7 Millionen Euro und die Kulturstiftung des Bundes 4,5 Millionen Euro entfielen. Die verbleibenden 18,5 Millionen sollte die Ausstellung selbst durch Eintrittsgelder und Sponsorenzahlungen erwirtschaften. Im August 2017 meldete die Geschäftsführung dem Aufsichtsrat der gGmbH drohende „finanzielle Engpässe“, gleichzeitig wurde ein sich abzeichnender Fehlbetrag von 7 Millionen Euro prognostiziert, daher übernahmen die Stadt Kassel und das Land Hessen als Gesellschafter der documenta gGmbH Bürgschaften für Darlehen in gleicher Höhe.[12] Wirtschaftsprüfer wurden mit einer Sonderprüfung beauftragt.[13] Medienberichten zufolge soll insbesondere das Konzept mit zwei Standorten wegen hoher Kosten für Reisen, Transporte und Kühlung der Ausstellungsorte zum Fehlbetrag geführt haben.[14] Die drohende Insolvenz des Unternehmens wurde abgewendet, der Verbleib von 5,4 Millionen Euro blieb jedoch ungeklärt. Die Staatsanwaltschaft Kassel nahm Anfang 2018 Ermittlungen gegen vier Verantwortliche in Aufsichtsrat und Geschäftsführung der Kunstausstellung wegen Veruntreuung auf.[15] Anfang August 2018 verkündete die Staatsanwaltschaft die Einstellung des Verfahrens. Eine Klärung zum Verbleib des Millionenbetrags ist weiter offen.[16]
Die Ausstellung in Kassel wurde von 891.500 Personen besucht und die Ausstellung in Athen zählte 339.000 Besuche.[17] In Athen wurden Besucher, die mehrere Ausstellungsorte ansahen, mehrfach gezählt.[18] Die documenta 13 hatte 905.000 Besucher, davon 860.000 in Kassel.[17] Laut dem Veranstalter war die documenta 14 die meistbesuchte Ausstellung zeitgenössischer Kunst aller Zeiten[19] und die Ausstellung in Athen die meistbesuchte in der Geschichte Griechenlands.[20] In Athen wurden keine eigenen Eintrittsgelder erhoben. Der Zugang war entweder frei oder die Einnahmen gingen an die jeweiligen örtlichen Institutionen.[18]
Theo van Doesburg (1883-1931) - Counter-composition XV (1925). Shown at the temporary exhibition "Kobro and Strzemiński. Art in Turbulent Times" at the Moderna Museet, Malmö, Sweden, summer 2018. If the picture reminds you of the work of Piet Mondrian (1872-1944) you could be forgiven. Theo and Piet were friends and co-founders of the art movement De Stijl (1917). But van Doesburg was less fundamentalist than Mondrian, allowing himself to use diagonal lines, which Mondrian thought were too emotional.
"Nude", oil on canvas, 61.5 x 50 cm, private collection
Born in Zdolbunowo in Wolhynia in 1922. In 1944-45 Fijalkowski was deported to Königsberg (presently Kaliningrad), where he was pressed into forced labor. It was during Poland's occupation, a particularly difficult time in Fijalkowski's life, that he undertook his first creative explorations as an artist. These efforts were entirely independent, unguided by anyone. He did not find time for systematic study in painting until after the war. Between 1946 and 1951 he attended the State Higher School of the Fine Arts in Lodz, where he was a student of Wladyslaw Strzeminski and Stefan Wegner, though he had Ludwik Tyrowicz as his thesis promoter. From among his teachers, Fijalkowski most readily names Strzeminski as an influence, perhaps because he later worked under him as an assistant (the artist taught at his alma mater from 1947-1993, becoming a full professor in 1983). He was an important presence within the group of educators who shaped the school in Lodz (known today as the Academy of Fine Arts). He also guest lectured for brief periods at a series of foreign art schools, among them the schools in Mons (1978, 1982) and Marburg (1990). He taught classes at Geissen University throughout the 1989/90 academic year.
Fijalkowski began his career as an independent artist by rebelling against his master, creating works that possess a clear link to those of the Impressionists. He made an effort to delineate his own, individual creative path by taking a clear position towards tradition and the achievements of the masters, particularly Strzeminski. Towards the end of the 1950s he proceeded along a course typical of Polish painters fascinated with Informel, taking an interest in the symbolic meanings inherent in abstract expressive means. He believed that "unreal" shapes are justified in paintings when they are saturated with meaning. Years later, in writing a brief curriculum vitae, the artist added that it was approximately at this time that "...apart from interpreting reality within an esoteric dimension, there appeared [in his paintings] the need to organize the esoteric meanings inherent in form." Fijalkowski admits that the shape of his art was to a significant degree determined by the writings of Kandinsky (whose "Über das Geistige in der Kunst" Fijalkowski translated and published in Poland) and Mondrian, and by his interest in Surrealism. These two branches of 20th century art unexpectedly combined in Fijalkowski's art to produce surprising results. At the turn of the 1950s and 60s Fijalkowski continued to search and experiment, using the canvas as a plane on which to juxtapose the essentials of Strzeminski's ordering principles with something within the realm of Surrealism that was stripped of direct metaphorical meanings and allusions.
The change that occurred in his paintings consisted primarily of a gradual abandonment of pure, literally allusive form. In the painter's own words, during this time of reflection, "I attempted more boldly to create forms that did not impose a single meaning, leaving viewers fully free to access the ingredients of their personalities, that may be unconscious or repressed but are absolutely truthful. I sought, and continue to strive, to create form that is only the beginning of the work as generated by the viewer, each time in a new shape..." In Fijalkowski's works, "form" is more open the more it is modest, efficient, insinuated. Most of his compositions are constructed based on a simple set of principles whereby an almost uniformly colored background is filled in with elements that resemble geometric figures but have rounded corners and soft edges, generating a poetic mood. The decisive hues used for the backgrounds of these canvasses, however, decidedly modifies their function and meaning - at times, the background dominates the entirety of the image, becoming an abyss, a void that draws into its interior large, spinning wheels, ellipsoidal forms, or diagonal lines that cut across the painting. One could expect this repetition of forms to render both Fijalkowski's painted works and his graphic art pieces tiring (the artist has been equally active in both areas, working in cycles, though the subjects undertaken often appeared in compositions created in various techniques). This impression is only reinforced by the artist's palette, which was restricted; he willingly used "undecided colors" that were muted, cool, and only at times broken up with ribbons of categorical black. But Fijalkowski was able to extract a tension out of this monotony and uniformity, in a manner that usually remains unfathomable to the viewer. Likewise, the meanings the artist assigns to these puzzling arrangements remain largely a mystery. In the end, it is the erudition of viewers, their rooting in culture and awareness of contemporary art, finally their intuition that determine their ability to enter into a dialogue with the artist and his work. This dialogue is easier to establish in the case of pieces that contain "objective" suggestions and clear references, for instance to Christian iconography. It is more difficult in the case of abstract compositions like WAWOZY / RAVINES, WARIACJE NA TEMAT LICZBY CZTERY / VARIATIONS ON THE NUMBER FOUR, STUDIA TALMUDYCZNE / TALMUDIC STUDIES, or works like AUTOSTRADY / HIGHWAYS that derive from the artist's personal experiences. Nevertheless, Fijalkowski's paintings are charming, even to the uninitiated viewer, for the ascetic painting techniques used, for a compactness deriving from the skillful balancing of emotions and intellect, intuition and conscious thought, individual expression and universal meanings - something very much in line with the artist's own expectations. The parallel existence and synthesis of the concrete forms of the works with the mystery of their message - a synthesis of that which is external to the works with that which is internal - prevents his oeuvre from being perceived as over-aestheticized. In the end, his work seems to be the result of a search for harmony, for a principle that would impose order on the lack of direction felt by contemporary man. The artist achieves this aim through a distinct painterly language that sets his art apart from that of other artists, rendering it exceptional and original, not only, it seems, when compared to the work of other Polish artists.
Stanislaw Fijalkowski is chairman of the Polish section of the XYLON International Association of Wood-Engravers and has been a vice president of this body's International Board since 1990. Between 1974 and 1979 he was the vice president of the Polish AIAP Committee (Association Internationale des Arts Plastiques). He is a member of the European Academy of Arts and Sciences in Salzburg and the Royal Belgian Academy of Sciences, Literature, and Fine Arts in Brussels. He represented Poland at the biennales in Sao Paulo (1969) and Venice (1972). He has received numerous domestic and international awards at a number of exhibitions.
Malgorzata Kitowska-Lysiak, Art History Institute of the Catholic University of Lublin.
"Pyramid for a Tired Man", 1976, ink on paper, 50 x 65 cm, private collection
Born in Zdolbunowo in Wolhynia in 1922. In 1944-45 Fijalkowski was deported to Königsberg (presently Kaliningrad), where he was pressed into forced labor. It was during Poland's occupation, a particularly difficult time in Fijalkowski's life, that he undertook his first creative explorations as an artist. These efforts were entirely independent, unguided by anyone. He did not find time for systematic study in painting until after the war. Between 1946 and 1951 he attended the State Higher School of the Fine Arts in Lodz, where he was a student of Wladyslaw Strzeminski and Stefan Wegner, though he had Ludwik Tyrowicz as his thesis promoter. From among his teachers, Fijalkowski most readily names Strzeminski as an influence, perhaps because he later worked under him as an assistant (the artist taught at his alma mater from 1947-1993, becoming a full professor in 1983). He was an important presence within the group of educators who shaped the school in Lodz (known today as the Academy of Fine Arts). He also guest lectured for brief periods at a series of foreign art schools, among them the schools in Mons (1978, 1982) and Marburg (1990). He taught classes at Geissen University throughout the 1989/90 academic year.
Fijalkowski began his career as an independent artist by rebelling against his master, creating works that possess a clear link to those of the Impressionists. He made an effort to delineate his own, individual creative path by taking a clear position towards tradition and the achievements of the masters, particularly Strzeminski. Towards the end of the 1950s he proceeded along a course typical of Polish painters fascinated with Informel, taking an interest in the symbolic meanings inherent in abstract expressive means. He believed that "unreal" shapes are justified in paintings when they are saturated with meaning. Years later, in writing a brief curriculum vitae, the artist added that it was approximately at this time that "...apart from interpreting reality within an esoteric dimension, there appeared [in his paintings] the need to organize the esoteric meanings inherent in form." Fijalkowski admits that the shape of his art was to a significant degree determined by the writings of Kandinsky (whose "Über das Geistige in der Kunst" Fijalkowski translated and published in Poland) and Mondrian, and by his interest in Surrealism. These two branches of 20th century art unexpectedly combined in Fijalkowski's art to produce surprising results. At the turn of the 1950s and 60s Fijalkowski continued to search and experiment, using the canvas as a plane on which to juxtapose the essentials of Strzeminski's ordering principles with something within the realm of Surrealism that was stripped of direct metaphorical meanings and allusions.
The change that occurred in his paintings consisted primarily of a gradual abandonment of pure, literally allusive form. In the painter's own words, during this time of reflection, "I attempted more boldly to create forms that did not impose a single meaning, leaving viewers fully free to access the ingredients of their personalities, that may be unconscious or repressed but are absolutely truthful. I sought, and continue to strive, to create form that is only the beginning of the work as generated by the viewer, each time in a new shape..." In Fijalkowski's works, "form" is more open the more it is modest, efficient, insinuated. Most of his compositions are constructed based on a simple set of principles whereby an almost uniformly colored background is filled in with elements that resemble geometric figures but have rounded corners and soft edges, generating a poetic mood. The decisive hues used for the backgrounds of these canvasses, however, decidedly modifies their function and meaning - at times, the background dominates the entirety of the image, becoming an abyss, a void that draws into its interior large, spinning wheels, ellipsoidal forms, or diagonal lines that cut across the painting. One could expect this repetition of forms to render both Fijalkowski's painted works and his graphic art pieces tiring (the artist has been equally active in both areas, working in cycles, though the subjects undertaken often appeared in compositions created in various techniques). This impression is only reinforced by the artist's palette, which was restricted; he willingly used "undecided colors" that were muted, cool, and only at times broken up with ribbons of categorical black. But Fijalkowski was able to extract a tension out of this monotony and uniformity, in a manner that usually remains unfathomable to the viewer. Likewise, the meanings the artist assigns to these puzzling arrangements remain largely a mystery. In the end, it is the erudition of viewers, their rooting in culture and awareness of contemporary art, finally their intuition that determine their ability to enter into a dialogue with the artist and his work. This dialogue is easier to establish in the case of pieces that contain "objective" suggestions and clear references, for instance to Christian iconography. It is more difficult in the case of abstract compositions like WAWOZY / RAVINES, WARIACJE NA TEMAT LICZBY CZTERY / VARIATIONS ON THE NUMBER FOUR, STUDIA TALMUDYCZNE / TALMUDIC STUDIES, or works like AUTOSTRADY / HIGHWAYS that derive from the artist's personal experiences. Nevertheless, Fijalkowski's paintings are charming, even to the uninitiated viewer, for the ascetic painting techniques used, for a compactness deriving from the skillful balancing of emotions and intellect, intuition and conscious thought, individual expression and universal meanings - something very much in line with the artist's own expectations. The parallel existence and synthesis of the concrete forms of the works with the mystery of their message - a synthesis of that which is external to the works with that which is internal - prevents his oeuvre from being perceived as over-aestheticized. In the end, his work seems to be the result of a search for harmony, for a principle that would impose order on the lack of direction felt by contemporary man. The artist achieves this aim through a distinct painterly language that sets his art apart from that of other artists, rendering it exceptional and original, not only, it seems, when compared to the work of other Polish artists.
Stanislaw Fijalkowski is chairman of the Polish section of the XYLON International Association of Wood-Engravers and has been a vice president of this body's International Board since 1990. Between 1974 and 1979 he was the vice president of the Polish AIAP Committee (Association Internationale des Arts Plastiques). He is a member of the European Academy of Arts and Sciences in Salzburg and the Royal Belgian Academy of Sciences, Literature, and Fine Arts in Brussels. He represented Poland at the biennales in Sao Paulo (1969) and Venice (1972). He has received numerous domestic and international awards at a number of exhibitions.
Malgorzata Kitowska-Lysiak, Art History Institute of the Catholic University of Lublin.
Friedrich Vordemberge-Gildewar
Title: (Composition) Untitled Composition (1936),
3 color serigraph after a 1936 lithograph.
Signed by the artist's widow and numbered 14/150
Printed by Atelier Arcay, Paris and issued in the portfolio abstraction, création, art non figuratif 1932 - 1936 published by Paul Nemours, Paris, 1973,
Size: Sheet: 84.5 x 66.0 cm - (33¼ x 26 inches)
Condition: Mint
Acquired at auction from Creighton Davis Gallery, San Marcos, California in 2012
Further information: The group Abstraction Création was formed in Paris in 1931; Auguste Herbin was its president and George Vantongerloo vice president. Other members of the board of directors were Jean Arp, Albert Gleizes, Frantisek Kupka and George Valmier. Artists from all over the world were invited to join and send illustrations of their work to be included in the five yearbooks issued between 1932 and 1938 (in black and white). These books are now very rare collectors' items and the 1973 portfolio, in large format and full color shows the wide perspective of abstract art in the 1930s.
The Piet Mondrian I acquired a few years ago is from a similar portfolio.
As always, I am at www.brycehudson.com stop by, say hi ;-) I love to network with and meet other modernists and art/design enthusiasts!
If you really want to know everything about this guy and the portfolio from which it came:
30 Silkscreens and Lithographs by various early 20th century Abstract artists in a Portfolio
Title: Abstraction Creation Art Non Figuratif 1932-1936
Portfolio size: 89.5 x 74 cm / 35.2 x 29.1 in
Additional information: This is a rare and important complete portfolio that was created to celebrate the French art movement: book "Abstraction Creation Art Non Figuratif.
This portfolio includes an introduction by Margit Staber in three languages (French, English and German), a table of content and
30 Silkscreens and Lithographs in colors by various artists (as detailed below). Each one of the prints is printed on a full seperate sheet and is presented in a plastic folio.
The portfolio was printed in 1973 in a limited edition of only 150 copies (there were an additional 50 artists proofs).
The editor was Paule Nemours.
The prints were mostly printed by Atelier Arcay in Paris but some of them were printed by other printers such as Michel Casse, Paris ; Mourlot,Paris ; Hans Baurle, Stuttgart ; Michel Caza, Franconville ; Franco Sciardelli, Milano.
list of artist, titles, technique and signatures:
1. Hans Arp, Composition, Silkscreen, hand signed by Max Bill.
2. Max Bill, Construction en deux parties, Silkscreen, hand signed by Max Bill
3. Alexander Calder, Composition, Lithograph, hand signed by Alexander Calder
4. Sonia Delaunay-Terk, Rythmes-Couleurs n.816, Silkscreen, hand signed by Sonia Delaunay-Terk
5. Cesar Domela, Compostion, Lithograph and Silkscreen, hand signed by Cesar Domela
6. Hans Erni, Spirale, Silkscreen, hand signed by Hans Erni
7. Hans Fischli, Spuren auf weissem grund 3, Lithograph, hand signed by Hans Fischli
8. Frantisek Foltyn, Composition, Silkscreen, hand signed by Frantisek Foltyn
9. Jean Gorin, Composition spatio-temporelle n.36, Silkscreen, hand signed by Jean Gorin
10. Jean Helion, Equilibre, Lithograph, hand signed by Jean Helion
11. Wassily Kandinsky, Composition, Silkscreen, hand signed by Nina Kandinsky
12. Theo Kerg, Graphisme, Silkscreen, hand signed by Theo Kerg
13. Frantisek Kupka, Abstraction, Silkscreen, stamped signed and authorized by A.G. Martinel
14. Fausto Molotti, Les deux spirales, Lithograph, hand signed by Fausto Molotti
15. Laszlo Moholy-Nagy, Construction, Silkscreen, hand signed by Hattula Hug-Moholy-Nagy
16. Piet Mondrian, Composition D, Silkscreen, hand signed by Max Bill.
17. Taro Okamoto, Espace, Lithograoh, hand signed by Taro Okamoto
18. Antoine Pevsner, Naissance de l'univers, Silkscreen, hand signed by Virgiania Pevsner
19. Mauro Reggiani, Ritmo geometric, Silkscreen, hand signed by Mauro Reggiani
20. Hans Schiess, L'appel, Silkscreen, hand signed by Hans Schiess
21. Henryk Stazewski, Obraz abstrakcyjny II, Silkscreen, hand signed by Henryk Stazewski
22. Wladyslaw Strzeminski, composition, Silkscreen, stamped signed by authorized by Muzeum Sztuki
23. Sophie Tauber Arp, Forme Bleue, Silkscreen,hand signed by Max Bill
24. Theo Van Doesburg, Composition, Silkscreen, stamped signed by Nelly Van Doesburg
25. George Vantongerloo, Y=-x2+bx+c rouge vert, Silkscreen, hand signed by Max Bill
26. Luigi Veronesi, Composition, Silkscreen,hand signed by Luigi Veronesi
27. Paule Vezelay, Grey picture, Silkscreen, hand signed by Paule Vezelay
28. Jean Villeri, Composition, Lithograph, hand signed by Jean Villeri
29. Friedrich Vordemberge-Gildewart, Compostion, Silkscreen,stamped signed by Leda Vordemberge
30. Gerard Vulliamy, Composition, Lithograph, hand signed by Gerard Vulliamy
Tempera on canvas.
Born in Zdolbunowo in Wolhynia in 1922. In 1944-45 Fijalkowski was deported to Königsberg (presently Kaliningrad), where he was pressed into forced labor. It was during Poland's occupation, a particularly difficult time in Fijalkowski's life, that he undertook his first creative explorations as an artist. These efforts were entirely independent, unguided by anyone. He did not find time for systematic study in painting until after the war. Between 1946 and 1951 he attended the State Higher School of the Fine Arts in Lodz, where he was a student of Wladyslaw Strzeminski and Stefan Wegner, though he had Ludwik Tyrowicz as his thesis promoter. From among his teachers, Fijalkowski most readily names Strzeminski as an influence, perhaps because he later worked under him as an assistant (the artist taught at his alma mater from 1947-1993, becoming a full professor in 1983). He was an important presence within the group of educators who shaped the school in Lodz (known today as the Academy of Fine Arts). He also guest lectured for brief periods at a series of foreign art schools, among them the schools in Mons (1978, 1982) and Marburg (1990). He taught classes at Geissen University throughout the 1989/90 academic year.
Fijalkowski began his career as an independent artist by rebelling against his master, creating works that possess a clear link to those of the Impressionists. He made an effort to delineate his own, individual creative path by taking a clear position towards tradition and the achievements of the masters, particularly Strzeminski. Towards the end of the 1950s he proceeded along a course typical of Polish painters fascinated with Informel, taking an interest in the symbolic meanings inherent in abstract expressive means. He believed that "unreal" shapes are justified in paintings when they are saturated with meaning. Years later, in writing a brief curriculum vitae, the artist added that it was approximately at this time that "...apart from interpreting reality within an esoteric dimension, there appeared [in his paintings] the need to organize the esoteric meanings inherent in form." Fijalkowski admits that the shape of his art was to a significant degree determined by the writings of Kandinsky (whose "Über das Geistige in der Kunst" Fijalkowski translated and published in Poland) and Mondrian, and by his interest in Surrealism. These two branches of 20th century art unexpectedly combined in Fijalkowski's art to produce surprising results. At the turn of the 1950s and 60s Fijalkowski continued to search and experiment, using the canvas as a plane on which to juxtapose the essentials of Strzeminski's ordering principles with something within the realm of Surrealism that was stripped of direct metaphorical meanings and allusions.
The change that occurred in his paintings consisted primarily of a gradual abandonment of pure, literally allusive form. In the painter's own words, during this time of reflection, "I attempted more boldly to create forms that did not impose a single meaning, leaving viewers fully free to access the ingredients of their personalities, that may be unconscious or repressed but are absolutely truthful. I sought, and continue to strive, to create form that is only the beginning of the work as generated by the viewer, each time in a new shape..." In Fijalkowski's works, "form" is more open the more it is modest, efficient, insinuated. Most of his compositions are constructed based on a simple set of principles whereby an almost uniformly colored background is filled in with elements that resemble geometric figures but have rounded corners and soft edges, generating a poetic mood. The decisive hues used for the backgrounds of these canvasses, however, decidedly modifies their function and meaning - at times, the background dominates the entirety of the image, becoming an abyss, a void that draws into its interior large, spinning wheels, ellipsoidal forms, or diagonal lines that cut across the painting. One could expect this repetition of forms to render both Fijalkowski's painted works and his graphic art pieces tiring (the artist has been equally active in both areas, working in cycles, though the subjects undertaken often appeared in compositions created in various techniques). This impression is only reinforced by the artist's palette, which was restricted; he willingly used "undecided colors" that were muted, cool, and only at times broken up with ribbons of categorical black. But Fijalkowski was able to extract a tension out of this monotony and uniformity, in a manner that usually remains unfathomable to the viewer. Likewise, the meanings the artist assigns to these puzzling arrangements remain largely a mystery. In the end, it is the erudition of viewers, their rooting in culture and awareness of contemporary art, finally their intuition that determine their ability to enter into a dialogue with the artist and his work. This dialogue is easier to establish in the case of pieces that contain "objective" suggestions and clear references, for instance to Christian iconography. It is more difficult in the case of abstract compositions like WAWOZY / RAVINES, WARIACJE NA TEMAT LICZBY CZTERY / VARIATIONS ON THE NUMBER FOUR, STUDIA TALMUDYCZNE / TALMUDIC STUDIES, or works like AUTOSTRADY / HIGHWAYS that derive from the artist's personal experiences. Nevertheless, Fijalkowski's paintings are charming, even to the uninitiated viewer, for the ascetic painting techniques used, for a compactness deriving from the skillful balancing of emotions and intellect, intuition and conscious thought, individual expression and universal meanings - something very much in line with the artist's own expectations. The parallel existence and synthesis of the concrete forms of the works with the mystery of their message - a synthesis of that which is external to the works with that which is internal - prevents his oeuvre from being perceived as over-aestheticized. In the end, his work seems to be the result of a search for harmony, for a principle that would impose order on the lack of direction felt by contemporary man. The artist achieves this aim through a distinct painterly language that sets his art apart from that of other artists, rendering it exceptional and original, not only, it seems, when compared to the work of other Polish artists.
Stanislaw Fijalkowski is chairman of the Polish section of the XYLON International Association of Wood-Engravers and has been a vice president of this body's International Board since 1990. Between 1974 and 1979 he was the vice president of the Polish AIAP Committee (Association Internationale des Arts Plastiques). He is a member of the European Academy of Arts and Sciences in Salzburg and the Royal Belgian Academy of Sciences, Literature, and Fine Arts in Brussels. He represented Poland at the biennales in Sao Paulo (1969) and Venice (1972). He has received numerous domestic and international awards at a number of exhibitions.
Malgorzata Kitowska-Lysiak, Art History Institute of the Catholic University of Lublin.
50 x 61 cm.
Born in Zdolbunowo in Wolhynia in 1922. In 1944-45 Fijalkowski was deported to Königsberg (presently Kaliningrad), where he was pressed into forced labor. It was during Poland's occupation, a particularly difficult time in Fijalkowski's life, that he undertook his first creative explorations as an artist. These efforts were entirely independent, unguided by anyone. He did not find time for systematic study in painting until after the war. Between 1946 and 1951 he attended the State Higher School of the Fine Arts in Lodz, where he was a student of Wladyslaw Strzeminski and Stefan Wegner, though he had Ludwik Tyrowicz as his thesis promoter. From among his teachers, Fijalkowski most readily names Strzeminski as an influence, perhaps because he later worked under him as an assistant (the artist taught at his alma mater from 1947-1993, becoming a full professor in 1983). He was an important presence within the group of educators who shaped the school in Lodz (known today as the Academy of Fine Arts). He also guest lectured for brief periods at a series of foreign art schools, among them the schools in Mons (1978, 1982) and Marburg (1990). He taught classes at Geissen University throughout the 1989/90 academic year.
Fijalkowski began his career as an independent artist by rebelling against his master, creating works that possess a clear link to those of the Impressionists. He made an effort to delineate his own, individual creative path by taking a clear position towards tradition and the achievements of the masters, particularly Strzeminski. Towards the end of the 1950s he proceeded along a course typical of Polish painters fascinated with Informel, taking an interest in the symbolic meanings inherent in abstract expressive means. He believed that "unreal" shapes are justified in paintings when they are saturated with meaning. Years later, in writing a brief curriculum vitae, the artist added that it was approximately at this time that "...apart from interpreting reality within an esoteric dimension, there appeared [in his paintings] the need to organize the esoteric meanings inherent in form." Fijalkowski admits that the shape of his art was to a significant degree determined by the writings of Kandinsky (whose "Über das Geistige in der Kunst" Fijalkowski translated and published in Poland) and Mondrian, and by his interest in Surrealism. These two branches of 20th century art unexpectedly combined in Fijalkowski's art to produce surprising results. At the turn of the 1950s and 60s Fijalkowski continued to search and experiment, using the canvas as a plane on which to juxtapose the essentials of Strzeminski's ordering principles with something within the realm of Surrealism that was stripped of direct metaphorical meanings and allusions.
The change that occurred in his paintings consisted primarily of a gradual abandonment of pure, literally allusive form. In the painter's own words, during this time of reflection, "I attempted more boldly to create forms that did not impose a single meaning, leaving viewers fully free to access the ingredients of their personalities, that may be unconscious or repressed but are absolutely truthful. I sought, and continue to strive, to create form that is only the beginning of the work as generated by the viewer, each time in a new shape..." In Fijalkowski's works, "form" is more open the more it is modest, efficient, insinuated. Most of his compositions are constructed based on a simple set of principles whereby an almost uniformly colored background is filled in with elements that resemble geometric figures but have rounded corners and soft edges, generating a poetic mood. The decisive hues used for the backgrounds of these canvasses, however, decidedly modifies their function and meaning - at times, the background dominates the entirety of the image, becoming an abyss, a void that draws into its interior large, spinning wheels, ellipsoidal forms, or diagonal lines that cut across the painting. One could expect this repetition of forms to render both Fijalkowski's painted works and his graphic art pieces tiring (the artist has been equally active in both areas, working in cycles, though the subjects undertaken often appeared in compositions created in various techniques). This impression is only reinforced by the artist's palette, which was restricted; he willingly used "undecided colors" that were muted, cool, and only at times broken up with ribbons of categorical black. But Fijalkowski was able to extract a tension out of this monotony and uniformity, in a manner that usually remains unfathomable to the viewer. Likewise, the meanings the artist assigns to these puzzling arrangements remain largely a mystery. In the end, it is the erudition of viewers, their rooting in culture and awareness of contemporary art, finally their intuition that determine their ability to enter into a dialogue with the artist and his work. This dialogue is easier to establish in the case of pieces that contain "objective" suggestions and clear references, for instance to Christian iconography. It is more difficult in the case of abstract compositions like WAWOZY / RAVINES, WARIACJE NA TEMAT LICZBY CZTERY / VARIATIONS ON THE NUMBER FOUR, STUDIA TALMUDYCZNE / TALMUDIC STUDIES, or works like AUTOSTRADY / HIGHWAYS that derive from the artist's personal experiences. Nevertheless, Fijalkowski's paintings are charming, even to the uninitiated viewer, for the ascetic painting techniques used, for a compactness deriving from the skillful balancing of emotions and intellect, intuition and conscious thought, individual expression and universal meanings - something very much in line with the artist's own expectations. The parallel existence and synthesis of the concrete forms of the works with the mystery of their message - a synthesis of that which is external to the works with that which is internal - prevents his oeuvre from being perceived as over-aestheticized. In the end, his work seems to be the result of a search for harmony, for a principle that would impose order on the lack of direction felt by contemporary man. The artist achieves this aim through a distinct painterly language that sets his art apart from that of other artists, rendering it exceptional and original, not only, it seems, when compared to the work of other Polish artists.
Stanislaw Fijalkowski is chairman of the Polish section of the XYLON International Association of Wood-Engravers and has been a vice president of this body's International Board since 1990. Between 1974 and 1979 he was the vice president of the Polish AIAP Committee (Association Internationale des Arts Plastiques). He is a member of the European Academy of Arts and Sciences in Salzburg and the Royal Belgian Academy of Sciences, Literature, and Fine Arts in Brussels. He represented Poland at the biennales in Sao Paulo (1969) and Venice (1972). He has received numerous domestic and international awards at a number of exhibitions.
Malgorzata Kitowska-Lysiak, Art History Institute of the Catholic University of Lublin.
Oil on canvas; 45 x 33 cm.
Born in Zdolbunowo in Wolhynia in 1922. In 1944-45 Fijalkowski was deported to Königsberg (presently Kaliningrad), where he was pressed into forced labor. It was during Poland's occupation, a particularly difficult time in Fijalkowski's life, that he undertook his first creative explorations as an artist. These efforts were entirely independent, unguided by anyone. He did not find time for systematic study in painting until after the war. Between 1946 and 1951 he attended the State Higher School of the Fine Arts in Lodz, where he was a student of Wladyslaw Strzeminski and Stefan Wegner, though he had Ludwik Tyrowicz as his thesis promoter. From among his teachers, Fijalkowski most readily names Strzeminski as an influence, perhaps because he later worked under him as an assistant (the artist taught at his alma mater from 1947-1993, becoming a full professor in 1983). He was an important presence within the group of educators who shaped the school in Lodz (known today as the Academy of Fine Arts). He also guest lectured for brief periods at a series of foreign art schools, among them the schools in Mons (1978, 1982) and Marburg (1990). He taught classes at Geissen University throughout the 1989/90 academic year.
Fijalkowski began his career as an independent artist by rebelling against his master, creating works that possess a clear link to those of the Impressionists. He made an effort to delineate his own, individual creative path by taking a clear position towards tradition and the achievements of the masters, particularly Strzeminski. Towards the end of the 1950s he proceeded along a course typical of Polish painters fascinated with Informel, taking an interest in the symbolic meanings inherent in abstract expressive means. He believed that "unreal" shapes are justified in paintings when they are saturated with meaning. Years later, in writing a brief curriculum vitae, the artist added that it was approximately at this time that "...apart from interpreting reality within an esoteric dimension, there appeared [in his paintings] the need to organize the esoteric meanings inherent in form." Fijalkowski admits that the shape of his art was to a significant degree determined by the writings of Kandinsky (whose "Über das Geistige in der Kunst" Fijalkowski translated and published in Poland) and Mondrian, and by his interest in Surrealism. These two branches of 20th century art unexpectedly combined in Fijalkowski's art to produce surprising results. At the turn of the 1950s and 60s Fijalkowski continued to search and experiment, using the canvas as a plane on which to juxtapose the essentials of Strzeminski's ordering principles with something within the realm of Surrealism that was stripped of direct metaphorical meanings and allusions.
The change that occurred in his paintings consisted primarily of a gradual abandonment of pure, literally allusive form. In the painter's own words, during this time of reflection, "I attempted more boldly to create forms that did not impose a single meaning, leaving viewers fully free to access the ingredients of their personalities, that may be unconscious or repressed but are absolutely truthful. I sought, and continue to strive, to create form that is only the beginning of the work as generated by the viewer, each time in a new shape..." In Fijalkowski's works, "form" is more open the more it is modest, efficient, insinuated. Most of his compositions are constructed based on a simple set of principles whereby an almost uniformly colored background is filled in with elements that resemble geometric figures but have rounded corners and soft edges, generating a poetic mood. The decisive hues used for the backgrounds of these canvasses, however, decidedly modifies their function and meaning - at times, the background dominates the entirety of the image, becoming an abyss, a void that draws into its interior large, spinning wheels, ellipsoidal forms, or diagonal lines that cut across the painting. One could expect this repetition of forms to render both Fijalkowski's painted works and his graphic art pieces tiring (the artist has been equally active in both areas, working in cycles, though the subjects undertaken often appeared in compositions created in various techniques). This impression is only reinforced by the artist's palette, which was restricted; he willingly used "undecided colors" that were muted, cool, and only at times broken up with ribbons of categorical black. But Fijalkowski was able to extract a tension out of this monotony and uniformity, in a manner that usually remains unfathomable to the viewer. Likewise, the meanings the artist assigns to these puzzling arrangements remain largely a mystery. In the end, it is the erudition of viewers, their rooting in culture and awareness of contemporary art, finally their intuition that determine their ability to enter into a dialogue with the artist and his work. This dialogue is easier to establish in the case of pieces that contain "objective" suggestions and clear references, for instance to Christian iconography. It is more difficult in the case of abstract compositions like WAWOZY / RAVINES, WARIACJE NA TEMAT LICZBY CZTERY / VARIATIONS ON THE NUMBER FOUR, STUDIA TALMUDYCZNE / TALMUDIC STUDIES, or works like AUTOSTRADY / HIGHWAYS that derive from the artist's personal experiences. Nevertheless, Fijalkowski's paintings are charming, even to the uninitiated viewer, for the ascetic painting techniques used, for a compactness deriving from the skillful balancing of emotions and intellect, intuition and conscious thought, individual expression and universal meanings - something very much in line with the artist's own expectations. The parallel existence and synthesis of the concrete forms of the works with the mystery of their message - a synthesis of that which is external to the works with that which is internal - prevents his oeuvre from being perceived as over-aestheticized. In the end, his work seems to be the result of a search for harmony, for a principle that would impose order on the lack of direction felt by contemporary man. The artist achieves this aim through a distinct painterly language that sets his art apart from that of other artists, rendering it exceptional and original, not only, it seems, when compared to the work of other Polish artists.
Stanislaw Fijalkowski is chairman of the Polish section of the XYLON International Association of Wood-Engravers and has been a vice president of this body's International Board since 1990. Between 1974 and 1979 he was the vice president of the Polish AIAP Committee (Association Internationale des Arts Plastiques). He is a member of the European Academy of Arts and Sciences in Salzburg and the Royal Belgian Academy of Sciences, Literature, and Fine Arts in Brussels. He represented Poland at the biennales in Sao Paulo (1969) and Venice (1972). He has received numerous domestic and international awards at a number of exhibitions.
Malgorzata Kitowska-Lysiak, Art History Institute of the Catholic University of Lublin.
Oil on canvas; 73 x 50 cm.
Born in Zdolbunowo in Wolhynia in 1922. In 1944-45 Fijalkowski was deported to Königsberg (presently Kaliningrad), where he was pressed into forced labor. It was during Poland's occupation, a particularly difficult time in Fijalkowski's life, that he undertook his first creative explorations as an artist. These efforts were entirely independent, unguided by anyone. He did not find time for systematic study in painting until after the war. Between 1946 and 1951 he attended the State Higher School of the Fine Arts in Lodz, where he was a student of Wladyslaw Strzeminski and Stefan Wegner, though he had Ludwik Tyrowicz as his thesis promoter. From among his teachers, Fijalkowski most readily names Strzeminski as an influence, perhaps because he later worked under him as an assistant (the artist taught at his alma mater from 1947-1993, becoming a full professor in 1983). He was an important presence within the group of educators who shaped the school in Lodz (known today as the Academy of Fine Arts). He also guest lectured for brief periods at a series of foreign art schools, among them the schools in Mons (1978, 1982) and Marburg (1990). He taught classes at Geissen University throughout the 1989/90 academic year.
Fijalkowski began his career as an independent artist by rebelling against his master, creating works that possess a clear link to those of the Impressionists. He made an effort to delineate his own, individual creative path by taking a clear position towards tradition and the achievements of the masters, particularly Strzeminski. Towards the end of the 1950s he proceeded along a course typical of Polish painters fascinated with Informel, taking an interest in the symbolic meanings inherent in abstract expressive means. He believed that "unreal" shapes are justified in paintings when they are saturated with meaning. Years later, in writing a brief curriculum vitae, the artist added that it was approximately at this time that "...apart from interpreting reality within an esoteric dimension, there appeared [in his paintings] the need to organize the esoteric meanings inherent in form." Fijalkowski admits that the shape of his art was to a significant degree determined by the writings of Kandinsky (whose "Über das Geistige in der Kunst" Fijalkowski translated and published in Poland) and Mondrian, and by his interest in Surrealism. These two branches of 20th century art unexpectedly combined in Fijalkowski's art to produce surprising results. At the turn of the 1950s and 60s Fijalkowski continued to search and experiment, using the canvas as a plane on which to juxtapose the essentials of Strzeminski's ordering principles with something within the realm of Surrealism that was stripped of direct metaphorical meanings and allusions.
The change that occurred in his paintings consisted primarily of a gradual abandonment of pure, literally allusive form. In the painter's own words, during this time of reflection, "I attempted more boldly to create forms that did not impose a single meaning, leaving viewers fully free to access the ingredients of their personalities, that may be unconscious or repressed but are absolutely truthful. I sought, and continue to strive, to create form that is only the beginning of the work as generated by the viewer, each time in a new shape..." In Fijalkowski's works, "form" is more open the more it is modest, efficient, insinuated. Most of his compositions are constructed based on a simple set of principles whereby an almost uniformly colored background is filled in with elements that resemble geometric figures but have rounded corners and soft edges, generating a poetic mood. The decisive hues used for the backgrounds of these canvasses, however, decidedly modifies their function and meaning - at times, the background dominates the entirety of the image, becoming an abyss, a void that draws into its interior large, spinning wheels, ellipsoidal forms, or diagonal lines that cut across the painting. One could expect this repetition of forms to render both Fijalkowski's painted works and his graphic art pieces tiring (the artist has been equally active in both areas, working in cycles, though the subjects undertaken often appeared in compositions created in various techniques). This impression is only reinforced by the artist's palette, which was restricted; he willingly used "undecided colors" that were muted, cool, and only at times broken up with ribbons of categorical black. But Fijalkowski was able to extract a tension out of this monotony and uniformity, in a manner that usually remains unfathomable to the viewer. Likewise, the meanings the artist assigns to these puzzling arrangements remain largely a mystery. In the end, it is the erudition of viewers, their rooting in culture and awareness of contemporary art, finally their intuition that determine their ability to enter into a dialogue with the artist and his work. This dialogue is easier to establish in the case of pieces that contain "objective" suggestions and clear references, for instance to Christian iconography. It is more difficult in the case of abstract compositions like WAWOZY / RAVINES, WARIACJE NA TEMAT LICZBY CZTERY / VARIATIONS ON THE NUMBER FOUR, STUDIA TALMUDYCZNE / TALMUDIC STUDIES, or works like AUTOSTRADY / HIGHWAYS that derive from the artist's personal experiences. Nevertheless, Fijalkowski's paintings are charming, even to the uninitiated viewer, for the ascetic painting techniques used, for a compactness deriving from the skillful balancing of emotions and intellect, intuition and conscious thought, individual expression and universal meanings - something very much in line with the artist's own expectations. The parallel existence and synthesis of the concrete forms of the works with the mystery of their message - a synthesis of that which is external to the works with that which is internal - prevents his oeuvre from being perceived as over-aestheticized. In the end, his work seems to be the result of a search for harmony, for a principle that would impose order on the lack of direction felt by contemporary man. The artist achieves this aim through a distinct painterly language that sets his art apart from that of other artists, rendering it exceptional and original, not only, it seems, when compared to the work of other Polish artists.
Stanislaw Fijalkowski is chairman of the Polish section of the XYLON International Association of Wood-Engravers and has been a vice president of this body's International Board since 1990. Between 1974 and 1979 he was the vice president of the Polish AIAP Committee (Association Internationale des Arts Plastiques). He is a member of the European Academy of Arts and Sciences in Salzburg and the Royal Belgian Academy of Sciences, Literature, and Fine Arts in Brussels. He represented Poland at the biennales in Sao Paulo (1969) and Venice (1972). He has received numerous domestic and international awards at a number of exhibitions.
Malgorzata Kitowska-Lysiak, Art History Institute of the Catholic University of Lublin.
Władysław Strzemiński (1893-1952) - Project for a new railway station in Gdynia (1923). In the collection of the Muzeum Sztuki, Łódź. Shown at the temporary exhibition "Kobro and Strzemiński. Art in Turbulent Times" at the Moderna Museet, Malmö, Sweden, summer 2018.
50 x 61 cm.
Born in Zdolbunowo in Wolhynia in 1922. In 1944-45 Fijalkowski was deported to Königsberg (presently Kaliningrad), where he was pressed into forced labor. It was during Poland's occupation, a particularly difficult time in Fijalkowski's life, that he undertook his first creative explorations as an artist. These efforts were entirely independent, unguided by anyone. He did not find time for systematic study in painting until after the war. Between 1946 and 1951 he attended the State Higher School of the Fine Arts in Lodz, where he was a student of Wladyslaw Strzeminski and Stefan Wegner, though he had Ludwik Tyrowicz as his thesis promoter. From among his teachers, Fijalkowski most readily names Strzeminski as an influence, perhaps because he later worked under him as an assistant (the artist taught at his alma mater from 1947-1993, becoming a full professor in 1983). He was an important presence within the group of educators who shaped the school in Lodz (known today as the Academy of Fine Arts). He also guest lectured for brief periods at a series of foreign art schools, among them the schools in Mons (1978, 1982) and Marburg (1990). He taught classes at Geissen University throughout the 1989/90 academic year.
Fijalkowski began his career as an independent artist by rebelling against his master, creating works that possess a clear link to those of the Impressionists. He made an effort to delineate his own, individual creative path by taking a clear position towards tradition and the achievements of the masters, particularly Strzeminski. Towards the end of the 1950s he proceeded along a course typical of Polish painters fascinated with Informel, taking an interest in the symbolic meanings inherent in abstract expressive means. He believed that "unreal" shapes are justified in paintings when they are saturated with meaning. Years later, in writing a brief curriculum vitae, the artist added that it was approximately at this time that "...apart from interpreting reality within an esoteric dimension, there appeared [in his paintings] the need to organize the esoteric meanings inherent in form." Fijalkowski admits that the shape of his art was to a significant degree determined by the writings of Kandinsky (whose "Über das Geistige in der Kunst" Fijalkowski translated and published in Poland) and Mondrian, and by his interest in Surrealism. These two branches of 20th century art unexpectedly combined in Fijalkowski's art to produce surprising results. At the turn of the 1950s and 60s Fijalkowski continued to search and experiment, using the canvas as a plane on which to juxtapose the essentials of Strzeminski's ordering principles with something within the realm of Surrealism that was stripped of direct metaphorical meanings and allusions.
The change that occurred in his paintings consisted primarily of a gradual abandonment of pure, literally allusive form. In the painter's own words, during this time of reflection, "I attempted more boldly to create forms that did not impose a single meaning, leaving viewers fully free to access the ingredients of their personalities, that may be unconscious or repressed but are absolutely truthful. I sought, and continue to strive, to create form that is only the beginning of the work as generated by the viewer, each time in a new shape..." In Fijalkowski's works, "form" is more open the more it is modest, efficient, insinuated. Most of his compositions are constructed based on a simple set of principles whereby an almost uniformly colored background is filled in with elements that resemble geometric figures but have rounded corners and soft edges, generating a poetic mood. The decisive hues used for the backgrounds of these canvasses, however, decidedly modifies their function and meaning - at times, the background dominates the entirety of the image, becoming an abyss, a void that draws into its interior large, spinning wheels, ellipsoidal forms, or diagonal lines that cut across the painting. One could expect this repetition of forms to render both Fijalkowski's painted works and his graphic art pieces tiring (the artist has been equally active in both areas, working in cycles, though the subjects undertaken often appeared in compositions created in various techniques). This impression is only reinforced by the artist's palette, which was restricted; he willingly used "undecided colors" that were muted, cool, and only at times broken up with ribbons of categorical black. But Fijalkowski was able to extract a tension out of this monotony and uniformity, in a manner that usually remains unfathomable to the viewer. Likewise, the meanings the artist assigns to these puzzling arrangements remain largely a mystery. In the end, it is the erudition of viewers, their rooting in culture and awareness of contemporary art, finally their intuition that determine their ability to enter into a dialogue with the artist and his work. This dialogue is easier to establish in the case of pieces that contain "objective" suggestions and clear references, for instance to Christian iconography. It is more difficult in the case of abstract compositions like WAWOZY / RAVINES, WARIACJE NA TEMAT LICZBY CZTERY / VARIATIONS ON THE NUMBER FOUR, STUDIA TALMUDYCZNE / TALMUDIC STUDIES, or works like AUTOSTRADY / HIGHWAYS that derive from the artist's personal experiences. Nevertheless, Fijalkowski's paintings are charming, even to the uninitiated viewer, for the ascetic painting techniques used, for a compactness deriving from the skillful balancing of emotions and intellect, intuition and conscious thought, individual expression and universal meanings - something very much in line with the artist's own expectations. The parallel existence and synthesis of the concrete forms of the works with the mystery of their message - a synthesis of that which is external to the works with that which is internal - prevents his oeuvre from being perceived as over-aestheticized. In the end, his work seems to be the result of a search for harmony, for a principle that would impose order on the lack of direction felt by contemporary man. The artist achieves this aim through a distinct painterly language that sets his art apart from that of other artists, rendering it exceptional and original, not only, it seems, when compared to the work of other Polish artists.
Stanislaw Fijalkowski is chairman of the Polish section of the XYLON International Association of Wood-Engravers and has been a vice president of this body's International Board since 1990. Between 1974 and 1979 he was the vice president of the Polish AIAP Committee (Association Internationale des Arts Plastiques). He is a member of the European Academy of Arts and Sciences in Salzburg and the Royal Belgian Academy of Sciences, Literature, and Fine Arts in Brussels. He represented Poland at the biennales in Sao Paulo (1969) and Venice (1972). He has received numerous domestic and international awards at a number of exhibitions.
Malgorzata Kitowska-Lysiak, Art History Institute of the Catholic University of Lublin.
Acrylic on canvas; 100 73 cm.
Born in Zdolbunowo in Wolhynia in 1922. In 1944-45 Fijalkowski was deported to Königsberg (presently Kaliningrad), where he was pressed into forced labor. It was during Poland's occupation, a particularly difficult time in Fijalkowski's life, that he undertook his first creative explorations as an artist. These efforts were entirely independent, unguided by anyone. He did not find time for systematic study in painting until after the war. Between 1946 and 1951 he attended the State Higher School of the Fine Arts in Lodz, where he was a student of Wladyslaw Strzeminski and Stefan Wegner, though he had Ludwik Tyrowicz as his thesis promoter. From among his teachers, Fijalkowski most readily names Strzeminski as an influence, perhaps because he later worked under him as an assistant (the artist taught at his alma mater from 1947-1993, becoming a full professor in 1983). He was an important presence within the group of educators who shaped the school in Lodz (known today as the Academy of Fine Arts). He also guest lectured for brief periods at a series of foreign art schools, among them the schools in Mons (1978, 1982) and Marburg (1990). He taught classes at Geissen University throughout the 1989/90 academic year.
Fijalkowski began his career as an independent artist by rebelling against his master, creating works that possess a clear link to those of the Impressionists. He made an effort to delineate his own, individual creative path by taking a clear position towards tradition and the achievements of the masters, particularly Strzeminski. Towards the end of the 1950s he proceeded along a course typical of Polish painters fascinated with Informel, taking an interest in the symbolic meanings inherent in abstract expressive means. He believed that "unreal" shapes are justified in paintings when they are saturated with meaning. Years later, in writing a brief curriculum vitae, the artist added that it was approximately at this time that "...apart from interpreting reality within an esoteric dimension, there appeared [in his paintings] the need to organize the esoteric meanings inherent in form." Fijalkowski admits that the shape of his art was to a significant degree determined by the writings of Kandinsky (whose "Über das Geistige in der Kunst" Fijalkowski translated and published in Poland) and Mondrian, and by his interest in Surrealism. These two branches of 20th century art unexpectedly combined in Fijalkowski's art to produce surprising results. At the turn of the 1950s and 60s Fijalkowski continued to search and experiment, using the canvas as a plane on which to juxtapose the essentials of Strzeminski's ordering principles with something within the realm of Surrealism that was stripped of direct metaphorical meanings and allusions.
The change that occurred in his paintings consisted primarily of a gradual abandonment of pure, literally allusive form. In the painter's own words, during this time of reflection, "I attempted more boldly to create forms that did not impose a single meaning, leaving viewers fully free to access the ingredients of their personalities, that may be unconscious or repressed but are absolutely truthful. I sought, and continue to strive, to create form that is only the beginning of the work as generated by the viewer, each time in a new shape..." In Fijalkowski's works, "form" is more open the more it is modest, efficient, insinuated. Most of his compositions are constructed based on a simple set of principles whereby an almost uniformly colored background is filled in with elements that resemble geometric figures but have rounded corners and soft edges, generating a poetic mood. The decisive hues used for the backgrounds of these canvasses, however, decidedly modifies their function and meaning - at times, the background dominates the entirety of the image, becoming an abyss, a void that draws into its interior large, spinning wheels, ellipsoidal forms, or diagonal lines that cut across the painting. One could expect this repetition of forms to render both Fijalkowski's painted works and his graphic art pieces tiring (the artist has been equally active in both areas, working in cycles, though the subjects undertaken often appeared in compositions created in various techniques). This impression is only reinforced by the artist's palette, which was restricted; he willingly used "undecided colors" that were muted, cool, and only at times broken up with ribbons of categorical black. But Fijalkowski was able to extract a tension out of this monotony and uniformity, in a manner that usually remains unfathomable to the viewer. Likewise, the meanings the artist assigns to these puzzling arrangements remain largely a mystery. In the end, it is the erudition of viewers, their rooting in culture and awareness of contemporary art, finally their intuition that determine their ability to enter into a dialogue with the artist and his work. This dialogue is easier to establish in the case of pieces that contain "objective" suggestions and clear references, for instance to Christian iconography. It is more difficult in the case of abstract compositions like WAWOZY / RAVINES, WARIACJE NA TEMAT LICZBY CZTERY / VARIATIONS ON THE NUMBER FOUR, STUDIA TALMUDYCZNE / TALMUDIC STUDIES, or works like AUTOSTRADY / HIGHWAYS that derive from the artist's personal experiences. Nevertheless, Fijalkowski's paintings are charming, even to the uninitiated viewer, for the ascetic painting techniques used, for a compactness deriving from the skillful balancing of emotions and intellect, intuition and conscious thought, individual expression and universal meanings - something very much in line with the artist's own expectations. The parallel existence and synthesis of the concrete forms of the works with the mystery of their message - a synthesis of that which is external to the works with that which is internal - prevents his oeuvre from being perceived as over-aestheticized. In the end, his work seems to be the result of a search for harmony, for a principle that would impose order on the lack of direction felt by contemporary man. The artist achieves this aim through a distinct painterly language that sets his art apart from that of other artists, rendering it exceptional and original, not only, it seems, when compared to the work of other Polish artists.
Stanislaw Fijalkowski is chairman of the Polish section of the XYLON International Association of Wood-Engravers and has been a vice president of this body's International Board since 1990. Between 1974 and 1979 he was the vice president of the Polish AIAP Committee (Association Internationale des Arts Plastiques). He is a member of the European Academy of Arts and Sciences in Salzburg and the Royal Belgian Academy of Sciences, Literature, and Fine Arts in Brussels. He represented Poland at the biennales in Sao Paulo (1969) and Venice (1972). He has received numerous domestic and international awards at a number of exhibitions.
Malgorzata Kitowska-Lysiak, Art History Institute of the Catholic University of Lublin.
Władysław Strzemiński (1893-1952) - Kompozycja architektoniczna 1 [Architectural composition 1] (1926) In the collection of the Muzeum Sztuki, Łódź. Shown at the temporary exhibition "Kobro and Strzemiński. Art in Turbulent Times" at the Moderna Museet, Malmö, Sweden, summer 2018.
Oil on canvas; 57 x 45 cm.
Born in Zdolbunowo in Wolhynia in 1922. In 1944-45 Fijalkowski was deported to Königsberg (presently Kaliningrad), where he was pressed into forced labor. It was during Poland's occupation, a particularly difficult time in Fijalkowski's life, that he undertook his first creative explorations as an artist. These efforts were entirely independent, unguided by anyone. He did not find time for systematic study in painting until after the war. Between 1946 and 1951 he attended the State Higher School of the Fine Arts in Lodz, where he was a student of Wladyslaw Strzeminski and Stefan Wegner, though he had Ludwik Tyrowicz as his thesis promoter. From among his teachers, Fijalkowski most readily names Strzeminski as an influence, perhaps because he later worked under him as an assistant (the artist taught at his alma mater from 1947-1993, becoming a full professor in 1983). He was an important presence within the group of educators who shaped the school in Lodz (known today as the Academy of Fine Arts). He also guest lectured for brief periods at a series of foreign art schools, among them the schools in Mons (1978, 1982) and Marburg (1990). He taught classes at Geissen University throughout the 1989/90 academic year.
Fijalkowski began his career as an independent artist by rebelling against his master, creating works that possess a clear link to those of the Impressionists. He made an effort to delineate his own, individual creative path by taking a clear position towards tradition and the achievements of the masters, particularly Strzeminski. Towards the end of the 1950s he proceeded along a course typical of Polish painters fascinated with Informel, taking an interest in the symbolic meanings inherent in abstract expressive means. He believed that "unreal" shapes are justified in paintings when they are saturated with meaning. Years later, in writing a brief curriculum vitae, the artist added that it was approximately at this time that "...apart from interpreting reality within an esoteric dimension, there appeared [in his paintings] the need to organize the esoteric meanings inherent in form." Fijalkowski admits that the shape of his art was to a significant degree determined by the writings of Kandinsky (whose "Über das Geistige in der Kunst" Fijalkowski translated and published in Poland) and Mondrian, and by his interest in Surrealism. These two branches of 20th century art unexpectedly combined in Fijalkowski's art to produce surprising results. At the turn of the 1950s and 60s Fijalkowski continued to search and experiment, using the canvas as a plane on which to juxtapose the essentials of Strzeminski's ordering principles with something within the realm of Surrealism that was stripped of direct metaphorical meanings and allusions.
The change that occurred in his paintings consisted primarily of a gradual abandonment of pure, literally allusive form. In the painter's own words, during this time of reflection, "I attempted more boldly to create forms that did not impose a single meaning, leaving viewers fully free to access the ingredients of their personalities, that may be unconscious or repressed but are absolutely truthful. I sought, and continue to strive, to create form that is only the beginning of the work as generated by the viewer, each time in a new shape..." In Fijalkowski's works, "form" is more open the more it is modest, efficient, insinuated. Most of his compositions are constructed based on a simple set of principles whereby an almost uniformly colored background is filled in with elements that resemble geometric figures but have rounded corners and soft edges, generating a poetic mood. The decisive hues used for the backgrounds of these canvasses, however, decidedly modifies their function and meaning - at times, the background dominates the entirety of the image, becoming an abyss, a void that draws into its interior large, spinning wheels, ellipsoidal forms, or diagonal lines that cut across the painting. One could expect this repetition of forms to render both Fijalkowski's painted works and his graphic art pieces tiring (the artist has been equally active in both areas, working in cycles, though the subjects undertaken often appeared in compositions created in various techniques). This impression is only reinforced by the artist's palette, which was restricted; he willingly used "undecided colors" that were muted, cool, and only at times broken up with ribbons of categorical black. But Fijalkowski was able to extract a tension out of this monotony and uniformity, in a manner that usually remains unfathomable to the viewer. Likewise, the meanings the artist assigns to these puzzling arrangements remain largely a mystery. In the end, it is the erudition of viewers, their rooting in culture and awareness of contemporary art, finally their intuition that determine their ability to enter into a dialogue with the artist and his work. This dialogue is easier to establish in the case of pieces that contain "objective" suggestions and clear references, for instance to Christian iconography. It is more difficult in the case of abstract compositions like WAWOZY / RAVINES, WARIACJE NA TEMAT LICZBY CZTERY / VARIATIONS ON THE NUMBER FOUR, STUDIA TALMUDYCZNE / TALMUDIC STUDIES, or works like AUTOSTRADY / HIGHWAYS that derive from the artist's personal experiences. Nevertheless, Fijalkowski's paintings are charming, even to the uninitiated viewer, for the ascetic painting techniques used, for a compactness deriving from the skillful balancing of emotions and intellect, intuition and conscious thought, individual expression and universal meanings - something very much in line with the artist's own expectations. The parallel existence and synthesis of the concrete forms of the works with the mystery of their message - a synthesis of that which is external to the works with that which is internal - prevents his oeuvre from being perceived as over-aestheticized. In the end, his work seems to be the result of a search for harmony, for a principle that would impose order on the lack of direction felt by contemporary man. The artist achieves this aim through a distinct painterly language that sets his art apart from that of other artists, rendering it exceptional and original, not only, it seems, when compared to the work of other Polish artists.
Stanislaw Fijalkowski is chairman of the Polish section of the XYLON International Association of Wood-Engravers and has been a vice president of this body's International Board since 1990. Between 1974 and 1979 he was the vice president of the Polish AIAP Committee (Association Internationale des Arts Plastiques). He is a member of the European Academy of Arts and Sciences in Salzburg and the Royal Belgian Academy of Sciences, Literature, and Fine Arts in Brussels. He represented Poland at the biennales in Sao Paulo (1969) and Venice (1972). He has received numerous domestic and international awards at a number of exhibitions.
Malgorzata Kitowska-Lysiak, Art History Institute of the Catholic University of Lublin.
Oil, fiberboard; 42 x 50 cm.
Born in Zdolbunowo in Wolhynia in 1922. In 1944-45 Fijalkowski was deported to Königsberg (presently Kaliningrad), where he was pressed into forced labor. It was during Poland's occupation, a particularly difficult time in Fijalkowski's life, that he undertook his first creative explorations as an artist. These efforts were entirely independent, unguided by anyone. He did not find time for systematic study in painting until after the war. Between 1946 and 1951 he attended the State Higher School of the Fine Arts in Lodz, where he was a student of Wladyslaw Strzeminski and Stefan Wegner, though he had Ludwik Tyrowicz as his thesis promoter. From among his teachers, Fijalkowski most readily names Strzeminski as an influence, perhaps because he later worked under him as an assistant (the artist taught at his alma mater from 1947-1993, becoming a full professor in 1983). He was an important presence within the group of educators who shaped the school in Lodz (known today as the Academy of Fine Arts). He also guest lectured for brief periods at a series of foreign art schools, among them the schools in Mons (1978, 1982) and Marburg (1990). He taught classes at Geissen University throughout the 1989/90 academic year.
Fijalkowski began his career as an independent artist by rebelling against his master, creating works that possess a clear link to those of the Impressionists. He made an effort to delineate his own, individual creative path by taking a clear position towards tradition and the achievements of the masters, particularly Strzeminski. Towards the end of the 1950s he proceeded along a course typical of Polish painters fascinated with Informel, taking an interest in the symbolic meanings inherent in abstract expressive means. He believed that "unreal" shapes are justified in paintings when they are saturated with meaning. Years later, in writing a brief curriculum vitae, the artist added that it was approximately at this time that "...apart from interpreting reality within an esoteric dimension, there appeared [in his paintings] the need to organize the esoteric meanings inherent in form." Fijalkowski admits that the shape of his art was to a significant degree determined by the writings of Kandinsky (whose "Über das Geistige in der Kunst" Fijalkowski translated and published in Poland) and Mondrian, and by his interest in Surrealism. These two branches of 20th century art unexpectedly combined in Fijalkowski's art to produce surprising results. At the turn of the 1950s and 60s Fijalkowski continued to search and experiment, using the canvas as a plane on which to juxtapose the essentials of Strzeminski's ordering principles with something within the realm of Surrealism that was stripped of direct metaphorical meanings and allusions.
The change that occurred in his paintings consisted primarily of a gradual abandonment of pure, literally allusive form. In the painter's own words, during this time of reflection, "I attempted more boldly to create forms that did not impose a single meaning, leaving viewers fully free to access the ingredients of their personalities, that may be unconscious or repressed but are absolutely truthful. I sought, and continue to strive, to create form that is only the beginning of the work as generated by the viewer, each time in a new shape..." In Fijalkowski's works, "form" is more open the more it is modest, efficient, insinuated. Most of his compositions are constructed based on a simple set of principles whereby an almost uniformly colored background is filled in with elements that resemble geometric figures but have rounded corners and soft edges, generating a poetic mood. The decisive hues used for the backgrounds of these canvasses, however, decidedly modifies their function and meaning - at times, the background dominates the entirety of the image, becoming an abyss, a void that draws into its interior large, spinning wheels, ellipsoidal forms, or diagonal lines that cut across the painting. One could expect this repetition of forms to render both Fijalkowski's painted works and his graphic art pieces tiring (the artist has been equally active in both areas, working in cycles, though the subjects undertaken often appeared in compositions created in various techniques). This impression is only reinforced by the artist's palette, which was restricted; he willingly used "undecided colors" that were muted, cool, and only at times broken up with ribbons of categorical black. But Fijalkowski was able to extract a tension out of this monotony and uniformity, in a manner that usually remains unfathomable to the viewer. Likewise, the meanings the artist assigns to these puzzling arrangements remain largely a mystery. In the end, it is the erudition of viewers, their rooting in culture and awareness of contemporary art, finally their intuition that determine their ability to enter into a dialogue with the artist and his work. This dialogue is easier to establish in the case of pieces that contain "objective" suggestions and clear references, for instance to Christian iconography. It is more difficult in the case of abstract compositions like WAWOZY / RAVINES, WARIACJE NA TEMAT LICZBY CZTERY / VARIATIONS ON THE NUMBER FOUR, STUDIA TALMUDYCZNE / TALMUDIC STUDIES, or works like AUTOSTRADY / HIGHWAYS that derive from the artist's personal experiences. Nevertheless, Fijalkowski's paintings are charming, even to the uninitiated viewer, for the ascetic painting techniques used, for a compactness deriving from the skillful balancing of emotions and intellect, intuition and conscious thought, individual expression and universal meanings - something very much in line with the artist's own expectations. The parallel existence and synthesis of the concrete forms of the works with the mystery of their message - a synthesis of that which is external to the works with that which is internal - prevents his oeuvre from being perceived as over-aestheticized. In the end, his work seems to be the result of a search for harmony, for a principle that would impose order on the lack of direction felt by contemporary man. The artist achieves this aim through a distinct painterly language that sets his art apart from that of other artists, rendering it exceptional and original, not only, it seems, when compared to the work of other Polish artists.
Stanislaw Fijalkowski is chairman of the Polish section of the XYLON International Association of Wood-Engravers and has been a vice president of this body's International Board since 1990. Between 1974 and 1979 he was the vice president of the Polish AIAP Committee (Association Internationale des Arts Plastiques). He is a member of the European Academy of Arts and Sciences in Salzburg and the Royal Belgian Academy of Sciences, Literature, and Fine Arts in Brussels. He represented Poland at the biennales in Sao Paulo (1969) and Venice (1972). He has received numerous domestic and international awards at a number of exhibitions.
Malgorzata Kitowska-Lysiak, Art History Institute of the Catholic University of Lublin.
Born in Zdolbunowo in Wolhynia in 1922. In 1944-45 Fijalkowski was deported to Königsberg (presently Kaliningrad), where he was pressed into forced labor. It was during Poland's occupation, a particularly difficult time in Fijalkowski's life, that he undertook his first creative explorations as an artist. These efforts were entirely independent, unguided by anyone. He did not find time for systematic study in painting until after the war. Between 1946 and 1951 he attended the State Higher School of the Fine Arts in Lodz, where he was a student of Wladyslaw Strzeminski and Stefan Wegner, though he had Ludwik Tyrowicz as his thesis promoter. From among his teachers, Fijalkowski most readily names Strzeminski as an influence, perhaps because he later worked under him as an assistant (the artist taught at his alma mater from 1947-1993, becoming a full professor in 1983). He was an important presence within the group of educators who shaped the school in Lodz (known today as the Academy of Fine Arts). He also guest lectured for brief periods at a series of foreign art schools, among them the schools in Mons (1978, 1982) and Marburg (1990). He taught classes at Geissen University throughout the 1989/90 academic year.
Fijalkowski began his career as an independent artist by rebelling against his master, creating works that possess a clear link to those of the Impressionists. He made an effort to delineate his own, individual creative path by taking a clear position towards tradition and the achievements of the masters, particularly Strzeminski. Towards the end of the 1950s he proceeded along a course typical of Polish painters fascinated with Informel, taking an interest in the symbolic meanings inherent in abstract expressive means. He believed that "unreal" shapes are justified in paintings when they are saturated with meaning. Years later, in writing a brief curriculum vitae, the artist added that it was approximately at this time that "...apart from interpreting reality within an esoteric dimension, there appeared [in his paintings] the need to organize the esoteric meanings inherent in form." Fijalkowski admits that the shape of his art was to a significant degree determined by the writings of Kandinsky (whose "Über das Geistige in der Kunst" Fijalkowski translated and published in Poland) and Mondrian, and by his interest in Surrealism. These two branches of 20th century art unexpectedly combined in Fijalkowski's art to produce surprising results. At the turn of the 1950s and 60s Fijalkowski continued to search and experiment, using the canvas as a plane on which to juxtapose the essentials of Strzeminski's ordering principles with something within the realm of Surrealism that was stripped of direct metaphorical meanings and allusions.
The change that occurred in his paintings consisted primarily of a gradual abandonment of pure, literally allusive form. In the painter's own words, during this time of reflection, "I attempted more boldly to create forms that did not impose a single meaning, leaving viewers fully free to access the ingredients of their personalities, that may be unconscious or repressed but are absolutely truthful. I sought, and continue to strive, to create form that is only the beginning of the work as generated by the viewer, each time in a new shape..." In Fijalkowski's works, "form" is more open the more it is modest, efficient, insinuated. Most of his compositions are constructed based on a simple set of principles whereby an almost uniformly colored background is filled in with elements that resemble geometric figures but have rounded corners and soft edges, generating a poetic mood. The decisive hues used for the backgrounds of these canvasses, however, decidedly modifies their function and meaning - at times, the background dominates the entirety of the image, becoming an abyss, a void that draws into its interior large, spinning wheels, ellipsoidal forms, or diagonal lines that cut across the painting. One could expect this repetition of forms to render both Fijalkowski's painted works and his graphic art pieces tiring (the artist has been equally active in both areas, working in cycles, though the subjects undertaken often appeared in compositions created in various techniques). This impression is only reinforced by the artist's palette, which was restricted; he willingly used "undecided colors" that were muted, cool, and only at times broken up with ribbons of categorical black. But Fijalkowski was able to extract a tension out of this monotony and uniformity, in a manner that usually remains unfathomable to the viewer. Likewise, the meanings the artist assigns to these puzzling arrangements remain largely a mystery. In the end, it is the erudition of viewers, their rooting in culture and awareness of contemporary art, finally their intuition that determine their ability to enter into a dialogue with the artist and his work. This dialogue is easier to establish in the case of pieces that contain "objective" suggestions and clear references, for instance to Christian iconography. It is more difficult in the case of abstract compositions like WAWOZY / RAVINES, WARIACJE NA TEMAT LICZBY CZTERY / VARIATIONS ON THE NUMBER FOUR, STUDIA TALMUDYCZNE / TALMUDIC STUDIES, or works like AUTOSTRADY / HIGHWAYS that derive from the artist's personal experiences. Nevertheless, Fijalkowski's paintings are charming, even to the uninitiated viewer, for the ascetic painting techniques used, for a compactness deriving from the skillful balancing of emotions and intellect, intuition and conscious thought, individual expression and universal meanings - something very much in line with the artist's own expectations. The parallel existence and synthesis of the concrete forms of the works with the mystery of their message - a synthesis of that which is external to the works with that which is internal - prevents his oeuvre from being perceived as over-aestheticized. In the end, his work seems to be the result of a search for harmony, for a principle that would impose order on the lack of direction felt by contemporary man. The artist achieves this aim through a distinct painterly language that sets his art apart from that of other artists, rendering it exceptional and original, not only, it seems, when compared to the work of other Polish artists.
Stanislaw Fijalkowski is chairman of the Polish section of the XYLON International Association of Wood-Engravers and has been a vice president of this body's International Board since 1990. Between 1974 and 1979 he was the vice president of the Polish AIAP Committee (Association Internationale des Arts Plastiques). He is a member of the European Academy of Arts and Sciences in Salzburg and the Royal Belgian Academy of Sciences, Literature, and Fine Arts in Brussels. He represented Poland at the biennales in Sao Paulo (1969) and Venice (1972). He has received numerous domestic and international awards at a number of exhibitions.
Malgorzata Kitowska-Lysiak, Art History Institute of the Catholic University of Lublin.
VISION AND UNITY Strzemiński 1893 – 1952
100,00zł
…and 9 contemporary polish artists.
Znakomity katalog wystawy, prezentowanej pomiędzy czerwcem a październikiem 1989 roku w Muzeum Sztuki w Łodzi i Van Reekum Museum Apeldoorn, będący też poniekąd dziełem naukowym, poświęconym twórczości Strzemińskiego i reminiscencjom jego twórczości u wybranych twórców współczesnych: Stefana Gierowskiego, Zbigniewa Gostomskiego, Jarosława Kozłowskiego, Leona Tarasewicza, Andrzeja Szewczyka, Krzysztofa Wodiczki, Antoniego Starczewskiego, Romana Opałki, Ryszarda Winiarskiego.
Publikacja dwujęzyczna (holenderski, angielski).
Stan egzemplarza bardzo dobry.
novasarmatia.blogspot.com/2016/07/vision-and-unity-strzem...
Raum der Stille
Es gibt Kunstwerke, die sich dem Betrachter schnell erschließen. Und es gibt Kunstwerke, die man auf sich wirken lassen muss. Häufig liegt das Geheimnis dieser Arbeiten in der Reduktion – ganz gleich ob dies mittels der gewählten Materialien, der Form oder der Farbe geschieht.
Die in diesem Raum versammelten Werke vereint die scheinbar meditative Ruhe, die von ihnen auszugehen scheint und sie dennoch die gesamte Aufmerksamkeit des Besuchers verlangen.
Trotz der klaren Linien und der Einfachheit der Formen gelingt es den Künstlern auf ganz verschiedene Weise das Augenmerk auf bestimmte Phänomene zu richten: Während Jan Schoonhoven, Ulrich Erben, Rupprecht Geiger und Władysław Strzemiński vor allem auf die Wirkung von Farbe und das Spiel von Licht und Schatten setzen, stehen bei Günther Uecker, Hans Arp und Abraham David Christian der Gegensatz zwischen Bewegung und Starrheit im Zentrum der Aufmerksamkeit.
Werk aus der eigenen Sammlung des Kunstmuseum Bochum in Bochum, aufgenommen am 24.08.2020. +++ Foto: Lutz Leitmann/Stadt Bochum
The Four Domes Pavilivon was designed by a famous architect Hans Poelzig and built in the years 1912-1913 with the use of reinforced concrete, which was a novelty then.
After almost seventy years the Four Domes Pavilion (Pawilon Czterech Kopuł), one of the most interesting modernist buildings of Wrocław, became available for the public. On 25th June 2016 a new branch of the National Museum was opened here - the Museum of Contemporary Art.
At first it served mainly as an exhibition centre - in 1913 it hosted an exhibition organised for the 100th anniversary of the victory over Napoleon. In 2006 it became part of the UNESCO World Heritage List.
The refreshed building presents a collection of Polish contemporary art created by the most prominent artists of the second half of the 20th century and 21st century. Among others there are works of: Magdalena Abakanowicz, Paweł Althamer, Mirosław Bałka, Jerzy Bereś, Krzysztof Bednarski, Tadeusz Brzozowski, Waldemar Cwenarski, Stanisław Dróżdż, Józef Gielniak, Izabella Gustowska, Władysław Hasior, Józef Hałas, Tadeusz Kantor, Aleksander Kobzdej, Katarzyna Kozyra, Natalia Lach-Lachowicz, Alfred Lenica, Jan Lebenstein, Alfons Mazurkiewicz, Jerzy Nowosielski, Roman Opałka, Jerzy Rosołowicz, Henryk Stażewski, Władysław Strzemiński, Alina Szapocznikow, Jerzy Tchórzewski, Andrzej Wróblewski.
Rafał Szrajber, co-organizer of the ZTGK Challenge, Strzemiński Academy of Fine Arts in Lodz, delivers remarks at the inauguration of “@Polska in the Game *Digital Dreamers*” exhibition, co-organized by WIPO and the Government of Poland.
Held on the sidelines of the Assemblies of WIPO Member States, the exhibition featured iconic videogames made in Poland.
The Assemblies of WIPO Member States took place in Geneva, Switzerland, from July 6-14, 2023.
Copyright: WIPO. Photo: Violaine Martin. This work is licensed under a Creative Commons Attribution 4.0 International License.
The Four Domes Pavilivon was designed by a famous architect Hans Poelzig and built in the years 1912-1913 with the use of reinforced concrete, which was a novelty then.
After almost seventy years the Four Domes Pavilion (Pawilon Czterech Kopuł), one of the most interesting modernist buildings of Wrocław, became available for the public. On 25th June 2016 a new branch of the National Museum was opened here - the Museum of Contemporary Art.
At first it served mainly as an exhibition centre - in 1913 it hosted an exhibition organised for the 100th anniversary of the victory over Napoleon. In 2006 it became part of the UNESCO World Heritage List.
The refreshed building presents a collection of Polish contemporary art created by the most prominent artists of the second half of the 20th century and 21st century. Among others there are works of: Magdalena Abakanowicz, Paweł Althamer, Mirosław Bałka, Jerzy Bereś, Krzysztof Bednarski, Tadeusz Brzozowski, Waldemar Cwenarski, Stanisław Dróżdż, Józef Gielniak, Izabella Gustowska, Władysław Hasior, Józef Hałas, Tadeusz Kantor, Aleksander Kobzdej, Katarzyna Kozyra, Natalia Lach-Lachowicz, Alfred Lenica, Jan Lebenstein, Alfons Mazurkiewicz, Jerzy Nowosielski, Roman Opałka, Jerzy Rosołowicz, Henryk Stażewski, Władysław Strzemiński, Alina Szapocznikow, Jerzy Tchórzewski, Andrzej Wróblewski.
The Four Domes Pavilivon was designed by a famous architect Hans Poelzig and built in the years 1912-1913 with the use of reinforced concrete, which was a novelty then.
After almost seventy years the Four Domes Pavilion (Pawilon Czterech Kopuł), one of the most interesting modernist buildings of Wrocław, became available for the public. On 25th June 2016 a new branch of the National Museum was opened here - the Museum of Contemporary Art.
At first it served mainly as an exhibition centre - in 1913 it hosted an exhibition organised for the 100th anniversary of the victory over Napoleon. In 2006 it became part of the UNESCO World Heritage List.
The refreshed building presents a collection of Polish contemporary art created by the most prominent artists of the second half of the 20th century and 21st century. Among others there are works of: Magdalena Abakanowicz, Paweł Althamer, Mirosław Bałka, Jerzy Bereś, Krzysztof Bednarski, Tadeusz Brzozowski, Waldemar Cwenarski, Stanisław Dróżdż, Józef Gielniak, Izabella Gustowska, Władysław Hasior, Józef Hałas, Tadeusz Kantor, Aleksander Kobzdej, Katarzyna Kozyra, Natalia Lach-Lachowicz, Alfred Lenica, Jan Lebenstein, Alfons Mazurkiewicz, Jerzy Nowosielski, Roman Opałka, Jerzy Rosołowicz, Henryk Stażewski, Władysław Strzemiński, Alina Szapocznikow, Jerzy Tchórzewski, Andrzej Wróblewski.
Asia's Leading Sustainable Light Art Festival
9 March - 1 April 2018
Marina Bay Waterfront: Free Admission*
Main event 7:30PM to 11:00PM (extended to 12:00mn on Fri & Sat nights)
11 ~ DREAMSCAPE
Magdalena Radziszewska | Poland
Location: Mist Walk
For centuries, supernatural and magical properties have been attributed to flowers. Their delicacy and mysteriousness seem ephemeral and out of this world. Frequently utilised in fairy tales and legends over time, flowers have maintained their supernatural and magical aura. The installation of numerous giant orchids on the Mist Walk are covered with delicate light, and will take the viewer to the world of dreams and fantasies, where they can experience the visions of their childhood imagination.
About the Artist
Magda Radiszewska is an artist who splits her life between two cities: Warsaw and Łódź. Born in 1993, she is currently studying at the Strzemiński Academy of Art in Łódź. The main field of her artistic activity is creating light installations.
In her works she focuses on mixing the real and the imaginary, creating a world of fantasy. Her works create a dream-like atmosphere; transform the reality into a space that activates deepest fantasies and desires in her audience, giving them a subtle, elusive moment. She invites reality to come out of its frame and become the basis of something extraordinary, something that we secretly want to experience.
Her first installation – Jellyfish was exhibited at Light Move Festival in Łódź in 2016. Her recent work in Bella Skyway Festival in Toruń was covered in several international media including The Guardian.
The Four Domes Pavilivon was designed by a famous architect Hans Poelzig and built in the years 1912-1913 with the use of reinforced concrete, which was a novelty then.
After almost seventy years the Four Domes Pavilion (Pawilon Czterech Kopuł), one of the most interesting modernist buildings of Wrocław, became available for the public. On 25th June 2016 a new branch of the National Museum was opened here - the Museum of Contemporary Art.
At first it served mainly as an exhibition centre - in 1913 it hosted an exhibition organised for the 100th anniversary of the victory over Napoleon. In 2006 it became part of the UNESCO World Heritage List.
The refreshed building presents a collection of Polish contemporary art created by the most prominent artists of the second half of the 20th century and 21st century. Among others there are works of: Magdalena Abakanowicz, Paweł Althamer, Mirosław Bałka, Jerzy Bereś, Krzysztof Bednarski, Tadeusz Brzozowski, Waldemar Cwenarski, Stanisław Dróżdż, Józef Gielniak, Izabella Gustowska, Władysław Hasior, Józef Hałas, Tadeusz Kantor, Aleksander Kobzdej, Katarzyna Kozyra, Natalia Lach-Lachowicz, Alfred Lenica, Jan Lebenstein, Alfons Mazurkiewicz, Jerzy Nowosielski, Roman Opałka, Jerzy Rosołowicz, Henryk Stażewski, Władysław Strzemiński, Alina Szapocznikow, Jerzy Tchórzewski, Andrzej Wróblewski.
On Thursday, October 17th, The Strzemiński Academy of Fine Arts Łódź hosted japanese artist - Hiromi Inayoshi, who conducted a fascinating lecture for students.
The Four Domes Pavilivon was designed by a famous architect Hans Poelzig and built in the years 1912-1913 with the use of reinforced concrete, which was a novelty then.
After almost seventy years the Four Domes Pavilion (Pawilon Czterech Kopuł), one of the most interesting modernist buildings of Wrocław, became available for the public. On 25th June 2016 a new branch of the National Museum was opened here - the Museum of Contemporary Art.
At first it served mainly as an exhibition centre - in 1913 it hosted an exhibition organised for the 100th anniversary of the victory over Napoleon. In 2006 it became part of the UNESCO World Heritage List.
The refreshed building presents a collection of Polish contemporary art created by the most prominent artists of the second half of the 20th century and 21st century. Among others there are works of: Magdalena Abakanowicz, Paweł Althamer, Mirosław Bałka, Jerzy Bereś, Krzysztof Bednarski, Tadeusz Brzozowski, Waldemar Cwenarski, Stanisław Dróżdż, Józef Gielniak, Izabella Gustowska, Władysław Hasior, Józef Hałas, Tadeusz Kantor, Aleksander Kobzdej, Katarzyna Kozyra, Natalia Lach-Lachowicz, Alfred Lenica, Jan Lebenstein, Alfons Mazurkiewicz, Jerzy Nowosielski, Roman Opałka, Jerzy Rosołowicz, Henryk Stażewski, Władysław Strzemiński, Alina Szapocznikow, Jerzy Tchórzewski, Andrzej Wróblewski.
On October 16th, the Strzemiński Academy of Fine Arts Łódź organised the Diploma Fashion Show. The Show consisted of 13 collections, of best last year graduates.
More than 16 prizes were awarded by such companies as:
The Four Domes Pavilivon was designed by a famous architect Hans Poelzig and built in the years 1912-1913 with the use of reinforced concrete, which was a novelty then.
After almost seventy years the Four Domes Pavilion (Pawilon Czterech Kopuł), one of the most interesting modernist buildings of Wrocław, became available for the public. On 25th June 2016 a new branch of the National Museum was opened here - the Museum of Contemporary Art.
At first it served mainly as an exhibition centre - in 1913 it hosted an exhibition organised for the 100th anniversary of the victory over Napoleon. In 2006 it became part of the UNESCO World Heritage List.
The refreshed building presents a collection of Polish contemporary art created by the most prominent artists of the second half of the 20th century and 21st century. Among others there are works of: Magdalena Abakanowicz, Paweł Althamer, Mirosław Bałka, Jerzy Bereś, Krzysztof Bednarski, Tadeusz Brzozowski, Waldemar Cwenarski, Stanisław Dróżdż, Józef Gielniak, Izabella Gustowska, Władysław Hasior, Józef Hałas, Tadeusz Kantor, Aleksander Kobzdej, Katarzyna Kozyra, Natalia Lach-Lachowicz, Alfred Lenica, Jan Lebenstein, Alfons Mazurkiewicz, Jerzy Nowosielski, Roman Opałka, Jerzy Rosołowicz, Henryk Stażewski, Władysław Strzemiński, Alina Szapocznikow, Jerzy Tchórzewski, Andrzej Wróblewski.
On October 16th, the Strzemiński Academy of Fine Arts Łódź organised the Diploma Fashion Show. The Show consisted of 13 collections, of best last year graduates.
More than 16 prizes were awarded by such companies as:
Karin Schneider & Nicolás Guagnini
Phantom Limb
1998
16 mm transferred to dvd, black & white, 22 min., silent
Union Gaucha Productions
‘Anti-expert’ footage by Union Gaucha filmic duo from the 90s is a result of research in ‘avant-gardes margins’. It includes works by avant-garde artists from Brazil, Argentina and Poland (Katarzyna Kobro, Władysław Strzemiński, Lygia Clark, Raul Loosa and others). Schneider and Guagnini were first matching together Katarzyna Kobro and Lygia Clark, and as first ‘scholars’ noticed compelling relation between two women artists and their understanding of sculpture as laboratory of ‘social’ space and open spatial structure. The film also includes a unique scenes shot at Muzeum Sztuki in 1997 of the artists playing with Kobro sculptures arranging them in a ‘puppet animation’ sequences.
On October 16th, the Strzemiński Academy of Fine Arts Łódź organised the Diploma Fashion Show. The Show consisted of 13 collections, of best last year graduates.
More than 16 prizes were awarded by such companies as:
The Four Domes Pavilivon was designed by a famous architect Hans Poelzig and built in the years 1912-1913 with the use of reinforced concrete, which was a novelty then.
After almost seventy years the Four Domes Pavilion (Pawilon Czterech Kopuł), one of the most interesting modernist buildings of Wrocław, became available for the public. On 25th June 2016 a new branch of the National Museum was opened here - the Museum of Contemporary Art.
At first it served mainly as an exhibition centre - in 1913 it hosted an exhibition organised for the 100th anniversary of the victory over Napoleon. In 2006 it became part of the UNESCO World Heritage List.
The refreshed building presents a collection of Polish contemporary art created by the most prominent artists of the second half of the 20th century and 21st century. Among others there are works of: Magdalena Abakanowicz, Paweł Althamer, Mirosław Bałka, Jerzy Bereś, Krzysztof Bednarski, Tadeusz Brzozowski, Waldemar Cwenarski, Stanisław Dróżdż, Józef Gielniak, Izabella Gustowska, Władysław Hasior, Józef Hałas, Tadeusz Kantor, Aleksander Kobzdej, Katarzyna Kozyra, Natalia Lach-Lachowicz, Alfred Lenica, Jan Lebenstein, Alfons Mazurkiewicz, Jerzy Nowosielski, Roman Opałka, Jerzy Rosołowicz, Henryk Stażewski, Władysław Strzemiński, Alina Szapocznikow, Jerzy Tchórzewski, Andrzej Wróblewski.
The Four Domes Pavilivon was designed by a famous architect Hans Poelzig and built in the years 1912-1913 with the use of reinforced concrete, which was a novelty then.
After almost seventy years the Four Domes Pavilion (Pawilon Czterech Kopuł), one of the most interesting modernist buildings of Wrocław, became available for the public. On 25th June 2016 a new branch of the National Museum was opened here - the Museum of Contemporary Art.
At first it served mainly as an exhibition centre - in 1913 it hosted an exhibition organised for the 100th anniversary of the victory over Napoleon. In 2006 it became part of the UNESCO World Heritage List.
The refreshed building presents a collection of Polish contemporary art created by the most prominent artists of the second half of the 20th century and 21st century. Among others there are works of: Magdalena Abakanowicz, Paweł Althamer, Mirosław Bałka, Jerzy Bereś, Krzysztof Bednarski, Tadeusz Brzozowski, Waldemar Cwenarski, Stanisław Dróżdż, Józef Gielniak, Izabella Gustowska, Władysław Hasior, Józef Hałas, Tadeusz Kantor, Aleksander Kobzdej, Katarzyna Kozyra, Natalia Lach-Lachowicz, Alfred Lenica, Jan Lebenstein, Alfons Mazurkiewicz, Jerzy Nowosielski, Roman Opałka, Jerzy Rosołowicz, Henryk Stażewski, Władysław Strzemiński, Alina Szapocznikow, Jerzy Tchórzewski, Andrzej Wróblewski.
The Four Domes Pavilivon was designed by a famous architect Hans Poelzig and built in the years 1912-1913 with the use of reinforced concrete, which was a novelty then.
After almost seventy years the Four Domes Pavilion (Pawilon Czterech Kopuł), one of the most interesting modernist buildings of Wrocław, became available for the public. On 25th June 2016 a new branch of the National Museum was opened here - the Museum of Contemporary Art.
At first it served mainly as an exhibition centre - in 1913 it hosted an exhibition organised for the 100th anniversary of the victory over Napoleon. In 2006 it became part of the UNESCO World Heritage List.
The refreshed building presents a collection of Polish contemporary art created by the most prominent artists of the second half of the 20th century and 21st century. Among others there are works of: Magdalena Abakanowicz, Paweł Althamer, Mirosław Bałka, Jerzy Bereś, Krzysztof Bednarski, Tadeusz Brzozowski, Waldemar Cwenarski, Stanisław Dróżdż, Józef Gielniak, Izabella Gustowska, Władysław Hasior, Józef Hałas, Tadeusz Kantor, Aleksander Kobzdej, Katarzyna Kozyra, Natalia Lach-Lachowicz, Alfred Lenica, Jan Lebenstein, Alfons Mazurkiewicz, Jerzy Nowosielski, Roman Opałka, Jerzy Rosołowicz, Henryk Stażewski, Władysław Strzemiński, Alina Szapocznikow, Jerzy Tchórzewski, Andrzej Wróblewski.
On October 16th, the Strzemiński Academy of Fine Arts Łódź organised the Diploma Fashion Show. The Show consisted of 13 collections, of best last year graduates.
More than 16 prizes were awarded by such companies as:
On October 16th, the Strzemiński Academy of Fine Arts Łódź organised the Diploma Fashion Show. The Show consisted of 13 collections, of best last year graduates.
More than 16 prizes were awarded by such companies as:
On October 16th, the Strzemiński Academy of Fine Arts Łódź organised the Diploma Fashion Show. The Show consisted of 13 collections, of best last year graduates.
More than 16 prizes were awarded by such companies as:
The Four Domes Pavilivon was designed by a famous architect Hans Poelzig and built in the years 1912-1913 with the use of reinforced concrete, which was a novelty then.
After almost seventy years the Four Domes Pavilion (Pawilon Czterech Kopuł), one of the most interesting modernist buildings of Wrocław, became available for the public. On 25th June 2016 a new branch of the National Museum was opened here - the Museum of Contemporary Art.
At first it served mainly as an exhibition centre - in 1913 it hosted an exhibition organised for the 100th anniversary of the victory over Napoleon. In 2006 it became part of the UNESCO World Heritage List.
The refreshed building presents a collection of Polish contemporary art created by the most prominent artists of the second half of the 20th century and 21st century. Among others there are works of: Magdalena Abakanowicz, Paweł Althamer, Mirosław Bałka, Jerzy Bereś, Krzysztof Bednarski, Tadeusz Brzozowski, Waldemar Cwenarski, Stanisław Dróżdż, Józef Gielniak, Izabella Gustowska, Władysław Hasior, Józef Hałas, Tadeusz Kantor, Aleksander Kobzdej, Katarzyna Kozyra, Natalia Lach-Lachowicz, Alfred Lenica, Jan Lebenstein, Alfons Mazurkiewicz, Jerzy Nowosielski, Roman Opałka, Jerzy Rosołowicz, Henryk Stażewski, Władysław Strzemiński, Alina Szapocznikow, Jerzy Tchórzewski, Andrzej Wróblewski.
On October 16th, the Strzemiński Academy of Fine Arts Łódź organised the Diploma Fashion Show. The Show consisted of 13 collections, of best last year graduates.
More than 16 prizes were awarded by such companies as: