Difference between revisions of "Poland"

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; Literature
 
; Literature
 
* http://pl.wikipedia.org/wiki/Historia_polskiego_performance
 
* http://pl.wikipedia.org/wiki/Historia_polskiego_performance
 
== Interactive environments and installations ==
 
  
 
== Computer and computer-aided art ==
 
== Computer and computer-aided art ==

Revision as of 15:36, 11 September 2011

Cities

Bydgoszcz, Gdansk, Gdynia, Katowice, Kielce, Krakow, Lodz, Lublin, Ploc, Poznan, Szczecin, Toruń, Warszawa, Wroclaw, Zambrow.

Avant-garde

  • 1911, First manifestations of avant-garde tendencies at Krakow’s Exhibitions of the Independents, which include works by Tytus Czyżewski, Eugeniusz Zak, Andrzej and Zbigniew Pronaszko.

Futurists

Summary

"Polish futurism was short-lived, drawing to a close in 1922. Bruno Jasieński became a stanch Communist, producing the poem Song on Jakub Szela (Słowo o Jakubie Szeli) and the novel I Burn Paris (Palę Pary ). His political activities led to his emigration to Soviet Russia, where after enjoying a stunning career for a few years he was arrested in 1937 and was killed as a traitor in the Stalinist purges. Another Communist-leaning author was Aleksander Wat – imprisoned in Russia during WWII, he would die in Paris in 1967 as a respected poet and the author of works including his final-tally memoirs My Century (Mój wiek) and anti-Soviet sketches. Anatol Stern became associated with film. Two artistic disciplines, poetry and painting, were practiced within the futurist movement by Stanisław Młodo eniec and by the long under-appreciated formist painter Tytus Czyżewski (the same combination of disciplines was similarly practiced by Stanisław Ignacy Witkiewicz and later by Bruno Schulz). Czyżewski introduced the principles of formism, drawn from painting, into his poetry: he gave his poems “formist” graphical layouts, and linked the two disciplines thematically. For example, the metaphors in his poem “sun in metamorphosis” (”słońce w metamorfozie”) seem close to the concept behind his painting “Nude with a Cat” (”Akt z kotem”). The painter Henryk Berlewi (who spent most of his life in France) engaged in joint artistic, advertising, and publishing ventures with the Warsaw group in the 1920s. They initiated an artistic phenomenon that was later continued by avant-garde groups throughout the interwar years, one which is highly interesting but has yet to be sufficiently studied: the relations between poetry and the fine arts, marked by bonds of friendship and cooperation that extended across Poland’s borders." [1]

People
Events
  • 1913, Lwów. Exhibition of Futurists, Cubists and Expressionists organised jointly with the Berlin Galerie Der Sturm (Kandinsky, Jawlensky, Kokoschka., Kubišta and others).
  • February 1918, Warsaw. The first futurist evening organised by Stern and Wat
Venues
Writings
  • Marinetti’s Futurist Manifesto was published in the Krakow journal Swiat in October 1909.
  • December 1920, Warsaw, publication of the futurist almanac Gga by Stern and Wat, immediately confiscated on the grounds of obscenity
  • Jednodniuwka futurystuw (The Futurists’ Day), Krakow. First issue: June 1921, contains futurist manifestos written against the elementary rules of grammar and spelling by Bruno Jasieński. Second issue: November 1921, Kraków-Warsaw, “Nuż w bżuhu” (A Knife in the stomach) confiscated three weeks later.
  • Ziemia na lewo {Earth to the Left), the book of poems by Jasieński and Stern, with a cover design by Mieczysław Szczuka is the first Polish photomontage, 1925.
Journals
  • Nowa Sztuka (New Art), 1921-1923, monthly, ed. Anatol Stern and Jarosław Iwaszkiewicz, futurist poetry
  • Zwrotnica (Railway Switch), monthly, 1922-23 and 1926-27, Krakow, edited by Tadeusz Peiper, 12 issues. The periodical becomes the forum for the Polish avant-garde.
Literature
  • Beata Sniecikowska, Nuz w uhu Koncepcje dzwieku w poezji polskiego futuryzmu, Wydawnictwo Uniwersytetu Wroclawskiego, 2008. [2]

Constructivists

Painters, sculptors, poets.
Władysław Strzemiński (Warsaw/Lodz) [3], Katarzyna Kobro (Warsaw/Lodz) [4], Mieczyslaw Szczuka (Warsaw), Henryk Stażewski (Warsaw) [5], Karol Hiller (Lodz) [6], Henryk Berlewi (Warsaw/Berlin/Paris) [7] [8], Teresa Żarnowerówna (Warsaw) [9]

Groups
  • Blok (Grupa Kubistów, Konstruktywistów i Suprematystów Blok), Warsaw, 1923-1926.
  • Praesens, Warsaw, 1926-1930, avant-garde abstract art group, [10] [11]
  • a.r., Lodz, 1929-1936.
Events
  • The New Art Exhibition, 20 May - 20 June 1923, organised by Władysław Strzemiński and Vytautas Kairiūkštis, at Corso Cinema on A. Mickiewicz Avenue in Vilnius. Meeting ground for Russian and Western European avant-garde movements. One of the first manifestations of constructivist art outside Russia. Works included painting, drawing, sculpture, architecture, scenography, and printing. Cubist, Constructivist, and Suprematist compositions predominated. Its catalogue includes Kairiūkštis’ constructivist manifesto. The exhibition marked the first appearance of Polish Constructivism; participants included Mieczyslaw Szczuka (first montage photographs), Henryk Stażewski, Władysław Strzemiński, and Teresa Żarnowerówna, all of whom later become the members of the Blok group which held exhibitions in Riga, Bucharest, Brussels and Warsaw. [12]
  • a one-man show organised by Henryk Berlewi from his own work Mechanofaktura in the Austro-Daimler Automobile Salon, 1924.
  • Blok's inaugural exhibition in the showroom of the automobile firm Lauren-Clement, 1924
  • March 1927, Warsaw. Visit of Kazimir Malevich, who shows a selection of his works and lectures on new trends in art
  • 1927, New York. Strzemiński as a representative of Praesens co-organised The Machine Age exhibition
  • May 1929, To commemorate the tenth anniversary of Poland’s independence, the Universal exhibition of Art opens in Poznań (the largest show of Polish visual art in the interwar period; it includes works by avant-garde artists). The Praesens group breaks up after the exhibition.
  • a.r. International Collection of Modern Art donated by a.r. group to the Municipal Museum of History and Art (now Museum of Art; Museum Sztuki) in Lodz opened to the public on 15 February 1931. It included 111 works and represented - as no other contemporary European collection had done - the main movements of avant-garde art, from Cubism, Futurism and Constructivism, through Purism and Surrealism, to Neo-Plasticism, Unism and Formism. It is the first permanent collection of abstract art in a European museum, and opened two years after the Museum of Modern Art in New York. Władysław Strzemiński and a.r. group acquired the works through donations from artist friends and acquaintances around Europe between 1929 and 1932, and supplemented the collection until 1938. The collection in its ideological construct reflects the artistic preferences of Strzemiński, although it is a resultant of many people’s efforts, Stażewski, Brzękowski, Hans Arp and Michel Seuphor among others. In so doing they altered the cultural topography of the whole continent, putting Lodz on the map as a link between Paris, Berlin, Warsaw and Moscow. Equally radical was the idea of a museum based on international exchange between artists. The collection include works from Abstraction-Création, Cercle et Carré, Ernst, Arp, Léger, Picasso, Marcoussis, van Doesburg, Prampolini, Vantongerloo, Schwitters and the Polish avant-garde such as Chwistek, Hiller, Witkiewicz and Szczuka. The museum continuted to exhibit the constructivist works even during communism. The works by Kobro and Strzemiński are now housed in a space designed by the couple in 1948, the 'Sala Neoplastyczna'. [13] [14]
  • Constructivism in Poland 1923-1936, The Museum of Modern Art, New York, 1976. [15]
Writings and manifestos
  • Tadeusz Peiper, "Metropolis. Mass. Machine." [Miasto. Masa. Maszyna.], manifesto
  • Julian Przyboś, "Notre Dame: Kto pomyślił tę przepaść i odrzucił ją w górę" [Who conceived of this abyss and cast it upward]
  • Mieczyslaw Szczuka and Teresa Żarnowerówna, "Co to jest konstruktywizm" [What is Constructivism], Blok group manifesto, Blok no. 6-7, September 1924. [16]
  • Władysław Strzemiński, "B = 2", Blok no. 8-9, 1924. Presents a theory of unism.
  • Henryk Berlewi, "Zasadę mechanofaktury" [Principles of Mechanofaktura], 1924.
  • Władysław Strzemiński, Unizm w malarstwie [Unism in Painting]], Biblioteka Praesens, no. 3, Warsaw, 1928.
Journals
Misc
  • Belewi font, by Artur Frankowski, 2006. [17]
Literature
  • David Crowley, "The Cracow School and the Second Republic", in National Style and Nation-state: Design in Poland. From the Vernacular Revival to the International Style, Manchester University Press, 1992, pp 54-79. [18]
  • David Crowley, "Questioning Parochialism", in National Style and Nation-state: Design in Poland. From the Vernacular Revival to the International Style, Manchester University Press, 1992, pp 80-101. [19]
  • Barbara Iwona DeBoer, "Four Arts Redefined. Władysław Strzemiński's Theory of Unism", thesis, 2005. [20]
  • Constructivism in Poland 1923-1936 - BLOK - Praesens - a.r., catalogue, Museum Folkwang, Essen en Kröller-Müller Museum, Otterlo, 1973
  • Magdalena Frankowska and Artur Frankowski, Berlewi, Czysty Warsztat, 2009. [21] [22]

Literature

  • Irena Kossowska, "MIĘDZY TRADYCJĄ I AWANGARDĄ. POLSKA SZTUKA LAT 1920 I 1930", 2004. (Polish) [23]
  • Alina Kowalczykowa, "The Interwar Years – 1918-1939", [24]

Artist groups

Arts and engineering groups and collectives in CEE#Poland

Experimental film, avantgarde film

Background
  • early contributions to cinema were largely wiped out by World War II
  • In the 1980s, martial law in Poland killed experimental film making, as access to equipment and facilities was denied. In its place, video thrived. Many new artists grew up with the medium but some of the artists who mastered it, had previously used film, such as Robakowski.
Artists and works
  • Franciszka Themerson and Stefan Themerson
    • First photomontage films in 1927.
    • The first successfully completed avant-garde film in Poland was Pharmacy (Apteka, 1930, 35mm, 3 min, b&w, silent, Warszawa), by the writer-painter team of Stefan and Franciszka Themerson. To make it, the Themersons constructed a special animation stand that consisted of a glass plate covered with translucent paper and a camera beneath it with its lens pointing upwards. Small objects were placed on the glass. By lighting them from above, changing their position, and shooting frame by frame, they achieved interesting, nearly abstract moving patterns.
    • Inspired by Anatol Stern’s poem 'Europa' (published in 1929), they made the photomontage film Europa (1931/32, 35mm, 15 min, b&w, silent, Warszawa). A flow of snapshots depicting different aspects of contemporary life, Stern had made a strong political statement, a warning about the existence of social tensions and the possibility of a new world war. The Themersons followed the text closely, producing a filmic collage in which literary metaphors were represented word for picture. Since Europa was silent, the result was a stream of beautiful and sometimes mysterious images. As was the case with 'Pharmacy', the film was lost during WW2.
    • After completing 'Europa', the Themersons made two commissioned films: a commercial for a jewelry shop owned by Wanda Golińska (Musical Moment, Drobiazg Melodyjny, 1933, 35mm, 3 min, b&w, sound, music: Ravel) and an educational short for the Institute of Social Problems in Warsaw (Short Cut, Zwarcie, 1935, 35mm, 10 min, b&w, sound, music: Witold Lutosławski, Warszawa). In both they utilized the technique of animating objects they had already used in 'Pharmacy'. The films were also destroyed during the German occupation of Warsaw.
    • The Adventure of a Good Citizen (Przygoda czlowieka poczciwego, 1937, 35mm, 10 min, b&w, sound, music: Stefan Kisielewski, Warszawa) is a compendium of visual devices which shows what Stefan Themerson called his "urge to create visions," the title of his most influential essay. A surrealist burlesque that later inspired Roman Polanski’s 'Two Men and a Wardrobe'. Although it was mostly live action, they smuggled a few abstract images into the plot, some of them painted directly on the film stock. The film is the most significant Polish avant-garde cinematic work from the 1930s to survive to the present time. It was their last film completed in Poland, the war forced the Themersons to England where they continued to make films. [25]
    • In London they produced two more shorts (commissioned by the Film Bureau of the Ministry of Information and Documentation of the Polish Government in exile): Calling Mr. Smith (1943, 35mm, 10 min, colour, sound, music: Bach, Karol Szymanowski, Horst Wessel Lied, London) and 'The Eye and the Ear'. The former is an anti-Nazi propaganda film whose aim was to wake up ordinary British citizens, many of whom refused to acknowledge that the nation that had delivered Bach and Goethe could have committed crimes against humanity. Despite the message, the form of the film was innovative, contrasting shocking documentary footage with images of pure visual beauty (achieved, among other methods, through the use of color filters and hand drawn images). [26]
    • The Eye and the Ear (1944/45, 35mm, 10 min, b&w, sound, music: Karol Szymanowski) is a collection of four visual interpretations of songs by Karol Szymanowski (music) and Julian Tuwim (lyrics), sung by Sophie Wyss. Two of them consist of abstract moving patterns that represent the voice of the singer and orchestration. For one of the remaining parts, the filmmakers built a glass container, filled it with water, and dropped small clay balls into this to create ripples that also reflected the progress of the musical line. It claims to visualise the ear's experience when it listens to a piece of music. However, since the music, Szymanowski's 'Slopiewnie', seeks to capture visual experiences in sound, the film only reverses the process, rendering the whole exercise rather pointless. The exception to this is the third movement, 'Rowan Towers', in which a more mathematical system of interpreting the soundtrack is taken. The film is one of the best, but simultaneously lesser known, examples of abstract cinema in the history of this genre. [27]
    • Literature: Stefan Themerson's book Urge to create visions is about early cinema. The first issue of PIX magazine, (I. Halberstadt, ed. Pix 1) London, 1993/94 (ISBN 0851 170 0152) explores the work of the Themersons in film.
    • Resources: Themerson Archive, London, by Jasia Reichardt and Nick Wadley Themerson Archive in Katowice Bibliography of Stefan Themerson [28] [29] [30]
  • In 1930s, significant film experiments were also conducted in Krakow by a group of avant-garde artists and poets: Janusz Maria Brzeski, Kazimierz Podsadecki, and Jalu Kurek. None of their films survived intact, but enough material from Kurek’s OR (Rhythmic Calculations) (1934) was found after the war to allow it to be reconstructed (by Ignacy Szczepanski with a script by Marcin Giżycki. Incorporated into a documentary film titled 'Jalu Kurek'). The film was an illustration of Kurek’s theoretical belief according to which one could make films without actually showing a human face. So, for example, the story of a date between two protagonists was told mostly using shots of their legs. Some unrelated images of factory chimneys, trees, and clocks, etc. added visual metaphors that were open to interpretation. Poetic, animated title screens completed the whole. [31]
  • Aleksander Ford (1908–1980), member of Start (1929-1935). [32] [33]
  • Wanda Jakubowska (1907–1998), member of Start (1929-1935).
  • Stanisĺaw Wohl (1912–1985), member of Start (1929-1935).
  • Jerzy Toeplitz (1909–1995), member of Start (1929-1935).
  • There is a Ball Today (1934) by Tadeusz Kowalski and Jerzy Zarzycki, two architectural students who were also active in the Start Art Film Friends Society, is a poetic reportage about an annual ball for young architects, unconventionally told and filled with interesting tricks.
  • Jerzy Gabryelski's Boots (1934) is a narrative anti-war short that cleverly utilizes the possibilities of the film medium (transitions, double exposures, etc.).
  • Mieczyslaw Waskowski, Somnambulicy (Somnambulists, 1957), film attempts to recreate the principles of Tachist painting in cinema while the latter is a filming of a performance using Pawlowski's light box.
  • Andrzej Pawlowski, Kineformy (Cineforms, 1957), box of mirrors and prisms produces unbelievably modern effects; wispy smoke, diaphanous curtains, passing ghosts and then suddenly solid organic forms.
  • Walerian Borowczyk, Skola (School), comic animation about a soldier on parade reverses the invention of cinema by reducing the medium to a series of still photographs again. Dom (House, 1958) - made with Jan Lenica.
  • Jan Lenica, Labirynt (Labyrinth, 1962), a film which looks back to the Max Ernst's collages for his book La Femme 100 tetes and forward to Terry Gilliam's animations for Monty Python's Flying Circus. It is a surreal nocturnal world of bowler hatted angels, walruses who try to fly and voluptuous young maidens who prefer not to be rescued from the clutches of Bosch-like dragons.
  • The Market (Rynek, 1970, 4min 21sec) by Jozef Robakowski, Tadeusz Junak and Ryszard Meissner. The first film produced by Robakowski as a member of the Workshop of the Film Form, the artist tries to uncover a potential of the film medium to create an illusion of reality. Robakowski shows how a film’s “sense of realness”, established by viewer’s perception of the world seen on the screen as one that is real, is only a technological product, more exactly the result of a correct speed, at which a movie runs in a projector or camera (24 frames per second). An early example of the use of time-lapse photography.
  • Robakowski, Ide (I am Going, 1973), a performance piece of the author climbing 200 steps of a look-out tower. The first part of his Vital-Video (1994), "My Videomasochism"; armed with a whole selection of everyday instruments, Robakowski attacks his face in a variety of ways; meanwhile, almost childish grunts, groans and cries play over the top in response to the self-inflicted prodding.
  • 1970s-1980s, women artists: Zofia Kulik, Ewa Partum, Natalia LL, Anna Kutera, Katarzyna Hierowska, Jadwiga Singer, Jolanta Marcolla, Teresa Tyszkiewicz, Ewa Zarzycka, Barbara Konopka, Irena Nawrot, Iwona Lemke-Konart.
  • Open Form (1971), carried out jointly by the students of Lodz Film School and the Department of Sculpture of the Warsaw Academy of Fine Arts. [34]
  • Natalia LL, Consumptive Art (1973), on one side an attempt to compromise the cognitive ambition of conceptual art, and on the other an effort to critically relate to the iconographic sphere of popular culture that frequently employs erotic motives. [35]
  • Zofia Kulik
  • Ewa Partum, visual poetry has been the main area of the artist’s creative interests since 1969, along with films contained in the structural cinema paradigm. Since the late seventies she has gradually moved from the issues of autonomous conceptual art and contemplation of purely artistic problems to taking up feminist issues. Tautological cinema (1973), film cycle. [36]
  • Antosz & Andzia (Stanislaw Antosz and Katarzyna Hierowska), multi-element play on the reality of TV serials and Hollywood movies, Murderer (1975)
  • Anna Kutera, closely linked with the artistic community of Wroclaw, where she co-created The Recent Art Gallery with Romuald Kutera and Lech Mrozek; in the mid-seventies these artists were augmenting the contextual art theses of Jan Lwidziski. Presentation (1974) [37]
  • Zbigniew Rybczynski, Nowa ksiazka (A New Book, 1975) and Tango (1980). Both are amazing films in terms of the amount of planning and calculation that must have been made to get all the characters and their actions to dovetail. In Nowa ksiazka, the life of a Polish town is narrated through nine static camera angles shown simultaneously on a divided screen. Tango, the last film he made in Poland, is both a philosophical look at the solitary, mechanical nature of life and a genuinely funny piece at the same time. Starting with an empty room, Rybczynski one-by-one adds stereotyped figures from an extended family. All of them are unaware of the others and are caught in a loop of meaningless repetition to the rhythm of a simple tango. The films are also interesting in that they anticipate the techniques which video offers.
  • Barbara Konopka, musician, Interferences (1985), depicts a number of self-manipulative interventions of the artist on her own body. Caprices and Variations on One's Own Subject, Opus 13, Part 1 (1994), a "reflection on the human destiny," mingles pictures of the Virgin Mary with octopus innards. The individual images are powerful, but somehow they fail to hang together.
  • Miroslaw Rogala, makes video operas, Nature Is Leaving Us (1988), has the idealistic naiveti which afflicts most art about saving the environment.
  • Jacek Szleszynski, Self-Portrait (1994), computer technology used maturely for visual effect.
  • Michal Brzezinski, Memory (2003), Found Footage based on Temporary Internet Files folder. [38] Mnemosyne (2006), computer technology through the visual effect transforms unknown sculpture from Rome into half-abstract animated reality. [39] Modern Post Mortem Found Footage deconstruction of Vertov, Debord, and home archive of young citizens of very postcolonial city in Poland. Generative repetitions evocate socio-meditation on the subject of modernism in Central Europe (2008)
Workshops
  • Start (Society of the Devotees of the Artistic Film; Stowarzyszenia Miłośników Filmu Artystycznego), 1929?-1935. Ford, Jakubowska, Wohl, Toeplitz.
  • SAF (Spółdzielnią Autorów Filmowych), *1935 by Franciszka and Stefan Themerson, one of the first film co-operatives
  • Polish Film Unit, under the aegis of Polish Ministry of Information & Documentation in London. Franciszka and Stefan Themerson worked there during 1942-54. Eugeniusz Cękalski, its first director, had been a member of SAF, as had Aleksander Ford, who also directed films for the Unit, 1943-44. No history of the Unit exists but ten films are preserved in the Imperial War Museum, London, and there were more. [40]
Venues
  • 1930s: film clubs in Warsaw (Start), Krakow, Lwow, Lodz
Events
  • late 1930s: first screenings of the European avant-garde in Warsaw (Len Lye, Basil Wright, Moholy-Nagy, Rene Clair, Leger, Chomette, Lacombe, Gilson), arranged by Franciszka and Stefan Themerson
  • Polish Avant-Garde Films, 1930-1945, University of Washington in Seattle, 2003 [41] [42]
  • A Short History of Polish Avant-Garde and Experimental Film, October 25–November 2, 2003, MOMA, New York, [43]
Literature
  • f.a. (art film), *1937, journal of SAF co-operative, edited by Franciszka and Stefan Themerson
  • Lukasz Ronduda (eds.), 1,2,3 -- avant-gardes : film, art between experiment and archive, Centre for Contemporary Art, Warsaw ; Berlin ; New York : Sternberg, 2007.
  • Lukasz Ronduda: The Films of Polish Women Artists in the 1970s and 1980s - From the Archive of Polish Experimental Film. http://www.artmargins.com/content/cineview/ronduda.html
  • Andrew J Horton, "Avant-garde Film and Video in Poland" Central European Review (November 1998) [44] (English)
  • Marcin Gizycki, "Film in Polish Avant-Garde Circles Between the Wars", [45] [46]
Resources

Performance art

Azorro group [47], Tadeusz Kantor [48], Jarosław Kozłowski [49], Andrzej Mitan (sound poet, performer, publisher) [50] [51]

Events
  • Fluxus compositions broadcast by Polish Radio (1964); Fluxus Festival in Poznan, 1977 [52]
  • Andrzej Mitan and Emmett William, the first Polish Fluxus-Concert (concrete poetry-jazz-visualization). [53]
  • The International Art Seminar ETC, 1987/88. Organised by Andrzej Mitan and Emmett William. More that a hundred eminent artists from the US, Europe and Japan participated. [54]
  • A-Yo, Emmett Williams, "Brand-new Piece in The Style of The Sixties", Fluxus w Warszawie, 2011, [55] [56]
Literature

Computer and computer-aided art

Video art

Background
  • Video art is entirely incompatible with the utilitarian character of that institution (television), it is the artistic movement, which through its independence, denounces the mechanism of the manipulation of other people. Robakowski, 1976 [1]
  • first video works in Poland, both tapes and installations, were made in 1973
Artists
Video installations
  • first half of 1970s: Bruszewski, Kwiek, Mikolajczyk, Wasko, Robakowski.
  • second half of 1970s, 1980s: Bruszewski, Paruzel, Rogala, Zgraja.
  • 1990s: Rogala, Konopka, Wasilewski.
Events
  • presentations of video art traditionally organised in galleries since the 1970s
  • In 1989 the first edition of WRO - International Sound Basis Visual Art Festival was organised in Wroclaw (Piotr Krajewski, Violetta Krajewska, Zbigniew Kupisz). After three annual appearances the festival is working as biennial now.
  • In the CCA, besides regular video presentations, an annual international festival of experimental cinema and video art is held.
  • In 1994 the first video festival in Lublin took place
  • In 2000's most part of video art events was organized by Michal Brzezinski [59]
  • The Hidden Decade, retrospective of Polish video art 1985-1995, in National Musem Wroclaw, part of WRO Biennale in 2009
  • "Analogue: Pioneering Artists' Video from Poland (1968–88)", Tate London, 60 min programme, selected by Lukasz Ronduda, [60]
Education
  • 1980s: academies of fine arts (Torun and Wroclaw)
Centres
  • Polish Video Art Data Bank, *1988 in Lodz, founded by Ryszard Kluszczynski, a non-profit organisation for media culture
  • In 1990 Kluszczynski founded Film & Video Department in The Centre for Contemporary Art - Ujazdowski Castle in Warsaw.
  • WRO Center for Media Art in Wroclaw, *1998
Articles and publications
  • R. W. Kluszczynski, "Avant-garde Film and Video in Poland. An Historical Outline", in: The Middle Of Europe. The festival of avant-garde films and video from Austria, Czecho-Slovakia, Hungary and Poland, Centre for Contemporary Art, Ujazdowski Castle, ed. R. W. Kluszczynski, Warsaw 1991, p. 52-73
  • R. W. Kluszczynski, "Video Art in Poland. An Historical Outline", in: Ostranenie. 1. International Video Festival at the Bauhaus Dessau, catalogue ed. by I. Arns and E. Tharandt, pp. 148-152. [61]
  • Ryszard Kluszczynski: "New Poland - New Video. Some reflections on Polish video art since 1989". In: translocation_new media/art. 1999. [62]
  • Ryszard Kluszczynski, "AN OUTLINE HISTORY OF POLISH VIDEO ART" [63]
  • Piotr Krajewski and Violetta Krajewska (eds.), From Monument to Market. Video Art and Public Space, Wroclaw: WRO Art Center, 2005 [64]
  • Ryszard W. Kluszczynski and Anatoly V. Prokhorov, "VIDEO ART IN POLAND. AN HISTORICAL OUTLINE", [65]

Electroacoustic and experimental music, sound art

Composers
Performers
Events
  • Warsaw Autumn Festival initiated by Baird and Serocki presented since 1956 works by Berg, Schönberg, or Bartók; Stockhausen or Schaeffer visited. [78]
  • Musica Electronica Nova, Wroclaw 2011
Venues
Electro-acoustic music studios and societies
  • Polish Radio Experimental Studio Warszawa - SEPR, *1957 (director: Marek Zwyrzykowski)
  • Electro-acoustic Music Studio at the Academy of Music in Krakow - SME, *1973 (director: Marek Choloniewski)
  • Studio for Computer Music at the Academy of Music in Warsaw (coordinator: Krzysztof Czaja)
  • Studio for Computer Composition at the Academy of Music in Wroclaw - SCC (director: Stanislaw Krupowicz)
  • Studio for Computer Music at the Academy of Music in Poznan (director: Lidia Zielinska)
  • Studio for Computer Music at the Academy of Music in Lodz (director: Krzysztof Knittel)
  • Independent studio of electroacoustic music (Niezależne Studio Muzyki Elektroakustycznej), 1982-84. "Created under the ideological leadership of Krzysztof Knittel. Apart from the two of us it was co-created by the following composers: Andrzej Mitan, Paweł Szamański, Stanisław Krupowicz, Andrzej Bieżan, Mieczysław Litwiński and Tadeusz Sudnik. We gave concerts in churches, artists’ studios, private apartments (all students’ clubs, Remont included, were closed). We cooperated with actors. Our {“Psalms” were very well received, they integrated people, and comforted them. After limitation and finally abolishing of the martial law, we implemented several important projects at the National Concert Hall in Warsaw, in the Krzysztofory Club in Krakow, and during the prestigious festival „Inventionen” in West Berlin." [81]
  • Electroacoustic Music Studio at the Academy of Music in Katowice, *1992 (director: Jaroslaw Mamczarski)
  • Studio for Computer Music at the Academy of Music in Gdansk (director: Krzysztof Olczak)
  • Studio for Computer Music at the Academy of Music in Bydgoszcz (coordinator: Dobromila Jaskot)
  • Studio for Computer Music at the Silesian University in Cieszyn (director: Krzysztof Gawlas)
  • Polish Society for Electroacoustic Music, Krakow *2005
Releases
  • Andrzej Mitan – W Świętej Racji, Alma Art, 003, 1984. [82]
  • Andrzej Mitan – Ptaki, Alma Art, Płyta nr 006, 1987. [83]
  • Krzysztof Knittel – Lapis / Low Sounds, Alma Art, Płyta nr 009, 1987. [84]
Articles
Media
  • Exploratory Music from Poland, 2-CD, 2010. Produced by Adam Mickiewicz Institute and AudioTong.net as a part of Polska!Year and given away to the subscribers of The Wire magazine. [86]

Art history and art theory

Literature

  • Lukasz Ronduda, Strategie subwersywne w sztukach medialnych, Krakow: Rabid, 2006 (Polish) [87]

more


Countries
avant-garde, modernism, experimental art, media culture, social practice

Albania, Argentina, Armenia, Australia, Austria, Azerbaijan, Belarus, Belgium, Bosnia and Herzegovina, Brazil, Bulgaria, Central and Eastern Europe, Chile, China, Croatia, Cyprus, Czech Republic, Denmark, Egypt, Estonia, Finland, France, Georgia, Germany, Greece, Hungary, Iceland, India, Indonesia, Iran, Ireland, Italy, Japan, Kazakhstan, Kosova, Latvia, Lebanon, Lithuania, Luxembourg, Malta, Mexico, Moldova, Montenegro, Morocco, Netherlands, North Macedonia, Norway, Pakistan, Peru, Poland, Portugal, Romania, Russia, Serbia, Spain, Slovenia, Slovakia, South Korea, Sweden, Switzerland, Turkey, Ukraine, United Kingdom, United States

  1. J. Robakowski, Video art - szansa podejscia rzeczywistosci, [in:] idem, Wypisy ze sztuki, Lublin 1978, p. 28