Dialektyka Gestu. Dar Galerii Sztuki Nowoczesnej Krzywe Koło dla Muzeum w Koszalinie w Zbiorach Muzeum Pomorza Środkowego w Słupsku
The Dialectic of Gesture. The Gift by the Krzywe Koło Gallery of Contemporary Art to the Museum in Koszalin, Held in the Collection of the Museum of Middle Pomerania in Slupsk

Summary/Abstract: This text is both a presentation and an attempt at contextual analysis of paintings and works on paper donated by the Krzywe Koło Gallery inWarsaw to the forth coming collection of modern art in Koszalin. In March 1963 Marian Bogusz, Gallery Manager donated 12 abstract paintings to the Museum in Koszalin in a gesture of acknowledgement for the established co-operation and joint organization of plein-airs in the near by seaside place of Osieki. Plein-airs – 19 of which were held in total - became an opportunity to meet avant-garde artists, scientists and critics from allover Poland and abroad. The first happenings(Panoramiczny happening morski by Tadeusz Kantor), artistic actions and works of conceptual art came into being here, and in addition to this, lectures, confrontations and discussions were held. In December 1963 following the 1st Plein-Air in Osieki, Bogusz donated to the Museum in Koszalin another gift - 29 works on paper including artists connected with Krzywe Koło. As a result of various reorganizations and coincidences, both collections found themselves in the Museum ofMiddle Pomerania in Słupsk and became a part of the Department of Modern Art.At the beginning, the author considers the significance of gesture: beyond the artistic one(e.g. courtesy) and first of all in art (“Duchamp's gesture”, action painting which can include some of the works mentioned). Then she analyses the paintings among others by Marian Bogusz, Zbigniew Dłubak, Stefan Gierowski, Hilary Krzysztofiak, Henryk Stażewski, Kajetan Sosnowski (and three famous Czech artists)against the background of the panorama ofPolish post-war art which is also represented by the already mentioned works on paper. For example, among them there are drawings by Bogusz, Ali Bunsch, Jerzy Kujawski and Andrzej Wróblewski. Furthermore, the author discusses the significance of both gifts in the context of the modern art collections at the Museum in Słupsk, including the largest collection of masterpieces by Stanisław Ignacy Witkiewicz and the exhibitions where the gifts from the Krzewe Koło Gallery were displayed. At the end she expresses the hope that after the adaptation of the historic granaries is handed over to the Museum of Middle Pomerania, the most valuable works of modern art will find a decent place for permanent exhibition.

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