![Džek Trbosek: Ars longa vita brevis](/api/image/getissuecoverimage?id=picture_2003_19921.jpg)
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Dans l’église de Ravanica les faces frontales des deux pilastres flanquant l’abside centrale et marquant la limite de la prothèse, respectivement du diaconicon, accueillent deux personnages vétérotestamentaires, chacun séparé de la scène de la Communion des apôtres par la figure d’un archiprêtre. Sur le pilastre nord se tient Melchisédek, et sur celui situé au sud, un homme aux cheveux courts et à la barbe arrondie, vêtu d’un chiton et d’un hymation, qui tient en mains un objet de forme ronde orné d’une représentation en buste de la Vierge à l’Enfant, et à côté duquel subsistent les traces d’une inscription (fig. 1) Selon l’Ancien Testament et l’Epître aux Hébreux, le juste Melchisédek était le sacrificateur du Dieu Très-Haut et supérieur aux sacrificateurs lévitiques. C’est lui qui offre en sacrifice le pain et le vin, et plus tard le Christ lui-même est devenu “sacrificateur pour toujours, selon l’ordre de Melchisédek”.
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What connects art with Pizza Hut? The question seems to be absurd, but, nevertheless, it was answered by the participants of art competition entitled ‘Pizza Hut’. Donald Kendall Senior, who, together with his son Donald Kendall Junior, and Henry McGovern opened the Pizza Hut restaurant in Wroc³aw in 1993, is an art connoisseur. He signed an agreement with the Academy of Fine Arts, according to which the Pizza Hut Corporation sponsored the competition. In ten editions of the competition, they showed over four hundred pieces of art by the students of the Art Academy. Awards were given to Micha³ Marek (painting), Joanna Nowek (graphic art), Ewa Dobrogowska-Zlielonka (drawing). Certificats of merit were given to Anna Ko³opdziejczyk (painting), Urszula Jadejska (painting), Artur Goliñski graphic art), Tomasz Knapik (graphic art), Pawe³ Borkowski (drawing) and Paulina Magier (drawing).
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Yorkshire Sculpture Park was established in 1977. It is the first European ‘sculpture park’ organized in rural setting. Similar parks were earlier established in America (Storm King), and in Japan (Hakone, 1969). Shaun Pickard’s installation was entitled ‘Unnatural’. It included a colorful neon light hanging in a tree. David Nash showed ‘ecological sculpture’, which deteriorated, and, finally, disappeared from park. He considered his work as ‘living sculpture’. Anthiny Gromler showed how sculpture can coexist with trees, bushes and grass. Sophie Ryder showed ‘Fighting Deer’. Eduardo Chillida referred to his experience with space. He was influenced by Zen Buddhism and Medieval mysticism. Sol le Witt is interested in minimal and conceptual art. Philip King followed the tradition of Brancusi and Picasso. Igor Mitoray referred to classical sculpture. Henry Moor and Barbara Hepworth prefer big sculpted forms. Yorkshire Sculpture Park is connected with Visirors Center, Both Gallery and Longside Gallery, where artists show their work ‘under-the-roof’.
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Barbara Zworska-Raziuk shows light effects in glass. She concentrates on forms of objects. She says that, for a long time, she was trying to find her own artistic path, and she found it when she discovered the qualities of plate glass. She puts together the pieces of colorless glass in order to show the human silhouettes. She doesn’t sculpt portraits, but, rather, the images of heads and busts. Light beam easily penetrates translucent pieces of glass and brakes in each of them. The artist likes contrasts between shadows and bright-lighted parts of her sculpture. ‘A Sad Angel’ shows the human head surrounded by a halo. It suggests a metaphysical aspect of the sculpture. The piece of glass looks immaterial; it resembles a figure from the Gethsemane Garden. ‘A Moon Rise’ shows two overlapping profiles. They can be interpreted as the profiles of the Moon and the Sky. ‘Saint Anthony’ looks like a cloud filled with light. ‘A woman looking up into the sky’ is a reminiscence of an unworldly experience. There is a dreamy atmosphere, which surrounds Zworska’s work. She likes symbolic aspects of her work. The artist often combines glass with ceramic materials. She likes the contrast between translucent glass and opaque clay. She likes different kinds of texture. Her sculpture resembles ice cubes combined with pieces of rocks. The titles of her sculpture reveal the humanitarian truth hidden in objects. The artist shows how people feel, and what they long for. She concentrates on their expectations and experiences, which she colors with tints of life and light.
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Leszek M¹dzik’s exhibition was organized by the National Museum in Wroc³aw from June to August 2004. The curator of the exhibition was Mariusz Hermansdorfer. The exhibition included posters, photographs, film and music. Scenographic objects referred to such theatre plays as ‘Herbarium’, ‘A Gate’, and ‘Pall’. M¹dzik is interested in love, sanctity, belief, fear, and death. His photographs documented his trips with a theatre group. He photographs the reality as if painted pictures, using light and shadows.
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In 2004, Maria Kulesza had an exhibition at the Arsenal Gallery in Wroc³aw, and in 2003, she showed her work at the Castle Gallery in Lubin. In Lubin, we saw her sculpture, stained glass windows, and glass pictures. In Wroc³aw, we saw her own work, and work by Malgorzata Korenkyewicz, Anita Werner, Andrzej Moczyd³owski and Bogus³aw Zena. Kulesza’s glass looked particularly beautiful in the interior of the Gothic Arsenal building. She considers her glass objects as metaphysical portraits of the 21st century people. She combines stained glass window technique and graphic techniques. She uses old maps as elements in her installations. She refers to the motifs of historic journeys and secrets hidden beyond the horizon. She likes symbols. Often, her sculpture resembles the silhouettes of ancient ships. Her ‘metaphysical portraits’ can be considered as her self-portraits, although they show princesses, rulers, clowns, and cyber-nymphs.
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Ewa Rosano graduated from the AFA in Wroc³aw and Ecole Superieur des Arts Decoratifs. The exhibition of her work was organized by the City Museum in Wroc³aw and the Lower Silesian Cultural Information Center in 2004. The exhibition was entitled ‘Co-existence’. It included bronze and glass sculpture. The artist often combines both materials in order to produce unique aesthetic effects. Her sculpture can be considered in painterly terms. She likes the contrast between light and shadow. She concentrates on the human figures. She interprets the relations between people and adds her own metaphysical commentary to those relations.
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In the Summer 2004, The Art Bureau in Wroc³aw organized an exhibition entitled ‘Bustle Two’, which was the second edition of the exhibition organized in 2001. Anna P³otnicka was the curator of the show. The motto of the show was taken from J. Brach Czaina’s essay. H. Nowicka showed an installation entitled ‘Swinging’. K. Józefowicz referred to daily chores in her work entitled ‘Habitat’. D. Podlaska can be considered as a ‘decorator of the every-day reality’. J. Wójcik and E. Jab³oñska concentrated on funny aspects of daily chores. S. ¯ermer showed an installation entitled ‘A-tension’. P. Jarodzki and A. Bagiñski referred to murky aspects of the reality.
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Zbigniew Fr¹czkiewicz believes that we depend on technology. For his sculpture, he uses such materials as metal and stone. He likes the materials. He developed an affirmative attitude towards technology and technological tools. He works in wrought iron, bronze, aluminum, granite and marble. He concentrates on the human figure. He reveals the truths hidden in life and death. He often refers to such problems as individual freedom and social domination. His iron male figures speak of industrial civilization, the destruction of the environment, big cities, factories and inhuman building projects. His sculpture in stone are closer to the environment. Also, they can be discussed in sacred, metaphysical terms. Fr¹czkiewicz designs monuments and commemorative sculpture. Almost all pieces of his sculpture refer to historic events and people’s biographies. He is a very universal artist.
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Bozena Kowalska organized twenty plain air workshops which referred to geometric art. The first workshop was organized in Osiek in 1983. It was followed by an exhibition entitled ‘The Language of Geometry’. Many artists who participated in the first workshop, also came to other workshops. The gallery in Che³m includes examples of geometric art by artists from Poland, Germany, Greece, Italy, the Czech Republic, Slovakia, Holland, France, Switzerland, Hungary, Russia, Belgium, Denmark, Sweden and Austria.
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We belong to the European Commonwealth, and, because of that fact, we show our artistic European roots in a series of local exhibitions. The Museum of Rawicz, Group 4 (Zbigniew £ukowiak, Witold Adamczyk, Marek Klimaszewski and Jacek Jarczewski), Rawicz City Council and European Integration Center irganized International Plain-Air Workshop entitled ‘Europe and European Identity’ (Rawicz – Rokosowo August 2004). Conference and exhibition were organized by the Museum. The exhibition included work by artists from Germany (Claudia M. Kichsmeier, Antje A. Mueller), Lithuania (Arwydas Pakalka, Eikantas Pakalka), Holland (Lique Schoot, Rogier Janseen), Italy (Franco Vaccotti, and Poland (Witold Adamczyk, Dagmara Angier, Jacek Jarczewski, Marek Klimaszewski, Piotr Kielan, Pawe³ Lewandowski Palle, Zbigniew £ukowiak, Krzysztof Skarbek, Karol Nowak).
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In the summer, the Glass and Ceramics Gallery in Wroc³aw was filled with Jerzy Chodurski’s glass angels. They were ‘freed’ from wooden boxes, where Professor Chodurski kept them, and we could enjoy their brightness. Chodurski is considered as the pioneer of glass fusing technique. Also, he is a master of ‘slumping glass’ technique, and ‘pate de verre’. Angels belong to his newest series. The angels contain many different glass elements, which were matted, frozen, and covered with glazes. He uses pieces of plate glass. Sometimes he fires the pieces, and sometimes uses glue to put them together. He likes different textural effects. The exhibition also included his earlier work, for example ‘A Feather Dame’ (for that glass picture, the artist received a certificate of merit from the Corning Museum of Glass).
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Peter Sommer wrote a forward to the catalogue, which accompanied the exhibition of Marian Molenda’s work. He wrote, that Moledna ‘speaks his own language’, and that the artist ‘doesn’t pretend’ when he reveals his inner self. The Museum of Art Academy in Wroc³aw, in cooperation with the Opole University, organized a retrospective exhibition of Molenda’s work from a period of twenty years. Molenda concentrates on the human being. He refers to both material and metaphysical aspects of life and the reality. He refers to such themes as the conflict between free and rational will, order and chaos, discursive and intuitional thinking. His ‘Gates’ and ‘Interference’ include the motifs of menhirs and dolmens in their simplified, geometric forms. His sculpture includes stone, metal and wooden elements.
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The city of Kostrzyñ was destroyed during WWII by Soviet artillery. In June 2004, Anne Paschke and Marek Pisarsky organized in Kostrzyñ artistic project entitled ‘Dialog Loci’. They invited Polish and German artists to a plain-air workshop. At the end of the project, they also organized a show at one of the remaining architectural monuments of the Old Town. Unfortunately, there were only a 16 pieces of art included in that show. They were scattered about a vast area. The idea of a dialogue between the artists and their work was thus lost. Visitors could only see ruins with added modern decoration. The arrangement did not contribute to starting a dialogue.
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Zbigiew Horbowy, a Profesor of the Academy of Fine Arts in Wroc³aw, was a glass designer. He was one of the pioneers of art in Wroc³aw. In the 1960’s and the 1970’s, he, together with other artists, the graduates from the Academy, started cooperating with glass factories Poland, and contributed unique designs. He continued to learn the craft of glass-making while working with experienced masters glass-makers. He designed bottles, wine glasses and goblets, which were both functional and exceptionally beautiful. In the 1970, Horbowy, Guba³a and Trojan established a glass factory in Polanica Zdrój and a design studio, which employed the best of Academy graduates (Pijaczewska, Fedorowicz, Krawczyk, Zuber and others). The factory employed over forty people. Horbowy also was interested in interior designing and stained glass windows.
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Edward Hopper is considered as ‘typically American artist of the 20th century’. In his pictures, he showed alienation of people living in industrial age. He liked realistic motifs, and the scenery in big agglomerations. From May to June 2004, the Tate Modern Gallery in London exhibited canvases, watercolors, drawings and graphic art by Hopper (70 pictures). In 1899, Hopper started studying at Correspondence School of Illustrators in New York. He continued his education at the New York School of Art (1900- 1906). His teacher was Robert Henry, a realist artist. Hopper’s first exhibition in 1924 was well received, and he decided to become a painter. Also in 1924, he married Jo Nivison, who insisted that she was his only model. His pictures are filled with nostalgic and dreamy atmosphere. He showed things as if seen through a camera-eye. His cityscapes and landscapes were painted with warm and bright colors. He was a philosopher-painter. He concentrated on painting people, and revealed their inner selves.
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Can we combine contradictions? Ma³gorzata Dajewska teaches us how to do it? Her glass sculpture is filled with flickering light. The structure of glass allows the light to mix with the matter. The shape of sculpture looks elusive. A series of sculpture entitled ‘Birds’ (1987-1991) refers to the vital energy and poetic geometry. The newest series entitled ‘The Birds of the Elements’ (1991) and ‘The Amethyst Eye of a Parrot’ (1991) are dynamic, expressive and lyrical. The artist revealed lyrical aspects of organic, translucent forms. In the 1980’s and the 1990’s, she worked on ‘ideal objects’, which would reveal the secrets of glass. Her glass sculpture resembles totems and ancient obelisk. The artist often adds poems to her objects. Poetry and the titles of sculpture explain the meaning of sculpture. Poems are engraved on the surface of glass and become intricate ornamental design. Both ‘Leaving Samsara’ (1996) and ‘A Hat of a Great Magician’ (1993) are the examples of perfect craftsmanship. Dajewska’s more recent sculpture is less colorful and ornamental. The forms of objects are more subtle and refined. ‘Proximity’ (1999) and ‘Intimate Interiors’ (2001) refer to painful experience and existential emptiness. ‘Sharp Cut’ (2002) and ‘Strange Beauty of Pain’ (2002) reveal spiritual aspects of sensual feelings. ‘A Glass Object of Death’ (2004) has a dense, almost convulsive form. Nevertheless, it shows ‘the light at the end of a tunnel’.
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The region of Muenster in one of the richest regions in Germany. In that region, there are many castles, big farms and businesses. It is predominantly Catholic region. The city of Muenster is an important university center. In 1977, they organized a Sculpture Project for artists from different countries, as part of the Public Space Project. Most recent project was organized in the Warendorf Conuty. Shirazeh Houshiara, born in Iran, and living in London, showed ‘Sound Tower’ at a beautiful courtyard near a Romanesque church in Freckenhorst. Her tower resembles Christian church towers, Muslim minarets, and the Biblical Tower of Babel. Also, it refers to the design of ‘Unfinished Column’ by Constantin Brancusi, and to the spiral minarets at the Grand Mosque in Samara. Houshiara’s tower is made of limestone and several loudspeakers, which broadcast prayers of the big world religions. Near the church in Feckenhorst, there are three mosques and the biggest Hindu temple in Europe. Other artists showed their artwork in parks and pastures of the area. Darren Almond from England planted a four-leaf trefoil in different parts of the region. He said that he was inspired by the Druids, who worshipped mistletoe. Simon Starling built a wind power plant, which supplied electricity to local architectural monuments. Jeroen Doorenweerd from Hollad built a veranda, from which people could watch a pond. Nick Kemp, also from Holland, built metal summerhouse. Michael Elmgreen and Ingar Drugset referred a fountain by Marcel Duchamp. Thomas Stricker from Switzerland designed a big rapeseed cross at the feet of the only hill in the area. On top of that hill, there is a chapel with the 11th century cross from Stromberg, and Stricker’s arrangement refers to that famous reliquary
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Geometric abstraction has always been controversial. In 1777, when Johann Wolfgang Goethe showed a stone sculpture which contained a ball and a cube, negative commentary was not surprising. In 2004, however, I find as surprising negative opinion on geometric abstraction. Six artists from Baden-Wirtemberg showed their work in September 2004 in Warsaw, and in January 2005, the exhibition will be shown in Berlin. The oldest member of the group is Anton Stankowski from Switzerland (1906 – 1998), who was a friend of Max Bill and Richard Paul Lohse. He liked experimenting with concrete forms and formal analysis. Karl Duschek and Jo Niemeyer are interested in ‘systematic art’, which includes the elements of geometry, logic and order. Jo Niemeyer designed a ‘Landart’ project, which includes installation of twenty metal poles located in different parts of the Earth, and dividing it in even spheres. Martin Woern continues van Doesburg’s theory, and concentrates on color effects. Horst Kuehnert is interested in concrete art. He tries to solve the problems of Mondrian’ triad. Peter Staewchelin is a constructivist and system artist. His pictures are simple and even ascetic.
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