An artist’s sensitivity supported by the discipline and drive for self-improvement characteristic of Eastern cultures sometimes gives effects of surprising inner power. Examples of this can be found both in the cover photo – a self-portrait by Dominika Trusczyńska – and in the poem by painter, poet and karate practitioner Ryszard Grzyb – “One Mountain, Three Dreams.” We have read it many times because we had to (proofreading, etc.) and… we are still reading it, this time for pleasure. I know very few people who laugh a clean, resounding laugh, without any inhibitions – Ryszard Grzyb is one of these. His infectious, truly joyful laughter resonates among the verses of “the history of the calming ego,” even though it is a serious, moving and philosophical poem. Grzyb sees many things others miss, associates images, and like an unwavering archeologist, digs out of the layers of his identity those characters, images and memories that have shaped him as a man and an artist, and which remain important despite the passage of time. As it is with poetry, this is equally important for us, the readers.
We want “Tytuł roboczy” to talk not about those things that have become important by being promoted, endlessly repeated and popularized (as, after all, this is no pop chart), but those that are important – to use a phrase from an old Jewish joke – “despite”. Our authors speak about these in various ways: metaphorically (Ryszard Grzyb), theoretically (Janusz Zagrodzki), emotionally (Hanna Dąbrowska and Joanna Jarząbek) and ironically (Simon Cygielski)…
Since we are already talking about important things, the availability of art is an imperative issue for us. We don’t want to look at it or to show it through a pane of glass. We are working to implement this conviction in the “wARTo” Warsaw Open Art Market, a recurring event at which artists exhibit their work in the city’s former Norblin factory, directly on the old machines and the cracked walls, among the industrial smells of machine oil and dust competing with the pleasant aroma of artists’ paints. Visitors milling through works of art exhibited this way can talk to the artists about anything that comes to mind – from the weather to the meaning of life, or about “what exactly the artist wanted to say”. What’s more, we want to stir the creative juices in the viewers, readers and participants in the events we organize. We like the workshop approach, which makes active participation and “co-creation” possible. This is why we would like to suggest the lecture of “Light and Shadow – The Work of a Camera Operator” a fragment of a cinematographer’s training course written by Bogdan Dziworski and Jerzy Łukaszewicz. We hope it inspires not only those who are interested in cinema and intend to pursue a career in film. The authors are convinced that “technique is one of the ways of bringing order to the world.” By perfecting it and flawlessly implementing our skills to create, we can come closer to the metaphysical.
In 1915 Casimir Malevich painted a picture called Black Square on White, which is recognized as the first non-representational work of art. This was an attempt to show pure abstraction without any real pretext. Irrational assemblages of seemingly separate themes, the shaping of suggestive visions and surprising metaphors have become often-used methods of expression. The mature works of expressioni
A painting can be treated as a medium to connect the viewer and the absolute. Its primary energies are the point and the line. A point a microscopic world, endowed with a circular shape closed in on itself, whose existence concentrates only on the surface of the painting, is an original element of painting, seemingly grown onto its surface. Its opposite is the dynamic line a trace of a moving p
Zbigniew Dłubaks artistic education, or rather his lightning-fast self-education, fell on the 1930s and the first years of the Second World War. Without any help, he studied art theory, drew and painted. In the earliest period of creativity he concentrated his explorations on photography. While preparing the Exhibition of Modern Art in Kraków in December 1948, he took part in arranging the exhibit