Meanings of Modernism Towards a History of Polish Art After 1945
In 1966, Jerzy Ludwiński (1930–2000), Polish art historian, a critic, a curator, accepted an invitation from the municipal government of Wrocław to draw upwards a concept for a museum.[one] Withal, instead of preparing an easily realizable project, he created i of an ambivalent nature, the source of which was contemporaneity that was treated both as a betoken of deviation and equally an object of veiled criticism. Wrocław, formerly chosen Breslau, played a particular role in the propaganda politics of the Shine communist party (Shine United Workers' Party). As a major city of the Lower Silesia region became a part of Poland that afterwards 2nd World War, and was termed "Recovered Territories." In accord with this, the regime carried outinsistent propaganda directives that emphasized the celebrated belonging of the Recovered Territories to the Polish homeland, they wished to implement Modern art , they put forth an intensive modernization of academic and industrial centres of Wrocław and, above all, an increase in its prestige. Ludwiński, however, was not a Party member, nor was he an official well-fitted into the bureaucratic machine; he was far from beingness a complete politician or a strategist versed in behind-the-drapery conversations with local authorities and the Ministry. To some of the local politicians, artists and art critics Ludwiński's arrival in Wrocław was supposed to cause a lot of attending, they saw him as an exported critic, generating reserve, or even green-eyed, with his refinement and contacts with the leading, national circles. The authorities were well-enlightened of the calibre of his intellectual and artistic connections. A clandestine notation from 1970 operational records of the security services informed that: "He has an on-going familiarity with every new creative orientation in the Due west and is a spokesman for their slogans on Polish territory."[ii] Ludwiński was a visionary, a "critic on the road," whose life history spans Lublin, Warsaw, Wrocław, Toruń, and Poznań; and, perhaps, even an artist. He ever worked on the periphery of the country system, within the limits of which he was able to mark out his own "playing field." The "playing field" proposed by him an was an loonshit for thought and reflection directed towards the future, which revolved around fine art coming into being at a given fourth dimension. He attempted to "capture" the nearly interesting electric current phenomena, to examines the logic of the development of new art at the moment when art ceased to refer to traditional aesthetic and formal categories. The short-lived cultural institutions he created at the end of the 1960s include the Museum of Current Art, Mona Lisa Gallery, and the Middle for Creative Research, all of which and prefigured international developments in institutional theory and institution-building elsewhere.
A General Concept for the Museum of Current Art in Wrocław is Jerzy Ludwiński's first text defended strictly to institutional theory. The ten pages of standard typescript incorporate 5 sections: an introduction, "facts" giving justification to the institution of the museum, a characterization of the specificity of the new institution, a clarification of departments, and preparatory works planned for a menstruum of two years. The programme, produced in the autumn of 1966, was based on new artistic tendencies, such as Conceptual art. Notwithstanding, the plan went beyond beingness solely an artistic project, and reflected too a how reality was created in the People's Commonwealth: on many levels, Ludwiński took seriously—and ironically—the rhetoric of the political establishment. The system extended from the Political party's prognostic directives, determining economic growth, and ended at a structure of phantom full-time jobs (existent in the state domain of culture), masking bodily activities or a complete lack thereof.Mindful of the motivations of the local authorities, which were a fusion of political and ideological premises, theorist Ludwiński, in his programs for the Museum of Current Fine art (MCA) and, subsequently, for the Mona Lisa Gallery, Center for Art Research made use of the gesture of free distribution (of the concept, the notion, the idea), characteristic of activities of late 1960s artists related to Mail service art. This one, just as the subsequent strategies employed past curator Ludwiński corresponded to activities undertaken at the time by Seth Siegelaub or Lucy Lippard, searching for models of culling networks of art and guerrilla strategies, responding to bodily needs of a given moment. In this case a kind of art was foregrounded that strove towards maximum diversity and indeterminacy, depreciating the aesthetic character of the artwork. The unofficial "agreement" worked out by the Polish People's Democracy between society and the authorities postulated that art and its institutions should avoid the politicization of language and any expression of criticism directed at the system. The impulse to reflect on the operation of institutions in Poland at the time was awakened to to a great extent by transformations within the apolitical sphere of art: that is, the evolution of the concept of the artwork, a sudden burgeoning of existing and original forms of expression, the advent of conceptual activities, of "incommunicable" art.
Jerzy Ludwiński'southward "The Museum of Current Art in Wrocław [Full general Concept]," in Notes from the Future of Art. Selected Writings by Jerzy Ludwiński, ed. Magdalena Ziółkowska, Van Abbemuseum, Eindhoven 2007.In the whole of Poland there is no Museum of Modern Art.
Although many museums, and especially the Art Museum
(Muzeum Sztuki) in Łódź, have departments of contemporary
art, the theoretical foundations of these departments and their
contents are not able to fulfil either the social needs or the interest
that Smooth art attracts from abroad.
There should be several museums of this kind in Poland. At
present, nevertheless, Wrocław has a chance to initiate a project that
would make it the first, and for some time probably the only city in
Poland to have a separate gallery of modern fine art.There are several arguments for siting such a gallery in Wrocław:
one. Wrocław'south very young and dynamic artistic circumvolve has placed the
metropolis higher and higher in the hierarchy of Smooth artistic circles.
At the moment it tin be institute in third place, after Warsaw
and Krakow. The creation of the Museum of Current Art would
promote Wrocław not just on the Smoothen art scene, merely also
internationally.
two. Wrocław is a very powerful centre, equally far as other disciplines,
especially science, are concerned. The beingness of the gallery
here would create an environment for relations between artists
and scientists. Contacts of this nature, rarely undertaken, are
still bereft. The results of such an exchange could prove
extraordinary.
3. Wrocław, in a way like to the district of Dolny Śląsk, and also
to the neighbouring lands, is a highly industrialised area. This
industry has often been adult from scratch. The cosmos
of a base of operations for new forms of product, and an experimental
studio continued to it, could influence in a rather radical way,
the logical shaping of hereafter reality; starting with enormous
factories and catastrophe with their products.
4. The creation of the but Museum of Electric current Art in Wrocław
would be related to the process of the decentralisation of Polish
culture. Information technology would be an expansion of modern artistic thought
into ane of the about western districts of the country. The
attractiveness of this Museum abroad may as well contribute to the
popularisation of Polish achievements in the Western Lands.01
5. Wrocław, along with the residue of the Western Lands, is a city with
an exceptionally large number of young people. The Museum
would create weather condition for the popularisation of modernistic art. Information technology
would be possible to influence the creative gustatory modality of the bulk of
gild.
By the finish of 1966, the General Concept had non seen whatever sort of publication. Probably the political establishment was shocked by its form, its novelty, its different way of thinking about an fine art institution, which was unlike any other concepts of historical or national museums at that fourth dimension. Ludwiński's proposal questioned the institution of the museum every bit a historical formation founded upon a collection and a narrative based on this describing and enshrining an aesthetic catechism, determining exclusions and inclusions, constructing a national identity.[3] In 1967, it was copiously quoted in a modest publication of the official artists association "Biuletyn Informacyjny ZPAP" ["The Polish Association of Artists and Designers News Bulletin"], in an article mainly on artists groups in Wroclaw, and it was also mentioned in a chronicle produced as part of a report from a congress of the Clan. Besides the individual circulation set out by its author, information technology did not become known in a wider circle of art audiences[4]. A lack of letters and stenographic records of meetings between Ludwiński and land authorities, of decisions defining an organizational framework of the projected institution, and a semi-official nature of the preparation enforced an accent on its conceptual character in fine art historians' interpretations Most historians between the 1960s and 2000s described this project as purely conceptual, they did not interpret information technology equally a "serious project" that could be realized. Consequently, little was written about MCA, partially because information technology was not seriously taken, and also as, before the 2000s, Ludwiński was not widely known. From the 2000s, whenever MCA entered the orbit of researchers' interests, —after Polish art historians, such every bit Pawel Polit or Luiza Nader began to analyze the 1960s-1970s and conceptual art tendencies in general—information technology was referred to as a "conceptual matrix," an impossible museum, the author's failure. It was oft treated every bit a micro-utopia sketched out on a coffee napkin, and then much every bit to be ridiculous when confronted with serious, educational-propagandist instructions of museology in other parts of the state[v] Reasons for a lack of its construction on the function of municipal regime are likewise unknown.
Already the start reading of the Full general Concept produces an impression of a balanced and well-considered statement, abounding in original metaphors, a carefully prepared instruction. The author combines there a detachment and an impersonal narrative with a colloquially colored form of language.[6] Ludwiński undertook a thought-out polemic with postulates of urban center officials, for whom a supreme part was played by a realization of insistent propaganda directives, i.e., emphasizing a historic belonging of the "Recovered Territories" to the Polish homeland, an intensive modernization of academic and industrial centers of the very metropolis of Wrocław and, above all, an increase in its prestige. The Socialist regime considered contemporary art as one of the achievements of the civilization of the People'southward Republic, while experiments in the fields of visual arts, scientific discipline, and technology farther legitimized the official soapbox of modernity. As Alicja Kępińska argued: "In an anciently agrestal country, undergoing a rapid modernization, which introduces abrupt changes both into the mural and the structure of social consciousness, there develops … a myth of grand industrial objects: factories, shipyards, steelworks – as testing grounds of modernity."[7]
Jerzy Ludwiński'south "The Museum of Current Art in Wrocław [General Concept]," in Notes from the Future of Art. Selected Writings past Jerzy Ludwiński, ed. Magdalena Ziółkowska, Van Abbemuseum, Eindhoven 2007.
Departments
The general concept of the museum includes […] six
departments. (1. The Section of Activeness, 2. The Department of Visual Experiments, 3. The Collections Department, 4. The Department for the Popularisation of Art, 5. The Publications Department, 6. The Technical Department).
ii. The Section of Visual Experiments
Hither, research into the 'behaviour' of various forms in space would
be conducted. Based on scientific methods they would be as precise
as possible. Experiments in the field of the psychology of forms
and colours, and in other scientific fields useful for these purposes,
would have place hither. This department should initiate close
relations with the Wrocław circles of mathematicians, physicians,
cyberneticians, and other scientists, whose different ways of thinking
could influence artistic visions and ideas of art in a very fruitful
manner. Such relations could too take purely practical results, in
programming various appliances, producing a range of surprising
optical phenomena, and in explaining these.
This department would remind 1 of an ongoing symposium of
artists and scientists from various disciplines. Some time later it
could exist converted into a studio for visual forms – a professional
scientific institute based on the instance of institutes of this kind
existing in the Due west, the lack of which is painfully felt in Poland. It
would exist an institution providing service to industry, commerce,
architecture, visual propaganda, and many other areas of work, which
would have at its disposal a wide range of new, neatly designed and
functional forms.
The MCA program seems to respond to the demands set out by the party, while it also grew out of the area's local tradition of a network of conferences, symposia, festivals, outdoor activities, which organized and shaped the creative reality of the Polish People'south Democracy. Taking place in provincial centers (similar Elbląg, Zielona Góra, Miastko) they brought together creative activities and created occasions for discussion. Their existence was written into the ideological calendar and, every bit Piotr Piotrowski has observed, constituted a feature "social understanding" between the creative customs and the communist authorities. Every bit initiatives either of local artists or of Political party functionaries, these meetings, organized mostly in the "Recovered Territories", embodied the postulates for collective activeness, and legitimated the "proletarian artistic culture confirming 'the leading part of the working grade'"[eight]. Perceived by and valued by artists as nation-wide platforms for the interchange of ideas and methods of practice, these meetings indicated a powerful need for communal confrontation and give-and-take. By means of their illusion of a diversity of discourses, their interdisciplinary character and the neutral space of their depoliticized language, these open-air meetings connected to exist strictly controlled past the authorities. The MCA projection coincided with a time of instability of the institutional format, to which the form of the open up-air meetings corresponded The previously established categories of the museum showed themselves to exist somewhat narrow, illusive, and even irrelevant.
Jerzy Ludwiński's "The Museum of Current Art in Wrocław [General Concept]," in Notes from the Future of Art. Selected Writings by Jerzy Ludwiński, ed. Magdalena Ziółkowska, Van Abbemuseum, Eindhoven 2007.1. The Department of Action
This would be the nigh important section shaping the
character of the institution as a whole. It would concord creative
exhibitions, experiments, demonstrations, events, but also
theoretical lectures, readings and discussions. In this department,
confrontation with the about interesting artistic proposals would
continuously take identify. Not only would artists who have already
made interesting works be invited to this department, merely also
those who would seem able to make such works in situ. There
would certainly exist no limits to the means of artistic expression.
The organisers would be well-nigh interested in these artistic and
theoretical propositions which would enrich the concept of art and
render its former borders out of date. This type of activity would, at
the same time, be directed against rigid conventions and stagnation in fine art.
All the exhibitions and artistic presentations in the museum
should reverberate the incredible variety of contemporary art. Therefore,
the department of action would be a playing field for diverse,
often controversial creative statements; an experimental range – a
source of new tendencies. The recent emergence of some facts in
Polish fine art suggests that there is a risk for realising a project of
this kind. The emergence of new galleries (over xxx in Warsaw),
diverse plein arrogance, symposia, meetings, conferences and festivals, on
a mass scale proves the existence of an intensiveness in the artistic
movement, never before experienced in Poland. Information technology is of import
to give this phenomenon institutional support and to facilitate
its farther development. The aim of the organisers of the gallery
would be to provoke a situation in which the majority of the near
interesting artistic phenomena would emerge in the gallery's space.4. The Section for the Popularisation of Art would accept
at its disposal sets of reproductions of works of art from various
periods, with a particular emphasis on the works of the great
masters of the twentieth century. These sets of reproductions,
accompanied past an explanatory commentary, would be sent out
to schools, cultural centres, mutual rooms and factories, where
the museum would organise pop lectures and screenings of
films on art. The aim of this projection would be to educate a new
spectator, who would enthusiastically react to contemporary
artistic phenomena demonstrated both in the museum and in
other exhibition spaces.
The starting time manifestation of the activities of the MCA was the so-called "referendum exhibition," organized in April 1967, in the Gothic Rooms of the Town Hall, which left the local milieu under no illusion as to the scale of the plan's originality. Ludwiński invited to the exhibition not so much the artists, but rather 3 galleries—the most important avant-garde galleries of that fourth dimension, those which shared a similar intellectual perspective—representing fine art milieus of Warsaw (Foksal), Krakow (Krzysztofory), and Wrocław (the time to come Mona Lisa Gallery). His gesture thus gave support not merely to particular institutions, but as well to other, broadly understood, "unofficial galleries." These were the places—in opposition to the official exhibition salons, the network of local Bureaus of Art Exhibitions [BEAs], gear up to exhibit and promote local contemporary art and cultural product—and the numerous clubs, community and civilization centers, which "concentrated the most authentic exhibition motion, where the most unconventional and daring pieces were produced, and new messages in fine art were emerging."[9] It was the galleries which oftentimes provided an institutional shelter to radical creative manifestations, such as conceptual art practices or unidentified art, constitutive elements of which became new categories of the work of art: the approach, the creative process, the fact of art, the concept.
Jerzy Ludwiński's "The Museum of Electric current Art in Wrocław [General Concept]," in Notes from the Future of Art. Selected Writings by Jerzy Ludwiński, ed. Magdalena Ziółkowska, Van Abbemuseum, Eindhoven 2007.
Exhibitions
three. A plebiscite exhibition prepared by a group of fifteen of the most renowned critics, art theorists and gallery directors. Each of the
experts invited prepares his/her own gear up of works by the artist
whose careers he/she follows with great involvement and whom he/
she promotes. Everyone would accept at his/her disposal a space
of the aforementioned size and unlimited freedom to make full it. An exhibition
of this type would be an authentic and distilled survey of the
electric current state of Polish art. The catalogue would include fifteen
carve up introductions; directly or indirectly outlining the
criteria for the selection of artists.
In recent years, Ludwiński'southward institutional projects entered the orbit of artists', critics' and curators' interests, in Poland and abroad. Defining the museum as a "sensitive seismometer," a "catalyst," a "testing ground," a "crucible" of novel tendencies and approaches, situating the categories of "chance," "quick reaction," "private responsibility" within its realms related the MCA program to postulates put forward e.g. in discussions of the "new institutionalism."
Jerzy Ludwiński's "The Museum of Electric current Fine art in Wrocław [General Concept]," in Notes from the Future of Art. Selected Writings by Jerzy Ludwiński, ed. Magdalena Ziółkowska, Van Abbemuseum, Eindhoven 2007.The Specification for the Museum
The Museum of Current Fine art would differ fundamentally from
all other existing galleries which have been departments of big
museums. Its uniqueness would lie not in narrowing the field of
problems, but, on the contrary, in expanding it with problems which,
until now, take non been regarded as important.The essential differences, which volition make the hereafter museum
unique, can be presented equally follows:
ane. In all museums (except peradventure the museum in Łódź) modernistic
fine art, treated as marginal, is merely a supplement to the ofttimes very
rich collections of ancient art. Here, modernistic art would play the
leading role.
2. Contemporary visual arts are often treated retrospectively in
museums, as the final fragment of art history; as airtight equally all
previous artistic eras. Hither, they would exist as a continuously
changing open system.
3. The presentation of mod art in museums, and the choice of
works for particular exhibition rooms, is determined by their
permanent exhibitions of ancient art. This is the reason why
curators are non willing to present untypical, original works,
and why they wait for the historical resonance of these works.
Meanwhile, information technology is common noesis, that so-called 'untypical'
works oft play the leading role in the development of art. Thus,
circumspection needs to be replaced past risk.
The organisers of the new museum should too react very speedily
and conscientiously to artistic phenomena currently emerging.
iv. Hitherto existing fine art galleries are constituted past collections of
works of art which have already been created. That is why their
graphic symbol is static and purely consumerist. The existence of a
collection in the new museum should not exist a priority. Here,
one should react to artistic facts as soon as they emerge. Here,
the artistic process itself may become more than interesting than
a finished work of art. This testifies to the gallery's maximum
activity and continuous artistic events.
v. Galleries of mod fine art, situated in museums, take a delayed
reaction to creative phenomena, the emergence of which they practice
not want to have any influence over. The example of the Museum
of Current Art is different. It has to provoke creative facts, advance
them, and simply, information technology has to exist a place where new art is being
created, a gentle seismograph and, at the same time, a catalyst.
6. The name of the Museum of Current Art would therefore exist
a conventional one, while the institution would take more than in
common with an artistic atelier than a traditional museum.
….A museum of art conceived in this style does not require a big
capacity building nor a big budget. Information technology should be a small museum.
The attending of the programme curators is not concentrated on
the museum's size, but on its separate and specific artistic profile.
The realisation of this programme and its continuation seems very
difficult. It forces the organisers to have a thorough knowledge
of Shine artistic circles and of the most recent work of particular
artists, to be acquainted with the international art scene and to be
able to deed with precision.
When the first museums of modernistic and gimmicky art such as Wrocław Contemporary Museum, Museum of Contemporary Art in Kraków, and Museum of Modern Art in Warsaw launched their activities over 10 years ago, their directors consulted this historical example equally their ideological foundation and a signpost for their own institutions. Thanks to numerous reprints, the critic's archive having been fabricated public and an English language language album of Ludwiński'southward texts published by the Van Abbemuseum in Eindhoven (2007)[10], the critic'south theoretical output gained international attention. Ludwiński too became an breezy patron of the Consortium of Mail-Creative Practices[eleven], dedicated to movements and activities from beyond the immediate field of fine art, to protests and forms of opposition, in times when "we are non dealing with art. Simply because we had missed the moment when it transformed into something entirely else, which we cannot define."[12]
MCA was supposed to treat contemporary visual fine art as being subject to constant changes; information technology heralded an "open system." Its elective elements have go new categories, degrading the physical coherence of a work of fine art non subject to museification. Instead of reification, posture, artistic process, and artistic concept was emphasized. Close to the architectural radicalism of Oskar Hansen's plan for the Museum of Gimmicky Art's in Skopje, likewise from 1966, MCA resisted all axioms, was open up to not-aesthetic contexts, and causeless the system of artistic actions undermining the stability of institutions and eliminating predictability. Speculation about the timeliness and hereafter of art was superior to meticulous enquiry into its past. Marvel and doubt replaced the infallibility and unwavering certainty of the canon. Openness to novelty, challenge, and otherness took the place of stagnation and tradition. In the expanse of historical categories, Ludwiński'south own concepts referred to the new, inverse infinite of artistic practices. The "field of play" he proposed meant a platform of ideas and reflections directed towards the future, devoted to art created at a given time and "communicable" the most interesting phenomena.
With MCA and also the programme he wrote later for the so-chosen "Eye for Artistic Research," Ludwiński envisioned to replace, historical and archival research with futuristic methods, reflecting the future, expanding the art collections—with actions using the local industrial infrastructure and experts' authorisation—and the participation of the public in criticism or even in the creation of art. In the optics of Ludwiński, the Centre for Creative Research, operating in Wroclaw as a minor dynamic cell, would spread similar a virus, infecting more places in the country and in Europe. This ambition, while huge, was tempered by the idea that the institution itself might simply fade away, perhaps completely abandoning its concrete course and becoming more of a literal convention. It is just this expert direction of institutional politics with a kind of futuristic ambition to become something else entirely that differentiates Ludwinski's MCA from a simple, unrealized proposal. Instead, the concept becomes something else – a text about what could never be perhaps, or a guide to how to deal with impossibility and the political mantra of pragmatism and measurable outcomes. This is precisely what still makes it relevant today.
[1] People responsible for Jerzy Ludwiński'south arrival to Wrocław were January Chwalczyk, the initiator of the invitation, the and then employee of the Bureau of Art Exhibition [BWA] every bit its artistic director, and Jerzy Nowak, a fellow member of the Municipal Council of Civilization.
[2] Quoted in: Wrocław, dnia 22.08.1970 r., tajne, Informacja dot. działalności nieoficjalnych salonów wystawowych sztuki – materiały SB (IPN Wr 054/1626). [Wrocław, 22.08.1970, classified, A note on activities on unofficial art exhibition salons – records of the Security Service],"Dyskurs", 2006/2007, no. 6, p. 168. The employment of Jerzy Ludwiński every bit a clerk in the Urban center of Wrocław Section of Civilization, which was a kind of pretext for bringing the critic to Wrocław, tin be considered an instance of such a fictitious total-time position. Too, Ewa Ludwińska, his wife at the time, cannot offer any further data on the subject.
[3] Compare, among others, Ludwiński's text The function and significant of unofficial galleries, text of a paper delivered to Spektrum Galerii i Salonów Debiutów, Rogalin, October 1967, in: Jerzy Ludwiński, Art in a post-art age, and other texts, ed. J. Kozłowski, Poznań, Wrocław 2009, p. 34.
[four] Anonymous, Wrocławskie galerie sztuki. „Biuletyn Informacyjny ZPAP" March-Apr 1967, nr 43/44, pp. 12–14; Kronika. „Biuletyn Informacyjny ZPAP" May-June 1967, nr 45/46, p. 26.
[v] Cf. Uchwały XVII Zjazdu Delegatów Związku Muzeów w Nieborowie (1946) dotyczące kierunków rozwoju muzealnictwa na Ziemiach Odzyskanych. [Resolutions of the 17th Congress of Delegates of the Union of Museums (1946) concerning the directions of development of museology in the Recovered Territories]. Quoted in: Janusz Albin, Nowoczesność u drzwi muzeów [Modernity at the Door of Museums], "Odra", 1967, no. vi, p. 57.
[6] Colloquiality "acquired a particular significance in a state of totalitarian organization on ideological grounds, such every bit Poland in the period of communist rule. Colloquiality every bit a linguistic-cultural category founded on the notion of anthropocentricity became – alongside 'common sense', a perspective of a 'regular person' and a social conception of 'normality' – sharply contrasted to officialdom founded on the notions of the office and ideology." Quoted in: Janusz Anusiewicz, Potoczność jako sposób doświadczania świata i jako postawa wobec świata [Colloquiality as a Manner of Experiencing the World and an Attitude towards the Globe], in, J. Anusiewicz, F. Nieckula(eds.), Język a kultura. T. 5: Potoczność westward języku i due west kulturze [Linguistic communication versus Culture, Vol. five, Colloquiality in Linguistic communication and in Culture], Wrocław, 1992, pp. xi–12, and 50.
[seven] Quoted in, Alicja Kępińska, Nowa sztuka. Sztuka polska west latach 1945–1978. [New Art. Smoothen Art in 1945–1978], Warszawa, 1981, p. 150.
[viii] P. Piotrowski, The meanings of modernism: on Polish fine art after 1945, Poznań 1999, p. 125. In his text Fine art and engineering (1969) Ludwiński describes linking the studio, the main department of the museum, and industrial units in Wrocław – encounter J. Ludwiński, Art and engineering, paper read during the 2nd Katowice Meeting of Creators and Theorists of Art, Katowice 1969. Quoted from J. Ludwiński, Fine art in a post-fine art era, and other texts, op. cit., p. 47.
[9] Quoted in, J. Ludwiński, Funkcja i znaczenie galerii nieoficjalnych [Function and Significance of Unofficial Galleries], op. cit., p. 31.
[x] Notes from the Futurity of Fine art. Selected Writings by Jerzy Ludwiński, ed. Magdalena Ziółkowska, Van Abbemuseum, Eindhoven 2007.
[11] Consortium of Mail-Artistic Practices is an informal and interdisciplinary alliance of art people who apply their imagination and artistic skills exterior the field of art. They engage in anti-fascist coalitions, fight for the rights of women, artists and workers, react to refugee crisis. Its commencement gathering took place in Lublin in June 2017.
[12]Jerzy Ludwiński, Sztuka w epoce postartystycznej [Art in a Post-Artistic Era], in, SP. Sztuka pojęciowa [katalog wystawy] [CA. Conceptual Art] (exhibition catalogue), Wrocław, 1970.
Magdalena Ziółkowska holds a PhD in Fine art History, is a curator, and graduate of the Institute of Art History, University of Warsaw, School for Social Research in Warsaw. Her research and writing focus is the history of exhibitions and display, artists' writings, and postwar museology. Between 2006 and 2010, she worked as guest curator at the Van Abbemuseum, Eindhoven, where she realized projects such as Notes From the Future of Art. Selected Writings of Jerzy Ludwiński (2007) and Andrzej Wróblewski. To the Margin and Back (2010), both accompanied by publications. In 2012, she co-founded the Andrzej Wróblewski Foundation. Between 2008 and 2014, she worked as a curator at the Muzeum Sztuki in Lodz, latest she was director (2015–2018) of the Gallery of Contemporary Fine art Bunkier Sztuki in Krakow.
Source: http://mezosfera.org/a-phantom-matrix-for-post-artistic-realities-jerzy-ludwinskis-the-museum-of-current-art-in-wroclaw-general-concept/
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