Who has not lived in Krakow and had not experienced the divine decadence of the 60s and 70 does not know what life really is. Krakow infiltrated all kinds of art, spirit seethed contestation, not only the vapors of the absurd, whining troubled souls. In such an atmosphere lived Christopher Niemczyk, the hero of the exhibition, which is precisely in the Gallery for the Encouragement of Lublin.
I do not know how it was then in Cracow, was born after the year 80tym, but the curators of the exhibition - Ewa Tatar and Dominik Kuryłek - did much to recreate the atmosphere and the light show a remarkable figure of the artist. Christopher Niemczyk, the enfant terrible of Krakow's artistic community, moral demoralizator, nonconformist, scandalous writer, akcjonista, painter, musician. He practiced love with men, adored woman, treat your body and your life as a continuous performance (as if it digesting the inner fire, a kind of impossible to harness the energy). Sculptor of everyday life, which ubarwiał gray reality of moving boundaries PRLowską private-public, walked the streets with a wooden bird on his shoulder or with the flap przyczepionymi the Navy. It was a rough-rebel, did not fit into any framework. Momentary affair with the environment of Cracow avant-garde (and the presence of such basins as the Polish Writers' Association, Gallery and Jazz Club Krzysztofory Helikon) ended up throwing him out of the imminent margin. Kantor adored him, but he could stand his restless nature: Do not think that any society would be able to accept it, he would say.
forgotten his creativity and became a legend przyblakła for two curators point of departure for an intriguing exhibition, in which the main character is hidden behind the works of others, emerges from them like a ghost called the mystical seance. Not without reason Ewa Tatar identified the exhibition "The Volcano" as a phantasmagoria, and the magic machine to carry spirits. Curators do not give customers an artist on a tray, tell them to be inferred and go the same intellectual process, which they had to go by constructing an exhibition. In the gallery there are two images Niemczyk, his photographic portraits by the likes of Eustachy Kossakowski, other "exhibits" are carefully selected certificate and the metaphor of his presence, his friendship, inspiration and fascination. Niemczyk Painting from the 60s - Expressive portraits of highly stressed, outline the eyes, like new figuration, some Neo-Baroque, a little stamp - is perhaps the art of high-flying, but indicates the total sample being an artist and bubbling with creativity, which materialized in almost every medium. With varying degrees of success. It seems to me that Niemczyk had great intuition and an extremely expertly operated absurdities of reality - his actions, even those on the border of good taste, it's probably not a lunatic performances (for which she wanted him to have power). Fared equally well in the matter of literary writing in a very juicy, blunt, Mannerist.
exhibition is a mosaic structure, composed of traces and fragments taken out of memory, images, projections, photographs, objects, music, documents. Property Andrzej Szewczyk, entitled "Before his death," functions as a metaphor for tension and failure, literary passion Niemczyk and unused potentialities. Broken pencils can be read as a reference to the literary works of the artist's life.
Niemczyk wrote in the 60s novel titled "The Courtesan and the chicks or Distorting mirror or otherwise of a passionate study of chaos," . It was almost immediately hailed as a cult, it was compared with the works of Witkiewicz, Schulz, Gombrowicz, and even Dante. Despite the author's effort has not been released, but circulated in manuscript arousing considerable ferment in Krakow. Ironically, it was published in Paris in late 90s Niemczyk, although he took part in the preparations to the publishers, not live to see the finalization. In Poland, released by the corporation ha! Art three years ago. She is accompanied by some biographical developed by Anka Ptaszkowska featuring exclusive footage from the life Niemczyk (diary, letters, photographs) and theoretical recognition of his work (interviews, critical texts). This remarkable dwuksiąg can be purchased at the Gallery for the Encouragement.
directly to the artist's attitudes relate prepared specially for this exhibition, a concert-performance team Krakow Saliva (Dziadkiewicz & Jastrubczak) and film etude Zorka Wollny entitled "The Courtesan and the chicks." Musicians put the accent on eksperymentalność Niemczyk practices. Test performed at the opening of the song "Lying and develops slowly in looping unbearable. Zorka Wollny has shown in his film, splashes of decadence in today's early edition of the life's work, both invoking Niemczyk, "courtesan ..." and the specific atmosphere in which they lived and what its creator was not able to liberate themselves. Niemczyk was a slave of his images, he stubbornly teatralizował his life. He painted his face with thick paint or paste impastami treating it almost as background image informel. Actress Zorka Wollny, spinning madly, poured water, alcohol (?) And sprinkled the white dust, like the auto-creations Niemczyk.
Prints sketch Kantor from the "boys" and prints "Zampano III" by Andrzej Wroblewski, photo from the performance Zbigniew Warpechowski "A Prayer for nothing", portraits of the former Witkacy issue of "Art" mark the zone of influence in what remains Niemczyk. Indicate the nature of the artist's life, nihilism, waggish approach to reality, refusing to grow up. Such a life could not end well. In the song "Darkness" by Peter Mark, sung by Matthias Maleńczuk scrolls foreboding disaster (begins with the words: More light pulse beats more slowly, dying last breath of life, In the land of darkness, darkness is born.) At the exhibition - by Ewa Tatar and Dominic Kuryłka - could not miss silhouette artist Andrzej Partum (immortalized in the film Robakowski), who, like the author of "Courtesans .." slipped out schemes. The exhibition shows the relationship Niemczyk with other artists of that era - know with Warpechowskim, Szewczykiem, Stazewski (immortalized in a photograph by Rolke), Kantor - each with a different character, but everyone in some way significant.
other artifacts gathered in the exhibition - melorecitation "Howl," Ginsberg (the whole song - the flagship manifesto of the counterculture - the lid pillar in the gallery), a piano concerto by Tchaikovsky and Rachmaninov, the film "Bitter Rice" Giuseppe de Santis, photo cherished by Niemczyk Italian actress Lea Padovano - show the artist's fascination with and throw light on the sensitive soul.
How to make an exhibition of the artist, after which almost nothing left, but a legend? It seems that "The Volcano" is the answer to this question. The exhibition is an attempt to draw a symbolic biography. It consists of intuition and insinuations, which are more obscure than reveal and thus to further enhance the legendary rebel and dandy shell. It is also an attempt to capture the spirit of the era, marked by outstanding individualities as Kantor, Wroblewski, Stażewski, Warpechowski, Ginsberg, Partum, Krasinski. After watching the show got me thinking, that was the greatest work Niemczyk Niemczyk, throughout envelope and its scandalous odpryskach genius in various media. The exhibition's title - "The Volcano", refers to the illegal piwiarenki Bracka, which he ran Niemczyk and by the way the hotel for pigeons, which in the last moments of life were his only companions.
"On the volcano. Christopher Niemczyk "
Curators: Ewa Malgorzata Tatar, Dominik Kuryłek
Lublin, Lublin Gallery Society for the Encouragement of Arts Lipowa 13 (entrance from the side of the Plaza)
November 26 - December 11, 2010
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