“Białoszewski nieosobny” – new exhibition at the Wola Museum on the centenary of the artist’s birth

Wystawa "Białoszewski nieosobny" potrwa od 30 czerwca do 11 grudnia w Muzeum Woli przy ul. Srebrnej 12. Muzeum jest czynne we wtorek, środę, piątek i niedzielę w godz. od 11.00 do 18.00, a w czwartek i sobotę od 11.00 do 20.00. Bilety: 7/5 zł, w czwartki wstęp bezpłatny.

On the centenary of Miron Biaoszewski’s birth, the exhibition “Białoszewski niedzielny” will open at the Wola Museum. It is an attempt to take a fresh look at Biaoszewski’s life and work through the prism of artistic and private relations between artists in the environment of independent theater operating in and around Warsaw in the 1940s, 1950s, and early 1960s. Over two decades of Miron’s activities in the Occupation Theatre, Teatr na Tarczyńska and finally Teatr Osobny in the Wola Museum have been told through the personalities of Art’s co-creators and friends, now largely forgotten artists: Boguslaw ChoińskiAnd the Stanislav Swin KsachowskiAnd the Ludvik HeringAnd the Ludmila MorawskaAnd the Leszyk Solinsky, why Emphasy Stevensky and others.

The exhibition will present manuscripts of theatrical works and programmes, posters, designs and graphics, design elements, costumes and props, press clippings, as well as a selection of unique photographs. They form the image of an independent and creative environment with tremendous impact.

Photo: press material

“Białoszewski nieosobny” on the centenary of the artist’s birth in the Wola . Museum

independent theater

Pyauchevsky in the forties and sixties. In the 1980s, he was closely associated with the performing groups operating in and around Warsaw. The beginnings of his work were the theater of occupation initiated by Chachorovsky, then he was active in groups that met immediately after the war in Kubitschka (with Chachorovsky) and Zhelonka (with Chuinsky).

In the 1950s, Białoszewski was one of the co-authors Theater in TarczyńskaFounded on the initiative of Stefansky. And although the atmosphere of an old tenement house that smelled of laundry and mold reigned at the gate on Tarczyńska, the theater soon became a fashionable place. Among the audience, sometimes up to 100 people, you can meet Krzysztof Komeda, Julian Przyboś and Henryk Stażewski. The group was viewed by the foreign press as Polish surrealist, futurist or petnik. The theater was built on a grassroots basis, the entrance was not written in tickets, invitations were distributed. Despite post-war poverty and political repression, the group, operating on the fringes of official culture, was doing “something without censorship, space, and money” (Ludmiła Murawska). They were made from what was at hand: cardboard boxes, rags, boxes, crates, ironing boards, trays in the trash. Theater programmes, puppets, hand-painted materials – this is how the niche of creative freedom was created in the times of socialist realism.

After the group’s dissolution, Białoszewski, together with Ludwik Hering and Ludmiła Murawska, created separate theater In his own apartment on Dąbrowski Square, where he lived with the painter Leszek Soliński. The Osobny Theater was operated in the years 1958-1963.

Photo: Edward Hartwig/National Digital Archive

separate theatre. Ludmila Morawska as Cleopatra (1961)

Miron in the networks of relationships

Biaoszewski has been associated with the term “a separate poet”, but his work has always been rooted in “the need for community, being through people, in people, from the owners of painting” (Hanna Kirchner). Myron lived and worked in a dense network of artistic inspiration and close relationships. Non-professional alternative creative groups and biographies of their participants make up a portrait of Bioshevsky.

Many of these artists remain unjustly in the shadows of Myron to this day, and the exhibition at the Wola Museum wants to bring these extraordinary figures back into the memory of Warsaw’s residents and residents.

Photo: Edward Hartwig/National Digital Archive

separate theatre. Ludmiła Murawska as Ofelia, Miron Białoszewski as Hamlet (1961)

The reality of post-war Warsaw

Artists worked during the occupation, and then Stalinism, in the era of socialist realism. In times of extreme poverty, hunger, and surveillance, in dilapidated and cold condos or overcrowded buildings by allotment. These places were pockets of freedom and creative practices on the fringes of formal culture.

They make up the history of (sub) Warsaw: private apartments turned into theaters and art galleries, the post-war city seen through the eyes of minority groups and the identities represented by artists collaborating with and with Piaewski.

Curators of the exhibition “Biaoszewski nieosobny”

Photo: press material

“Białoszewski nieosobny” on the centenary of the artist’s birth in the Wola . Museum

– The exhibition tells about the period of occupation and the lesser known Kobylec in the work of Biaoszewski. The poet is presented in an original way – by the way his friends and theater authors perceive him, as well as by demonstrating mutual artistic overlap. Białoszewski is portrayed as one of the members of the independent creative groups after the war, rather than a central and “discrete” figure, as Agnieszka Karpowicz asserts.

– We open the exhibition at a special moment – on the day of Biausovsky’s 100th birthday. It will be accompanied by a rich program of cultural events: lectures, performances, art installations, discussions, workshops and parades, during which we will rewrite the history of alternative art groups in post-war Warsaw. We pay attention to the role and perspective of religious, sexual and ethnic minorities in shaping the city’s creative history – adds Curator.

– Thanks to the objects from the private collections shown in the exhibition, the story of the independence of the characters and heroes resonates even more – says Magdalena Staroshik. – We offer interesting souvenirs, such as a painting to summon ghosts by Miron Pyauchevsky, as well as works by Ludmica Morawska, unknown to the general public, and experimental visual works by Bogoslav Chunsky. Objects are accompanied by audio recordings – stories and works of artists and memories of their relatives and friends. The movie that shows Biaoszewski exiting Dąbrowski’s yard is also a surprise.

– Today we do not necessarily remember that the theater in Tarczyńska was colorful and there was no shortage of music – adds Staroszczyk. – This was evoked by the colorful dolls and costumes designed by Lech Emfazy Stefański that were presented at the exhibition, as well as interesting scenography drawings, as well as the musical notation of Stanisław Prószyński’s compositions for performances.

Leave a Comment