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  • Katarzyna Kobro: Nude, 1948. Gypsum, 29 x 23.5 x 29 cm. Museum Jerke, Bochum.
    ill. 1: Katarzyna Kobro
  • Władysław Strzemiński: Yellow Stool, ca. 1948. Wood. Museum Jerke, Bochum.
    ill. 2: Władysław Strzemiński
  • Edward Krasiński: (left) Intervention, 1985. Wood, paint, adhesive tape. (Right) Dice with blue adhesive tape (no year). Wood, paint, adhesive tape. Both, Museum Jerke, Bochum.
    ill. 3: Edward Krasiński
  • Edward Krasiński: Cross, 1981/82. Wood, iron. Museum Jerke, Bochum.
    ill. 4: Edward Krasiński
  • Alina Szapocznikow: Fajrant (English: At the End of the Working Day), 1973. Rubber glove, polyester, brush. 26 x 18 x 15 cm, Museum Jerke, Bochum.
    ill. 5: Alina Szapocznikow
  • Teresa Murak: Object 3, 1975. Glove, cress, epoxy resin. Museum Jerke, Bochum.
    ill. 6: Teresa Murak
  • Józef Robakowski: From My Window 1978-1999, 2000. Video, ca. 20 minutes. Galerie Żak|Branicka, Berlin.
    ill. 7: Józef Robakowski
  • Józef Robakowski: Idle Line, 1992. 35mm film installation. Galerie Żak|Branicka, Berlin.
    ill. 8a: Józef Robakowski
  • Józef Robakowski: Idle Line, 1992. 35mm film installation. Galerie Żak|Branicka, Berlin.
    ill. 8a: Józef Robakowski
  • Józef Robakowski: Termogram, 2001. Own technique (Thermogram), 82 x 103.5 cm. Galerie Żak|Branicka, Berlin.
    ill. 9: Józef Robakowski
  • Ryszard Waśko: Films “Space out of”, ca. 13 mins; “A Corner 1-2”, “?????”;  “Soundline”, 1972 onwards. Galerie Żak|Branicka, Berlin.
    ill. 10: Ryszard Waśko
  • Ryszard Waśko: Cut-up Portrait 4, 1973. Photographic work. Galerie Żak|Branicka, Berlin.
    ill. 11: Ryszard Waśko
  • Ryszard Waśko: Four Dimensional Photography, 1972. Photographic work and text. Private owner. Courtesy Galerie m Bochum.
    ill. 12: Ryszard Waśko
  • Ryszard Waśko: Black Film No. 3, 1983. Oil and mixed technique on canvas. Private owner. Courtesy Galerie m Bochum.
    ill. 13: Ryszard Waśko
  • View of the Exhibition. From left to right: Ryszard Wásko: Black Film No. 3, 1983; Yellow Film No. 1, 1983 (both, oil and mixed technique on canvas. Private owner. Courtesy Galerie m Bochum); Cut-up Portrait 4, 1973 (Photographic work, Courtesy Galerie Żak|Branicka, Berlin).
    ill. 14: Ryszard Waśko
  • Ryszard Waśko: Dark into Light 2, 1987. Acrylic on wood, 160 x 110 cm. Galerie Żak|Branicka, Berlin.
    ill. 15: Ryszard Waśko
  • Ryszard Waśko: Black to White / Holistic Painting, 1988. Acrylic on wood, 160 x 110 cm. Galerie Żak|Branicka, Berlin.
    ill. 16: Ryszard Waśko
  • Ryszard Waśko: Time Sculpture at Black Paint, 1986. Acrylic on wood, 470 x 250 x 6 cm. Galerie Żak|Branicka, Berlin.
    ill. 17: Ryszard Waśko
  • Wilhelm Sasnal, Sound Tapes, 1999. Oil on canvas, 100 x 100 cm. Museum Jerke, Bochum.
    ill. 18: Wilhelm Sasnal
  • Wilhelm Sasnal: Man with child, 2001. Oil on canvas. Museum Jerke, Bochum.
    ill. 19: Wilhelm Sasnal
  •  Wilhelm Sasnal: Developing Tank, 2015. Video film, ca. 15 minutes. Johnen Galerie, Berlin.
    ill. 20: Wilhelm Sasnal
  • Marlena Kudlicka: the weight of 8, 2013. Powder-coated steel. Galerie Żak|Branicka, Berlin (View of the  Exhibition Marl).
    ill. 21: Marlena Kudlicka
  • Paweł Książek: (from left) Silent Utopia 17, 2014; No. 4 (Rodtchenko’s Spatial Constructions), 2010/11; No. 10 (Rodtchenko’s Spatial Constructions), 2010/11; No. 3 (Rodtchenko’s Spatial Constructions), 2010/11; No. 7 (Rodtchenko’s Spatial Constructions), 2010/11, all oil on canvas, Galerie Żak|Branicka, Berlin (View of the  Exhibition Marl).
    ill. 22: Paweł Książek
  • Paweł Książek: Spatial Construction No. 30, 2011. Video loop, Galerie Żak|Branicka, Berlin.
    ill. 23: Paweł Książek
  • Paweł Książek: (from left) Fig. 22, 2014; Fig. 34, 2014; Fig. 22, 2014, all oil on canvas, Galerie Żak|Branicka, Berlin.
    ill. 24: Paweł Książek
  • Natalia Stachon: Dawn Words Falling, 2015. Multipart sculpture, galvanised stainless steel, sythetic resin with glass fibre, rubber. Galerie Żak|Branicka, Berlin (View of the Exhibition).
    ill. 25: Natalia Stachon
  • Parade of Remains, 2014. Painted cables. Steel, stainless steel, rubber. Galerie Żak|Branicka, Berlin (View of the Exhibition).
    ill. 26: Natalia Stachon
  • Natalia Stachon: The History of Aberrations 03, 2014. Charcoal on paper. Galerie Żak|Branicka, Berlin.
    ill. 27: Natalia Stachon
  • Agnieszka Polska: How the Work Is Done, 2011. Video, ca. 6 minutes. Galerie Żak|Branicka, Berlin.
    ill. 28: Agnieszka Polska
  • Agnieszka Polska: I Am the Mouth, 2014. Video, ca. 6 minutes. Galerie Żak|Branicka, Berlin.
    ill. 29: Agnieszka Polska

Across the Generations – Polish Art in Marl 6th March to 12th June 2016

Across the Generations – Polish Art in Marl 6th March to 12th June 2016
Exhibition in the Skulpturenmuseum Glaskasten Marl.

The works of the older generation of Polish artists in the exhibition, all of which come from the Jerke collection, laid down the lines for the development of the following generations of artists. Here two female “Nudes” by Katarzyna Kobro (1898-1951), gypsum sculptures between 20 and 30 centimetres high made in 1948 (ill. 1), proved to be a sensation, at least for German visitors: for Kobro is internationally well-known for her constructivist “spatial compositions” (Kompozycje Przestrzenne) from welded and painted steel, derived from 1920’s Russian Suprematism. However in 1925 she started with a series of small groups of sculptures, all of them Nudes, which her husband Władysław Strzemiński (1893-1952) judged to be similar to works by August Zamoyski, “only better”. Some of them are now kept in the art museum in Łódź (Muzeum Sztuki w Łodzi). In 1948 shortly before Kobro gave up working as an artist, she created another series of similar “Nudes”, whose expressive power and dynamics reveal her Cubist roots. Both the works shown here were part of this series and now also belong to the Jerke collection. The exhibition also showed two figurative drawings by Władysław Strzemiński, which were made at the end of the 1930s when he had long since given up “Unism” in favour of concentrating on biomorphic forms with clear outlines. His “Yellow Stool” (1948) can almost be seen as a gesture of homage to his wife’s constructivist works (ill. 2).

Although this exhibition was basically dedicated to a core of older artists, Edward Krasiński (1925-2004) and Alina Szapocznikow (1926-1973) really belong to the following generation, for both began their studies after the end of the Second World War. Krasiński “is one of the few authentic innovators in Poland”, said Wojciech Skrodzki in a standard work on “Contemporary Polish Sculpture” published in 1977. Krasiński is still widely regarded as one of the most important protagonists of Polish neo-avant-garde in the 1960s and 70s. On the one hand his artistic roots lay in Polish constructivism, co-founded by Henryk Stażewski (1894-1988), with whom he lived until the latter’s death. On the other hand he belonged to the Kraków Group (Grupa Krakowska II) founded in 1948 around Tadeusz Kantor (1915-1990), in whose happenings he participated in the mid-1960s. His internationally known trademark was the light blue “Scotch” adhesive tape that, in 1968, he began sticking to walls and objects, using it in exhibitions, or winding it around people and trees. He also used it to create constructivist objects like those in the Jerke collection (ill. 3). True, his sculpture, “Cross” has a stringently constructivist feel, but it really belongs to a group of objects comprising the “Spears” in the 1960s and the “Crosses” at the beginning of the 1980s. Like the objects and installations by Kantor, they are loaded with meanings and intended to “liberate energies” (ill. 4). Alina Szapocznikow, who survived five ghettos and concentration camps, studied sculpture in Prague and at the Ecole des beaux-arts in Paris. In 1951 in Poland she began to make strongly abstracted figurative sculptures. In 1963 she returned to Paris where she joined up with the Nouveau Réalisme circle around the art critic Pierre Restany and the artists, Arman, Daniel Spoerri and Niki de Saint Phalle. After that she dedicated her artistic energies to casts of body parts in polyurethane into which she inserted everyday objects. In 1968 she was diagnosed with cancer and from that time onwards her work dealt with disease symptoms and relics of our own body. Shortly before she died in 1973 she created the object “Fajrant” (English: At the End of the Working Day) that is now in the Jerke collection (ill. 5).