Construction – Reproduction: Graphic Arts, Photography and Film in Polish Constructivism
Abstract
Giżycki deals with the problem of an interest in photography and film, shown by Polish avantgarde artists from its beginnings. According to Giżycki, photomontage, film, prints made of typographic elements, and first of all film collage were the means that were perfectly suitable for the realisation of Constructivist ideas. One of the basic aims of Constructivism - to turn towards new materials - could be put in practice through the use of finished and prefabricated elements. Giżycki traces the way in which the artworks were evolving from the „literary quality” of the early photomontages of Mieczysław Szczuka, Teresa Żarnower’s abstract and geometric compositions, Stefan Themerson’s films, inspired by Constructivism Pharmacy (1930) and Europa (1932) and Jalu Kurek’s (Rhytmic Calculations, 1932) into typically collage-montage films of Janusz Maria Brzeski (Sections, 1931; Concrete, 1933) or his anti-Utopian and anti-industrial series of photomontages The Robot is Born (1934). Giżycki also points out that after a period of Utopian projects by artists relishing a regained freedom, the Constructivists expressed through art their, mostly left-wing, political beliefs.
Keywords:
Polish avant-garde, constructivism, photographyReferences
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Authors
Marcin Giżyckikwartalnik.filmowy@ispan.pl
Rhode Island School of Design United States
Krytyk i historyk sztuki, autor książek z dziedziny historii filmu i zjawisk kultury artystycznej. Wykładowca w Rhode Island School of Design w USA. Opublikował m.in. Nie tylko Disney - rzecz o kinie animowanym (2000), Koniec i co dalej? (2001), Słownik kierunków, ruchów i kluczowych pojęć sztuki drugiej połowy XX wieku (2002), Wenders do domu. Europejskie filmy o Ameryce i ich recepcja w Stanach Zjednoczonych (2006).
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Copyright (c) 2006 Marcin Giżycki
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