GREATER POLAND UPRISING 1918-1919
Promotional video made for the Greater Poland Museum of the Struggle for Independence on the 96th anniversary of the Greater Poland Uprising.
Techniques used: 3d modelling, sculpting, texturing, lighting, rendering, compositing.
FIXING WHAT ISN'T BROKEN - PART 7 - Astrīda Rogule
Astrīda Rogule - The Challenges of the Curator of the Contemporary Art Museum Collection: Problems and Risks
Astrīda Rogule is a curator and manager of the contemporary art collection at the Latvian National Museum of Art. She holds a Master of Arts and Museology and is a professor at the Latvian Academy of Culture. Since 2004 she has been working on the development of the architectonic and collections policies for the prospective Latvian Museum of Contemporary Art. She has curated and collaborated on many arts and heritage exhibitions both in Latvia and abroad (in Italy, Belgium, France, Denmark, the UK, Sweden, Finland, Russia, Poland, Estonia and Lithuania), including the Latvian pavilion at the 54th International Art Exhibition Biennale di Venecia, where she worked with the artist Kristaps Ģelzis on his project Artificial Peace (2011). She has curated solo exhibitions in Latvia by the artists Antony Gormley (UK), Braco Dimitrijevic (Croatia/France) and Christian Boltanski (France), and she has published more than 300 articles and research papers on art history, criticism, and exhibition management.
SYMPOSIUM
FIXING WHAT ISN'T BROKEN
What is Reconstruction in Contemporary Art?
December 3, 2016
10:00 - 17:00
Conference Hall, Latvian National Museum of Art
K. Valdemara iela 10, Riga
The symposium Fixing what isn’t broken. What is reconstruction in contemporary art? will address the dilemmas that arise when trying to reconstruct contemporary artworks, with a particular focus on works that are unstable or changing - installations, performances, kinetic or multimedia artworks. At the centre of the discussion will not only be themes of materiality and the physical process of reconstruction of the artwork, but also such issues as authorship, authenticity, original vs. copy, material vs. immaterial, author’s intent, and re-interpretation. The questions asked in the symposium spring forth from two exhibitions organized by the Latvian Centre for Contemporary Art that take place parallel to the symposium: Juris Boiko. Salt Crystals at the Latvian National Museum of Art and Archaeology of Kinetics by artist Valdis Celms and restorer Ieva Alksne at the Riga Art Space.
One of the works revived in these exhibitions is Saltblower (1990), a complex video installation by Latvian artist Juris Boiko (1954-2002). Saltblower consists of a heap of three tons of salt, a video projection of moving clouds, eight muted televisions sets broadcasting live TV and a sound piece in the background. Boiko created the work for the seminal exhibition Latvia – 20th Century Somersault. 1940-1990, which took place in the background of the struggle for Latvian independence of the late 1980s and early 1990s.
Realising this reconstruction brings up a series of unexpected conservational and curatorial questions. For instance, the original TV sets no longer exist – do you find exactly the same TVs of the original piece or it does not matter as long as they are analogue? What place do the original exhibition and the socio-political events that inspired it have for the understanding of this work and how that context should be presented? Is it possible to make an accurate reconstruction of this site-specific installation? And why is it meaningful to do it now? To further complicate matters, all these questions will have to be answered without the usually indispensible input of the author himself.
In the symposium we will look at these questions and themes through case studies of two important actors in the reconstruction process: the curator and the conservator-restorer. The symposium will welcome professionals from a wide range of European institutions, who will share their experiences with reconstructing changing artworks. Participants include Stephanie Weber (Lenbachhaus Munich, Germany), Daniel Muzyczuk (Muzeum Sztuki in Lodz, Poland), Louise Lawson (Tate Modern, UK), Hilkka Hiiop (Art Museum of Estonia), Ieva Alksne and Evita Melbārde (conservators-restorers, Latvia), Astrīda Rogule (Latvian National Museum of Art), Ieva Astahovska (Latvian Centre for Contemporary Art), Francesca Bertolotti-Bailey (Liverpool Biennial, UK), and Kaspars Vanags (ABLV Charitable Foundation, Latvia). Prior to their talks, conservation expert Dr. Vivian van Saaze (Maastricht University, Netherlands) will open the symposium with a lecture on the key concepts of conservation theory.
The symposium will also present a publication - An Incomplete Guide Fixing what isn't broken. What is reconstruction in contemporary art?, edited by Simon van der Weele (researcher, Netherlands).
FIXING WHAT ISN'T BROKEN - PART 4 - Ieva Alksne
Ieva Alksne - Reviving the Lost Movement. Six Ways to Return to Soviet Kinetics
Ieva Alksne is a conservator-restorer of painting with a research interest in contemporary and kinetic art conservation. She holds a B.A. and M.A. in painting conservation-restoration from the Art Academy of Latvia, and studied contemporary art conservation during an ERASMUS exchange at the Academy of Fine Arts of Brera in Milan, Italy. Alksne has completed an internship at the conservation project of the University of Applied Sciences and Arts Hildesheim at Castle Ludwigsburg, Waabs, Germany, and has worked as both an assistant-conservator of painting at Atelier del Restauro in Mosta, Malta, and as a condition reporter at the Daugavpils Mark Rothko Art Centre (DMRAC). She currently studies conservation science at the Riga Technical University while working as a self-employed conservator. Her paper “Preserving Motion. Preservation, Application and Restoration of Valdis Celms’ Kinetic Objects” was included in the 10th Baltic States Restorers’ Triennal Meeting (2014) as well as in the associated publication.
SYMPOSIUM
FIXING WHAT ISN'T BROKEN
What is Reconstruction in Contemporary Art?
December 3, 2016
10:00 - 17:00
Conference Hall, Latvian National Museum of Art
K. Valdemara iela 10, Riga
The symposium Fixing what isn’t broken. What is reconstruction in contemporary art? will address the dilemmas that arise when trying to reconstruct contemporary artworks, with a particular focus on works that are unstable or changing - installations, performances, kinetic or multimedia artworks. At the centre of the discussion will not only be themes of materiality and the physical process of reconstruction of the artwork, but also such issues as authorship, authenticity, original vs. copy, material vs. immaterial, author’s intent, and re-interpretation. The questions asked in the symposium spring forth from two exhibitions organized by the Latvian Centre for Contemporary Art that take place parallel to the symposium: Juris Boiko. Salt Crystals at the Latvian National Museum of Art and Archaeology of Kinetics by artist Valdis Celms and restorer Ieva Alksne at the Riga Art Space.
One of the works revived in these exhibitions is Saltblower (1990), a complex video installation by Latvian artist Juris Boiko (1954-2002). Saltblower consists of a heap of three tons of salt, a video projection of moving clouds, eight muted televisions sets broadcasting live TV and a sound piece in the background. Boiko created the work for the seminal exhibition Latvia – 20th Century Somersault. 1940-1990, which took place in the background of the struggle for Latvian independence of the late 1980s and early 1990s.
Realising this reconstruction brings up a series of unexpected conservational and curatorial questions. For instance, the original TV sets no longer exist – do you find exactly the same TVs of the original piece or it does not matter as long as they are analogue? What place do the original exhibition and the socio-political events that inspired it have for the understanding of this work and how that context should be presented? Is it possible to make an accurate reconstruction of this site-specific installation? And why is it meaningful to do it now? To further complicate matters, all these questions will have to be answered without the usually indispensible input of the author himself.
In the symposium we will look at these questions and themes through case studies of two important actors in the reconstruction process: the curator and the conservator-restorer. The symposium will welcome professionals from a wide range of European institutions, who will share their experiences with reconstructing changing artworks. Participants include Stephanie Weber (Lenbachhaus Munich, Germany), Daniel Muzyczuk (Muzeum Sztuki in Lodz, Poland), Louise Lawson (Tate Modern, UK), Hilkka Hiiop (Art Museum of Estonia), Ieva Alksne and Evita Melbārde (conservators-restorers, Latvia), Astrīda Rogule (Latvian National Museum of Art), Ieva Astahovska (Latvian Centre for Contemporary Art), Francesca Bertolotti-Bailey (Liverpool Biennial, UK), and Kaspars Vanags (ABLV Charitable Foundation, Latvia). Prior to their talks, conservation expert Dr. Vivian van Saaze (Maastricht University, Netherlands) will open the symposium with a lecture on the key concepts of conservation theory.
The symposium will also present a publication - An Incomplete Guide Fixing what isn't broken. What is reconstruction in contemporary art?, edited by Simon van der Weele (researcher, Netherlands).
National museum of Korea.
FIXING WHAT ISN'T BROKEN - PART 1 - Vivian van Saaze
Vivian van Saaze
Traveling Concepts in the Filed of Conservation
Dr. Vivian van Saaze is an Assistant Professor at the Faculty of Arts and Social Sciences at Maastricht University and the co-founder and Director of the Maastricht Centre for Arts and Culture, Conservation and Heritage (MACCH). Her research explores the challenges that museums are facing in the wake of new artistic practices (such as new media, installation and performance-based art), as well as the implications of digitization for museums. She was the founder of the International Network for Ph.D. and Postdoctoral Researchers in the Field of Contemporary Art Conservation, and was a co-investigator in the Tate research network Collecting the Performative, which sought to examine emerging practices for collecting and conserving performance-based art. In 2013 she was a research fellow at Tate, London. Recent publications include Installation Art and the Museum: Presentation and Conservation of Changing Artworks (Amsterdam University Press, 2013), “Collecting Performance-Based Art: New Challenges and Shifting Perspectives” with Pip Laurenson in Performativity in the Gallery: Staging Interactive Encounters (Peter Lang, 2014), and “In the Absence of Documentation. Remembering Tino Sehgal’s constructed situations” in Performing Documentation in the Conservation of Contemporary Art, a special issue of Revista Historia da Arte (2015).
SYMPOSIUM
FIXING WHAT ISN'T BROKEN
What is Reconstruction in Contemporary Art?
December 3, 2016
Conference Hall, Latvian National Museum of Art
The symposium Fixing what isn’t broken. What is reconstruction in contemporary art? will address the dilemmas that arise when trying to reconstruct contemporary artworks, with a particular focus on works that are unstable or changing - installations, performances, kinetic or multimedia artworks. At the centre of the discussion will not only be themes of materiality and the physical process of reconstruction of the artwork, but also such issues as authorship, authenticity, original vs. copy, material vs. immaterial, author’s intent, and re-interpretation. The questions asked in the symposium spring forth from two exhibitions organized by the Latvian Centre for Contemporary Art that take place parallel to the symposium: Juris Boiko. Salt Crystals at the Latvian National Museum of Art and Archaeology of Kinetics by artist Valdis Celms and restorer Ieva Alksne at the Riga Art Space.
One of the works revived in these exhibitions is Saltblower (1990), a complex video installation by Latvian artist Juris Boiko (1954-2002). Saltblower consists of a heap of three tons of salt, a video projection of moving clouds, eight muted televisions sets broadcasting live TV and a sound piece in the background. Boiko created the work for the seminal exhibition Latvia – 20th Century Somersault. 1940-1990, which took place in the background of the struggle for Latvian independence of the late 1980s and early 1990s.
Realising this reconstruction brings up a series of unexpected conservational and curatorial questions. For instance, the original TV sets no longer exist – do you find exactly the same TVs of the original piece or it does not matter as long as they are analogue? What place do the original exhibition and the socio-political events that inspired it have for the understanding of this work and how that context should be presented? Is it possible to make an accurate reconstruction of this site-specific installation? And why is it meaningful to do it now? To further complicate matters, all these questions will have to be answered without the usually indispensible input of the author himself.
In the symposium we will look at these questions and themes through case studies of two important actors in the reconstruction process: the curator and the conservator-restorer. The symposium will welcome professionals from a wide range of European institutions, who will share their experiences with reconstructing changing artworks. Participants include Stephanie Weber (Lenbachhaus Munich, Germany), Daniel Muzyczuk (Muzeum Sztuki in Lodz, Poland), Louise Lawson (Tate Modern, UK), Hilkka Hiiop (Art Museum of Estonia), Ieva Alksne and Evita Melbārde (conservators-restorers, Latvia), Astrīda Rogule (Latvian National Museum of Art), Ieva Astahovska (Latvian Centre for Contemporary Art), Francesca Bertolotti-Bailey (Liverpool Biennial, UK), and Kaspars Vanags (ABLV Charitable Foundation, Latvia). Prior to their talks, conservation expert Dr. Vivian van Saaze (Maastricht University, Netherlands) will open the symposium with a lecture on the key concepts of conservation theory.
The symposium will also present a publication - An Incomplete Guide Fixing what isn't broken. What is reconstruction in contemporary art?, edited by Simon van der Weele (researcher, Netherlands).
FIXING WHAT ISN'T BROKEN - PART 9 - Hilkka Hiiop
Hilkka Hiiop (Conservation Specialist, Art Museum of Estonia, Tallinn)
How to Preserve the Ephemeral? Contemporry Art Preservation at the Art Museum of Estonia, Tallinn)
Dr. Hilkka Hiiop is specialist at the Conservation Department of the Art Museum of Estonia and an Associate Professor at the Department of Conservation within the Estonian Academy of Art. She was trained as an art historian at Tartu University and got her MA degree in the conservation of cultural heritage from the Estonian Academy of Art. She finalized her PhD research on the conservation management of contemporary art in 2012. Her professional experience in conservation includes an internship at the Gemäldegalerie in Berlin (1999), practice at a conservation studio in Amsterdam (1999-2002), and a course on the conservation of contemporary art at the ICR (Instituto Centrale per il Restauro) in Rome (2003). From 2003-09 she was working part time as a conservator of mural paintings in Rome, where among her projects were the church of Santa Maria Antiqua, Forum Romanum (6th–9th century); the Domus Aurea (1st century AD); and the church of San Pietro in Tuscania (11th–12th century). She has supervised many conservation and technical investigation projects in Estonia and has curated exhibitions on the topics of conservation and technical art history.
SYMPOSIUM
FIXING WHAT ISN'T BROKEN
What is Reconstruction in Contemporary Art?
December 3, 2016
10:00 - 17:00
Conference Hall, Latvian National Museum of Art
K. Valdemara iela 10, Riga
The symposium Fixing what isn’t broken. What is reconstruction in contemporary art? will address the dilemmas that arise when trying to reconstruct contemporary artworks, with a particular focus on works that are unstable or changing - installations, performances, kinetic or multimedia artworks. At the centre of the discussion will not only be themes of materiality and the physical process of reconstruction of the artwork, but also such issues as authorship, authenticity, original vs. copy, material vs. immaterial, author’s intent, and re-interpretation. The questions asked in the symposium spring forth from two exhibitions organized by the Latvian Centre for Contemporary Art that take place parallel to the symposium: Juris Boiko. Salt Crystals at the Latvian National Museum of Art and Archaeology of Kinetics by artist Valdis Celms and restorer Ieva Alksne at the Riga Art Space.
One of the works revived in these exhibitions is Saltblower (1990), a complex video installation by Latvian artist Juris Boiko (1954-2002). Saltblower consists of a heap of three tons of salt, a video projection of moving clouds, eight muted televisions sets broadcasting live TV and a sound piece in the background. Boiko created the work for the seminal exhibition Latvia – 20th Century Somersault. 1940-1990, which took place in the background of the struggle for Latvian independence of the late 1980s and early 1990s.
Realising this reconstruction brings up a series of unexpected conservational and curatorial questions. For instance, the original TV sets no longer exist – do you find exactly the same TVs of the original piece or it does not matter as long as they are analogue? What place do the original exhibition and the socio-political events that inspired it have for the understanding of this work and how that context should be presented? Is it possible to make an accurate reconstruction of this site-specific installation? And why is it meaningful to do it now? To further complicate matters, all these questions will have to be answered without the usually indispensible input of the author himself.
In the symposium we will look at these questions and themes through case studies of two important actors in the reconstruction process: the curator and the conservator-restorer. The symposium will welcome professionals from a wide range of European institutions, who will share their experiences with reconstructing changing artworks. Participants include Stephanie Weber (Lenbachhaus Munich, Germany), Daniel Muzyczuk (Muzeum Sztuki in Lodz, Poland), Louise Lawson (Tate Modern, UK), Hilkka Hiiop (Art Museum of Estonia), Ieva Alksne and Evita Melbārde (conservators-restorers, Latvia), Astrīda Rogule (Latvian National Museum of Art), Ieva Astahovska (Latvian Centre for Contemporary Art), Francesca Bertolotti-Bailey (Liverpool Biennial, UK), and Kaspars Vanags (ABLV Charitable Foundation, Latvia). Prior to their talks, conservation expert Dr. Vivian van Saaze (Maastricht University, Netherlands) will open the symposium with a lecture on the key concepts of conservation theory.
The symposium will also present a publication - An Incomplete Guide Fixing what isn't broken. What is reconstruction in contemporary art?, edited by Simon van der Weele (researcher, Netherlands).
FIXING WHAT ISN'T BROKEN - PART 3 - Daniel Muzyczuk
Daniel Muzyczuk (Head of Modern Art Department, Muzeum Sztuki in Lodz, Poland)
The Neoplastic Room as Idea and Object and its Consequences for the Idea of Reconstruction of Works of Art
Daniel Muzyczuk is the Head of the Modern Art Department at the Muzeum Sztuki in Łódź, Poland. He has curated numerous projects, including Gone to Croatan (with Robert Rumas), MORE IS MORE (with Agnieszka Pindera and Joanna Zielińska), Melancholy of resistance (with Agnieszka Pindera), Views 2011, Sounding the Body Electric: Experiments in Art and Music in Eastern Europe 1957–1984 (with David Crowley), Notes from the Underground: Eastern European Alternative Art and Music Scene 1968–1994 (with David Crowley), and Museum of Rhythm (with Natasha Ginwala). He was the co-curator of the Polish Pavillion for the 55th Venice Biennale (with Agnieszka Pindera), and the winner (together with Agnieszka Pindera) of the Igor Zabel Competition in 2011. He is the current vice president of AICA Poland.
SYMPOSIUM
FIXING WHAT ISN'T BROKEN
What is Reconstruction in Contemporary Art?
December 3, 2016
Conference Hall, Latvian National Museum of Art
The symposium Fixing what isn’t broken. What is reconstruction in contemporary art? will address the dilemmas that arise when trying to reconstruct contemporary artworks, with a particular focus on works that are unstable or changing - installations, performances, kinetic or multimedia artworks. At the centre of the discussion will not only be themes of materiality and the physical process of reconstruction of the artwork, but also such issues as authorship, authenticity, original vs. copy, material vs. immaterial, author’s intent, and re-interpretation. The questions asked in the symposium spring forth from two exhibitions organized by the Latvian Centre for Contemporary Art that take place parallel to the symposium: Juris Boiko. Salt Crystals at the Latvian National Museum of Art and Archaeology of Kinetics by artist Valdis Celms and restorer Ieva Alksne at the Riga Art Space.
One of the works revived in these exhibitions is Saltblower (1990), a complex video installation by Latvian artist Juris Boiko (1954-2002). Saltblower consists of a heap of three tons of salt, a video projection of moving clouds, eight muted televisions sets broadcasting live TV and a sound piece in the background. Boiko created the work for the seminal exhibition Latvia – 20th Century Somersault. 1940-1990, which took place in the background of the struggle for Latvian independence of the late 1980s and early 1990s.
Realising this reconstruction brings up a series of unexpected conservational and curatorial questions. For instance, the original TV sets no longer exist – do you find exactly the same TVs of the original piece or it does not matter as long as they are analogue? What place do the original exhibition and the socio-political events that inspired it have for the understanding of this work and how that context should be presented? Is it possible to make an accurate reconstruction of this site-specific installation? And why is it meaningful to do it now? To further complicate matters, all these questions will have to be answered without the usually indispensible input of the author himself.
In the symposium we will look at these questions and themes through case studies of two important actors in the reconstruction process: the curator and the conservator-restorer. The symposium will welcome professionals from a wide range of European institutions, who will share their experiences with reconstructing changing artworks. Participants include Stephanie Weber (Lenbachhaus Munich, Germany), Daniel Muzyczuk (Muzeum Sztuki in Lodz, Poland), Louise Lawson (Tate Modern, UK), Hilkka Hiiop (Art Museum of Estonia), Ieva Alksne and Evita Melbārde (conservators-restorers, Latvia), Astrīda Rogule (Latvian National Museum of Art), Ieva Astahovska (Latvian Centre for Contemporary Art), Francesca Bertolotti-Bailey (Liverpool Biennial, UK), and Kaspars Vanags (ABLV Charitable Foundation, Latvia). Prior to their talks, conservation expert Dr. Vivian van Saaze (Maastricht University, Netherlands) will open the symposium with a lecture on the key concepts of conservation theory.
The symposium will also present a publication - An Incomplete Guide Fixing what isn't broken. What is reconstruction in contemporary art?, edited by Simon van der Weele (researcher, Netherlands).
The Memory of March 1968 in Poland - Prof. Natalia Aleksiun lecture at PIASA
Professor Natalia Aleksiun, PhD Warsaw University and NYU
The Memory of March 1968 in Poland
on: March 1, 2018 at PIASA
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Natalia Aleksiun is Associate Professor of Modern Jewish
History at Touro College, Graduate School of Jewish Studies, New York. She studied East European and Jewish history in Poland,
where she received her first doctoral degree at Warsaw University, as well as Oxford, Jerusalem and New York, where she received her second doctoral degree at NYU.
Among several prestigious fellowships, she was a fellow at the
Institute of Contemporary History in Munich, Germany;
Herbert D. Katz Center for Advanced Judaic Studies,
University of Pennsylvania, and Senior Fellow at Vienna
Wiesenthal Institute for Holocaust Studies, Vienna, a Yad
Hanadiv Postdoctoral Fellow in Israel and Pearl Resnick
Postdoctoral Fellow, The Center for Advanced Holocaust Studies, USHMM, Washington D.C., and the Institute for Contemporary History in Munich. She published a monograph titled Where to? The Zionist Movement in Poland, 1944-1950, and numerous articles in Yad Vashem Studies, Polish Review, Dapim, East European Jewish Affairs, Studies in Contemporary Jewry, Polin, Gal Ed, East European Societies and Politics, Nashim and German History. She coedited the twentieth volume of Polin, devoted to
the memory of the Holocaust and the 29th volume titled Writing Jewish History in Eastern Europe. Her book titled “Conscious History: Polish Jewish Historians before the Holocaust” will
be published with Littman in 2018. She is currently working on a new edition of Gerszon Taffet’s Zagłada Żydów Żółkiewskich, a new book about the so-called cadaver affair at European Universities in the 1920s and 1930s and on a project dealing with daily lives of Jews in hiding in Galicia during the Holocaust.
FIXING WHAT ISN'T BROKEN - PART 8 - Evita Melbārde
Evita Melbārde (Conservator - restorer, Riga)
Two Case Studies in Conserving Latvian Art
Evita Melbārde is a restorer currently working in a private restoration workshop in Riga. She studied at the Department of Restoration at the Art Academy of Latvia and received additional training in the field of modern materials and media at the Bern University of Arts, Switzerland. She has been involved in the restoration of works by Māris Ārgalis and Visvaldis Ziediņš as well as of works included in the collection of the prospective Latvian Museum of Contemporary Art. She worked on her master's thesis in collaboration with the artist Sarmīte Māliņa, restoring her work Language (1989).
SYMPOSIUM
FIXING WHAT ISN'T BROKEN
What is Reconstruction in Contemporary Art?
December 3, 2016
Conference Hall, Latvian National Museum of Art
The symposium Fixing what isn’t broken. What is reconstruction in contemporary art? will address the dilemmas that arise when trying to reconstruct contemporary artworks, with a particular focus on works that are unstable or changing - installations, performances, kinetic or multimedia artworks. At the centre of the discussion will not only be themes of materiality and the physical process of reconstruction of the artwork, but also such issues as authorship, authenticity, original vs. copy, material vs. immaterial, author’s intent, and re-interpretation. The questions asked in the symposium spring forth from two exhibitions organized by the Latvian Centre for Contemporary Art that take place parallel to the symposium: Juris Boiko. Salt Crystals at the Latvian National Museum of Art and Archaeology of Kinetics by artist Valdis Celms and restorer Ieva Alksne at the Riga Art Space.
One of the works revived in these exhibitions is Saltblower (1990), a complex video installation by Latvian artist Juris Boiko (1954-2002). Saltblower consists of a heap of three tons of salt, a video projection of moving clouds, eight muted televisions sets broadcasting live TV and a sound piece in the background. Boiko created the work for the seminal exhibition Latvia – 20th Century Somersault. 1940-1990, which took place in the background of the struggle for Latvian independence of the late 1980s and early 1990s.
Realising this reconstruction brings up a series of unexpected conservational and curatorial questions. For instance, the original TV sets no longer exist – do you find exactly the same TVs of the original piece or it does not matter as long as they are analogue? What place do the original exhibition and the socio-political events that inspired it have for the understanding of this work and how that context should be presented? Is it possible to make an accurate reconstruction of this site-specific installation? And why is it meaningful to do it now? To further complicate matters, all these questions will have to be answered without the usually indispensible input of the author himself.
In the symposium we will look at these questions and themes through case studies of two important actors in the reconstruction process: the curator and the conservator-restorer. The symposium will welcome professionals from a wide range of European institutions, who will share their experiences with reconstructing changing artworks. Participants include Stephanie Weber (Lenbachhaus Munich, Germany), Daniel Muzyczuk (Muzeum Sztuki in Lodz, Poland), Louise Lawson (Tate Modern, UK), Hilkka Hiiop (Art Museum of Estonia), Ieva Alksne and Evita Melbārde (conservators-restorers, Latvia), Astrīda Rogule (Latvian National Museum of Art), Ieva Astahovska (Latvian Centre for Contemporary Art), Francesca Bertolotti-Bailey (Liverpool Biennial, UK), and Kaspars Vanags (ABLV Charitable Foundation, Latvia). Prior to their talks, conservation expert Dr. Vivian van Saaze (Maastricht University, Netherlands) will open the symposium with a lecture on the key concepts of conservation theory.
The symposium will also present a publication - An Incomplete Guide Fixing what isn't broken. What is reconstruction in contemporary art?, edited by Simon van der Weele (researcher, Netherlands).
Hadassah Wygodny testimony, part 2
FIXING WHAT ISN'T BROKEN - PART 6 - Discussion after Curators' panel
Discussion after Curators' panel.
Participants:
Stephanie Weber ( Curator for Contemporary Art, Lenbachhaus Munich, Germany)
Daniel Muzyczuk (Head of Modern Art Department, Muzeum Sztuki in Lodz, Poland)
Ieva Alksne (Conservator-restorer, Riga)
Ieva Astahovska (Curator, LCCA, Riga)
Moderatos: Francesca Bertolotti - Bailey (Head of Production and International Projects, Liverpool Biennial, UK)
SYMPOSIUM
FIXING WHAT ISN'T BROKEN
What is Reconstruction in Contemporary Art?
December 3, 2016
Conference Hall, Latvian National Museum of Art
The symposium Fixing what isn’t broken. What is reconstruction in contemporary art? will address the dilemmas that arise when trying to reconstruct contemporary artworks, with a particular focus on works that are unstable or changing - installations, performances, kinetic or multimedia artworks. At the centre of the discussion will not only be themes of materiality and the physical process of reconstruction of the artwork, but also such issues as authorship, authenticity, original vs. copy, material vs. immaterial, author’s intent, and re-interpretation. The questions asked in the symposium spring forth from two exhibitions organized by the Latvian Centre for Contemporary Art that take place parallel to the symposium: Juris Boiko. Salt Crystals at the Latvian National Museum of Art and Archaeology of Kinetics by artist Valdis Celms and restorer Ieva Alksne at the Riga Art Space.
One of the works revived in these exhibitions is Saltblower (1990), a complex video installation by Latvian artist Juris Boiko (1954-2002). Saltblower consists of a heap of three tons of salt, a video projection of moving clouds, eight muted televisions sets broadcasting live TV and a sound piece in the background. Boiko created the work for the seminal exhibition Latvia – 20th Century Somersault. 1940-1990, which took place in the background of the struggle for Latvian independence of the late 1980s and early 1990s.
Realising this reconstruction brings up a series of unexpected conservational and curatorial questions. For instance, the original TV sets no longer exist – do you find exactly the same TVs of the original piece or it does not matter as long as they are analogue? What place do the original exhibition and the socio-political events that inspired it have for the understanding of this work and how that context should be presented? Is it possible to make an accurate reconstruction of this site-specific installation? And why is it meaningful to do it now? To further complicate matters, all these questions will have to be answered without the usually indispensible input of the author himself.
In the symposium we will look at these questions and themes through case studies of two important actors in the reconstruction process: the curator and the conservator-restorer. The symposium will welcome professionals from a wide range of European institutions, who will share their experiences with reconstructing changing artworks. Participants include Stephanie Weber (Lenbachhaus Munich, Germany), Daniel Muzyczuk (Muzeum Sztuki in Lodz, Poland), Louise Lawson (Tate Modern, UK), Hilkka Hiiop (Art Museum of Estonia), Ieva Alksne and Evita Melbārde (conservators-restorers, Latvia), Astrīda Rogule (Latvian National Museum of Art), Ieva Astahovska (Latvian Centre for Contemporary Art), Francesca Bertolotti-Bailey (Liverpool Biennial, UK), and Kaspars Vanags (ABLV Charitable Foundation, Latvia). Prior to their talks, conservation expert Dr. Vivian van Saaze (Maastricht University, Netherlands) will open the symposium with a lecture on the key concepts of conservation theory.
The symposium will also present a publication - An Incomplete Guide Fixing what isn't broken. What is reconstruction in contemporary art?, edited by Simon van der Weele (researcher, Netherlands).
FIXING WHAT ISN'T BROKEN - PART 5 - Ieva Astahovska
Ieva Astahovska (Curator, Latvian Centre for Contemporary Art, Riga)
Reviving the Lost Movement or Six Ways How to Return to Soviet Kinetics
Ieva Astahovska is an art scholar, critic and curator. She works at the Latvian Centre for Contemporary Art, where she leads research projects related to modern and contemporary art from the socialist period, and her long-term interest is in issues concerning post-socialist and Eastern European contexts. Her recent projects include the exhibitions Archaeology of Kinetics by the artist Valdis Celms and restorer Ieva Alksne at the Riga Art Space (2016) and Visionary Structures. From Johansons to Johansons at the BOZAR Art Centre in Brussels (2015) and the Latvian National Library in Riga (2014), and the research project and essay collection Recuperating the Invisible Past (2011‒2012).
SYMPOSIUM
FIXING WHAT ISN'T BROKEN
What is Reconstruction in Contemporary Art?
December 3, 2016
Conference Hall, Latvian National Museum of Art
The symposium Fixing what isn’t broken. What is reconstruction in contemporary art? will address the dilemmas that arise when trying to reconstruct contemporary artworks, with a particular focus on works that are unstable or changing - installations, performances, kinetic or multimedia artworks. At the centre of the discussion will not only be themes of materiality and the physical process of reconstruction of the artwork, but also such issues as authorship, authenticity, original vs. copy, material vs. immaterial, author’s intent, and re-interpretation. The questions asked in the symposium spring forth from two exhibitions organized by the Latvian Centre for Contemporary Art that take place parallel to the symposium: Juris Boiko. Salt Crystals at the Latvian National Museum of Art and Archaeology of Kinetics by artist Valdis Celms and restorer Ieva Alksne at the Riga Art Space.
One of the works revived in these exhibitions is Saltblower (1990), a complex video installation by Latvian artist Juris Boiko (1954-2002). Saltblower consists of a heap of three tons of salt, a video projection of moving clouds, eight muted televisions sets broadcasting live TV and a sound piece in the background. Boiko created the work for the seminal exhibition Latvia – 20th Century Somersault. 1940-1990, which took place in the background of the struggle for Latvian independence of the late 1980s and early 1990s.
Realising this reconstruction brings up a series of unexpected conservational and curatorial questions. For instance, the original TV sets no longer exist – do you find exactly the same TVs of the original piece or it does not matter as long as they are analogue? What place do the original exhibition and the socio-political events that inspired it have for the understanding of this work and how that context should be presented? Is it possible to make an accurate reconstruction of this site-specific installation? And why is it meaningful to do it now? To further complicate matters, all these questions will have to be answered without the usually indispensible input of the author himself.
In the symposium we will look at these questions and themes through case studies of two important actors in the reconstruction process: the curator and the conservator-restorer. The symposium will welcome professionals from a wide range of European institutions, who will share their experiences with reconstructing changing artworks. Participants include Stephanie Weber (Lenbachhaus Munich, Germany), Daniel Muzyczuk (Muzeum Sztuki in Lodz, Poland), Louise Lawson (Tate Modern, UK), Hilkka Hiiop (Art Museum of Estonia), Ieva Alksne and Evita Melbārde (conservators-restorers, Latvia), Astrīda Rogule (Latvian National Museum of Art), Ieva Astahovska (Latvian Centre for Contemporary Art), Francesca Bertolotti-Bailey (Liverpool Biennial, UK), and Kaspars Vanags (ABLV Charitable Foundation, Latvia). Prior to their talks, conservation expert Dr. Vivian van Saaze (Maastricht University, Netherlands) will open the symposium with a lecture on the key concepts of conservation theory.
The symposium will also present a publication - An Incomplete Guide Fixing what isn't broken. What is reconstruction in contemporary art?, edited by Simon van der Weele (researcher, Netherlands).
FIXING WHAT ISN'T BROKEN - PART 2 - Stephanie Weber
Stephanie Weber (Curator for Contemporary Art, Lenbachhaus, Munich, Germany)
Suspended Present: Reconstruction/ Reinterpretation of the works of Lea Lublin and VALIE EXPORT
Stephanie Weber is a curator of contemporary art at the Lenbachhaus in Munich, where she recently curated a presentation of the US painter Rochelle Feinstein's work. In 2014, she organized a survey of the work of the Argentine-French conceptual artist Lea Lublin – a project that entailed a major restoration effort as well as the reconstruction of several of the artist's works. Between 2010 and 2014 she was a curator at MoMA's department of Media and Performance Art, working on exhibitions with the artists Isa Genzken, Mark Boulos, Francis Alÿs and Dinh Q., amongst others, and overseeing the acquisition of several performative installations from the 1960s and 1970s by artists such as VALIE EXPORT and Vito Acconci. She is currently preparing an exhibition on contemporary forms and methods of propaganda.
SYMPOSIUM
FIXING WHAT ISN'T BROKEN
What is Reconstruction in Contemporary Art?
December 3, 2016
Conference Hall, Latvian National Museum of Art
The symposium Fixing what isn’t broken. What is reconstruction in contemporary art? will address the dilemmas that arise when trying to reconstruct contemporary artworks, with a particular focus on works that are unstable or changing - installations, performances, kinetic or multimedia artworks. At the centre of the discussion will not only be themes of materiality and the physical process of reconstruction of the artwork, but also such issues as authorship, authenticity, original vs. copy, material vs. immaterial, author’s intent, and re-interpretation. The questions asked in the symposium spring forth from two exhibitions organized by the Latvian Centre for Contemporary Art that take place parallel to the symposium: Juris Boiko. Salt Crystals at the Latvian National Museum of Art and Archaeology of Kinetics by artist Valdis Celms and restorer Ieva Alksne at the Riga Art Space.
One of the works revived in these exhibitions is Saltblower (1990), a complex video installation by Latvian artist Juris Boiko (1954-2002). Saltblower consists of a heap of three tons of salt, a video projection of moving clouds, eight muted televisions sets broadcasting live TV and a sound piece in the background. Boiko created the work for the seminal exhibition Latvia – 20th Century Somersault. 1940-1990, which took place in the background of the struggle for Latvian independence of the late 1980s and early 1990s.
Realising this reconstruction brings up a series of unexpected conservational and curatorial questions. For instance, the original TV sets no longer exist – do you find exactly the same TVs of the original piece or it does not matter as long as they are analogue? What place do the original exhibition and the socio-political events that inspired it have for the understanding of this work and how that context should be presented? Is it possible to make an accurate reconstruction of this site-specific installation? And why is it meaningful to do it now? To further complicate matters, all these questions will have to be answered without the usually indispensible input of the author himself.
In the symposium we will look at these questions and themes through case studies of two important actors in the reconstruction process: the curator and the conservator-restorer. The symposium will welcome professionals from a wide range of European institutions, who will share their experiences with reconstructing changing artworks. Participants include Stephanie Weber (Lenbachhaus Munich, Germany), Daniel Muzyczuk (Muzeum Sztuki in Lodz, Poland), Louise Lawson (Tate Modern, UK), Hilkka Hiiop (Art Museum of Estonia), Ieva Alksne and Evita Melbārde (conservators-restorers, Latvia), Astrīda Rogule (Latvian National Museum of Art), Ieva Astahovska (Latvian Centre for Contemporary Art), Francesca Bertolotti-Bailey (Liverpool Biennial, UK), and Kaspars Vanags (ABLV Charitable Foundation, Latvia). Prior to their talks, conservation expert Dr. Vivian van Saaze (Maastricht University, Netherlands) will open the symposium with a lecture on the key concepts of conservation theory.
The symposium will also present a publication - An Incomplete Guide Fixing what isn't broken. What is reconstruction in contemporary art?, edited by Simon van der Weele (researcher, Netherlands).
???????????????????????? ???????????????????????? ???????????????? ???? ???????? Jul 7 - 14, 2014 ???? The Walk Around the World Travel Vlog
Poland travel vlog 2 ????????
July 7 - 14, 2014
The Walk Around the World travel vlog
by Meigo Märk from Estonia
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Please join me to travel through Poland by walking!
???? MORE PHOTOS FROM POLAND ???????? POLSKA
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Poland (Polish: Polska), officially the Republic of Poland (Polish: Rzeczpospolita Polska) is a country located in Central Europe. It is divided into 16 administrative subdivisions, covering an area of 312,696 square kilometres (120,733 sq mi), and has a largely temperate seasonal climate. With a population of nearly 38.5 million people, Poland is the sixth most populous member state of the European Union. Poland's capital and largest metropolis is Warsaw. Other major cities include Kraków, Łódź, Wrocław, Poznań, Gdańsk, and Szczecin.
Poland is bordered by the Baltic Sea, Lithuania, and Russia's Kaliningrad Oblast to the north, Belarus and Ukraine to the east, Slovakia and the Czech Republic to the south, and Germany to the west.
The history of human activity on Polish soil spans almost 500,000 years. Throughout the Iron Age the area became extensively diverse, with various cultures and tribes settling on the vast Central European Plain. However, it was the Western Polans who dominated the region and gave Poland its name. The establishment of the first Polish state can be traced to AD 966, when Mieszko I, ruler of the realm coextensive with the territory of present-day Poland, converted to Christianity. The Kingdom of Poland was founded in 1025, and in 1569 it cemented its longstanding political association with the Grand Duchy of Lithuania by signing the Union of Lublin. This union formed the Polish–Lithuanian Commonwealth, one of the largest (over 1,000,000 square kilometres - 400,000 square miles) and most populous countries of 16th and 17th century Europe, with a uniquely liberal political system which adopted Europe's first written national constitution, the Constitution of 3 May 1791.
With the passing of prominence and prosperity, the country was partitioned by neighbouring states at the end of the 18th century, and regained its independence in 1918 with the Treaty of Versailles. After a series of territorial conflicts, the new multi-ethnic Poland restored its position as a key player in European politics. In September 1939, World War II started with the invasion of Poland by Germany, followed by the Soviet Union invading Poland in accordance with the Molotov–Ribbentrop Pact. Around six million Polish citizens, including 90% of the country's Jews, perished in the war. In 1947, the Polish People's Republic was established as a satellite state under Soviet influence. In the aftermath of the Revolutions of 1989, most notably through the emergence of the Solidarity movement, Poland reestablished itself as a presidential democratic republic.
Poland has a developed market and is a regional power in Central Europe, with the largest stock exchange in the East-Central European zone. It has the seventh largest economy by GDP (nominal) in the European Union and the tenth largest in all of Europe. It's one of the most dynamic economies in the world, simultaneously achieving a very high rank on the Human Development Index. Poland is a developed country, which maintains a high-income economy along with very high standards of living, life quality, safety, education, and economic freedom. Alongside a developed school educational system, the state also provides free university education, social security, and a universal health care system. The country has 16 UNESCO World Heritage Sites, 15 of which are cultural.
Poland is a member state of the European Union, the Schengen Area, the United Nations, NATO, the OECD, the Three Seas Initiative, the Visegrád Group, and guested at the G20.
PLEASE READ MORE ABOUT POLAND:
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#PolandTravelVlog #Poland #PolandVlog #TravelInPoland #PolishTravelVlog #PolandTravel #TravelPoland #Polska #Polish #VisitPoland #WelcomeToPoland #TravelingPoland #PolishTravelGuide #MeigoMärk #TheWalkAroundTheWorldTravelVlog
FIXING WHAT ISN'T BROKEN - WELCOME by Solvita Krese, director of LCCA
Welcome by Solvita Krese, director of Latvian Centre for Contemporary Art
SYMPOSIUM
FIXING WHAT ISN'T BROKEN
What is Reconstruction in Contemporary Art?
December 3, 2016
Conference Hall, Latvian National Museum of Art
The symposium Fixing what isn’t broken. What is reconstruction in contemporary art? will address the dilemmas that arise when trying to reconstruct contemporary artworks, with a particular focus on works that are unstable or changing - installations, performances, kinetic or multimedia artworks. At the centre of the discussion will not only be themes of materiality and the physical process of reconstruction of the artwork, but also such issues as authorship, authenticity, original vs. copy, material vs. immaterial, author’s intent, and re-interpretation. The questions asked in the symposium spring forth from two exhibitions organized by the Latvian Centre for Contemporary Art that take place parallel to the symposium: Juris Boiko. Salt Crystals at the Latvian National Museum of Art and Archaeology of Kinetics by artist Valdis Celms and restorer Ieva Alksne at the Riga Art Space.
One of the works revived in these exhibitions is Saltblower (1990), a complex video installation by Latvian artist Juris Boiko (1954-2002). Saltblower consists of a heap of three tons of salt, a video projection of moving clouds, eight muted televisions sets broadcasting live TV and a sound piece in the background. Boiko created the work for the seminal exhibition Latvia – 20th Century Somersault. 1940-1990, which took place in the background of the struggle for Latvian independence of the late 1980s and early 1990s.
Realising this reconstruction brings up a series of unexpected conservational and curatorial questions. For instance, the original TV sets no longer exist – do you find exactly the same TVs of the original piece or it does not matter as long as they are analogue? What place do the original exhibition and the socio-political events that inspired it have for the understanding of this work and how that context should be presented? Is it possible to make an accurate reconstruction of this site-specific installation? And why is it meaningful to do it now? To further complicate matters, all these questions will have to be answered without the usually indispensible input of the author himself.
In the symposium we will look at these questions and themes through case studies of two important actors in the reconstruction process: the curator and the conservator-restorer. The symposium will welcome professionals from a wide range of European institutions, who will share their experiences with reconstructing changing artworks. Participants include Stephanie Weber (Lenbachhaus Munich, Germany), Daniel Muzyczuk (Muzeum Sztuki in Lodz, Poland), Louise Lawson (Tate Modern, UK), Hilkka Hiiop (Art Museum of Estonia), Ieva Alksne and Evita Melbārde (conservators-restorers, Latvia), Astrīda Rogule (Latvian National Museum of Art), Ieva Astahovska (Latvian Centre for Contemporary Art), Francesca Bertolotti-Bailey (Liverpool Biennial, UK), and Kaspars Vanags (ABLV Charitable Foundation, Latvia). Prior to their talks, conservation expert Dr. Vivian van Saaze (Maastricht University, Netherlands) will open the symposium with a lecture on the key concepts of conservation theory.
The symposium will also present a publication - An Incomplete Guide Fixing what isn't broken. What is reconstruction in contemporary art?, edited by Simon van der Weele (researcher, Netherlands).
20. Successor States of Eastern Europe
European Civilization, 1648-1945 (HIST 202)
Contrary to the Great Illusion that the end of World War I heralded a new era of peace, the interwar period can be considered to form part of a Thirty Years' War, spanning the period from 1914 to 1945. In the wake of the Treaty of Versailles, Europe was divided both literally and figuratively, with the so-called revisionist powers frustrated over their new borders. One of the most significant and ultimately most pernicious debates at Versailles concerned the identity of states with ethnic majorities. For those nations that resented the new partition of Europe, ethnic minorities, and Jews in particular, furnished convenient scapegoats. The persecution of minority groups in Central and Eastern Europe following the First World War thus set the stage for the atrocities of World War II.
00:00 - Chapter 1. The Wilsonian Illusion and War Guilt: The Aftermath of the First World War
09:20 - Chapter 2. Revisionism in Italy and Germany
16:42 - Chapter 3. Revisionism in Eastern Europe: The Former Austro-Hungarian Empire
26:03 - Chapter 4. Ethnic Tensions in Interwar States
35:57 - Chapter 5. The Peasant Majority: Agricultural Depression and the Rise of Fascism
Complete course materials are available at the Open Yale Courses website:
This course was recorded in Fall 2008.
Works of Polish-Armenian painter Teodor Axentowicz displayed in Armenia
POLAND - WikiVidi Documentary
Poland , officially the Republic of Poland , is a sovereign country in Central Europe. It is a unitary state divided into 16 administrative subdivisions, covering an area of 312679 km2 with a mostly temperate climate. With a population of over 38.5 million people, Poland is the sixth most populous member state of the European Union. Poland's capital and largest city is Warsaw. Other cities include Kraków, Wrocław, Poznań, Gdańsk and Szczecin. The establishment of a Polish state can be traced back to 966, when Mieszko I, ruler of a territory roughly coextensive with that of present-day Poland, converted to Christianity. The Kingdom of Poland was founded in 1025, and in 1569 it cemented a longstanding political association with the Grand Duchy of Lithuania by signing the Union of Lublin. This union formed the Polish–Lithuanian Commonwealth, one of the largest and most populous countries of 16th and 17th century Europe with a uniquely liberal political system which declared Europe's fir...
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Shortcuts to chapters:
00:03:54: Etymology
00:04:29: Prehistory and protohistory
00:06:03: Piast dynasty
00:10:19: Jagiellon dynasty
00:13:41: Polish–Lithuanian Commonwealth
00:18:20: Partitions
00:21:28: Era of insurrections
00:26:58: Reconstruction
00:30:40: World War II
00:38:45: Post-war communism
00:41:58: Present-day
00:45:42: Geography
00:47:24: Geology
00:50:40: Waters
00:55:58: Land use
00:57:39: Biodiversity
00:59:21: Climate
01:01:04: Politics
01:03:31: Law
01:07:31: Foreign relations
01:10:20: Administrative divisions
01:11:15: Military
01:15:26: Law enforcement and emergency services
01:16:56: Economy
01:21:14: Corporations
01:22:48: Tourism
01:24:55: Energy
01:26:43: Transport
01:30:42: Science and technology
01:32:44: Communications
01:34:24: Demographics
01:38:07: Languages
01:39:57: Religion
01:44:47: Health
01:46:45: Education
01:49:26: Culture
01:50:25: Famous people
01:51:39: Society
01:54:06: Music
01:58:10: Art
02:00:44: Architecture
02:04:53: Literature
02:09:46: Media
02:12:18: Cuisine
02:14:37: Sports
____________________________________
Copyright WikiVidi.
Licensed under Creative Commons.
Wikipedia link:
End of communism in Poland (1989) | Wikipedia audio article
This is an audio version of the Wikipedia Article:
End of communism in Poland (1989)
Listening is a more natural way of learning, when compared to reading. Written language only began at around 3200 BC, but spoken language has existed long ago.
Learning by listening is a great way to:
- increases imagination and understanding
- improves your listening skills
- improves your own spoken accent
- learn while on the move
- reduce eye strain
Now learn the vast amount of general knowledge available on Wikipedia through audio (audio article). You could even learn subconsciously by playing the audio while you are sleeping! If you are planning to listen a lot, you could try using a bone conduction headphone, or a standard speaker instead of an earphone.
You can find other Wikipedia audio articles too at:
You can upload your own Wikipedia articles through:
The only true wisdom is in knowing you know nothing.
- Socrates
SUMMARY
=======
The history of Poland from 1945 to 1989 spans the period of Soviet dominance and communist rule imposed after the end of World War II over Poland, as reestablished within new borders. These years, while featuring general industrialization and urbanization and many improvements in the standard of living, were marred by social unrest, political strife and severe economic difficulties.
Near the end of World War II, the advancing Soviet Red Army pushed out the Nazi German forces from occupied Poland. In February 1945, the Yalta Conference sanctioned the formation of a provisional government of Poland from a compromise coalition, until postwar elections. Joseph Stalin, the leader of the Soviet Union, manipulated the implementation of that ruling. A practically communist-controlled Provisional Government of National Unity was formed in Warsaw by ignoring the Polish government-in-exile based in London since 1940.
During the subsequent Potsdam Conference in July–August 1945, the three major Allies ratified the colossal westerly shift of Polish borders and approved its new territory between the Oder–Neisse line and Curzon Line. Following the destruction of the Polish-Jewish population in the Holocaust, the flight and expulsion of Germans in the west, resettlement of Ukrainians in the east, and the repatriation of Poles from Kresy, Poland became for the first time in its history an ethnically homogeneous nation-state without prominent minorities. The new government solidified its political power over the next two years, while the Polish United Workers' Party (PZPR) under Bolesław Bierut gained firm control over the country, which would become part of the postwar Soviet sphere of influence in Central and Eastern Europe.
Following Stalin's death in 1953, a political thaw in the Soviet sphere allowed a more liberal faction of the Polish communists, led by Władysław Gomułka, to gain power. By the mid-1960s, Poland began experiencing increasing economic as well as political difficulties. They culminated in the 1968 Polish political crisis and the 1970 Polish protests, when a consumer price hike led to a wave of strikes. The government introduced a new economic program based on large-scale borrowing from the West, which resulted in a rise in living standards and expectations, but the program meant growing integration of Poland's economy with the world economy and it faltered after the 1973 oil crisis. In 1976, the government of Edward Gierek was forced to raise prices again and this led to the June 1976 protests.
This cycle of repression and reform and the economic-political struggle acquired new characteristics with the 1978 election of Karol Wojtyła as Pope John Paul II. Wojtyła's unexpected elevation strengthened the opposition to the authoritarian and ineffective system of nomenklatura-run state socialism, especially with the pope's first visit to Poland in 1979. In early August 1980, a new wave of strikes resulted in the founding of the independent trade union Solidarity (Polish Solidarność) led by electrician Lech Wałęsa. The growing strength and activity of the opposition caused the government of Wojciech Jaruzelski to declare martial law in December 1981. However, with the reforms of Mikhail Gorbachev in the Soviet Union, increasing pressure from the West, and dysfunctional economy, the regime was forced to negotiate with its opponents. The 1989 Round Table Talks led to Solidarity's participation in the 1989 election. Its candidates' striking victory gave rise to the first of the succession of transitions from communist rule in Central and Eastern Europe. In 1990, Jaruzelski resigned from the presidency of the Republic of Poland; following the presidential election, he was succeeded by Wałęsa.
11.09.19 - Launch of UK- Polish Coalition at ‘You are entering a Fascist Free-Zone’
Thanks to Ali Maeve for the film, The Horse Hospital and everyone involved!
Launch of UK- Polish Coalition at ‘You are entering a Fascist Free-Zone’
(Polska wersja poniżej????????/Polish version below)
A new coalition of leading UK feminist and LGBTQIA+ groups have formed a coalition in response to the Polish Government’s ‘Law and Justice’ Parties increasing sexism, anti-abortion policies and the new ‘LGBT+ Free Zones’. Poland today is often associated with far-right nationalism, and since winning the election in 2015, the right-wing Law & Justice Party has targeted immigrants, women, the LGBT+ community and emboldened the far-right. But what about those who are fighting back?
‘You are entering a fascist free zone’ is a platform is to build effective solidarity against the rise of Polish fascism and homophobia. It will include the UK Film premiere of ‘Never Again – Fighting the Polish Far Right; documentary and the re-launch of the Polish London LGBT+ Network Polish Rainbow in UK as well as a Q+A with FARSA, All Out, reproductive rights activist Lisa hallgarten, Dziewuchy London plus performances from drag legend ‘Polka Dot’.
The panel included Polish queer activist Jaroslaw Ploszajski Kubiak, Aga Gagol and Magda Oljejor from FARSA – Feminist Artivists Society in Action – a Polish feminist group in London focused on exposing the absurdity of Polish reality and Krzysia Balinska and Magda Fabianczyk from Dziewuchy London. Dziewuchy London is a group of London based Polish activists that formed in April 2016 in response to the Polish government’s plans to introduce a complete ban on abortion in Poland. The night will begin with the premiere UK screening of the Redfish documentary Never Again – Fighting the Polish Far Right. Watch the trailer here . In collaboration with the amazing ‘All Out’ campaign – ‘We are under attack in Poland.’ “Activist Jaroslaw Kubiak will host the Q+A. Jaroslaw has been an activist for over 15 years involved in LGBTQ+ rights movement and supporting women’s rights, first in his hometown of Lodz (Poland), then as co-founding member of Polish Rainbow in UK where he’s been connecting, mobilising and empowering Polish LGBTQ+ migrants. Now, using the connections and relationships built over the years, helping to launch and develop an intersectional network of support for LGBTQ+ communities here in London and back in his home country.”
About the film
Thanks to 'Redfish' Activist Dan Glass, whose Polish-Jewish grandmother witnessed the Warsaw ghetto go up in flames, went on a personal and political journey to meet the people resisting the resurgence of the Polish far-right.
Contact alright@theglassishalffull.co.uk