ARTISTS
Jerzy 搁辞蝉辞艂辞飞颈肠锄: Alchemist
Today, exactly six decades after the publication of Theory of the Function of Form (1962), one of the most important texts by Jerzy 搁辞蝉辞艂辞飞颈肠锄 (1928鈥�1982), these words sound almost like a prophecy 鈥� a prophecy which, unfortunately, is coming true before our eyes. Environmental disasters and armed conflicts are intensifying and changing the reality to which we have become accustomed over the last few decades. In the face of this new situation of growing anxiety, can art still offer humanity a solution that will save us?
Practically throughout his entire artistic life, Jerzy 搁辞蝉辞艂辞飞颈肠锄 searched for a means to neutralise the potential damage caused to the world by deliberate human action. He claimed that the goal of his art was to recognise the conflicts and contradictions accompanying human activity. This was intended as a major task and the very fact that the Wroc艂aw-based artist undertook it explains to some extent why, despite his 鈥渜uiet鈥� personality, 搁辞蝉辞艂辞飞颈肠锄 exerted such special influence on post-war Polish art. In particular, he persistently posed questions about who the artist is or should be and the role of artistic practice in relation to the contemporary world, which, as a result of human activity, is inevitably heading towards annihilation.
The exhibition at Wroc艂aw Contemporary Museum is an opportunity to look at all manifestations of Jerzy 搁辞蝉辞艂辞飞颈肠锄鈥檚 creative practice, from his early works, such as the rarely analysed drawings, to Telehydrographics and Flowers 鈥� his most recent sketches made for specific persons. Although formally diverse, all of them are connected by the artist鈥檚 deep reflection on the fate of humanity and his concern for our future existence. We can approach 搁辞蝉辞艂辞飞颈肠锄鈥檚 individual works as gifts that enable us to consider alternative ways of our individual and collective functioning.
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Today, exactly six decades after the publication of Theory of the Function of Form (1962), one of the most important texts by Jerzy 搁辞蝉辞艂辞飞颈肠锄 (1928鈥�1982), these words sound almost like a prophecy 鈥� a prophecy which, unfortunately, is coming true before our eyes. Environmental disasters and armed conflicts are intensifying and changing the reality to which we have become accustomed over the last few decades. In the face of this new situation of growing anxiety, can art still offer humanity a solution that will save us?
Practically throughout his entire artistic life, Jerzy 搁辞蝉辞艂辞飞颈肠锄 searched for a means to neutralise the potential damage caused to the world by deliberate human action. He claimed that the goal of his art was to recognise the conflicts and contradictions accompanying human activity. This was intended as a major task and the very fact that the Wroc艂aw-based artist undertook it explains to some extent why, despite his 鈥渜uiet鈥� personality, 搁辞蝉辞艂辞飞颈肠锄 exerted such special influence on post-war Polish art. In particular, he persistently posed questions about who the artist is or should be and the role of artistic practice in relation to the contemporary world, which, as a result of human activity, is inevitably heading towards annihilation.
The exhibition at Wroc艂aw Contemporary Museum is an opportunity to look at all manifestations of Jerzy 搁辞蝉辞艂辞飞颈肠锄鈥檚 creative practice, from his early works, such as the rarely analysed drawings, to Telehydrographics and Flowers 鈥� his most recent sketches made for specific persons. Although formally diverse, all of them are connected by the artist鈥檚 deep reflection on the fate of humanity and his concern for our future existence. We can approach 搁辞蝉辞艂辞飞颈肠锄鈥檚 individual works as gifts that enable us to consider alternative ways of our individual and collective functioning.
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