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A subjective, candid, multi-vocal story about the creation of the building of the Museum of Modern Art in Warsaw. A Form of Friendship concocts a tentative "ideology" for the building: an ideology emerging from the Museum's content (the collection) and from the context (the spatio-temporal nexus) within which the building (and the institution it houses) arises.

An illustrated narrative of the construction of the Museum of Modern Art in Warsaw, designed by Thomas Phifer. This stunning large-format book transcends the typical photo album, offering a captivating visual narrative of the construction of the Museum of Modern Art in Warsaw designed by Thomas Phifer. Overflowing with artistic photographs, it is not just a documentation of progress but an immersive experience that captures the soul of the building's creation and the collective hope for a cultural landmark. This visual treasure trove goes beyond capturing a building's rise. It documents a crucial moment in the history of both the museum and the city. This book is more than just a record, it's a celebration. It is a must-have for anyone with a passion for architecture, history, or simply the power of visual storytelling.

A wide-ranging examination of Socialist Realism that shows it extended far beyond Eastern Europe. Was Socialist Realism Global? takes up a question that was posed by art historian Piotr Piotrowski in his final book. It offers new perspectives both on socialist realism in a strict sense and on aspects of politically and socially engaged art of the twentieth century that employed broadly understood figuration. Contributors to the volume shed light on the genealogy of figuration, relate socialist art and socialist realism from Europe to analogous artistic practices in Latin America and beyond, and more. To date, they argue, the rewriting of the artistic canon of the postcolonial world has failed to sufficiently underscore the fact that through the period of decolonization and Cold War divisions internationally, artists across half the globe were educated according to doctrines of real socialism. Contributors: Jérôme Bazin, Kate Cowcher, Tatiana Flores, Joanna Kordjak, Partha Mitter, Yevheniia Moliar, Magdalena Moskalewicz, Katarzyna Murawska-Muthesius, Agata Pietrasik, Nadia Plungyan, Julia Secklehner, Zheng Shengtian, Mirela Tanta, Chuong-Dai Vo, Anthony Yung, and Carol Yinghua Lu

A look at the dark, symbolic work of Polish painter Aleksandra Waliszewska alongside historical artworks that influence her. Painter Aleksandra Waliszewska creates densely narrative, art historically saturated oil and gouache paintings. Waliszewska's pictorial universe is populated by supernatural characters and dark themes: devils, vampires, satanic creatures, possessed girls, apocalyptic scenes, bloodthirsty zombies, and other incarnations of the living dead. These characters are situated in dystopian urban landscapes, lost highways, deserted suburbs, gloomy housing estates, swamps, and other sites associated with the Eastern European landscape. Drawing from the specifically Slavic histories of the Upiór (the living dead), Waliszewska claims her artistic and conceptual descendance from premodern art and Symbolist works of the late 19th and early 20th century from Nordic, Baltic, and Eastern European regions. The Dark Arts presents a dense visual narrative, reproducing over a hundred images of Waliszewska's in juxtaposition with dozens of historical paintings and sculptures. Shifting away from the dominant figures of French and Austrian artists, this revisionist look at Symbolism through an Eastern and Baltic lens will introduce a wider audience to a rich and relatively understudied field of visual culture.

The history of film students from the Global South who studied in Poland during the Cold War.   As Poland‿s second-largest city, Å?ódź was a hub for international students who studied in Poland from the mid-1960s to 1989. The Å?ódź Film School, a member of CILECT since 1955, was a favored destination, with students from Africa, Latin America, and the Middle East accounting for one-third of its international student body. Despite the school‿s international reputation, the experience of its filmmakers from the Global South is little known beyond Poland.   Hope Is of a Different Color addresses the history of student exchanges between the Global South and the Polish People‿s Republic during the Cold War. It sheds light on the experiences and careers of a generation of young filmmakers at Å?ódź, many of whom went on to achieve success as artists in their home countries, and provides insight into emerging areas of research and race relations in Central and Eastern Europe. The essays reflect on these issues from multiple perspectives, considering sociology, political science, art, and film history. The book also features previously unpublished photographs and film stills from private archives along with visual and written material collected at the Å?ódź Film School. Â

With Art in a Disrupted World, art historian Agata Pietrasik presents a study of artistic practices that emerged in Poland during and after World War II. Pietrasik highlights examples of artworks by a number of Polish-born artists that were created in concentration camps and ghettos, in exile, and during the years of social, political, and cultural disintegration immediately following the war. She draws attention to the ethics of artistic practice as a method of fighting to preserve one‿s own humanity amid even the most dehumanizing circumstances. Breaking out of entrenched historical timelines and traditional forms of narration, this book brings together drawings, paintings, architectural designs, and exhibitions, as well as literary and theatrical works created in this time period, to tell the story of Polish life in wartime. ‿Employing an accessible, essayistic style, Pietrasik offers a new look at life in the ten years following the outbreak of World War II and features artists‿including Marian Bogusz, Jadwiga Simon-Pietkiewicz, and Józef Szajna‿whose work has not yet found substantial audiences in the English-speaking world. Her reading of the art and artists of this period strives to capture their autonomous artistic language and poses critical questions about the ability of traditional art history writing to properly accommodate artworks created in direct response to traumatic experiences. Â

Methodology My Love. Zofia Kuliks rich artistic career has a dual nature. Between 1970 and 1987, she worked alongside Przemyslaw Kwiek as a member of the duo KwieKulik, after which she began to develop a successful individual career. While KwieKuliks work has been well established as central to the East European neo-avant-garde art lexicon of the 1970s and 80s, Kuliks solo work has yet to be examined in depth. The first publication devoted solely to her work, this monograph analyzes the themes of her rich and c

This catalog accompanies the first retrospective exhibition devoted to the Albanian painter, Edi Hila, one of the last neglected masters from Eastern Europe.

Past Disquiet brings together contributions from scholars, curators and writers who reflect on artists' anti-imperialist movements of the 1960s and 70s and undertakings that took place in Baghdad, Beirut, Belgrade, Damascus, Paris, Rabat, Tokyo, and Warsaw.

The Other Transatlantic is attuned to the brief but historically significant moment in the postwar period between 1950 and 1970 when the trajectories of the Central and Eastern European art scenes on the one hand, and their Latin American counterparts on the other, converged in a shared enthusiasm for Kinetic and Op Art. As the axis connecting the established power centers of Paris, London, and New York became increasingly dominated by monolithic trends including Pop, minimalism, and conceptualism another web of ideas was being spun linking the hubs of Warsaw, Budapest, Zagreb, Buenos Aires, Caracas, and Sao Paulo. These artistic practices were dedicated to what appeared to be an entirely different set of aesthetic concerns: philosophies of art and culture dominated by notions of progress and science, the machine and engineering, construction and perception. This book presents a highly illustrated introduction to this significant transnational phenomenon in the visual arts.

Thanks to its very nature, performance enters into natural dialogue with art, new media, politics, and the social sphere as a whole. Always happening in the here and now, and with a unique freedom and openness to the unknown, performance is a medium with a special ability to question its own subjects, materials, and languages. As a result, it is often best reflected in the dynamic character of contemporary art and contemporaneity in the broadest sense of the word. Points of Convergence explores these ideas and investigates critical approaches to performance, ultimately aiming to stimulate new discussion between theorists and practitioners. With twelve essays by leading figures in the field of performance arts, this illustrated volume is structured in two parts. The first, authored by academics in the discipline, features an introduction to key areas of scholastic research. The second part, authored by curators and other researchers, then focuses on an account of individual traditions of performance. Taken together, the contributions identify new possibilities for interaction between the theoretical aspects of performance art and the ways performance plays out within local contexts.

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Consciousness Neue Bieremiennost was an art group formed in the mid-1980s in Poland by three sculptors: Miroslaw Balka, Miroslaw Filonik, and Marek Kijewski. This volume recreates the history of the group and its often fleeting creations and sets it in the context of Polish life and politics of the 1980s and the artistic scene it spawned.

One of Poland's most important and independent postwar artists, Andrzej Wroblewski (1927-57) created his own highly individual, suggestive, and prolific form of abstract and figurative painting. This volume offers a fresh presentation and thorough reevaluation of his work and its legacy in the international context of art history.

Offers a photographic tour of the iconic house of a Polish architect couple: Oskar Hansen, member of Team 10, and his wife, Zofia. This book is both a portrait of a specific dwelling and a larger analysis of the very idea of architects' houses and their relationship to their owners' work.

A volume that coins the term "Team 10 East" as a conceptual tool to discuss the work of Team 10 members and fellow travelers from state-socialist countries - such as Oskar Hansen of Poland, Charles Polonyi of Hungary, and Radovan Niksic of Yugoslavia.

Born in Kalisz, Poland, in 1926, Alina Szapocznikow studied in Prague and Paris, spent her life in France, and created an impressive number of sculptures and drawings that are defined as post-surrealist and proto-feminist. This title presents research on the work of Alina Szapocznikow.

Ion Grigorescu, born in 1945 in Bucharest and educated as a painter, was one of the first Romanian conceptual artists and advocates of anti-art, postulating a radical consolidation of artistic activities with quotidian life. This book considers the oeuvre of Grigorescu.

Comprises of a selection of texts and presentations from a seminar organized in Warsaw in 2008 by the Museum of Modern Art with art historian Claire Bishop that presented a comparative reflection of Western and Eastern European evaluations of the artistic significance of 1968 and the transformations of 1989, which saw the end of the Soviet empire.

Although she is only now just coming into much-deserved global renown, the Polish sculptor Alina Szapocznikow has long been recognized in her country as one of the most accomplished female artists of the twentieth century. This title documents Szapocznikow's artistic process and inspirations.