Topos rodzimości w refleksji o sztuce epoki PRL-u

Abstract

This essay is an attempt to look at the problem that was constantly present in texts about art of PRL (Polish People’s Republic) – it is a desire to search for specific features that would define PRL’s art difference and uniqueness, kind of it’s differentia specifica. It is ineresting that such features were usually sought in context of Western art. “Nativeness” was often defined as a reference to traditions of Polish art and culture, for example the tradition of Polish Romanticism, interestingly, it was also analyzed int the context of its references to Western art. Polish art critics evaluated these last references in two different ways. On the one hand they interpret (saw) it as attempt to match the neo-avant-garde Western modernity, so that Polish art appeared as modern and progressive and in some ways equall to Western art. On the other hand these references heave become the reason of faulting Polish artists for not proposing anything new in art and taking over or adapting what was already invented and introduced in the West. Because Polish artists often did not know English language and did not have an access to basic critical or analytical texts, these adaptations often took place without any deeper knowledge of developed in the West phenomena. Western codes of neo-avantgarde art had in Poland – country existing „in the shade of Yalta” — very particular meaning. Neo-avangard art, often inspired and modeled on works created in the West, was a manifestation of artistic freedom and intellectual independence and thus it can be seen as an expression of desire for so-called normality which was measured by patterns developed in Western culture. Undoubtfully the political context played a very significant role in the process of crystallization of distinctive features of PRL’s art. It was evident in many neo-avantgarde pieces of art and artistic activities of Polish artists. Thus we can see two expressions evident in PRL’s art. On one hand there were pieces of art which were complying with the „system” and serving reality dominated by social, political, economic and military factors. On another hand there were pieces of art expressing decisive criticism of PRL socio-political situation and desire for freedom, ironically, inspired by Western neo-avantgarde.