#tadeusz kantor

[planforsolitude]

Tadeusz Kantor Happening-activity, Bled, 1969

[polish-art-tournament]

sculptures* round 1 poll 14

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Chair by Tadeusz Kantor, 1995:

propaganda: to krzesło stoi w huciskach, obok domu artysty. i to utylitarne, najprostsze, najzwyklejsze krzesło górujące nad drzewami i pobliskim drewnianym domem jest ahh *chef's kiss* [this chair is standing in Huciska, next to the artist's house. this utalitarian, simple, normal chair towers ober the trees and the nearby wooden house is *chef's kiss*]

mniejsza wersja tej rzeźby jest chyba bardziej znana, bo stoi we wrocławiu, gdzie kantor początkowo planował postawić pełnorozmiarową wersję. ten plan ostatecznie nie wypalił, i po śmierci kantora krzesło według oryginalnego planu stanęło w huciskach, a po ok 40 latach od oryginalnych planów także we wrocławiu. tak więc hej, ostatecznie mamy dwa krzesła! [another smaller version of this sculpture is probably better known, because its standing in Wrocław, where Kantor initially planned to place the full size version. this plan ultimately failed, and after Kantor's death it was placed in Huciska, and after 40 years since the original project also in Wrocław. so, hey, we have two chairs!]

The Fossor by Walenty Pytel, 1979

[no propaganda has been submitted]

[jareckiworld]

Tadeusz Kantor (1915‑1990) — Some Figure Has Fallen Out of the Picture and Turned Out to be Only a Fiction [acrylic on canvas, 1990]

[oldsardens]

Tadeusz Kantor - Emballage. 1967

[atna2-34-75]

Tadeusz Kantor

Emballages, objets, personnages no. 2, 1967

National Museum in Krákow

[thinkingimages]

Tadeusz Kantor next to the Goplana | Photo: Witold Witaliński

Goplana and the Elves

The exhibition evokes questions about the rank and status of objects. Goplana with Elves were not meant to be a decoration, but to “embody a stage character”. For Kantor, the object as a “form – a spatial sculpture with a metaphorical function” became an element of ambient art; arranging a space which is meant to “absorb” the viewer.

The object “Goplana and the elves” refers to the play “Balladine” which Tadeusz Kantor directed in 1943 in the Underground Independent Theatre. Unlike in Słowacki’s text, Kantor’s Goplana is not an ethereal nymph. The human figure has been replaced by a simplified, geometric form. The artist’s radical gesture shows a fascination with Constructivism and Bauhaus theater, especially Oscar Schlemmer’s “Triadic Ballet.” Such a departure from realism was also a result of the experience of the occupation and the associated dehumanization that disparaged the human figure. 

No objects or props survived from the war. In the second half of the 1980s, with the Cricot 2 Theatre Museum in mind, Kantor began creating replicas of the objects that had not been preserved. They were supposed to evoke ideas that were important to him. “Goplana” was made of galvanized sheet metal and wood, which were the artist’s favourite materials. She is accompanied by two Elves made of light, openwork structures. 

Curators: Małgorzata Paluch-Cybulska, Bogdan Renczyński

[endgaamee]

Jerzy Bereś w Cricotece, maj 2024

[esse-est]

Luci di Nara by Robin Via Flickr: Luci di Nara (Światła Nary), 1991, bronze. Igor Mitoraj's sculpture at the courtyard of Collegium Iuridicum of the Jagiellonian University, Kraków. Igor Mitoraj, born in 1944, studied painting at the Krakow Academy of Art under Tadeusz Kantor. In 1968 he left Poland and devoted his life to sculpture. His first solo exhibition at the Parisian Galerie La Hune in 1976 was a great success: the artist’s works garnered recognition not only from critics but also from the audience. Also successful were the next exhibitions, for instance in New York (1989), Florence (1999), or Lausanne (2001). In 2006, he created the new bronze doors and a statue of John the Baptist for the basilica of Santa Maria degli Angeli in Rome. His sculptures can be admired in some extraordinary locations: surrounded by historical architecture or in modern city districts. The „Fontana del Centauro” and „Hommage à De Sabata” are located in Milan; Mitoraj’s sculptures in Rome found their place at Piazza Mignianelli and Piazza Monte Grappa, while the La Defense district in Paris boasts of the monumental “Tindaro”. Three sculptures by Igor Mitoraj are located in Krakow: "Luci di Nara" at the courtyard of Collegium Iuridicum, "Eros Bendato" on the Main Square, and "Nascita di Eros" in front of the Opera House. Mitoraj's sculptural style is rooted in the classical tradition with its focus on the well modelled torso. However, Mitoraj introduces a post-modern twist with ostentatiously truncated limbs, emphasising the damage sustained by most genuine classical sculptures. www.youtube.com/watch?v=xXU8An6Ukyg

[polishwomenartists-sztukakobiet]

Kraków, 15.12.1948, artyści biorący udział w "I wystawie sztuki nowoczesnej".

Od lewej siedzą: Janina Kraupe, Jerzy Tchórzewski, Erna Rosenstein, Jadwiga Maziarska, Jadwiga Uminska.

Od lewej stoją: Tadeusz Brzozowski, Jerzy Malina, Marek Włodarski, NN, Tadeusz Kantor, Maria Jarema, Jan Tarasin, Andrzej Wróblewski, Marian Szulc, Mieczysław Porębski, Kazimierz Mikulski, Maciej Makarewicz, Zofia Gutowska, Jerzy Nowosielski.

Stoją na samej górze od lewej: Marian Sigmund i Kazimierz Wójtanowicz, Od lewej leżą: Andrzej Cybulski, Ali Bunsch. reprodukcja: Grzegorz Kozakiewicz/FORUM https://culture.pl/pl/tworca/jadwiga-maziarska

[carmenvicinanza]

Carla Cerati

La fotografia mi serve per documentare il presente, la parola per recuperare il passato.

Carla Cerati, autrice anticonformista e fotografa impegnata, ha realizzato ricerche innovative ed è stata autrice di diversi romanzi di successo.

Prima donna a documentare la drammatica situazione dei manicomi italiani nel 1968, le sue immagini implacabili e impietose raccontano un trentennio della storia italiana.

Ha registrato quello che succedeva in un paese in mutamento, il teatro, il Sud, artisti e intellettuali, la Milano da bere, il movimento delle donne, le proteste degli anni Settanta, gli anni di piombo, i processi. Con sguardo profondo e inedito, ha esplorato drammi, eccessi, leggerezze e realtà crude e dolorose.

Nata a Bergamo il 3 marzo 1926, sognava di diventare scultrice e aveva anche superato l’esame d’ammissione all’Accademia di Brera, ma i suoi genitori pressarono affinché si sposasse, a 21 anni, nel 1947, vivendo prima a Legnano e poi a Milano, dove aveva iniziato a lavorare come sarta.

Verso la fine degli anni ’50 ha scoperto la fotografia, dai primi ritratti familiari è passata al teatro. Nel 1960, senza sapere ancora come si sviluppava un rullino, ha iniziato a collaborare con il regista Franco Enriquez al Teatro Manzoni di Milano. Aggirandosi fra le quinte teatrali, ha fotografato gli spettacoli di Giorgio Strehler, Eduardo de Filippo, Tadeusz Kantor, Carmelo Bene, Monica Vitti. Dal 1967 ha seguito il Living Theatre in Italia e all’estero.

Nel 1965,��viaggiando in macchina attraverso la penisola, ha prodotto diversi reportage come Maghi e streghe d’Abruzzo e Sicilia uno e due e la cartella fotografica Nove Paesaggi Italiani, con design di Bruno Munari e presentazione di Renato Guttuso.

Assidua frequentatrice della Libreria Einaudi di Milano, ha ritratto i più grandi nomi del mondo culturale italiano del Dopoguerra, come fotoreporter inviata da L’Espresso, ha immortalato gli ambienti e le occasioni culturali, celebri i suoi bei ritratti di Pierpaolo Pasolini, Laura Betti e Andy Warhol.

Nel 1968, con Gianni Berengo Gardin e in collaborazione con lo psichiatra Franco Basaglia, è andata a fotografare nei manicomi italiani, dal suo lavoro è nato Morire di Classe, del 1969, libro di culto che ha costretto la popolazione italiana ad aprire gli occhi sulle spaventose condizioni di vita negli ospedali psichiatrici e che avrebbe contribuito nel 1978 all’approvazione della legge sulla loro chiusura.

Nel corso degli anni Sessanta, ha fotografato, per i maggior periodici illustrati del tempo, i movimenti giovanili, i volti e i luoghi del settore industriale, l’alluvione a Firenze e una Milano in pieno cambiamento.

In uno dei momenti più cruciali e tesi della nostra storia, ha fotografato le manifestazioni, i processi e gli scontri, documentato il Processo Calabresi-Lotta Continua, i funerali di Feltrinelli e tante manifestazioni femministe. Nella Spagna Franchista, si è infiltrata nella rete della resistenza culturale per ritrarre più di cento personalità che sfidavano la dittatura.

La sua Milano da bere che è diventata il libro Mondo Cocktail, del 1974.

Verso la fine degli anni ’80, ha abbandonato gradualmente la professione di fotoreporter e dato vita a una serie di progetti fotografici volti all’astrazione e alla composizione.

Ha curato diverse esposizioni e collaborato a lungo con la ballerina Valeria Magli con cui ha realizzato Capricci e la serie Forma Movimento Colore.

Del 1991 è la mostra e il relativo catalogo Scena e Fuori Scena, una riflessione sui confini fra realtà e finzione, vita e teatro.

Il suo primo romanzo, Un amore fraterno, del 1973, è stato finalista al Premio Strega.

In trent’anni di scatti è passata dalle foto delle manifestazioni studentesche a quelle dei vernissage patinati, dalla violenza degli anni di piombo, al glamour milanese.

Fotografare ha significato la conquista della libertà e anche la possibilità di trovare risposte a domande semplici e fondamentali: chi sono e come vivono gli altri?

Quella di raccontare il mondo che la circondava è stata una vera e propria necessità, soprattutto fermare la disperazione, il malessere, l’ansia del cambiamento.

Negli ultimi anni della sua vita ha scritto diversi libri che ripercorrono il suo percorsa politico e femminista come Un matrimonio perfetto (1991), Legami molto stretti (1994), La cattiva figlia (1996), La condizione sentimentale (1999), Una donna del nostro tempo (2005) e molti altri ancora, l’ultimo è stato L’eredità. Idee e canzoni di un sessantottino: Federico Ceratti del 2012.

Si è spenta a Milano il 19 febbraio 2016.

Il suo archivio, che ha provveduto a organizzare personalmente, è una fonte fondamentale per la conoscenza della nostra storia recente e la testimonianza del suo lavoro appassionato.

[theaterhl]

On 16.09.24 we talked about Tadeusz Kantor, a polish director and theoretician. We also watched a part of his play "Umarła Klasa" and discussed the techniques he used in it.

[polish-art-tournament]

round 1.3 poll 5

Grands ventres by Alina Szapocznikow, 1968:

propaganda/about the artist: Sapocznikow przeżyła Holokaust, po wojnie przez jakiś czas tworzyła w stylu socrealistycznym, w późniejszej twórczości eksperymentowała z formą, m.in. robiąc odlewy ciała swojego dziecka i własnego [Szapocznikow survived the Holocaust, after the war for some time she was creating socrealist art, in her later career she experimented with form, among others by making casts of her child's and her own bodies]

Gra w klasy (Hopscotch) by Maria Stangret, 1970:

about the artist: I love her. She considered herself a painter first, but as her husband was Tadeusz Kantor, she was also heavily involved in theater. They did a lot of work together, which people sometimes forget about - she is an inseparable part of his art. She's everywhere.

propaganda: Maria Stangret took a simple, childhood thing and elevated it to art, breaking its purpose at the same time.

[marianna-j-martin]

Monday 9th September 2024

Today we had our first lesson of theatre. We discussed our passions for theatre, and what motivated us to choose theatre HL. We also talked about some of our favourite plays/ musicals. My favourite is Hamilton, which was written and produced by Lin Manuel Miranda. I’m a really big fan of the way the play is put together, with the songs and the dances. We got assigned some homework, where we have to do some reaserch on Tadeusz Kantor, who is a set designer, painter, and theatre director.

[oldsardens]

Tadeusz Kantor - Untitled

[russianfreud]

Tadeusz KANTOR y su TEATRO de la muerte | CVGT

[theatrejournal1]

30th of September: Solo

Today we have learned about Tadeusz Kantor, a polish artist and theatre theorist. Kantor created a "Theatre of Death" which is a theory of theatre that emphasises form. It uses both actors and puppets as a medium of performance, so as to put both living and un-living performers on the 'same-level', so to speak, the actors have painted faces to make them less realistic.

The plays in the Theatre of Death are based on memories and to reflect on life they utilise objects taken from real life as props (e.g. Kantor has once stolen a speaker to put it in in one of his plays). This theatre theory also has a unique visual quality; during the entirety of the play the stage painting-esque, meaning that if you'd pause the performance at any moment you could imagine the scene being framed and presented as a painting.

Rhythm is also an important element of the Theatre of Death.

As a practice for the solo task our teacher asked us to isolate the important features of the Theatre of Death and create a short etude based on them. We have distinguished six features mentioned above: real-life props, plot based on memory, rhythm, painted faces, stage as a painting and the use of puppets.