Artists: Paweł Baśnik, Łukasz Huculak, Anna Kołodziejczyk, Dy Tagowska, Kamil Moskowczenko, Majoros Áron, Békesi Ervin
LATARKA Gallery opens an exhibition on March 21: our mission is to evolve communication by the exhibited artworks, this way the limits of our linguistic structure can disappear. Analyzing fine art is an opportunity to follow its inexhaustible dialogue between people, artists, the Polish and the Hungarians. Also, on March 23 we celebrate Polish-Hungarian Friendship Day as a result of its long history. It is important for all of us to maintain our friendship, therefore we would like to celebrate the 100th anniversary of Poland’s independence all together, in the spirit of solidarity and our unique friendship. In 1918, after 123 years of being torn apart, Poland reclaimed its independence and established its sovereignty. Adequately to the crucial importance of this centenary, various cultural programs will be held in theme of Poland and Polish culture in our art gallery. The above mentioned programs will be LATARKA’s contemporary artistic project called RE-VIVAL which will be held in Polish Institute.
It is not difficult to notice that Wroclaw’s architecture stands out on the map of Poland with a certain specificity. Inhabitants of other regions of Poland, integrated into one organism in 1918, may feel the intense presence of relics of German past. However, the aesthetic universalism of the Baroque era manifests itself in the Lower Silesian temples, especially through stucco decorations, is a cultural bridge that glorifying the Catholicism fighting the reform and, at the same time connects it with the Catholicism which in the Republic of Poland experienced the period of the ultimate triumph. Stucco as an element and phenomenon at the same time, seems to be almost symbolic expression of character of the Silesian region in this aspect of it, which in it’s connection to material tradition, emphasizes those forms of culture that best suit the human spiritual condition. Thus, what is most importantly connected with the city landscape of Wroclaw with these areas of the country, which since 1918 have enjoyed independence, is sacral architecture, especially the Baroque and Gothic baroque. An average visitor from the Eastern parts of the country, such as Podkarpacie or the Sandomierz region will find familiar form of the Gothic structure or Baroque decoration due to the Catholic spirit. In comparison to Gothic cathedrals and Baroque church naves, the interiors of Protestant congregations still appear to be exotic and culturally alien. The spiritual centre of Wroclaw, Ostrow Tumski is also a dominant center of the city. The asylum for Catholicism, among the spread of Protestantism is also a bridgehead for the post-war reconstruction of Polish identity.
The concept of the exhibition is based on the analytical reworking of internal regularities and visual emanations typical for the architectural sacral structure of the Catholic community. The aim of the exhibition is to try to show the links between symbols of religious and cultural identity. The works of Anna Kolodziejczyk and Kamil Moskowczenko address this problem from the structural complexity of organic Baroque architecture and the sharp, rugged Gothic convention. The main motifs of the paintings by Pawe Basnik and Lukasz Huculak are architectural details, more or less consciously functioning in culture as emblem identifying expressive cultural formations and state organisms. The main theme of Hungarian sculptor, Ervin Békési’s art is the human made technical world. Simple objects dominates his early artworks. He is interested in the contrast between forms and surfaces; based on this, he constructed his own unique language by using his special variety them. Lyricism of nature appears with cold geometry together. The creative process of his new artworks where he transforms a church roof is delicate and endlessly brilliant. Observing his creations, another factor can be the lively plasticity of the flat wooden surfaces that fascinates the viewer; it makes you feel the inducement to touch the sculpture. In the spiritual center of Áron Majoros’ organic sculptures that are softly stylized there stands the human mind that sometimes reveals, sometimes hides himself. The noble material of his sculptures are evolved in a sensitive way, the different layers of meaning are thicken inside: it gives a sacred aura to his works. In every cases, you can go around the three-dimensional pieces of art. Beyond the shell of his works there lies the invisible inner part of the statue and unfolds itself carefully in order to hide itself again due to the sculptor’s own artistic decision. The dialogue between the external and the internal slowly manifests.