Tagged: poland

A woman in black stands behind a table across from people in white who are wearing leaf crowns

Seaberry Juice in Extractivist Ruins: The Cosmopolitical Art of Diana Lelonek

Decades of open-pit mining has left the landscape of the Konin region in western Poland deserted, with the soil dry and hostile to plants. The coal producers, who are legally obliged to recultivate the post-mine landscape face a difficult task, but fortunately for them there are few plants whose needs meet the harsh reality of this barren land. For the seaberry plant (Hippophae), this sandy post-coal environment is just fine to grow, and the plant develops abundantly over the transformed land that was once exploited by the mining corporations. This essay explores the Hippophae of Diana Lelonek’s artistic … Read more

The Queer Story of Polish Art and Subjectivity

“A new spectre is haunting Eastern Europe: the spectre of sexual and love dissidence.”Tomek Kitlinski, Pawel Leszkowicz, Love and Democracy. Reflections on the Homosexual Question in Poland, Aureus, Krakow, 2005, s. 290-291.

At the dawn of the new millennium, Poland and Eastern Europe face the task of discovering a new all-embracing culture, and of writing a new, affirmative history of diversified and plural stories of love and sexual identities and their cultural representations. After decades of censorship, discrimination, and homophobia, the time has come to discover the complex amorous subjectivity in Polish contemporary society and art.

To embrace such … Read more

LOOKING FOR IDENTITY: POLISH CINEMA OF THE NINETIES

Polish cinema had to face a shift in the early nineties. Its goal was no longer to fight the system and express the doubts and fears of an individual living in totalitarian society. The “code” used in many popular and artistic Polish films made in the eighties and earlier had become useless.

Films such as “Seksmisja” by Juliusz Machulski (Sex Mission, 1984) or “Rejs” by Marek Piwowski (The Boat Trip, 1970) listed among Polish cult favourites, could no longer satisfy the needs of the nineties’ audience. Some directors noticed the need for change. Film – both in its popular and

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