Abbildung entnommen aus: Ewa Czerwiakowska und Tomasz Kujawski (Hg.), Jan Lenica. Labirynt, Muzeum Narodowe w Poznaniu, Poznań 2002, S. 177
Polish poster art in the post-war period was regarded as the best of its kind in the world. It was a flagship of Polish cultural creation and enjoyed a cult status in Germany. The numerous exhibitions of Polish posters, presented in the Federal Republic of Germany in the course of the so-called "Polish Wave" in the late 1950s and 1960s, served as a means of mediation. They were an integral part of the lively Polish-West German cultural contacts that flourished after the “Polish October” in 1956, long before Bonn and Warsaw established formal relations in 1970. Organized by various different people in society, celebrated by art critics and accompanied by official misgivings, the exhibitions simultaneously cast an exemplary spotlight on early Polish-Western German relations in general and call into question a number of (art) historiographical clichés.
Mediathek Sorted
ill. 1: Wojciech Fangor, Czarna Carmen (Carmen Jones)
ill. 2: Józef Mroszczak, Student żebrak (The begging student)
ill. 3: Henryk Tomaszewski, Henry Moore
ill. 4: Cultural posters in Poland
ill. 1: Wojciech Fangor, Czarna Carmen (Carmen Jones)
ill. 2: Józef Mroszczak, Student żebrak (The begging student)
ill. 3: Henryk Tomaszewski, Henry Moore
ill. 4: Cultural posters in Poland
ill. 5: Exhibitions of Polish poster art in the FRG 1964-1966
ill. 6: View of the exhibition ‘Masterpieces of Polish Poster Art’
ill. 7: View of the exhibition ‘Masterpieces of Polish Poster Art’
ill. 8: Henryk Tomaszewski, 22 Lipca (22. July)
ill. 5: Exhibitions of Polish poster art in the FRG 1964-1966
ill. 6: View of the exhibition ‘Masterpieces of Polish Poster Art’
ill. 7: View of the exhibition ‘Masterpieces of Polish Poster Art’
ill. 8: Henryk Tomaszewski, 22 Lipca (22. July)
ill. 9: Józef Mroszczak
ill. 10: Józef Mroszczak, Don Carlos, 1963
ill. 11: Roman Cieślewicz
ill. 12: Roman Cieślewicz, Zawrót głowy (Vertigo)
ill. 9: Józef Mroszczak
ill. 10: Józef Mroszczak, Don Carlos, 1963
ill. 11: Roman Cieślewicz
ill. 12: Roman Cieślewicz, Zawrót głowy (Vertigo)
ill. 13: Jan Lenica
ill. 14: Jan Lenica, Wozzeck
ill. 15: Jan Lenica, Faust
ill. 16: Jan Lenica, Othello
ill. 13: Jan Lenica
ill. 14: Jan Lenica, Wozzeck
ill. 15: Jan Lenica, Faust
ill. 16: Jan Lenica, Othello
ill. 17: Jan Lenica, Olympic Games Munich 1972
ill. 18: Monthly Bulletin Poland, edition FRG, no. 12
ill. 19: Franciszek Starowieyski, Gombrowicz: Operetka
ill. 20: Franciszek Starowieyski, J. Słowacki: Samuel Zborowski
ill. 17: Jan Lenica, Olympic Games Munich 1972
ill. 18: Monthly Bulletin Poland, edition FRG, no. 12
ill. 19: Franciszek Starowieyski, Gombrowicz: Operetka
ill. 20: Franciszek Starowieyski, J. Słowacki: Samuel Zborowski
ill. 21: A postage stamp for the United Nations International Year of Peace
ill. 22: Tomasz Sarnecki, Solidarność
ill. 23: Magazine ‘Jenseits der Oder’ [Beyond the Oder], Issue 6
ill. 24: Jan Lenica, Wizyta starszej pani [A visit from an elderly lady]
ill. 21: A postage stamp for the United Nations International Year of Peace
ill. 22: Tomasz Sarnecki, Solidarność
ill. 23: Magazine ‘Jenseits der Oder’ [Beyond the Oder], Issue 6
ill. 24: Jan Lenica, Wizyta starszej pani [A visit from an elderly lady]
ill. 25: Leszek Hołdanowicz, Pasażerka
ill. 26: Leszek Hołdanowicz, Bariera
ill. 27: First International Poster Biennale Warsaw
ill. 25: Leszek Hołdanowicz, Pasażerka
ill. 26: Leszek Hołdanowicz, Bariera
ill. 27: First International Poster Biennale Warsaw
Abbildung entnommen aus: Ewa Czerwiakowska und Tomasz Kujawski (Hg.), Jan Lenica. Labirynt, Muzeum Narodowe w Poznaniu, Poznań 2002, S. 177
4. Political matters
As unanimous as the enthusiasm for Polish poster art was in Germany, the exhibitions were not always politically uncontroversial, certainly not from the point of view of the Bonn authorities and before the Warsaw Treaty of 1970. However, this depended less on the contents of the exhibition and the daily fluctuations in the atmosphere of Polish-West German rapprochement than on the organizers and their political colour.
A literal red rag for the federal authorities was the "German Society for Cultural and Economic Exchange with Poland" that was near to the KPD (Communist Party of Germany). Founded in Düsseldorf in 1950 as a West German offshoot of the East German Helmut-von-Gerlach Society,[24] it continued to develop its considerable activities and did everything in its power through events, exhibitions and its journal Jenseits der Oder (Beyond the Oder) to spread a positive image of Poland in the Federal Republic – much to the displeasure of many organisations, not least those people who had been expelled from Poland.[25] (Fig. 23)
Until the mid-1950s, it was practically the only organization that hosted exhibitions of Polish art in the Federal Republic of Germany, although it was often able to attract the cooperation of a wide variety of cultural institutions, such as in the provision of exhibition spaces. The society also organised the aforementioned touring exhibition of Polish posters in 1950. Whilst from a Polish point of view it was something like an unofficial West German friendship society, it was regarded by the Federal Republic of Germany as a communist camouflage organisation – not only keeping the expellee associations on their toes, but also the Federal Office for the Protection of the Constitution and the Foreign Office, which had "most powerful objections" to the association.[26] Many of their Polish poster exhibitions in Germany had a correspondingly difficult status. In some cases, openings were disturbed by compatriot groups, and exhibitions were banned in advance by the police in order not to endanger law and order.
[24] cf. note 5 above. Until 1953 it was also called the Helmut-von-Gerlach-Gesellschaft, but following legal pressure from Gerlach's heirs it changed its name to the "Deutsche Gesellschaft für Kultur- und Wirtschaftsaustausch mit Polen". For the history and development of the West German society in particular, see Christian Lotz, "Zwischen verordneter und ernsthafter Freundschaft. Die Bemühungen der Helmut-von-Gerlach-Gesellschaft um eine deutsch-polnische Annäherung in der DDR und in der Bundesrepublik (1948-1972)", in: Hans Henning Hahn et al. (eds.), Erinnerungskultur und Versöhnungskitsch, Marburg 2008, pp. 201-217.
[25] The periodical, "Jenseits der Oder" appeared from 1950 to 1957; in 1958 it was replaced by the "Deutsch-polnischen Hefte" which ceased publication in 1964 and was followed by the periodical, "Begegnung mit Polen".
[26] This was the usual formulation. cf, for example, the Politisches Archiv des Auswärtigen Amts Berlin (PAAA), B 95, vol. 861, Ref. 705 (Ostabteilung) and Ref. 605 (Kulturabteilung), 13.9.1960.
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