Contemporary Art Museum in the Inter- -War Period And
Total Page：16
File Type：pdf, Size：1020Kb
Muz., 2016(57): 87-94 Annualy, eISSN 2391-4815 received – 03.2016 reviewed – 04.2016 accepted – 05.2016 DOI: 10.5604/04641086.1205707 CONTEMPORARY ART MUSEUM IN THE INTER- -WAR PERIOD AND AFTER THE WAR – BETWEEN PRAGMATISM AND IDEA Aldona Tołysz Faculty of Fine Arts, Nicolaus Copernicus University in Toruń Modern art is not merely one more style. Modern art is the and legitimized the local artistic circles. For the record, let us negation of everything that used to be before […].1 The briefly outline the historical conditionings that had impact on manifesto of the revolutionary artists, that was the guideline the creation of both collections. to their art and the idea of creating an international generally In a short text on organizing museum activity in accessible art collection, expressed both determination, independent Poland published in 1922, Mieczysław and a kind of helplessness versus the reality. It seems that Terter claimed that the purpose of museums is to such definitions continue to characterize Polish museums, Collect, contemplate, multiply artistic collections […], particularly those presenting contemporary artistic output. properly conserve them, inventory them, and scientifically However, merely a year after the ‘a.r.’ Group had published catalogue them, locate them appropriately and in a its communication, i.e. in 1931, two essentially important planned way, facilitate the viewing of the collected events took place: the donating of the ‘a.r’ International works, as well as their studying, and to encourage the Collection of Modern Art to the Julian and Kazimierz widest general public to benefit from those collections Bartoszewicz City Museum of History and Art in Łódź, and […], yet at the same time to serve contemporary art the launch of the essentially quite traditional Museum of and to contribute to its development (such was the Contemporary Art in Vilnius. The first transformed into an idea behind the Musée moderne etc. of Stanislaus iconic phenomenon, the latter fell into oblivion. Ironically, Augustus).5 Further on, Terter points to the necessity following WW II, under Communism, the concepts of of a planned activity aimed at collecting works of a high colleting contemporary art were the resultant of both artistic profile that could duly fulfil the task of representing above tendencies: attempts to go beyond the scheme, and Polish culture outside the country.6 As far as regulations are staying rooted in tradition, actually the latter unquestionably concerned, the Polish state allowed for this type of activity dominating in Polish museums. on the grounds of the Directive of the Ministry of Art and The two concepts of collecting illustrate well the two ways Culture (MKiS) of 1919, in which the regulation assigning the of Polish public collecting of contemporary art. In the case supreme role to the state in the protection of contemporary of the ‘a.r.’ Group’s collection, which did not only contain art can be read.7 In real life, however, following the outstanding works of art, but in which the very collecting incorporation of MKiS into the Ministry of Religious process served as an example of artistic activity,2 what Denominations and Public Enlightening (MWRiOP) in 1922, strikes is the aspiration to widen the cognitive horizons of and soon after that its reduction from the Department beholders through Avant-garde art.3 The grounds for the of Art into one of the MWRiOP departments (1930), the Vilnius Museum, in turn, were to be found in history, serving state’s effective capacity for collecting contemporary as the substructure for the contemporary.4 Thanks to it, the (modern) art was limited, to say the least. Neither was the art presented in exhibitions gained an appropriate context, Institute of Art Propaganda, created at the instigation of the 90 MUSEOLOGY museums and collections culture-committed individuals (1930), rich enough to have any impact on contemporary art collecting.8 Under the circumstances, Władysław Strzemiński’s decision to build up a collection without any material guarantees from the state should not surprise anyone. The need to collect high-profile Avant-garde art resulted not only from his personal artistic preferences, the awareness of the social role art plays, but also from the need to oppose the argument of the ‘non-Polish’ character of contemporary searches in art and the flooding of mediocre works representing the banner ofthe praiseworthy Polishness that would produce Polish art out of the Polish spirit and body. 9 The questions related to the International Collection of Modern Art, recently tackled in the monograph on the Łódź museum,10 have been quite thoroughly analyzed, therefore for the purpose of the present paper let us only emphasize 1. Władysław Strzemiński – painter, situational photography (1932), team: that accepting the ‘a.r.’ Group’s deposit was not so obvious "Illustrated Daily Courier" concern for the public used to academic art.11 Thankfully, many formal problems related to it could be overcome thanks to the efforts of Przecław Smolik, a columnist and bibliophile, the text did not mean the turning away from modernity, councillor at the Education and Culture Department of yet it resulted more from a different understanding of the Łódź Municipality who supported the idea. Finally, it. Polish culture during the partitions more frequently on 15 February 1931, a contract concerning 21 artworks and more consciously would resort to literature than was signed between the Department of Education and fine arts. The situation slightly improved after Poland Culture of the Łódź Municipality and the ‘a.r.’ Group had regained independence, yet cultural activity was still representative Władysław Strzemiński. With the course of more associated with cultivating tradition, protection time, though not without difficulties, it was expanded by of monuments, and cultivating national mythology than artists and subsequent museum directors. Incorporating supporting modern art.17 Only few individuals were able to Avant-garde works into the existing collection did not go beyond this horizon. mean, however, that it dominated – the transformation Contrary to Warsaw, Cracow, or Lvov, Vilnius did not have of a historical museum into an artistic one, and a peculiar any structures to promote art; the Vilnius Society of Artists ‘mythologization’ of the collection nowadays, was a gradual was launched only in 1920. In reaction to the situation, process of the collection being tamed, and it growing into an institution was established, which despite being set the city tissue. Furthermore, of substantial importance was deeply in past, with its very name expressed the conviction the role of Marian Minich and Ryszard Stanisławski who that it was extremely updated. The Vilnius Museum of decided to ‘take up the challenge’ of Strzemiński’s concept Contemporary Art (1931) would not have been established and of the later management of the Łódź institution, who had it not been for the strong support of Stefan Kirtiklis, aptly benefitted from the Museum’s artistic potential.12 the acting Vilnius Voivode, and Dr Stanisław Lorentz, who The history of the Vilnius Museum of Contemporary Art, together with the organizational committee18 assigned a despite the artists cooperating with the city administration, temporary venue for the institution in the guardhouse of took on a totally different course. The driving power the Representative Palace. Ultimately, the collection was to for its establishment was the presence of the artistic be housed in the former edifice of the Vilnius Town Hall, circle affiliated mainly with the Stephen Bathory University at the time awaiting restoration.19 The adopted collecting (USB) in Vilnius and the painful lack of display surface strategy essentially copied the scheme implemented in the dedicated to the most recent art. The University resumed collections of the Society for the Encouragement of Fine its activity in 1919, clearly identifying its artistic programme Arts; the Vilnius collection was to represent art from the which focused on the protection of the mementoes of the last fifty years, with a particular emphasis on the regional past, and promoted contemporary artistic activity based artistic circle, which was clearly emphasized in the opening on this legacy.13 The dissonance between such a vision of address of Stefan Kirtiklis who stated that art reflects both art and modernity was forcibly demonstrated by the failure the city’s soul, as well as the pulse of its life, therefore a of the Paris exhibition of Polish art, organized on behalf of permanent museum of contemporary art is really needed the government Committee of Propaganda by the Dean of in Vilnius as expression of the Vilnius artistic life of today.20 the USB Faculty of Fine Arts Ferdynand Ruszczyc and the According to the organizers’ intentions, the new institution Warsaw sculptor Edward Wittig (1921).14 This experience, was to present contemporary achievements of Vilnius however, did not alter the direction promoted by the Vilnius artists and organize temporary exhibitions, however, as University. Neither was this attitude changed due to the stated by Stanisław Lorentz, the Museum exists, but has Exhibition of New Art organized by Witold Kajruksztis and actually frozen, not having developed any more serious Władysław Strzemiński (1923).15 Just contrariwise, in the activity.21 As much as the main goal of the concept adopted local press the exhibition was definedas a display of ‘future by Tadeusz Dobrowolski