Tadeusz Kantor. Drafts

In the second half of the 70s Tadeusz Kantor prepared for the Foksal Gallery exhibition, which has not been realized. The project involved the exposure of his "drafts": notes, notes, various drawings, etc., which were formed during the preparation of theatrical performances for Cricot 2. They were to be shown in the form of enlarged photocopies. The artist explained that the idea was to ... I do not regard these remnants as some papers / or margins creation, private and commentary / materials and contributions / eliminate this aspect of tracking their own / actions and gestures / pick up this szpargałom their "originality" is as / is the value of souvenirs and bibliophiles document / no ordinary originals and copies - plus / zoom blurs znaczeniowość and subjectivity / tilting attention towards the values ​​of formal / these junk becomes abstract / well by doing an elapsed time and / invalidating everything. Kantor never gave up on the implementation of this project. He packed the scenario of the exhibition briefcase, providing a note for posterity: If anyone thought that wartoby realize it, perhaps through some special feeling for my work be enough to sight the material ... The exhibition "drafts" at the Foksal Gallery consists of approximately 100 prints notes , notes, etc. carried out in large magnification. The main emphasis of the exhibition has been put on very important for Kantor concepts: the essence of creativity and works of art. In waged in the 60s of the twentieth century, the global discussion on the subject, the Polish artist's voice sounded extremely innovative. By the way, held in Krzysztofory Gallery in 1963, "Antywystawie," Kantor wrote: It was my own personal discovery - it is recognition for the work of entire regions "attics" of consciousness, trains memory, ennobled what is called a junkyard our conscious activity . (...) To express brighter say that the perception of creativity was paradoxically eliminated most inspiring moment, spirytualny, this great mystery of creation. He was literally thrown to feed, to "consume" only trace of this process, its imprint, in which we try to rebound traced to the Great Explosion. In vain.

So defined process-character of art is clearly different from processartu example Kantor. Robert Morris. However, a complete novelty was the transfer of the proceeding on the basis of art discourse into the theater. Kantor was the undisputed precursor of here. In modern times, when art had annexed to its objectives a theater and film, giving up the definition of the art, it is this aspect of the work recall and expose. Also, because it is usually overlooked in work on the theater, and unnoticed in the work of researchers who write about contemporary visual art. The old records were also the starting point for the current creativity, focusing on the problems memories and memory. As he wrote: The remains have extremely strong emotional sphere = art! And what to their own leftovers. Traces of the past. This is not a symptom of weakening of vitality - this return to the past. It seems to me that only in the past we can handle time - so we hypnotically captivating. TIME!

The exhibition is accompanied by a catalog in the form of a portfolio of A3, which are reproductions of notes presented in the gallery. A reference to the so fascinating Kantor game with the recipient: collecting, holding, commercialization of art. Enlarged notes, drawings, records were, however, in terms of authors, higher aesthetic value than the originals. The exhibition "drafts", carried out in the centenary year of birth of Tadeusz Kantor, there is another event "in honor of" the great artist, nor the presentation of archival documents. It has the ambition to draw attention to the need to identify the current Polish culture with concepts, which proposes Kantor's art: not only the idea of history and memory, but also awareness, identity and universality. It's about showing the attractiveness of this art in the context of the modern era open to the future.

Cofinanced by the Ministry of Culture and National Heritage.

Copies of the drafts for the exhibition made ​​Paul Ciepielewski.