An exhibition devoted to artist’s stay in Yugoslavia and his late work. Andrzej Wróblewski. Waiting Room – 15.10.2020-10.01.2021
More than 120 works from the last years of his work. Among them there are such famous paintings as Waiting Room II, (Chairing I), Waiting Room I, The Queue Continues, Tombstone, (Tombstone of a Womaniser) numerous gouaches, monotypes, and a dozen or so large-format works created on brown packaging paper. A great majority are works that have never been exhibited before or were last shown to a wider audience in 1958.
In one of the most prestigious museums of modern art belonging to L’Internationale – Moderna galerija in Ljubljana from 15 October 2020.
Moderna galerija is one of the oldest and most prestigious museums in Central Europe, which for several decades has been initiating bold exhibition and scientific projects devoted to the heritage of post-war Yugoslavia and Central and Eastern Europe. Exhibition Andrzej Wróblewski. Waiting Room will be held in the Slovenian capital for three months – until 10 January 2021.
The exhibition is made possible thanks to the support of the Adam Mickiewicz Institute.
Curators: Wojciech Grzybała, Marko Jenko, Magdalena Ziółkowska.
Andrzej Wróblewski. Waiting Room Moderna galerija Cankarjeva 15 Ljubljana, Slovenia 15.10.2020 – 10.01.2021
“Late Klee”, an exhibition of more than thirty works by Paul Klee from the artist’s family collection is on show at London’s David Zwirner. As the organisers say: „The works on view in Late Klee highlight the diversity of Klee’s visual practice during this period. The play of line is evident in a series of graphic works that are often highly diaristic and personal. His skill as a colourist is presented through entirely abstract compositions as well as figurative pieces depicting mask-like faces.”
Among the presented works are the well known and frequently exhibited: Diagram of a fight (Schema eines Kampfes] (1939), Untitled (Grids and wavy lines around “T”) [Ohne Titel (Gitter und Schlangenlinien um “T”)] c. 1939 and Torture (Folter) 1938. The exhibition is accompanied by a display of early abstractions by Andrzej Wróblewski from private European collections, most of them shown for the very first time. Such juxtaposition provides an opportunity to confront Wróblewski’s work with his texts discussing inspirations including Klee’s oeuvre.
‘[…] In addition, my approach to favourite artworks is not constant but shifting. Modern art in particular is rich enough a field to provide me with a suitable ‘mentor’ at every stage of my inner life. Among the painters for whom I have a so-called weakness are Chagall, Klee, early (‘photographic’) Surrealism, the first phase of Cubism, Cézanne – each for a different reason. I like art that is extremely emotional and poetic, or extremely intellectual, one that does not seek the painting, but a method of creating creation. I like the changing artist’s personality – like that of Picasso, for instance – and the modern practice that consists not in creating individual masterpieces, but a certain succession of works that, taken together, constitute an equivalent of today’s masterpiece.’
Until April 12, Andrzej Wróblewski and Maria Jarema’s work is on view at the “Substantial Realism” exhibition at Spectra Art Space. Art critic Mieczysław Porębski and artist Tadeusz Kantor first wrote on the concept of “substantial realism” in the 1946 manifesto “Pro domu sua”. The formula of this realism allowed to convey abstract and ambiguous themes, but also took into account the achievements of the avant-garde. Wróblewski and Jarema are perceived as artists working in this genre. A great advantage of the exhibition is that it shows, for the first time, several of Wróblewski’s paintings known so far only from black and white reproductions created by the artist himself, e.g. a study of women with children entitled Mothers’ Martyrdom. For the first time after more than two decades one can also see a painting from the Executions series, the 1949 Wedding Photograph, Married Couple with a Bouquet. Every first Saturday of the month at 11.00 visitors can take part in curatorial tours of the exhibition and the Anna and Jerzy Starak’s collection.
Since 28 September, four works by Andrzej Wróblewski – two [Abstract Compositions], [Lips No. 1494] and (Hammer and Sickle) – are on display at the “My Name is Red” exhibition at the National Gallery of Art in Sopot,
The aim of the exhibition is to explore the extraordinary power of the influence the colour red through number of Polish works of art that feature this characteristic shade. Several dozen pieces – both realist and abstract – created at different times over the past century, with the use of different techniques, styles, and painting conventions are displayed across the two floors of the gallery. Apart from pieces by Andrzej Wróblewski, works by Magdalena Abakanowicz, Tadeusz Brzozowski, Stanisław Fijałkowski, Jerzy Nowosielski, Kajetan Sosnowski and others are presented. The exhibition has been curated by Bogusław Deptuła.
On the 80th anniversary of the outbreak of World War II, the Museum of Modern Art in Warsaw presents an exhibition entitled “Never Again. Art against War and Fascism in the 20th and 21st centuries.” Among the artworks displayed at the exhibition there are also two pieces by Andrzej Wróblewski: Mother, Antifascist and Attention, Here It Comes!
The exhibition, held as part of the Antifascist Year., focuses on three historical moments: the 1930s, communism in Poland and the elevation of anti-fascism and pacifism to its banners, as well as the contemporary approaches to fascism, taking into account the crisis within the European Union. The exhibition identifies iconic images and key aspects of anti-fascist traditions in all these historical moments. Apart from Wróblewski, works by artists such as Maja Berezowska, Alice Neel, Alina Szapocznikow, Erna Rosenstein, Marek Oberländer, Wojciech Fangor, as well as contemporary artists such as Jonathan Horowitz, Goshka Macuga and Mario Lombardo are presented.
Exhibition curators: Sebastian Cichocki, Joanna Mytkowska, Łukasz Ronduda, Aleksandra Urbańska.
Museum of Modern Art, Warsaw, Wybrzeże Kościuszkowskie 22
Exhibition open from 30.08 to 17.11.2019, Tuesday-Friday 12-20, Saturday 11-20, Sunday 11-18 https://artmuseum.pl/eng
This is how Andrzej Wajda wrote about Execution VI / Execution with a Gestapo Man:
“This painting by Andrzej Wróblewski has decided the course my life. When I saw it, I knew that what I would have liked to paint has already been painted and that I would never be able to paint it better than that.”
The National Museum in Kraków has hosted a vast multimedia exhibition devoted to the life and work of the director. The exhibition, Wajda, is based on numerous artefacts left by the artist: screenplays, sketches, drawings, notes made during the creative process, props and costumes, scenery designs, and documentation.
Thanks to such magnificent collection of materials, visitors have the opportunity to better understand the work of Andrzej Wajda. The exhibition opens with Andrzej Wróblewski’s Execution VI / Execution with a Gestapo Man, because the painter’s work had a huge impact on the director. Wajda was the originator of the first exhibition of Wróblewski’s works in 1956.
National Museum in Kraków, Al. 3 Maja 1, 30-062 Kraków
6 April – 8 September 2019, Tuesday-Friday 9-17, Saturday 10-18, Sunday 10-16 https://mnk.pl/wystawy/wajda
“In January 1948, a twenty-one year old with several dozen works and participation in two student exhibitions wrote: ‘Every single painter and scholar in Kraków is a husband + ringleader or [party] secretary + lounge lizard + father of the house and head of the family + professional + artist. While my ambition is to be: an old bachelor + artist […]’”
This is Andrzej Wróblewski (b. 1927, Vilnius–d. 1957, Tatra Mountains) – comrade, citizen, communist, candidate for the Party, assistant at the Faculty of Painting of the Academy of Fine Arts in Kraków, decorated with the Medal of the 10th Anniversary of People’s Poland. Art historian and critic, temporarily a socialist realist. Husband and father. – writes Magdalena Ziółkowska in an essay accompanying the artist’s profile appearing on Małopolska’s Virtual Museums (WMM) website.
Małopolska’s Virtual Museums (WMM) (www.muzea.malopolska.pl) is a service that makes available over a thousand digitised exhibits from forty museums in Małopolska. These include 3D and 2D images of artworks, as well as texts, audio recordings, and special audio-description recordings for the blind and visually impaired. WMM is a unique initiative, making available numerous resources from multiple Polish museums online in one place.
Today marks the 62nd anniversary of Andrzej Wróblewski’s death (b. 1927, Vilnius–d. 1957, Tatra Mountains).
This is Andrzej Wróblewski (b. 1927, Vilnius–d. 1957, Tatra Mountains) – comrade, citizen, communist, candidate for the Party, assistant at the Faculty of Painting of the Academy of Fine Arts in Kraków, decorated with the Medal of the 10th Anniversary of People’s Poland. Art historian and critic, temporarily a socialist realist. Husband and father. His expressive “inner self-governance”, based on a certain discipline of thinking and perception, rejected mediocrity, ordinariness, and compromises that reduced the artist to a “functional automaton.”
Wojciech Grzybała, the artist’s daughter Marta Wróblewska, dr Magdalena Ziółkowska, dr Marzenna Ciechańska.
In recent years, the Andrzej Wróblewski Foundation has been working intensely to catalogue the legacy of Andrzej Wróblewski. We have managed to find dozens of works by the artist – often not yet exhibited, reproduced or known only from archival black-and-white photographs. Thanks to our work with a graphologist, we have identified the titles given to works by the author himself and those added after his death by his mother, Krystyna Wróblewska. We have also edited Wróblewski’s unknown manuscripts. We shared many of these findings in the 2014 monograph, Avoiding Intermediary States. Andrzej Wróblewski (1927-1957), published in cooperation with the Adam Mickiewicz Institute and the Hatje Cantz publishing house.
Currently, we are working on another publication – a catalogue raisonne of Wróblewski’s works on paper, to be launched in a year or so. We are in touch with a number of collectors and owners of Andrzej Wróblewski’s work, but we are still looking for people who are in possession of his drawings to include them in the catalogue.
We guarantee anonymity. Please contact us by e-mail: firstname.lastname@example.org or by telephone: +48 606 519 109.
View of the exhibition The Avant-Garde & the State Exhibition at Muzeum Sztuki w Łodzi, Photo Anna Zagrodzka
Muzeum Sztuki w Łodzi hosted an exhibition entitled The Avant-Garde & the State. It exhibition covered the period from the First World War until the beginning of the 1980s and shows how the transformations of the Avant-garde movements in Poland – from expressionism and formism of the second decade of the 20th century, to neo-avant-garde and the 1970s and 1980s ‘post-Avant-garde’ – overlapped with the existence of two statehoods of different territorial scope, different political systems, and different ethnic composition of the population.
Andrzej Wróblewski was among the 600-plus exhibited artists. The exhibited pieces included:: (Train Station), (Journey), [Group Scene no. 460] and [Group Scene no. 436].
The curator of the exhibition is Dorota Monkiewicz.
Muzeum Sztuki w Łodzi , 36 Więckowskiego Street
26 October – 27 January 2019, Tuesday 10-18, Wednesday-Sunday 11-19 www.msl.org.pl