POST SCRIPTUM English__ Feb 2021
POST SCRIPTUM - Independent MAGAZINE OF LITERATURE & ARTS - English version. POST SCRIPTUM - Niezależne pismo artystyczno-literackie tworzone przez polsko-brytyjski zespół entuzjastów, artystów i dziennikarzy. Zapraszamy do lektury.
POST SCRIPTUM - Independent MAGAZINE OF LITERATURE & ARTS - English version.
POST SCRIPTUM - Niezależne pismo artystyczno-literackie tworzone przez polsko-brytyjski zespół entuzjastów, artystów i dziennikarzy. Zapraszamy do lektury.
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ISSN 2633-1292<br />
<strong>POST</strong><br />
INDEPENDENT MAGAZINE<br />
OF LITERATURE &THE ARTS<br />
<strong>SCRIPTUM</strong><br />
fb:post scriptum<br />
PROSE POETRY VISUAL ARTS ARTICLES INTERVIEWS<br />
OUR SPECIAL GUEST:<br />
IRENE SHERI<br />
VISHNEVSKAYA<br />
FEBRUARY <strong>2021</strong><br />
DAMIANO ERRICO<br />
LIKE THE OLD MASTERS<br />
SEBASTIAN MOŃ<br />
MELANCHOLIC INDUSTRIALISM<br />
WHAT IS ORAPISM?<br />
KRZYSZTOF KONOPKA<br />
LOUI JOVER<br />
OLD BOOKS, INK AND GUASH<br />
A L I C J A<br />
ON THE OTHER SIDE OF<br />
C R I M E<br />
MONIKA CICHOSZEWSKA<br />
P H O T O G R A P H Y<br />
<strong>POST</strong> <strong>SCRIPTUM</strong><br />
1
IN THIS ISSUE:<br />
PROSE:<br />
36. Drunk Bitch – Short story – Jarosław Prusiński<br />
VISUAL ARTS:<br />
4. ORAPISM: A new style in Art – Krzysztof Konopka – Kararzyna Brus-Sawczuk<br />
16. Loui Jover – Ink, guash and old books – Renata Cygan<br />
26. Irene Sheri Vishnevskaya – Special guest – Renata Cygan<br />
42. Italian photographer Damiano Errico – Like great masters – Renata Cygan<br />
54. Dariusz Klimczak – Photography – Renata Cygan<br />
66. Alicja Stańska – On The Other Side Of Crime – Katarzyna Brus-Sawczuk<br />
82. Monika Cichoszewska – Photography – Jarosław Prusiński<br />
92. Sebastian Mon – Melancholic Industrialism – Renata Cygan<br />
110. Krzysztof Łozowski – What is ‘Łozowsko Wielkie’?<br />
POETRY:<br />
14. Anna Maria Mickiewicz<br />
24. Metin Cengiz<br />
38. Renata Cygan<br />
52. Marek Porąbka<br />
53. Ryszard Grajek<br />
64. Juliusz Wątroba<br />
74. Arco Van Ieperen<br />
76. Izolda Kiec – About Ginczanka<br />
88. Agnieszka Herman – Recomended<br />
90. Irina Kovalyova<br />
100. Juliusz Erazm Bolek<br />
102. Poetry Festival in India<br />
ENJOY !<br />
GET IN TOUCH<br />
We welcome and value your comments and<br />
opinions on the magazine. Feel free to email us:<br />
postscriptum.mag@gmail.com<br />
fb:post scriptum<br />
The cover: Irene Sheri Vishnevskaya<br />
EDITORS: Renata Cygan – Editor-in-Chief, Jarosław Prusiński, Joanna Nordyńska, Katarzyna Brus-Sawczuk,<br />
Izolda Kiec, Juliusz Wątroba, Ewelina Kwiatkowska-Tabaczynska, Robert Knapik, Katarzyna Saniewska<br />
TRANSLATORS: Olga Sawczuk, Katarzyna Landen, Renata Cygan<br />
CONSULTING EDITORS:<br />
Andrea Kyriakou, Liz Drapper, Monika Cygan, Ania Cygan, Benjamin Becula.
Dear Readers,<br />
Unfortunately, we are still pandemically confused and frustrated,<br />
we glide through life without mindfulness or deliberation. Living in<br />
a fast--paced world, focused on trivial things, and we too often forget<br />
about our soul. In a world where pop culture (and often subculture) has<br />
dominated higher culture. The pandemic made us see this shallowness<br />
and insignificance of the rat race. We stand stunned because someone<br />
has taken away the treadmill on which we were racing, trotting in place.<br />
In this strange world, it is Art that allows us to survive. A good film,<br />
or book, an extraordinary painting, or poem. How badly we need it now!<br />
However, here we have another issue of <strong>English</strong> version of Post Scriptum<br />
to give you an artistic break during these difficult times. I am sure you<br />
will find a host of inspiring art gems in here. Trying to maintain a general<br />
artistic character, we present you diverse material, in line with the<br />
principle of “something good for everyone”.<br />
What is Orapism? How many photographic techniques are there to<br />
taking an artistic photo? What is Łozowsko Wielkie? Why a square?<br />
And how can you give a second life to damaged books? We answer<br />
these questions and more in the following pages. Our special guest in<br />
this issue is the great Russian painter – Irene Sheri Vishnevskaya. Her<br />
p a i nti n gs are excepti o n al , an d h er l i fe p roves th at any th i n g i s p o s s i b l e.<br />
I am also fascinated by a very interesting article by prof Izolda Kiec about<br />
the legend of the Warsaw Bohemia of the interwar period – the Polish/<br />
Jewish poet Zuzanna Ginczanka.<br />
And as always – the articles are interspersed with lots of original poetry.<br />
We wish you a wonderful artistic journey through our magazine.<br />
Renata Cygan<br />
Editor-in-Chief<br />
PS. If any of you would like to support us in any way: send interesting<br />
materials, tell us about an artistic event or an artist, cooperate on<br />
a non-regular or permanent basis – please contact us. You can also<br />
support us financially by paying a small amount to our account:<br />
SORT CODE: 309626 ACC Number: 57418160<br />
IBAN: GB82 LOYD 3096 2657 4181 60<br />
<strong>POST</strong> <strong>SCRIPTUM</strong><br />
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4<br />
4 <strong>POST</strong> <strong>SCRIPTUM</strong><br />
KRZYSZTOF KONOPKA
ORAPISM<br />
5<br />
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6 <strong>POST</strong> <strong>SCRIPTUM</strong><br />
WHAT IS ORAPIZM?<br />
KRZYSZTOF KONOPKA<br />
“Orapism – an art style<br />
characterized by its expressive<br />
message with the use of sharp<br />
lines and energizing colours.<br />
During the last Biennale festival,<br />
the artist was recognized as<br />
the precursor of a new form of<br />
Abstract Art – ORA PISMO, now<br />
a script, a sketch, a drawing, a<br />
ritual, which, according to the<br />
critics, develops the Abstract Art<br />
and gives foundations for a new<br />
style of artistic interpretation.<br />
The artistic creation is immediate<br />
and thus shows the moment of<br />
wild awakening of the artist”<br />
Margherita Blonska-Ciardi
Pillory<br />
Action-reaction,<br />
author-recipient,<br />
subliminal message,<br />
mirror image.<br />
<strong>POST</strong> <strong>SCRIPTUM</strong><br />
7
swirl<br />
KRZYSZTOF KONOPKA<br />
In front of me: a man with attentive eyes, in his prime.<br />
He is smiling. A face like that says a lot about a man.<br />
It arouses curiosity.<br />
Behind him, on a wall, an extensive carnival of colours<br />
in wide frames. I met Krzysztof Konopka in 2010 – he<br />
was a promising dental implantologist, in a constant<br />
race for knowledge. Occlusion, implants, surgery.<br />
An artisan with imagination. We haven’t seen each<br />
other for ages. Now I see a mature artist, who has been<br />
exhibiting his work in important European galleries<br />
and is now preparing for his first exhibition<br />
on the other side of the globe.<br />
Krzysztof smiles.<br />
It is me, I am a human being, who for the whole of his<br />
life, has been looking for something, and now I have<br />
found myself in Art! Before that I had been drifting<br />
in a sort of limbo, then I started to live.<br />
My works are oil paints, painted on canvas with a spatula.<br />
It all happens completely subconsciously. On one hand:<br />
painful “rasping”, “o-rasping”, “oraping”, and on the<br />
other: emotional creation of new forms and colours,<br />
8 <strong>POST</strong> <strong>SCRIPTUM</strong>
the artist paints in layers in such a way<br />
that underneath colour surfaces come out<br />
and mix with new layers.<br />
of a blend in which I try to be my real self. I call it<br />
“orapism” and to my surprise the style has been<br />
named and recognized as a new abstract genre.<br />
Exactly – Margerita Blonska-Ciardi, a noted art critic<br />
writes:<br />
“With spontaneous movements of the brush<br />
and spatula, the Polish artist wrinkles, rasps<br />
and scrapes the surface of the canvas. Driven<br />
by emotional chaos, he adds layers of colours<br />
on the previously painted figures (…).<br />
He transfers his fresh and natural gesture. (…)<br />
he takes out our feelings, catches them in his<br />
colourful web of different patterns.”<br />
Krzysztof not only there has been a breakthrough in<br />
your private life, but also in artistic genres.<br />
“Ora-pista” is a Portuguese word for “to track now”.<br />
There must be something to it. “Action-reaction,<br />
author-receiver, subliminal message, mirror<br />
reflection”. It took me fifty years to gather enough<br />
experience, and then suddenly my ability to transfer<br />
emotions from myself to the canvas suddenly<br />
blasted off. It became the sense of my life. I have<br />
never followed any other painter, maybe except for<br />
Malczewski. It was later, when I confronted painting<br />
and created my works, that the critics saw more in<br />
them. They gave them the name, and they found<br />
me within them. I have never studied art, I wanted<br />
a fresh start; It’s like with sex: you can read lots of<br />
literature about sex, but there is no satisfaction from<br />
just reading! The experience only matters if you try<br />
it! I think that if I had filled myself with art books,<br />
with these techniques and rules, like so many people<br />
told me to, my orapism would have never happened.<br />
This simple comparison to sex: “Work on your<br />
technique” … but how? It is primal, you either feel it<br />
or you don’t.<br />
Krzysztof, experts in the art field have called you a<br />
modern expressionist.<br />
“Yellow, orange, red – they often contrast greens<br />
and the tones of blue, just like in the expressionist<br />
paintings of Van Gogh and fauvist ones of Paul<br />
Gauguin. Some of his works are layer-painted to<br />
create colourful surfaces which emerge from the<br />
depths and at the end mix with next levels. It gives<br />
a dialogue effect between contrasting colour<br />
elements and encourages the viewer to reflect<br />
deeply on the works. These pieces lead to extracting<br />
one’s own atavistic emotions, hidden in the nooks<br />
and crannies of your subconsciousness.”<br />
– Ciardi says.<br />
So, when you scratch and trace, what do you find?<br />
Is it the painful scratching off the next layers? Is it<br />
a search for something bigger, or maybe it is contrary,<br />
an unveiling? How do your paintings come to life?<br />
At the beginning I painted several dozen paintings<br />
in a short period, I took speed to the point where<br />
I thought: “you are tiring your audience”. Then I<br />
started to approach a painting differently, sometimes<br />
it turned out that the original sketch did not survive<br />
till the end. I scolded myself – no one was nagging<br />
me, no one was forcing me to do anything. I had<br />
to stop thinking. At first, I painted with brushes,<br />
unfortunately the paint was drying out too quickly,<br />
and I still needed to add more and more layers. Then<br />
there came time for the spatula, and it became “my”<br />
tool – the media was not drying out on canvas and<br />
this allowed me to work more flexibly, to mix the<br />
colours directly on the base. Often the final work<br />
only merely resembled my original sketch. One time,<br />
after I travelled through India, I wanted to paint<br />
a Hindi man, which resulted in a vision of Indian<br />
colours of the crowded street, without any concrete<br />
figure. This example shows the lack of attachment<br />
to the original idea.<br />
Before becoming a painter, I tried writing, creating<br />
stories. I have done 70 pages and… got stuck. I knew<br />
that if I decided to continue writing I would have<br />
<strong>POST</strong> <strong>SCRIPTUM</strong><br />
9
to expose myself too much. When I paint, mix up,<br />
smear – it is like the wild desire, it’s eroticism. But<br />
one can hide it underneath, under all the layers of<br />
paint and thus give the viewer space to imagine and<br />
interpret. To be true to oneself and give freedom to<br />
the audience. It is the viewer who then penetrates<br />
the painting, they can transfer themselves into my<br />
imagination.<br />
Orapism is a form of freeing. When one can get<br />
through their inner lies, when one arrives at their<br />
emotions (to track oneself, to look for oneself), one<br />
wants to show this. As a result, they can expose<br />
what they feel. Then they hide it by adding more and<br />
more layers. It is the viewer who needs to find the<br />
truth. Deep down, we just want to be authentic.<br />
Being a dentist is, in a way, craftsmanship. It is routine,<br />
you know what to expect (as long as there are no<br />
complications). To be an artist is to feel and be sensitive<br />
to the unforeseen. Where do you find your sensitivity?<br />
He laughs<br />
Real-life is the source. The system has been<br />
assigning certain tasks to us ever since we were<br />
born. We are rewarded when we do well, it is all<br />
well thought through and planned. First school, then<br />
university which gives us prestige, maybe money and<br />
satisfaction… The outside pressure: “If you achieve<br />
all this, you will be happy.” Then a breakthrough that<br />
happened to our generation somewhere between<br />
communism and pseudo-capitalism. The race for<br />
consumer goods was supposed to give us the answer<br />
to who we were and thus satisfaction. To find one’s<br />
place and produce the next generation which we<br />
would be proud of. Wellbeing in a well-structured<br />
world. Being in a herd is tied up to outside pressure:<br />
we all do the same things because we are told that<br />
they are the right things to do, and that we deserve<br />
all that. We love those who are just like us, who do<br />
not stand out. So, we live up till our retirement, and<br />
then look after our grandchildren, maybe travel a<br />
little. This gives us satisfaction. But it turns out that<br />
this is the principal lie because something starts<br />
happening. Lots of my doctor colleagues are already<br />
dead, they have ventured out in this stampede.<br />
Do you think that we are losing our sensitivity in this<br />
race?<br />
We simply cannot be sensitive in it. We are alerted,<br />
armoured, resistant to stress. It turned out that<br />
the friendships made during our studies were fake,<br />
10 <strong>POST</strong> <strong>SCRIPTUM</strong><br />
Wolf<br />
everyone drifted away from their world in the harsh<br />
race towards satisfaction, towards job opportunities.<br />
The same thing happened to the people, who<br />
knew each other socially, from business meetings.<br />
Just after 9/11, me and my friends went to study<br />
dentistry from the best. We drove through the States<br />
– back then we thought that we’d be invincible<br />
champions, the ones who tapped into something<br />
bigger. We thought that as a group we will remain<br />
close, so many memories, learning together. Instead<br />
of that, we all got stuck in our clinics, earning money.
What was the breakthrough in your life?<br />
I went to an international convention on<br />
implantology in Porto. And suddenly it came to me,<br />
I think it was the second day of the convention,<br />
that I will no longer be tightening screws. I decided<br />
to start my new path and just like that, I walked<br />
100 kilometres to Santiago de Compostela. I was<br />
accompanied by a friend and his wife. When I came<br />
back, I ended all my relationships with people who<br />
did not approve of my decision, who didn’t even<br />
want to try to understand them. Suddenly I felt the<br />
need to paint. And I painted my first work.<br />
Who is this female figure in your paintings?<br />
We all have female and male elements within<br />
ourselves. They keep us in balance. I see women<br />
as the content, but also as the audience of my works.<br />
The moment I discover her, when the energy hidden<br />
in a woman is released, it becomes a complementary<br />
part of my life. My passion is always the same:<br />
my wife. It does not matter what the final erotic<br />
message will be, at the end it is always my wife. The<br />
love-act is when the two universes meet – the male<br />
and the female, when the exchange of energy takes<br />
place.<br />
Ciardi wrote:<br />
“The female figure is a source of inspiration for<br />
Konopka. It makes up the center of the erotic<br />
composition, emphasized by strong impressionist<br />
colours taken directly from nature, She shows the<br />
focus and the background as a whole, she blurs the<br />
border between the two.”<br />
Wilk<br />
I thought that this was my proper life, which gave me<br />
my clinic, a wife, a son (who is right now a dentist as<br />
well). I thought that this was the only rational way for<br />
me. But something was missing. That was when the<br />
hunger came to me. Two consecutive relationships<br />
resulted in nothing. It was much later when I met<br />
the woman, who was the embodiment of energy.<br />
It turned out that throughout my “proper” life this<br />
was exactly what I was looking for: the energy. The<br />
explosion was massive. My priorities and targets<br />
have changed totally.<br />
What is colour for you? The viewer can see elements<br />
of movement, for example of waves or floating clouds<br />
in contrasting, strongly fractal pilled-up layers.<br />
The colour comes from temperament. The technique<br />
of stratification gives possibilities to extract<br />
movement. Colours are pure, but ultimately when<br />
they are blended, they pulse, they allow for freeing.<br />
The figurative subject hides behind contrasting<br />
layers. This creative process is subconscious.<br />
I don’t know how it will end. There, underneath<br />
the scratched layers I invite my audience, to find<br />
their answers. Colour is the source of my conscious<br />
expression. I have discovered that using the spatula<br />
to add thick layers directly onto the canvas allows<br />
them to blend not on the palette but there on the<br />
<strong>POST</strong> <strong>SCRIPTUM</strong><br />
11
Butterfly<br />
Often the final image is not<br />
the result of the original idea,<br />
but only loosely based on it.<br />
12 <strong>POST</strong> <strong>SCRIPTUM</strong>
Face<br />
canvas. This is a process. I am not a theorist in art,<br />
I create through experience. I did not want to get to<br />
know anything about so-called “painting”, I wanted<br />
to paint. I paint a picture for 20 to 40 minutes and<br />
then never touch it again. I don’t do commissions,<br />
I don’t know how to paint on demand. I would never<br />
want to know that.<br />
So, you are against commercialization. It is extremely<br />
valuable these days. Since 2017 your paintings have<br />
appeared in different European galleries, they have<br />
won awards. In 2020 they were shown in important,<br />
international exhibitions in Skopje, Milan, and<br />
Rome. Not so long ago you were a guest at a gallery<br />
in Warsaw. Your paintings appeared on the poetry<br />
collections’ covers of an Indian poet, Md Taslima<br />
(2017). Your name has become well known. Which<br />
of your many awards is the most important to you?<br />
My most important award is the “spoken” story<br />
of my wife about my works. It was a great pleasure<br />
when my work was shown in Amsterdam for the<br />
first time. I took the bus with my paintings and for<br />
the whole day, I wasn’t sure if the exhibition would<br />
come to life at the end. My friend helped me, he<br />
said: “Listen, I can see you in this exhibition”. But<br />
it happened and it was a remarkable experience.<br />
I met so many important painters from all around<br />
the world. But an especially important event for me<br />
was the last Biennale Festival in Florence. My works<br />
were officially published in the catalogue under the<br />
name “Orapism”. I am very happy that I had the<br />
opportunity to appear in an Italian documentary<br />
(which is being translated into <strong>English</strong>), and that<br />
there have been good reviews. I also see my<br />
appearance in Post Scriptum as an award.<br />
To be honest… I was nervous, I couldn’t sleep<br />
waiting for this interview to happen.<br />
The colourful butterfly on your last painting, is it<br />
breaking free? Is it you?<br />
The butterfly shows delicacy and unconditional<br />
devotion. You can expose yourself like that only in<br />
front of great trust. A beautiful butterfly is sensitivity.<br />
So, at the end it is breaking out from limbo.<br />
You set him free. [KBS]<br />
www.orapizm.art<br />
<strong>POST</strong> <strong>SCRIPTUM</strong><br />
13
My home city<br />
The March sun wants to penetrate the city with its daggers<br />
On the edge of a precipice, a preapprehension of white silence<br />
Warmness of the uplifting blue<br />
Forsythia intoxicates the senses<br />
To sit with my mother<br />
To moisten my mouth with hot tea<br />
To marvel<br />
To sadden...<br />
The time of surprise meetings passes away<br />
Winter is behind us<br />
There was no one like that<br />
Will there be one in a hundred years...<br />
Steppe wind on the hill<br />
Surprised, we backfill our eyes with a dream ...<br />
Anna Maria Mickiewicz<br />
14 <strong>POST</strong> <strong>SCRIPTUM</strong>
photos: Renata Cygan<br />
RC<br />
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LOUI JOVER
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ABSTRACT /SURREALIST PAINTER<br />
LOUI JOVER<br />
Having taken up drawing as a child, Loui Jover has been an artist all of his life.<br />
He has continued to develop and evolve his artistic style through his years<br />
of practice and his works show a depth and understanding of subject and<br />
medium.<br />
Loui’s works are ink drawings on connected sheets of vintage book paper,<br />
a medium he prefers due to the aged character of old book pages from ruined<br />
books. His paintings are collected throughout the world, and can be found in<br />
many public, corporate and private collections. Lois Jover is a full time artist<br />
residing in Queensland Australia with his family.<br />
Like all people I started drawing as a child,<br />
however unlike most other people<br />
I never stopped drawing.<br />
<strong>POST</strong> <strong>SCRIPTUM</strong>19<br />
19
POWERFUL PEN AND DRIPPING INK<br />
DRAWINGS ON PAGES OF VINTAGE BOOKS<br />
20 <strong>POST</strong> <strong>SCRIPTUM</strong>
‘‘SUCCESS FOR AN ARTIST CAN ONLY MEAN<br />
ONE THING – THE FREEDOM TO CREATE’’<br />
Firstly, let me say that I am flattered that you agreed<br />
to share your beautiful art with Post Scriptum readers<br />
and to have this little chat with me. To prepare for<br />
this conversation, I have read lots of articles and<br />
interviews, studied your art and followed you on<br />
Facebook. And I came into conclusion that you have<br />
answered every possible question anyone could ask.<br />
But I would love to share your beautiful artwork<br />
with our readers, give them some facts about an<br />
extraordinary artist called Loui Jover, so forgive me<br />
for not being too original…<br />
You used to paint with oils on canvas, but at some<br />
point, decided to switch to ink on paper. Why is that?<br />
I did used to paint in a very different style using oils a<br />
long while back but decided I actually liked drawing more<br />
than painting, which I found slow and cumbersome.<br />
Drawing is flowing, and ink dries almost instantaneously<br />
compared to oils, plus I could draw far more<br />
competently than I could paint.<br />
You say that you don’t draw stories, but I can definitely<br />
see some touching stories in your drawings. There are<br />
emotions, passion, movement. I have also spotted that<br />
on many drawings there is a little blue bird. What does<br />
the bird represent?<br />
The bluebird represents a counterbalance for the<br />
subjects which can be forlorn or dark in mood at times.<br />
The bird shows that hope is still present. In other works,<br />
it offers a minor mystery and colour point. Of course<br />
every artist tells some kind of story no matter how<br />
minimal, however my point is that there is no strict<br />
message to the works or pointed meaning other than<br />
the one which the viewers themselves want to create.<br />
I like art that allows the spectators to imagine their own<br />
story.<br />
<strong>POST</strong> <strong>SCRIPTUM</strong><br />
21
Do you make a living out of your art?<br />
Yes, I do make a living from my work, it is a very<br />
fortunate situation, so I never take it for granted.<br />
You draw lots of beautiful women – mainly faces.<br />
Who are they? Do people pose for your art?<br />
Do you use models?<br />
I don’t get shy or strict about subject matter as it<br />
is the act of drawing itself that interests me, so the<br />
faces are posed, not posed, inspired from other<br />
media, or made up. The journey is exciting for me –<br />
– not the destination.<br />
Where do you work? Do you have a studio?<br />
I work in two studios – one for larger works which is<br />
not too far from my home, and one smaller studio<br />
for smaller drawings which is in my back yard.<br />
I can guess that book lovers could be shocked that<br />
you draw on book pages. I know that you only use<br />
old, damaged books. But why books? Where did<br />
the idea came from?<br />
I got the idea to draw on book pages many years<br />
ago when I saw that the local charity depot was<br />
throwing away mountains of unwanted old damaged<br />
and torn books, these were usually donated after<br />
a house clearance and were deemed too tatty and<br />
discoloured to sell. I collected a lot of these books<br />
and drew on them.<br />
You once said that you create your art on vintage<br />
book paper because of its fragility: “the wind may<br />
blow them away at any moment”. Shouldn’t this<br />
bother you, that your creations will not stand the<br />
test of time?<br />
I did not mean “literally” blow away. I just meant<br />
that the works I want to create have an ethereal<br />
or fragile look to them, I was drawn to the masters’<br />
drawings from history with their weathered look,<br />
this is pleasing to me and this was my intended<br />
meaning. I may have worded it wrong which is<br />
something I do often but not intentionally. Other<br />
than that, I believe nothing is everlasting. Anyway,<br />
it’s just a matter of time before things decay and<br />
break down to the elements they are created from.<br />
Many works in museums need constant upkeep<br />
which is in itself a vital discipline. Works look fresh<br />
and everlasting because of these individuals who<br />
restore and refresh the masterpieces continuously.<br />
My works are sprayed with UV resistant fixative and<br />
I always recommend UV glass on framed works.<br />
22 <strong>POST</strong> <strong>SCRIPTUM</strong>
‘‘The brush loaded with ink<br />
offers a sensual rich dripping<br />
line while the pen a nervy<br />
fragile delicate one’’<br />
They also should not be displayed in direct sun<br />
for long periods, this holds true for all artwork<br />
and especially now as the sun is only getting<br />
stronger.<br />
Which of the world’s famous artists you admire<br />
the most?<br />
When I was much younger, I admired Picasso for<br />
his inventiveness and creative prowess, but over<br />
time I have admired many who are too numerous<br />
to mention and the list is always changing.<br />
What’s your background, what did you study?<br />
I completed an advanced certificate in visual<br />
communication and have studied commercial art<br />
in my youth. In the military I was an illustrator<br />
and also did courses on print making and making<br />
models. For a time, I worked as a graphic artist<br />
and took some classes in modern art practices.<br />
That’s about all I had the patience for.<br />
Tell us about your service in the Australian<br />
army.<br />
I was in the Royal Australian Survey Corp a part<br />
of the Australian Army. I was a reprographic<br />
illustrator and worked on map making, visual<br />
graphic art and photography including darkroom<br />
procedures.<br />
How would you describe your style?<br />
Figurative with some inclination towards abstract<br />
design.<br />
You live in Australia, your name is of Hungarian<br />
heritage, but I also read that you were born in<br />
rural Serbia. What’s your story?<br />
My mother was Serbian my father of Hungarian<br />
descent, they migrated to Australia when I was<br />
still a baby, that’s about it.<br />
Thank you [RC]<br />
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23
Metin Cengiz<br />
Metin Cengiz is a Turkish poet and writer. He graduated<br />
from Erzurum Atatürk University, Faculty of Basic<br />
Sciences and Foreign Languages, Department of French<br />
(1977). During his years at the university, he worked as a<br />
civil officer at the Turkish Statistical Institute for a short<br />
time (1973). Meanwhile, he completed his studies at<br />
Marmara University, Department of French.<br />
Then he returned back to İstanbul and began to work<br />
as a proofreader, editor and translator at publishing<br />
houses. He established the Şiirden Publishing House in<br />
2005, in collaboration with his friends, to publish poems<br />
and essays concerning poetry theory.<br />
He won the Behçet Necatigil Poetry Award in 1966<br />
with his book Şarkılar Kitabı (The Book of Songs), Melih<br />
Cevdet Anday Poetry Award in 2010 with his book Bütün<br />
Şiirleri 1 (Collected poems 1), Bütün Şiirleri 2 (collected<br />
poems 2) and Tudor Arghezi İnternational Poetry Award<br />
in 2011 (Romanya). He is a member of Writers Syndicate<br />
of Turkey, the Association of Turkish PEN Writers and<br />
the Turkish Authors Association.<br />
His poems are translated into several languages such<br />
as French, <strong>English</strong>, German, Spanish, Italian, Bosnian,<br />
Russian, Romanian, Arabic, Hebrew, Azerbaijani, Serbian,<br />
and Kurdish. He organized several international festivals<br />
in Yalova, Çanakkale and Nicosia.<br />
***<br />
This year rosebuds of this garden don’t bloom<br />
Be my rain and washed by mine on the streets<br />
…<br />
I am the water flows over streets<br />
Be my gully and my crowded face<br />
Let me flow with you till the eternity<br />
***<br />
Sundown is tired, sundown is sad, sundown is sole<br />
Let it fall, let the world drink it to revive<br />
And get up as if from a lethargic slumber<br />
As I was a kid I saw how it feels like to be born<br />
But now I just couldn’t make out death<br />
24 <strong>POST</strong> <strong>SCRIPTUM</strong>
Poetry<br />
POETRY<br />
THE RAIN<br />
photo: RC<br />
© Translated by Volkan Hacıoğlu 2010<br />
***<br />
The rain splashes on the soul, and its powerful drops<br />
Sweep up the verses in the mind by whistling<br />
Life is flooded out and your dear eyes<br />
Your face are all flooded out<br />
The past I remember on that bridge<br />
Fists are in the air and demonstration<br />
And then police baton, gendarme gunstock<br />
Whatever true to life is left like a dream in that sealed dim distant<br />
I behold the fire set by the rain on the streets with pleasure<br />
The fire of rain left into human souls<br />
Like love, like hope<br />
We are on fireplace, and everywhere is on fire<br />
I think life is such a thing<br />
It squeezes my throat like steel<br />
I stretch my hand out in the past<br />
The rain holds my hand only on behalf of my ruined years<br />
It turns into water, and flows<br />
My fifty fourth age lost for the sake of a claim<br />
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26 <strong>POST</strong> <strong>SCRIPTUM</strong>
V I S H N E V S K A Y A<br />
<strong>POST</strong> <strong>SCRIPTUM</strong><br />
27
IRENE SHERI VISHNEVSKAYA<br />
Irene Sheri came to the world a painter. More so, Irene came to the world gifted<br />
with inherent love for the beauty around her. Starting in early childhood, she<br />
began embracing her need to create, to capture, to express what she saw. Painting<br />
and drawing quickly became her love letters to the world, and by nine years her<br />
lifelong passion was created. Irene’s professional journey began in an art school for<br />
small children, and just six years later, as a young adult student in Grekov Odessa<br />
Art School, Irene already emerged as a highly talented artist, participating in local<br />
exhibitions and winning her first awards, including a “Young Artist of the Year”.<br />
After earning a degree from Serov’s Saint Petersburg Art School, Irene went on<br />
to hone her craft at the highest level,<br />
in the Russian Academy of Arts in Saint<br />
Petersburg., whose halls have been<br />
fostering and protecting the most sacred<br />
elements of fine art for almost 300 years.<br />
The true professional acclaim came to<br />
Irene in the form of the State Prize in<br />
Art and acceptance to the Artists Trade<br />
Union of Russia. Her works were now<br />
being displayed throughout Russia and<br />
many European and online galleries; it<br />
is the increased international exposure<br />
what ultimately ushered in the next<br />
part of her life. In late 2001, her works<br />
attracted the attention of a major Disney<br />
affiliated creative artist management<br />
agency. Irene was somewhat resistant<br />
to the suitors’ initial courtship, who,<br />
nevertheless, continued being persistent<br />
in their promises to bring her to the<br />
United States, to launch American exhibits<br />
of her paintings, to expose new public to<br />
her art, and to connect her with American<br />
artists. By March 2002, the agency<br />
succeeded. Irene visited Los Angeles<br />
and becoming a licensed Disney Fine Art<br />
artist marked her new professional peak. Over the following years, Irene travelled<br />
between the US and Russia multiple times, gradually building her presence, gaining<br />
more recognition, and slowly transitioning into novel social, artistic, and business<br />
cultures. She moved permanently to the United States in 2010. Continuing to<br />
reflect and to fall in love with the world around her over and over, Irene Sheri<br />
transformed and changed throughout her life as an artist. Reinventing and blending<br />
herself with the cues and details that developed around her, Irene filtered time<br />
and assimilated new elements in a childlike manner. Keeping her classical Russian<br />
art school origins and embracing new modern western aspects, her paintings an<br />
impressionists-like core breath the life of everyday trifles, embodying the joy of<br />
small, everyday things. Tender melancholy, momentary looks, soft smiles and all<br />
subtle yet well-defined and confident reflections of deep inner harmony and peace<br />
in her works, brought together concisely and pointedly. Irene firmly commands<br />
various genres, from still-life to landscapes and portraits. Reminiscent of Renoir,<br />
Degas and Klimt, her portraits convincingly echo the unaffectedness of a child and<br />
mature female love in the same captured moments. Most often her characters<br />
speak through the understated - and ever so hard to capture wholly - elements<br />
in eyes and hands, making us realise that a true portrait must not be objective<br />
but rather only genuinely exists in a milky, in-between realm of a confession and<br />
an existential self-insistence. Irene’s talent continued to endure and break new<br />
ground with every new period of her artistic life. Over the years, her art has been<br />
featured in galleries all over the world. The most recent works, featured in this<br />
book, pay tribute to the best traditions of Romantic Realism, blended with moods<br />
of Impressionism, and decorated by the best ornaments of Modernism.<br />
28<br />
28 <strong>POST</strong> <strong>SCRIPTUM</strong><br />
source: website
You were born in the Ukrainian republic in Soviet<br />
Union. You have Bulgarian parents, you studied in<br />
Russia and now you live in the States. Where do<br />
you feel you belong inside? Where is your home?<br />
I’m cosmopolitan. I feel home everywhere. The most<br />
important is an energy of a particular place (street or<br />
building) I live in, the view from the window, things and<br />
memories I’m surrounded with, and people of course.<br />
My soul mates are from around the world.<br />
So, I feel welcomed anywhere. This is true. However, my<br />
heart is jumping out when I’m landing in St-Petersburg,<br />
Russia. Yes, this my home! This city is everything to me!<br />
The streets and embankments, palaces and channels,<br />
bridges and cathedrals, people, weather, art, theatres<br />
– all this lives inside of me no matter where I am. I’ve<br />
gotten the best artistic education there. I don’t mean<br />
just our art school and traditions but friends and<br />
teaches who have influenced my life! It seems that I<br />
learn something from each person I meet on my way,<br />
even from a yardman. Such an inspiring atmosphere!<br />
I’m infinitely grateful for each moment I spend there!<br />
So, tell us more about your university education. Have<br />
your studies prepared you to be an artist and to live<br />
from art?<br />
I graduated Russian Academy of Arts in St-Petersburg<br />
in 2000, whose halls have been fostering and protecting<br />
the most sacred elements of fine art for almost 300<br />
years. I recall that time as the most saturated era in<br />
my life! Above all, the walls keep memories and spirits<br />
from the past. As a sensitive person I was able to absorb<br />
the spiritual atmosphere there, which was extremely<br />
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29
Sometimes<br />
I feel<br />
that<br />
fall<br />
colours<br />
are<br />
my<br />
favourite<br />
30 <strong>POST</strong> <strong>SCRIPTUM</strong>
inspiring! So, the halls were the tutor number<br />
one. I really wanted to add my spirit as well to<br />
the halls and studios for the future young artists.<br />
It’s why I was clearly realizing the responsibility<br />
of being a student of Imperial Academy of Arts!<br />
I never thought about my future career as an<br />
artist. It seems I was always being an artist. My<br />
studying process hasn’t stopped yet. I continue<br />
growing and learning something new every day.<br />
But now I move on by myself without my art<br />
community, without my professors and their<br />
advice. To be honest I miss that period of my life.<br />
Our professors were exceptional, knowledgeable,<br />
extraordinary, talented artists! Also, they were<br />
simply good friends and givers! How can’t I<br />
appreciate the time I spent there! I recall it with<br />
great gratitude!<br />
You have been painting from very early<br />
childhood. Did you always know that you would<br />
become a painter?<br />
Yes, I always knew that I would became a painter.<br />
I never doubted that. So, my parents never asked<br />
me about my future, like all adults love to do. It<br />
was clear even for them, that my feature will be<br />
connected with the arts.<br />
What profession would be attractive to you if<br />
you had not become a painter?<br />
I would be a movie director or a cinematographer.<br />
It would be a visual work as well. I see the<br />
significant meaning of art in a visual picture. I<br />
think a visual pattern fulfils the senses more than<br />
words. It’s how I feel. If I were a movie director<br />
my movies would be verbally very laconic and<br />
concise, but the cinematography would be<br />
meaningful.<br />
their own stories if needed. But not me. Colours<br />
dance with lines, bold contrast with gentle fuzziness,<br />
brightness with silver shades. Here are some secrets<br />
of my passion! My goal is to share my energy with my<br />
audience, to unveil my soul by combining colours and<br />
shades of the brush strokes.<br />
What is your painting process? Do you have the<br />
picture in your head before you start painting, do you<br />
make plans, or you improvise and let the brush guide<br />
you?<br />
The painting process is always different. I never do<br />
sketches. I create the painting in my mind. It’s always<br />
been this way. I can’t start before I see it clearly in my<br />
mind. (But then what happens is a totally different<br />
story!) Of course, the brush leads me. No doubts about<br />
that. But it’s a solid duet – the picture in my mind and<br />
a freewheeling brush make the act of art happen. It’s<br />
some sort of waltz between my mind, my eyes and my<br />
hands. It’s sacrament and mystery, which you always<br />
trust.<br />
The colour combinations in your paintings are<br />
extraordinarily vibrant. Do you have a favourite<br />
colour?<br />
Sometimes I feel that fall colours are my favourite. Fire<br />
colours represent my hot temper. It’s kind of a joke,<br />
but there is some truth in it. I was born in September<br />
and been extremely inspired in this spectacular season.<br />
Autumn is a very poetic time. Alexandr Pushkin, who<br />
was the most popular Russian poet from 19 century,<br />
wrote his the most famous poetic series in fall, called<br />
Boldinskaya Osen’ (Boldin Autumn). I’ve always been<br />
connected to his soul and his poetry, especially from<br />
this period of time. Fall is time to contemplate and<br />
absorb the beauty. The Nature is extremely talented.<br />
Our job is just carefully with great respect learn from it.<br />
What stimulates your creativity?<br />
Colour is the most inspiring factor in my<br />
creativity. As my teacher once said: “It doesn’t<br />
matter what we paint! It matters how we paint!”<br />
This statement so matches my attitude to art. As<br />
I said earlier I see meaning in a visual picture! I<br />
don’t create any story behind the picture. The<br />
story is our feelings we get from the paintings.<br />
Just feelings and emotions. The viewers create<br />
Who is your master? Which artist do you respect the<br />
most?<br />
Gustav Klimt is definitely my master. I admire his<br />
landscapes, the way how he sees the world, colours,<br />
vibration of lights, compositions, delicacy. His art<br />
speaks to me. There are many artists who inspire<br />
me! Antonio Mancini, Nicolai Fechin are magnificent<br />
painters whose art is iconic for me! Their colour<br />
combination and strong-willed brush strokes amaze<br />
and discipline me at the same time.<br />
<strong>POST</strong> <strong>SCRIPTUM</strong>31<br />
31
The subject of my paintings are young women;<br />
the main thematic elements are eyes.<br />
My aim is to trigger a silent dialogue<br />
with my audience<br />
32 <strong>POST</strong> <strong>SCRIPTUM</strong>
What is the essence of art for you?<br />
What is essence of art for me? This topic has always<br />
been at the top of discussions for ages. For me pure art<br />
comes from a pure soul. If you want to share your inner<br />
world and to be heard just be sincere and genuine with<br />
yourself first. And the result will never play a trick! We<br />
don’t have to understand art. It whether talks to you or<br />
doesn’t, whether changes you to the better in indirect<br />
way or doesn’t. Sometimes you fall in love with a piece<br />
of art and can’t forget it. That means it’s definitely art<br />
for you, which can be totally mediocre for another<br />
viewer.<br />
You paint many beautiful women; sensual, romantic,<br />
melancholic. Who are they?<br />
The subject of my paintings are young women; the<br />
main thematic elements are eyes. My aim is to trigger<br />
a silent dialogue with my audience, to express a pure<br />
young female soul through eyes, perhaps fulfilling the<br />
age-old adage. In this, my paintings are intimate and<br />
personal, without ever being self-portraits.<br />
What is the main feature of your artistic personality?<br />
I think the main feature of my personality is ability<br />
to spend majority of time in solitude and being so<br />
comfortable in my own company. But it doesn’t mean<br />
that I avoid social life. I’m just too picky, I guess, with<br />
the community. I’m an observer and contemplator.<br />
When I meet with people I notice the shades on their<br />
faces, reflections from the sun and their clothes on<br />
their features, lights, lines. How people smile and how<br />
their voice and laughter sound like is important for me.<br />
If their eyes are sparkling or not. If their soul is childish<br />
or too adult. So, I twig without listening to the stories.<br />
It’s exactly how I look at art as well, as I mentioned<br />
before. I believe that a form can be fairer than contents<br />
(or words). So, I appreciate what I see more than what I<br />
hear.<br />
What era, deep down, do you belong to?<br />
I really believe in reincarnation. So, I easily see myself<br />
living in 19th century, or the beginning of 20th (one<br />
of the lives of course). I feel connection with the<br />
fashion from that era. Appearance of women and their<br />
manners: how they walked, how they talked, how<br />
their posture looked like, how dressed they were is still<br />
something sacral for me. Their feminine was divine. But<br />
even in that era I had an artistic personality.<br />
I would adjoin a circle of impressionists in Paris if I were<br />
living in 19th century now. I’m so fascinated by bright,<br />
pure colours and visible, messy brushstrokes, which<br />
were typical for impressionism. “Midnight in Paris” is a<br />
movie that describes my attitude to that miraculous era!<br />
What does your studio look like?<br />
My studio is in an old central part of St-Petersburg,<br />
Russia. It’s a historical building with beautiful<br />
penthouses (or mansards, how we called them there).<br />
My neighbours are all artists as well - sculptors, painters,<br />
fashion designers, jewellers. Very creative atmosphere.<br />
It’s my place of power, where I spend some time to<br />
recharge my battery, to get inspiration or to get back<br />
to myself. It’s my comfort zone, which I leave time to<br />
time to continue exploring this world, which is the best<br />
way to explore yourself. I have everything I need there.<br />
It’s a light, warm, cosy place with a spectacular rooftop<br />
view to the old city. The windows are facing north. It’s<br />
always been my request for an art studio. I paint during<br />
daytime. It’s why the north light is so important to me.<br />
The reflection from the sky is very natural and calm. Each<br />
moment I spend in this studio is meaningful. Sometimes<br />
I just sit in my favourite, the most comfortable, round<br />
chair, listen to music and watch dancing rain drops on<br />
<strong>POST</strong> <strong>SCRIPTUM</strong><br />
33
34 <strong>POST</strong> <strong>SCRIPTUM</strong>
the glass of the window and feel a connection to<br />
something ritual and indescribable. I’m still working<br />
on my art studio in Chicago, which is my second home.<br />
I can’t tell I’m satisfied with the working space here<br />
so far. I know how it’s supposed to be! My plan is to<br />
build the studio somewhere deep in woods, to be<br />
surrounded by old trees. It’s going to be a glass space,<br />
so I will be able to feel involvement with nature. The<br />
mixed smell of fireplace, coffee and oil paints, music,<br />
replacing each other seasons beyond the windows, a<br />
couple of easels, my favourite chair and a cat – this is a<br />
humble picture of my dream studio. It’s coming)<br />
How long does one painting take?<br />
There is no particular time for completing one<br />
painting. Each peace has a different character as a<br />
person. Sometimes it takes a week, sometimes –<br />
weeks. Sometimes I think that it’s still a lot of work<br />
to go. Keep coming to the canvas staring at it for<br />
hours (days sometimes), and then suddenly just one<br />
brushstroke finalizes the painting and it becomes so<br />
clear that the painting is finished. It’s always mystery<br />
and a puzzle which you must unravel. Especially if<br />
you paint a portrait. First of all, you have to get along<br />
with the person you paint. (But it’s a totally different<br />
story I can talk about it for ages!). I’m not talking<br />
about commissions of real people, but about nonexistent<br />
portraits, which appear to this world from my<br />
imagination through my canvases.<br />
Do you paint every day?<br />
Every day I’m in my studio. I work there. Work includes<br />
painting process, stretching the canvases, looking<br />
for the right character I want to paint next, learning<br />
something new about colour combination, technique,<br />
textures, styles. It’s a process. Contemplation.<br />
What other hobbies or interests do you have?<br />
My hobbies are very conventional. I think it helps<br />
me to ground from my paintings. I like outdoors and<br />
indoors. I never feel locked if I spend days inside. I<br />
even don’t notice it. It seems opposed, that I travel<br />
through times and miles! I read a lot or listen to some<br />
interviews with people I find distinguished, watch<br />
captivating videos. So, time flies by even I don’t leave<br />
the house. Also, I love baking! For me it’s some sort of<br />
meditation. I walk. I discover new places I never visited<br />
before, or opposite – continue visiting over and over the<br />
same place I’m in love with. I love traveling by car.<br />
I know you had a very special, beloved friend in your<br />
childhood: Mickey Mouse. From an early age, you<br />
drew and painted this character by copying it from a<br />
sticker brought from abroad. Fortune has come full<br />
circle now that you work for Disney. How did your<br />
collaboration with Disney come about?<br />
Disney is associated with pop culture, does an artist of<br />
your calibre, so carefully educated, mind the fact that<br />
you are associated with American cartoons?<br />
Our life is full of unpredictability and surprises. There<br />
is a beauty in it. They say there are no accidents.<br />
Everything happens for the reason. In late 2001<br />
my works attracted the attention of a major Disney<br />
affiliated creative artist management agency. I was<br />
somewhat resistant to the suitors’ initial courtship,<br />
who, nevertheless, continued being persistent in their<br />
promises to bring me to the United States, to launch<br />
American exhibits of my paintings, to expose new public<br />
of my art , and to connect me with American artists<br />
. By March 2002 the agency succeeded. I visited Los<br />
Angeles and became a licensed Disney Fine Art Artist.<br />
Disney is more than pop culture. It’s everything! It’s a<br />
religion, god, love, memories, happiness, purity and<br />
innocence. It’s an enormous part of American culture!<br />
To be honest, I feel so honoured to join this community.<br />
And I’m still Irene Sheri. I’m not a cartoonist. For Disney<br />
I paint impressionistic portraits of children interacting<br />
with Disney toys. I don’t get out of my style. Remember<br />
once I recalled my teacher’s statement? “Doesn’t<br />
matter what we paint. It’s matter how we paint! “.<br />
What, as an artist, do you wish for?<br />
As an artist I wish I continue connecting with others<br />
through my art, engaging with the world and reflecting<br />
on myself. When we experience art, we also have the<br />
privilege to experience raw emotions and an inner<br />
connection to our deepest being. What an incredible<br />
thing! I wish it lasts for ever! [RC]<br />
35<br />
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35
SHORT STORY<br />
Drunk<br />
bitch<br />
Suzy fell over in the middle of the<br />
street.<br />
I work in a car factory. I say so to<br />
everyone, although I actually work for<br />
one of the subcontractors. I tighten<br />
the screws to parts with names that<br />
will tell you nothing. Have been doing<br />
this for a year. I also do other things:<br />
I sweep, deliver parts, help Frank (my<br />
boss), but mainly I tighten screws.<br />
Now I’m screwing up, standing by<br />
the dirty window and looking for<br />
Margaret. It’s past three o’clock.<br />
People are leaving work and should<br />
soon pass the factory’s windows –<br />
the factory that makes things and in<br />
which I don’t work but say that I do.<br />
Margaret always passes the window.<br />
In the summer wearing floral dresses,<br />
in the autumn, a long jacket, and<br />
during the winter in a worn coat with<br />
a fur collar. Sometimes she looks at<br />
me. Not always. But now I’m counting<br />
on something. On more than just a<br />
glimpse. Yesterday in the pub I got the<br />
courage and asked her for a date.<br />
“Why not?” she smiled. “Call me<br />
sometime.”<br />
And off she went to her friends from<br />
finance. So today, when she passes,<br />
I intend to invite her to the cinema and<br />
then for dinner at this restaurant with<br />
a French name, which God knows how<br />
to pronounce. I don’t know French.<br />
Suzy got up clumsily, hastily picked up<br />
the lunch she was just carrying for her<br />
father and fell again. Jesus! Someone<br />
will finally walk over her. A damn<br />
drunk bitch.<br />
“Frank!” I shout, not taking my eyes<br />
from the crowd of men and women<br />
pouring out of the factory gate.<br />
He can’t hear because the grinder<br />
is on. I can already see Margaret<br />
surrounded by a bunch of friends. The<br />
women look through the windows of<br />
36 <strong>POST</strong> <strong>SCRIPTUM</strong><br />
Frank’s factory and laugh. I put aside<br />
the screw in my hand and run to Suzy.<br />
I grab her under her waist like as she<br />
was a dog, with my other hand picking<br />
up her bag and take her off the road.<br />
“Look after your drunken bitch, or<br />
next time I will knock her over!” Yells<br />
some driver from a red Pontiac, before<br />
storming off with a screech of tires.<br />
He ran over a salad in a plastic box;<br />
Frank will have to do without today.<br />
I hold her closely, afraid to let her go<br />
so she wouldn’t topple over again. I<br />
automatically brush the sand off her<br />
arse. She blushed and looked down.<br />
I feel uncomfortable too. I look in<br />
the direction of Margaret, but she<br />
disappeared around the corner. I<br />
won’t invite her on a date today. It’s a<br />
shame because I already have tickets<br />
in my pocket. Bloody drunk whore.<br />
I look angrily at Suzy, as she looks<br />
down, sensing my distaste.<br />
I’m standing by the window again,<br />
but I can’t see Margaret. Maybe she<br />
took the day off? I saw her friends<br />
who looked at me from the other side<br />
of the window and started laughing.<br />
Margaret wasn’t with them.<br />
“Good morning,” Suzy walked into the<br />
room, beaming. “I brought you guys<br />
some lunch.”<br />
For you? I look at her, surprised, as she<br />
unpacks boxes and plates. Apparently,<br />
for me too. She wants to apologize for<br />
yesterday. For my wasted opportunity<br />
and missed cinema tickets. Of course,<br />
she doesn’t know that. Nobody does.<br />
I don’t even talk to Frank about<br />
Margaret, although he is the only<br />
friend I have. I sit down at the table<br />
and eat all the wonderful things his<br />
daughter had prepared. Suzy smiles,<br />
overjoyed, watching us lick our plates,<br />
she kisses her father on the cheek<br />
then makes a move as if she also<br />
wanted to kiss me, but I move away. I<br />
see the smile fading on her face.<br />
“Goodbye, Josh,” she says and hurries<br />
out, not waiting for us to finish eating<br />
to pick up the plates and boxes.<br />
Frank stops for a moment, stares at<br />
the door through which the Drunk<br />
bitch left. He then looks at me saying<br />
nothing. We eat.<br />
I dance with Suzy in the middle of<br />
a large hall surrounded by other<br />
couples. There is an annual ball for<br />
factory workers. They invited Frank, as<br />
a long-time supplier, but he gave me<br />
the invitation.<br />
“I don’t have anyone to go with” I<br />
protest, knowing that this isn’t an<br />
excuse; he has no one to go with<br />
either. Last Sunday there was a mass<br />
for Frank’s wife- the fifth anniversary<br />
of her death.<br />
“Invite Suzan”, he suggests.<br />
What a ridiculous idea! But then I<br />
realized that Margaret would be there<br />
too.
I’m dancing with the Drunk Bitch as<br />
she smiles brightly. She is the only girl<br />
I know who can smile like that. Even<br />
her eyes laugh. She has this special<br />
glow. I notice Suzy has nice breasts<br />
and very beautiful legs. I can see it<br />
now. Usually the girl wears jeans and<br />
jumpers, which hide her perfect figure<br />
well. When I think about it, I come to<br />
conclusion that she has better legs<br />
than Margaret. Not to mention her<br />
bum. I still remember these curves<br />
from when I brushed her off from<br />
the sand. We dance. She didn’t even<br />
stumble once. Just in case, I hold her<br />
close. I can smell her perfume and the<br />
scent of slightly sweaty skin and her<br />
freshly washed hair. Beautiful, long<br />
and thick hair. She looks into my eyes<br />
and I get the first punch to my stomach.<br />
Not a real one. Metaphorically.<br />
For the next dance I invite Margaret.<br />
I am here, bending in front of her, as<br />
if my stomach really hurts, trying to<br />
shout over the loud music. Maybe my<br />
stomach really hurts after all. Out of<br />
fear.<br />
“Thanks, but no. I need a rest” says<br />
the girl.<br />
Then she looks at her friends,<br />
who burst out laughing, as if I said<br />
something funny. I don’t dance well,<br />
that’s probably why. I go to my table,<br />
where Suzy is still grinning and sit<br />
down next to her, disappointed. I can<br />
see some guy coming over to Margaret<br />
and she goes with him to the dance<br />
floor without a second thought. That<br />
was a quick rest! Not even a minute<br />
had passed. I know this man. He is a<br />
manager from quality control. He had<br />
called us several times because he<br />
wasn’t happy with something we’d<br />
done. There was some scratch or<br />
something. A terrible crud, but doing<br />
what he does, being a crud is probably<br />
an advantage. The crud dances with<br />
my Margaret, as the Drunken Bitch<br />
puts her hand in mine as if we were<br />
a couple. It’s good that nobody saw<br />
beneath the table.<br />
“Don’t give the bitch any alcohol,<br />
she’ll be rubbing the floor with her<br />
boobs.”<br />
Several youngsters from the assembly<br />
line pass by our table. They laugh. I see<br />
Suzy’s face thicken and feel her fingers<br />
clenching my hand. I want to get up,<br />
but she stops me. That’s probably for<br />
the best- there were four of them. Not<br />
to mention the fact that the entire hall<br />
is filled with their colleagues. Nobody<br />
would help me. I sat back in the chair.<br />
It would be nice to hit the twat in the<br />
teeth, but it would also be nice not<br />
to get my teeth knocked out. I just<br />
realized that I am not much better<br />
than them.<br />
We leave the ball. I hold her waist<br />
tight as she hugs me. I feel strange.<br />
Ridiculously, incomprehensibly<br />
pleasant.<br />
My grandfather founded this factory. I<br />
won’t mention its name because then<br />
you’d know everything. About me and<br />
my family. That’s why I won’t tell you.<br />
I won’t even reveal the name of the<br />
city or the state in which the factory<br />
is located. My father’s idea was for<br />
me to start with simple jobs and<br />
understand workers. He was afraid<br />
that they would quickly decipher me<br />
at the factory, that’s why he placed me<br />
at Frank’s. Frank wasn’t aware either.<br />
Somehow, my father managed to<br />
arrange all that through someone. A<br />
few days ago, the change finally came.<br />
I became managing director. I don’t<br />
know French, but I know German,<br />
Russian and Mandarin. And a little bit<br />
of Japanese.<br />
I walk with Margaret hand in hand.<br />
She is joyful and smells good. Maybe<br />
she sprayed her perfume a little too<br />
intensively, but the smell is pleasant.<br />
Not as sexy as Suzy’s skin, but still<br />
nice. We are pass the windows of my<br />
former workplace.<br />
“I’ll say hello to Frank,” I say.<br />
“You must stop hanging out with that<br />
pleb,” my Margaret says, cursing her<br />
lips in contempt. “I am your girlfriend,<br />
so you bring shame not only on<br />
yourself, but also to me.”<br />
I know she’s right. We pass Frank’s<br />
department. With the corner of my<br />
eye, I see him covered in a plume of<br />
sparks from the grinder. It’s good that<br />
he can’t see me. I breathe a sigh of<br />
relief.<br />
“I’m afraid” Suzy cries in my arms.<br />
“what if it all goes wrong?”<br />
Then you’ll continue to stagger<br />
walking down the street and people<br />
will still call you the “Drunk Bitch.”<br />
And I will still love you. I think that in<br />
my head, but don’t say anything. We<br />
are sitting on a big bed in our new<br />
home. Suzy is naked, I hug her body<br />
and kiss her neck. I love the smell of<br />
her skin and her hair. For a long time, I<br />
knew nothing about her illness. Frank<br />
never told me. I only talked to him<br />
about this once, if you could even<br />
call it a conversation. I suggested that<br />
Suzy should drink less. He looked at<br />
me furiously. Weird, my ex-boss is the<br />
gentlest guy I know.<br />
“I like you, Josh,” his voice changed, it<br />
was as rough as sandpaper “You are<br />
a decent boy: smart and hardworking.<br />
That’s why I’ll pretend you didn’t say<br />
that. Okay?”<br />
And that was that.<br />
At some point I did find out. Suzan<br />
had never been drunk in her life.<br />
After having an ordinary flu, she<br />
got complications an ear infection,<br />
damaging the workings of her inner<br />
ear. That’s why she walks like a drunk.<br />
Not always. Sometimes she’s normal,<br />
and sometimes she can’t maintain<br />
her balance. I now have access to my<br />
father’s money and I have arranged<br />
for her surgery, which is very likely<br />
to restore her health. At least the<br />
doctors say so.<br />
I enjoy the fragrance of Suzan’s skin,<br />
hugging her even tighter.<br />
And Margaret?<br />
“You have to stop associating yourself<br />
with the pleb,” she said in front of<br />
Frank’s department.<br />
And I understood that she was right. I<br />
passed some large, dirty windows and<br />
pulled my hand out of hers.<br />
“Goodbye, Margaret. Call me<br />
sometime!”<br />
I looked into her big, surprised eyes<br />
and started to laugh. I wasn’t laughing<br />
at her. Not at anybody. I laughed out<br />
of happiness that I’d finally freed<br />
myself from her. And I ran home to my<br />
“Drunken Bitch” who was just packing<br />
lunch for Frank. [JP]<br />
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37
I AM THE UNIVERSE<br />
I’m the entire universe in great affection,<br />
Gathering cautions and dispelling flying fears.<br />
I create the mountains and fill up the seas,<br />
Catching unknown sounds to be brought to subjection.<br />
I guard the fire, I am creating rich illusions,<br />
Seizing cool breeze I am wallowing in wonders.<br />
I am collecting only the correct decisions.<br />
I hug the moon and diminish sudden thunders.<br />
I wander the wilderness, feel totally unheeded,<br />
I’m taking up the reins and flare in golden fields,<br />
Flee when unwanted, and appear when I am needed,<br />
Root in the ground and a fish in turquoise sea.<br />
I am fidgeting like ants, just like we all do.<br />
I hum ballads, blow a trumpet, add the spice.<br />
I’m a spinner, I’m a cloud and I’m a clue,<br />
But only in your loving eyes I come alive.<br />
WHEN YOU LOOK AT ME<br />
When you whisper in silver and gold,<br />
I turn into the moon in the dusk.<br />
Lifting body like clouds to the sky<br />
Getting rid of all fears<br />
And masks.<br />
When you look at me<br />
Like no one has,<br />
Your love song echoes right inside me,<br />
I am seizing tastes of olive groves,<br />
Losing the remnants of sanity.<br />
When your eyes touch me I want to drown<br />
And the dress fits my body so nicely!<br />
I dance lightly on stairs up and down!<br />
When you look at me<br />
I am so attractive!<br />
Translatied from Polish by Jerry Umys and Renata Cygan<br />
38 <strong>POST</strong> <strong>SCRIPTUM</strong>
MELANCHOLY<br />
They plugged a few feathers into my shoulders,<br />
So I believed that I had wings.<br />
Rich decorations on the surface,<br />
But inside stuffed with dust and sins.<br />
When the sun sets I’m getting closer<br />
To all the traps and poking stings.<br />
I’m a space object, somewhat gritty,<br />
Sprouting new feathers in the snow,<br />
Every sunbeam - cute and pretty<br />
Sculpts smiles in yellow clay with a glow.<br />
The fortune teller pours dark water,<br />
I teeter like a tightrope walker.<br />
I will not squander scraps of gladness,<br />
Nor will I stop my joyful amblings.<br />
You will emerge from clouds in blackness,<br />
Write me a poem about Chaplin,<br />
I’ll bring the lilies, without asking,<br />
Before I anchor back to sadness.<br />
POEMS AND PHOTOS:<br />
RENATA CYGAN<br />
MULBERRIES<br />
Mulberries - dancing lights and sweetest white fruit,<br />
We go there after school - cut across the cemetery,<br />
Some scraping noise in branches - a bird en route,<br />
Or maybe there’s a stray kitten lonely and unwary?<br />
Many of them are around the school building,<br />
Dogs too - happy - not searching for an owner.<br />
And the grimy children, so wonderfully free,<br />
Surrounded by the adventures on every new corner.<br />
Now there are no mulberry trees, and the school is gone.<br />
They demolished it last spring, despite the resistance.<br />
Sentiments don’t matter, life has to go on,<br />
But I wish I was able to zoom in from the distance...<br />
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39
40 <strong>POST</strong> <strong>SCRIPTUM</strong>
photos: Renata Cygan<br />
<strong>POST</strong> <strong>SCRIPTUM</strong><br />
41
D A M I A N O<br />
P H O T O G R A P H Y<br />
42 42 <strong>POST</strong> <strong>SCRIPTUM</strong>
E R R I C O<br />
<strong>POST</strong> <strong>SCRIPTUM</strong><br />
43
l i k e g r e a t m a s t e r s<br />
If one day<br />
I no longer<br />
have<br />
the enthusiasm,<br />
I will no longer<br />
take<br />
photographs<br />
44 <strong>POST</strong> <strong>SCRIPTUM</strong>
Damiano Errico was born in Caserta in 1970. He attended<br />
the Art Institute of S.Leucio (CE), where he met the painting<br />
master Bruno Donzelli and spent a long period as an<br />
assistant in the master’s studio learning painting techniques.<br />
After graduating, he enrolled at the Academy of Fine Arts<br />
in Naples, where he studied photography with Mimmo Jodice.<br />
From the first meeting with the master till now, not a day goes<br />
by without photography. He often exhibits in galleries and<br />
museums, and carries out many photographic workshops<br />
and seminars in Italy and Europe.<br />
How did you become an artist?<br />
It happened in very early childhood – I was 6/7 years<br />
old, when I used to spend my days in my father’s tailor’s<br />
shop, yes... my father was a tailor and created tailor-<br />
-made clothes. I very often played with fabrics and<br />
always drew. At that stage my passion for creativity was<br />
born. I watched how, from a piece of cloth, a dress was<br />
born. Today I try to “dress” my models with light. Light<br />
does not strip bodies but dresses them with poetry.<br />
Beautifully said…<br />
When it comes to education, you started your<br />
adventure with art with painting (studying painting<br />
under the supervision of Bruno Donzella). I read that<br />
you weren’t interested in photography until you met<br />
the great photographer Mimmo Jodice at the Academy<br />
of Fine Arts in Naples, where you were studying. What<br />
did Mimmo Jodice say that made you change your<br />
mind after one conversation?<br />
I did not like photography. I wanted to become a painter.<br />
I thought photography was a minor/trivial art. Mimmo<br />
Jodice made me understand that photography is not<br />
made up of numbers and formulas, but of poetry and<br />
culture, of art history, of emotions. I remained in ecstasy.<br />
I immediately bought a camera and since that day I have<br />
always taken photos.<br />
Mimmo Jodice is known for photographing<br />
contemporary cultures: landscapes, cities, industrial<br />
buildings, etc., the human figure is rarely physically<br />
present in his works. You mainly photograph people.<br />
What influenced your own style the most?<br />
The master Jodice has often portrayed classical<br />
sculptures, he managed to give life to a block of marble.<br />
I want to convey the same emotions, but in the opposite<br />
way. I want to transform people, models into paintings<br />
and sculptures. From Mimmo Jodice I learned how to<br />
look for feelings in people, landscapes and sculptures.<br />
Yes, your photos look like the works of<br />
great masters. Do you have a favourite master?<br />
I love all the masters who have created masterpieces,<br />
but in particular I love Caravaggio for his theatricality<br />
and his realism, Vermeer for his natural light, Bernini for<br />
his pathos in stone and Canova for the pursuit of beauty.<br />
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46 <strong>POST</strong> <strong>SCRIPTUM</strong>
But the most important period in the history of art is<br />
certainly the Greek civilization with its classical art and<br />
its ideals of beauty.<br />
Where do you get your inspirations from?<br />
I am inspired by the beauty of nature, by the light<br />
that enters through a window, I am inspired by female<br />
beauty. I also read many art history books and go around<br />
museums and galleries. But nature is my greatest<br />
teacher.<br />
In one of your interviews you said: photography is a<br />
vocation, almost a “biblical” conversion: it was she<br />
who chose me, breaking into my life, since then not<br />
a day has gone by without it. For me, photography is<br />
not a uniform that is worn but it is my own skin. I live<br />
constantly on photography!<br />
Can you still see the outside world like an ordinary<br />
person, or do you look at it as a photographer?<br />
Every day that I wake up, every day that I<br />
open my eyes, I try to find the “beauty” that<br />
surrounds me. Even if I don’t have my camera<br />
with me, I still try to collect the pictures with<br />
my mind. These are all experiences that remain in our<br />
hearts and minds. We can take photos even without a<br />
camera, only with our eyes and our heart: these are<br />
the most exclusive photos, only ours – personal and<br />
unique.<br />
A recipe for a perfect photograph?<br />
Each photograph contains all our experience, our<br />
studies, the books we read, the exhibitions we visit, the<br />
good music we listen to. Our photographs are x-rays<br />
of our intellect. If we experience many emotions, our<br />
NATURE<br />
is my greatest teacher.<br />
<strong>POST</strong> <strong>SCRIPTUM</strong><br />
47
photographs convey many emotions. So, I say that all our<br />
essence is concentrated in a photoshoot.<br />
I believe that art is the essence of things, Michelangelo<br />
said that if the idea exists in matter, we must discover<br />
it. So, I believe that photographs already exist in nature,<br />
our sensitivity and our experience can find them. I look<br />
around and see many wonderful photos, even if sometimes<br />
I don’t have a camera I’m still happy because I see<br />
them, they remain in my mind.<br />
Do you have your own studio? What is most important<br />
to you when it comes to studio equipment?<br />
For me the equipment is not important at all, I can also<br />
shoot with a phone, the important thing is the emotion<br />
and enthusiasm that I carry within me. That will be<br />
the enthusiasm that my photographs will transmit.<br />
If one day I no longer have the enthusiasm,<br />
I will no longer take photographs.<br />
You favour natural light. Where do you prefer to work,<br />
in the studio or outdoors?<br />
I prefer to work in the bedroom, in dark rooms, where I<br />
can look for the light, my light. I start with a dark<br />
room, then I start introducing light, so it’s almost a<br />
divine process, I look for the light in the shadow and I dig<br />
it out from the shadow.<br />
You have published a book called Fleur in which you<br />
presented fifty photos of women with floral elements.<br />
The female figure is almost always in the centre of<br />
your paintings. What does this woman represent for<br />
you?<br />
My book Fleur represents the female universe. The<br />
woman is the human, terrestrial form that approaches<br />
the perfection of nature, in the woman the secret of<br />
universal beauty is kept.<br />
48 <strong>POST</strong> <strong>SCRIPTUM</strong>
When starting work with a model, do you have a plan,<br />
a ready story in your head, or do you get carried away<br />
and improvise on set?<br />
I have many projects in my artistic research, some are<br />
fundamental: Fleur, Towards the painting, Red. Each<br />
model (both female and male) has characteristics for<br />
these projects. When I see a woman I immediately<br />
begin to imagine what sculpture it could be, what Venus<br />
she could represent. My research stems from long<br />
reflections.<br />
Mimmo Jodice said, “My work will end in the age<br />
of digital photography.” How do you see digital<br />
photography? Do you happen to take photos with your<br />
smartphone?<br />
For me, photography is a language. It doesn’t matter the<br />
equipment, it doesn’t matter if we work with a film, with<br />
a digital camera or with a smartphone, the important<br />
thing is that we can translate what we have in our mind<br />
and in our heart.<br />
Do you edit your works in post-production, digitally<br />
process them, e.g. in photoshop?<br />
Yes, I often work with photoshop. What matters is<br />
the result. When a photo or a painting or a sculpture<br />
excites me, I don’t care with what means or with what<br />
equipment it was made, I just think that I get excited.<br />
Technical question: what camera and lenses do you<br />
use?<br />
My camera is a reflex (5D markIV) and the preferred<br />
lense is a 85 mm.<br />
You live in a small town next to your birthplace<br />
Caserta. Where do you find your models?<br />
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49
I live in a place with beautiful locations, but I travel a<br />
lot around Italy and Europe, I do many workshops and<br />
seminars, I often meet interesting models. They often<br />
contact me on facebook or instagram, I decide which<br />
ones are best suited to my photography.<br />
Towards painting – this is the name of your workshop.<br />
Tell us about this project.<br />
Towards painting is my photographic journey that starts<br />
from Damiano Errico painter, to arrive at Damiano Errico<br />
Photographer, and then returns to Damiano Errico<br />
painter. I studied a lot of art history, now I try to bring<br />
my artistic knowledge to the disposal of photography.<br />
So my photography is inspired by painting and the great<br />
masters of art. Maybe one day I’ll go back to painting.<br />
Do you still do commercial work as a photographer<br />
(weddings, fashion)?<br />
I have done many commercial works, now I am<br />
dedicating to workshops, training courses and<br />
exhibitions. I am very lucky because I can do a job that is<br />
also a passion, I am serene.<br />
In 2015 your photos were featured in Vogue, what<br />
was the project?<br />
It often happens that my photographs are published or<br />
shared. This is wonderful because my photography is<br />
more visible. There were no projects, just a question of<br />
sharing.<br />
What is your job like now in times of pandemic?<br />
Our photographs<br />
are x-rays of our intellect.<br />
50 <strong>POST</strong> <strong>SCRIPTUM</strong>
Now the job has changed, we spend a lot of time at<br />
home. I am making videos where I talk about my<br />
photography, my inspiration, my experiences. I do a lot<br />
of live shows and I’m preparing online lessons. I believe<br />
future work will be done online<br />
What is Art for you?<br />
This question is very difficult and subjective. This<br />
question is the secret of every artist’s research. For me,<br />
art is the need to express our ideas, but above all it is<br />
the need to remain our track for the future. Art makes<br />
us feel immortal, because the body dies but our soul<br />
remains forever in our works.<br />
day I photographed a window, sometimes I had<br />
my daughter as a model, other times, having no<br />
models, photographing objects. This is how my still<br />
lifes were born. Many ask me what the difference<br />
is between my still lifes and my portraits, I believe<br />
there is no difference, in both I look for beauty<br />
and essence, and then I dress them with the same<br />
light.<br />
So, the conclusion would be that in photography<br />
light is the most important tool, together<br />
with emotions, passion and experience of<br />
the photographer. I wish you many days and<br />
years full of passion and beautiful pictures.<br />
I will come back to the pandemic – we are all suffering<br />
the difficulties, new world is being born before<br />
our own eyes, nothing is going to be the same any<br />
more. How are you managing it as an artist?<br />
As I said – I have a library of pictures in my head, they<br />
exist deep down inside me. During lockdown, especially<br />
in the first few days, I had a void in my heart, I was afraid<br />
of not loving photography anymore. But after a few<br />
days I thought that my cure was the light of my home.<br />
The ice that entered through the windows. So, every<br />
Thank you very much for this very interesting<br />
conversation, we are truly honoured and very<br />
happy to be able to share your extraordinary<br />
art.<br />
Thanks for these wonderful questions [RC]<br />
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51
MAREK PORĄBKA<br />
IN THE MORNING LIKE A MACHINE GUN<br />
In the morning<br />
like a machine gun<br />
With short bursts<br />
of sentences crashes<br />
what’s near the mouth<br />
In the afternoon<br />
whatever is left<br />
she hangs<br />
on the branches of trees<br />
Poetic washing with poems<br />
She is brilliant<br />
Like a machine gun<br />
HOW MUCH<br />
How much I should value<br />
you<br />
I only appreciate<br />
in the morning<br />
Earlier<br />
you were trying to get<br />
to me<br />
But I don’t hear<br />
your scream<br />
O Lady<br />
Forgive me<br />
NOT EVERYTHING<br />
And there, after all<br />
not everything is gold<br />
Underwear factories<br />
sell us<br />
imaginations<br />
In well-chosen<br />
packages<br />
CLEANING WINDOWS<br />
This is not even about<br />
the windows to be clean<br />
for the feast<br />
But to clean the windows.<br />
To chase the Easter bunny.<br />
The first pre-holiday rain<br />
will reset everything.<br />
INVESTMENTS<br />
POETRY<br />
SECOND SURPRISE<br />
Appeared the second surprise<br />
That there is a theory<br />
of probability, and yet<br />
I hear nothing<br />
about the theory of<br />
assurance<br />
MOUNTAIN<br />
Beautiful<br />
Unavailable<br />
From which<br />
no one has<br />
any use<br />
Every year you become<br />
more and more lonely<br />
A pile of stones<br />
FUEL<br />
There’s so much left<br />
of yesterday’s fuel<br />
that after<br />
I am still spinning<br />
on the movement<br />
of celestial spheres<br />
Like today’s Blue Moon<br />
Winged euphoria<br />
raises me, maybe it’ll last<br />
till hot summer<br />
Or better yet<br />
until next summer<br />
Everything will rust<br />
or will be stolen<br />
Therefore, the only<br />
valuable thing<br />
in which I invest<br />
is the imagination<br />
IT HAPPENS<br />
Like a poor man from Assisi<br />
preaching sermons<br />
to his smaller brothers<br />
I am reading<br />
at an author’s evening<br />
poems to books<br />
at the city library<br />
52 <strong>POST</strong> <strong>SCRIPTUM</strong><br />
translated by Renata Cygan
RED<br />
when in London<br />
at Tooting<br />
at the interval between bus number 57<br />
and the subway line to Streatham<br />
passed me a man<br />
the one from the Tower of Babel<br />
the rhythm of the city was measured<br />
by Big Ben<br />
when leaning against a plane tree<br />
I thought<br />
about yesterday’s whiskey,<br />
a black cab just arrived<br />
wooden seats<br />
reminded me of the armchair at home<br />
when people’s lives were fulfilled<br />
with work and play<br />
and everything was happening<br />
under the Big Eye of London<br />
between the houses flitted a red fox<br />
RC<br />
RYSZARD GRAJEK<br />
NOT A HARVEST YET<br />
GOLDEN NUMBER<br />
golden partition<br />
golden poem<br />
shines stupefies<br />
creates fractals.<br />
is it because it’s always been<br />
mathematics or poetry<br />
poetry or mathematics<br />
you look, you think<br />
the golden stream flows<br />
Tomorrow, about which I know everything<br />
- Is only an illusion to me<br />
Expected tomorrow<br />
- But what will it bring<br />
Tomorrow visible today<br />
- but what does it mean<br />
seeds like stars in the sky<br />
seeds like grains of sand<br />
in this is Everything<br />
already a grain, not a harvest yet<br />
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54<br />
54 <strong>POST</strong> <strong>SCRIPTUM</strong>
DARIUSZ<br />
KLIMCZAK<br />
55<br />
<strong>POST</strong> <strong>SCRIPTUM</strong> 55
The magic lies in simplicity.<br />
Dariusz Klimczak was born<br />
in 1967 in Sieradz, Poland. He is a<br />
painter, journalist, poet, musician,<br />
and a photographer. He has taken<br />
part in both collective and individual<br />
exhibitions in his home country of<br />
Poland, as well as abroad. For the<br />
past 10 years he’s been working with<br />
surrealist photomontages based<br />
on his photos. Whilst he prefers<br />
contrasting black and white square<br />
frames, he doesn’t shun traditional<br />
colourful pieces. In his phototricks,<br />
he looks for the atmosphere,<br />
anecdotes and universal symbols,<br />
which can deeply move his audience,<br />
making them reflect and smile.<br />
56 <strong>POST</strong> <strong>SCRIPTUM</strong>
I don’t believe in afflation<br />
but in regular work.<br />
A journalist, a painter, an ex-rock-percussionist, and<br />
a composer. How did it happen that you became<br />
a photographer?<br />
I have been taking photos for more than 30 years. I have<br />
started with my old analogue camera “Zenit” and only one<br />
lens. I attended an art school, where we had a chance to<br />
experiment in the dark room with multiple layers of movie<br />
frames, and even with photomontages. However, they<br />
were lacking the precision which can now be achieved<br />
with computer programmes. When I discovered the<br />
possibilities of photoshop, I quickly switched to digital<br />
photography and editing. It started as a game by adding a<br />
dog-head onto my friend. It looked so realistic. I decided<br />
to take this path and create my little worlds based on bits<br />
and pieces from my regular photographs. From the very<br />
beginning, I wanted to create a realistic illusion.<br />
In the time of the Internet, computers, and easy access to<br />
free stock , almost everyone could create photomontages<br />
using Photoshop or other editing programs. You made it<br />
into a lifestyle. Where does this success come from?<br />
I think for me it was all about being systematic and<br />
consistent and to earn a living from it. I rarely needed to<br />
do commissions such as weddings and first communions.<br />
Several years ago, I decided to create one piece a day –<br />
no matter what. I don’t believe in sudden inspiration,<br />
only consistent work counts. With time and experience in<br />
using Photoshop, I started creating several pieces a day.<br />
In my opinion, if it is my work (,) all elements should be<br />
photographed by me, that’s why I never use stock photos.<br />
Open space, freedom, harmony, purity, clear picture,<br />
magic, contrast in tone and composition – these are the<br />
main characteristics of your works. What would you call<br />
your style?<br />
I would say it is neo-surrealist. I base my works on classics,<br />
which you can see in the composition of my photographs.<br />
I don’t like chaos or overcrowding in my works, I don’t like<br />
too many elements. I try to reach harmony for my stories<br />
to be clear and understandable. The magic lies in simplicity.<br />
Although I take inspiration from surrealism, understanding<br />
the artistic achievement of its creators, but I don’t copy<br />
anyone.<br />
Could you describe how you create your works? I am<br />
interested in the process.<br />
Usually, I start with the landscape. I look for something<br />
special, a base, whether it’s the rhythm, an interesting<br />
texture or something unique. Then I add the clouds, I have an<br />
abundant collection of them. I want them to complement,<br />
<strong>POST</strong> <strong>SCRIPTUM</strong><br />
57
visually, whatever is happening on the ground. I like<br />
repetitive rhythm patterns. I find the focal point (a person,<br />
an animal, or a plant), around which I build the story. I look<br />
for simple symbols that are comprehensible to everyone. I<br />
don’t want the focal points to be some accidentally added<br />
elements, but to be one form of a corresponding piece,<br />
ones which raise suspense and complement one another.<br />
What makes a collector’s piece of photography?<br />
Photography is generally repetitive. From an original<br />
digital piece, one can make thousands of prints, just like<br />
we used to be able to copy one plate into multiple prints.<br />
That influences the price (the more there are, the less it’s<br />
worth). For a copy to have some value to the audience it<br />
needs to be rehashed as little as possible. it happened a<br />
couple of times, that I have sold an original, single piece of<br />
my work. This makes the collector feel unique. More often<br />
I sell 30 signed copies of one work.<br />
I want to create<br />
a realistic illusion<br />
And why the square-frame?<br />
Many reasons: first of all, I have a sentiment for ( I am<br />
sentimental about ) the 6x6cm form which was so popular<br />
in analogue cameras of my youth (inter alia Start, Pentacon<br />
Six, Rolleiflex). This form is easier to compose from.<br />
Secondly, a square has the peace and harmony, which, as<br />
I mentioned before, I am looking for. Finally, I just want to<br />
be original, a square among rectangles.<br />
You are the creator of a new and surrealistic world,<br />
where does your inspiration come from?<br />
Mainly from nature. I travel a lot, trying to find new<br />
motives for my works. It appears to me that nature is<br />
most diverse and rich in inspiration. I have a couple of my<br />
favourite places in Poland, every time I visit them, they<br />
look different, which always surprises me. The Dunes in<br />
Czołpin near Łeba is one of those places. I have visited it<br />
at least several dozen times throughout different seasons<br />
and at different times of the day, each time finding a new<br />
idea to add to my compositions. Another place like that is<br />
Jeziorsko on the Warta river, it’s a unique landscape and<br />
at times an unreal one. It has been a base for many of my<br />
works.<br />
Your works have been compared to the ones by Salvador<br />
Dalí, do you have a favourite artist?<br />
Yes, I have heard about these comparisons but I feel a lot<br />
closer to René Magritte. For years I had been a painter, now<br />
I use that experience when I work on my computer. I also<br />
enjoy pieces by Jacek Malczewski, his use of the reds and<br />
shadows is remarkable. I adore Beksiński, I have also heard<br />
some of my darker works being compared to his. I am keen<br />
on impressionists, but most of all on Francis Bacon. It is<br />
impossible to list all the artists close to my heart.<br />
I have read somewhere that your private ambition is to<br />
create a visual Esperanto. Could you elaborate on this?<br />
They say “a painting is worth a thousand of words”. Through<br />
the use of simple visual symbols, like a tree or doors, we<br />
can reach a diverse audience, without even knowing<br />
their language. Esperanto was supposed to be the lingua<br />
franca, what Latin used to be. It was supposed to allow<br />
communication between people from all over the world.<br />
My works hang on the walls of houses standing on almost<br />
all the continents, that probably means that they are<br />
comprehensible to people from cultures fundamentally<br />
different to my own.<br />
58 <strong>POST</strong> <strong>SCRIPTUM</strong>
“A common mistake I notice in people creating montages is – as I call it – the Land of the<br />
Two Suns. Interestingly, it happens even to the best. It consists in the fact that the object<br />
placed on the background is lit from a different side than the background. Such a procedure<br />
immediately disqualifies work in my eyes. This is probably due to the rush and distraction<br />
of the vision. The author, delighted with what is playing in his soul, forgets in the main<br />
excitement about the main laws of physics. I have had some visible mishaps, so I’m sensitive<br />
to them. Yes, surrealism is governed by laws, distorts proportions, bends gravity, but in my<br />
opinion even flying hippos should be lit from the same side as the landscape over which<br />
they hover. From the beginning of my adventure with composing an image, my goal was to<br />
create an illusion of reality. So credible that the viewer would test whether he is watching<br />
a photomontage. “<br />
<strong>POST</strong> <strong>SCRIPTUM</strong> 59
I strive for HARMONY,<br />
I try to make my stories<br />
clear and legible.<br />
60 <strong>POST</strong> <strong>SCRIPTUM</strong>
the square has calmness in its shape<br />
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61
62 <strong>POST</strong> <strong>SCRIPTUM</strong>
I pay precise<br />
attention to<br />
how I cut the<br />
elements<br />
Your photographs demand incredible patience, realistic<br />
precision and taking care of even the smallest details.<br />
How long does it take to create one piece?<br />
I pay precise attention to how I cut the elements. I study<br />
them closeup, look for every edge so as not to unveil<br />
the illusion. Throughout the years I have gained fluency,<br />
almost a routine, thanks to which I can now finish one<br />
piece in one day. However, if there are many elements it<br />
takes much longer to finish a project. My record is 7 days<br />
– this was for a piece with hundreds of figures that I put<br />
together.<br />
Now it’s time for a technical question: what kind of<br />
camera and lenses do you use?<br />
For years I have been a loyal Canon-user. I owned a couple<br />
of models. Right now I work on Canon 5D Mark 3. It’s a full<br />
frame, which allows me to obtain high quality. It is more<br />
than enough for my needs. I am not a gear-geek, I only<br />
use portrait lenses with 1.4 light and a regular Canon kit<br />
21-105 mm for the landscapes.<br />
Artistic plans for the future?<br />
For the last dozen years or so, I have not allowed myself<br />
to rest, working from dawn to dusk, now I plan to take<br />
things a bit slower. To focus on promoting and selling what<br />
I already have. I am planning to publish two photography<br />
albums (one in black-and-white one, the other in colour),<br />
which will sum up my achievements to date.[RC]<br />
<strong>POST</strong> <strong>SCRIPTUM</strong><br />
63
***<br />
We learn each other like Adam and Eve<br />
from the tree of the knowledge of good<br />
and better<br />
You ripen in the sunshine of my gaze<br />
You ripen<br />
And I try to bite you<br />
Like the skin of an apple to learn<br />
Your true taste<br />
graphic: RC<br />
***<br />
We’re looking ahead:<br />
Meadows are walking to meet us<br />
Mountains climb up<br />
To our thoughts<br />
The world has fallen at our feet<br />
And now it’s fawning<br />
and purring<br />
***<br />
I feel good<br />
So good<br />
for I can see your thoughts<br />
And feel the red of your heart<br />
when under the bandages<br />
of your hands<br />
lie silenced<br />
all my wounds<br />
***<br />
When you are with me<br />
I forget the whole of God’s world<br />
for I myself become God’s world<br />
ideally perfect<br />
reflected in the mirror<br />
of your body<br />
***<br />
There’s no faith<br />
There’s no hope<br />
There’s love<br />
as pure<br />
as spring water<br />
There’s intimacy<br />
of two souls<br />
- petals<br />
of hot snow<br />
***<br />
I drink with my eyes<br />
the beauty of your body<br />
which flows<br />
through me<br />
so that I could<br />
swim in it<br />
***<br />
We lie on the edge of a forest<br />
The firs are looking into our eyes<br />
with their cones<br />
We talk silently<br />
With words of love<br />
And the alphabet of glances<br />
We shoot the breeze<br />
and weave a wreath for you<br />
from colourful flowers<br />
and confessions<br />
64 <strong>POST</strong> <strong>SCRIPTUM</strong>
***<br />
I fall asleep with a yearning<br />
for your lips<br />
JULIUSZ WĄTROBA<br />
I wake up in an empty bed<br />
full of you<br />
***<br />
Your feminity a flowery meadow<br />
My masculinity brambles<br />
I enter your life<br />
on tiptoes<br />
with my willpower - if you will?<br />
you turn a blind eye on me<br />
and disregard<br />
the burden of feelings<br />
Polish Poet, satirist, prose writer, columnist;<br />
lyrical debut in the magazine Radar,<br />
satirical debut in Szpilki (1977),<br />
book debut in Wydawnictwo Śląsk (1983);<br />
author of over 50 books, hundreds of song<br />
lyrics, musicals, cabaret shows; member<br />
of the cabaret group TON; hundreds of<br />
poems published in the press and in various<br />
collective editions; cooperation with the<br />
Polish Radio between 1989 and 2004, where<br />
his works were read by some of the county’s<br />
most outstanding actors; winner<br />
of approximately 100 literary contests,<br />
and of numerous awards for his literary<br />
and cultural achevements. He is a member<br />
of the Polish Writers Union and the Polish<br />
Society of Authors and Composers (ZAIKS)<br />
***<br />
I know you don’t love me<br />
And there’s nothing I can do<br />
Nothing anyone can do<br />
But if I could use fidelity<br />
yearning and pain<br />
to beg for<br />
love<br />
you would have been<br />
mine<br />
a long time ago<br />
***<br />
You lead me into temptation<br />
non-fulfilment<br />
and perdition<br />
What have I done to deserve<br />
this all-consuming despair<br />
without your breath<br />
to take in<br />
and to take away<br />
translated by Jarosław Fejdych<br />
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65
66<br />
66 <strong>POST</strong> <strong>SCRIPTUM</strong>
photo: Sylwester Ciszek<br />
on the other side of<br />
ALICJA C R I M E<br />
ALICJA STAŃSKA is a master of embroidery, an alumnus of École Lesage<br />
Paris. She has mastered traditional and lunéville embroidery and trained herself in different<br />
techniques from around the world. Additionally, she graduated with a master’s degree in<br />
criminology (specializing in Intelligence and Counter-Intelligence Services) from UTH in Warsaw.<br />
Stanska uses her art to teach and fight for human rights. During Design Days 2014, she presented<br />
a lecture titled Slavery in 21 st Century. In 2015, her collection of works The Thread of Life was<br />
exhibited in the National Gallery of Art in Sopot. In 2016 another of her collections The Most<br />
Expensive Product of the World was dedicated to unveiling the human trafficking problem. To<br />
spread awareness on the important issue of organ trafficking Alicja made a set of paintings called<br />
Body in which some of the embroidery acted as an interpretation of old surgical sketches. The<br />
exhibition was displayed at a well-known gala organized by the Foundation for Transplantology.<br />
For the past several years the artist has been preparing the exhibition Whose Fault, which is<br />
going to be shown in Poland amongst other European counties. The promotion poster was<br />
created by an award-winning Paris-based Polish artist Michał Batory. Stanska is also the head of<br />
the Promotion of Artists and Craft Foundation. In 2017, in the heart of Warsaw she has opened<br />
her own art gallery, which aims at promoting both new as well as already established artists.<br />
Despite being awarded for her artistry and craftsmanship, Stanska still strives for perfection. She<br />
is not afraid to ask her audience and other institutions difficult questions, nor she is afraid to<br />
challenge them. Her search allows her to find the often-dramatic truth, which hides behind her<br />
beautiful objects.<br />
67<br />
<strong>POST</strong> <strong>SCRIPTUM</strong> 67
I have always been interested<br />
in the sources of violence<br />
photo: Damian Andrzejewski<br />
Alicja Stańska<br />
Every day we are bombarded with violence. It has<br />
become an inseparable part of news and television.<br />
The newspapers day by day write about violent murders,<br />
about acts of violence, often aimed at children. Now and<br />
then a new extremely dangerous serial killer surfaces and<br />
causes panic. The most famous ones, if they are caught<br />
and charged, get the media’s attention, and become the<br />
“heroes” of movies and books. Violence is incorporated<br />
into the world order. Does it mean that the more we<br />
get to know about it the less sensitive we are to it? Less<br />
vigilant? Especially in the days of a global pandemic, the<br />
violence is often quietly hidden behind the closed doors<br />
of our neighbourhoods.<br />
What then is the role of the artist in the process of<br />
spreading awareness on growing violence? Do they, and if<br />
so, how do they need to move their audience? According<br />
to Stańska, they should take a closer look at the sources<br />
of the crime.<br />
The conversations with an incredible woman, an artist,<br />
a mother, an art patron.<br />
How did it happen, that after graduating from<br />
a pre sti g ious e m broide r y sc hool you be cam e<br />
a criminologist?<br />
I have always been interested in the sources of violence,<br />
ever since I was child. Not literally how one commits<br />
a crime, how one kills, but what pushes a human being<br />
to commit a crime. The observations from my childhood,<br />
seeing some situations, reassured me that it is necessary<br />
to seek the answer to my question: where does the evil<br />
come from?<br />
Where did the idea behind your exhibition Whose Fault,<br />
which you are currently finishing off, come from? From<br />
memories or maybe from a sense of mission?<br />
The exhibition is a result of my thoughts that stem from<br />
my childhood, but it is also the effect of my scientific<br />
work. I have worked through tons of literature, I have<br />
68 <strong>POST</strong> <strong>SCRIPTUM</strong>
„T he mind of an artist<br />
is similar to the mind of a serial killer”<br />
Denny Devos<br />
analysed the biographies of different killers, also<br />
the serial ones, focusing on their childhood. I have<br />
read the opinions of multiple experts: psychologists,<br />
psychiatrists, criminologists, profilers. I have seen<br />
plenty of documentaries presenting “true crime”. The<br />
knowledge that I gained during my studies allowed me to<br />
use it in practice and to prepare for the difficult subject<br />
of my exhibition. I have watched almost every available<br />
movie and series on crime! When I became a criminology<br />
student, even during my first year, I was sure I was going<br />
to make this exhibition. I wanted it to be the crowning<br />
of my studies. The most important part for me was its<br />
educational side.<br />
Are you more focused on the victim or the mechanism<br />
leading to the crime?<br />
On the conditions. On the mechanism. The victim is<br />
always the result of the crime. The victim of a serial killer<br />
is not only an individual, it can also be a community. The<br />
fear changes the customs. In many cases, if a serial killer<br />
appears in a certain area, the people living there are afraid<br />
to leave their homes, they lose trust in strangers and even<br />
in one another. They fortify in their houses, and the serial<br />
killers remain active. The answer that I am trying to find<br />
is: why?<br />
“The difference between people who despite their<br />
disorders become brave, and people who use their<br />
abilities in criminal activity, is that they have been<br />
raised differently.” Park Dietz<br />
“The idea of a victim-to-oppressor trope allows to<br />
understand both the societal dysfunctions and its<br />
relation to crime” Jadwiga Mazur<br />
During my criminology studies, I never thought that I<br />
would become a mother. Suddenly I was pregnant. I didn’t<br />
know how I would be influenced by maternity. When I<br />
gave birth to my daughter, I began to gain more and more<br />
interest in how the rising of a child influences their ability<br />
to become a killer. Being an artist, I want to show the<br />
scheme of a family. The process of victimization during<br />
childhood and its long-term effects: the lack of trust,<br />
depression, the feeling of danger, little self-confidence,<br />
low social skills, or aggression can influence the victim<br />
and thus make them an oppressor.<br />
How did you come up with the idea to embroider crime<br />
scenes and to form the characters in three-dimensional<br />
print?<br />
I have always seen the criminal’s mind as similarly fragile<br />
to embroidery. At first, I was sure that I will embroider<br />
the portraits of the serial killers using lunéville, my<br />
area of expertise. However, as soon as I started gaining<br />
knowledge on this subject, I decided to show it in a<br />
completely different way. The portraits are not important,<br />
it is us the people, who take care of the children, not only<br />
the parents but also orphanages, foster families, relatives<br />
– we are all responsible for the psyche and raising of a<br />
child. Some people love while some harass their children.<br />
The latter should never be the guardians.<br />
I decided I will not show the lone portraits of a killer, I will<br />
show the moment at which unconsciously they became<br />
one. Embroidery is my way of expression so I started<br />
thinking about how I can incorporate it into my idea. I<br />
asked my friends to act as the models for the crimes and<br />
then I had to somehow make it a part of the exhibition.<br />
What helped me was modern technology. The scenes<br />
were played out in the office of Wolf 3D Studio, then<br />
scanned. We had to immobilize the models and adapt<br />
them to the conditions of scanning. The whole process<br />
took about six months. Finally, the scans were transferred<br />
to the printer and then created in a three-dimensional<br />
form. Now, how could I add my embroidery to it? The<br />
ground of every crime scene is incredibly important.<br />
Where the body is found, forensic specialists need to<br />
secure the evidence, which directs the investigation –<br />
that was the lacking element of my work – I saw that the<br />
place for embroidery was on the ground of a scene. The<br />
installation was made using different types of embroidery<br />
that I have gained throughout my years of experience.<br />
That, combined with the modern technology of 3D<br />
printing, allowed for realistic possibilities. The ground of<br />
a crime holds the evidence, sometimes the victim’s body<br />
doesn’t have them.<br />
<strong>POST</strong> <strong>SCRIPTUM</strong><br />
69
foto: Dominik Hajder<br />
You closed the crime scenes in cages…<br />
A cage is a symbol of enslavement, especially when a child<br />
is raised in one home with an executioner. Then a cage<br />
becomes the metaphor for punishment of the crime. All<br />
identified serial killers were given life sentences and/or<br />
sentenced to death. It can symbolize mental enslavement.<br />
My collection was presented in 9 vintage cages for birds<br />
and one over 100-year-old dollhouse. Every criminal got<br />
their cage. It is a scene in which we play out the criminal<br />
act. The act, which is the last stage of the violence that<br />
started during childhood at the hands of the closest ones.<br />
I can imagine that it was time-consuming and laborious<br />
to create this project. Alicja, how do you work with<br />
embroidery?<br />
I can be invested in the work for eight, ten hours, after<br />
four I realise that I have been sitting in complete silence,<br />
it seems impossible that so much time has passed. My<br />
work requires full concentration.<br />
How long does it take you to work on an exhibition?<br />
The gathering of materials, literature, documents,<br />
analysis, meetings with different experts, and then the<br />
creative process?<br />
70 <strong>POST</strong> <strong>SCRIPTUM</strong><br />
To be honest, I have been invested in the topic of<br />
psychopath’s minds for twelve years! I analyse, break it<br />
into small parts, ask questions, find details. I have been<br />
working on this exhibition for two years, but I think that<br />
it will take me at least six more months to finalise this<br />
project. My studies, which prepared my scientific and<br />
professional background, lasted five years. I’ve been<br />
planning to show the first exhibition in April <strong>2021</strong> but<br />
considering the rapidly changing pandemic, it might be<br />
impossible.<br />
In how many countries are you planning on showing it?<br />
In ten. It might turn out that I will have more opportunities,<br />
I have some new propositions, but it all depends on the<br />
external factors.<br />
So, it is also symbolic – ten places, ten serial killers 1 , ten<br />
crime scenes, one common theme: the upbringing and<br />
childhood. How is the violence born?<br />
I focused on the cruellest crimes that I’ve analysed, which<br />
resulted in ten symbolic scenes. There are people who<br />
torture new-borns, in most cases the babies do not<br />
1 Richard Kuklinski, Charles Manson, Alieen Wuornos, Ted Bundy,<br />
John Wayne Gacy, Richard Speck, Dennis Rader, Andrei Chikatilo,<br />
Edmund Kemper, Jurgen Bartsch.
survive. The ones that do, often continue to experience<br />
violence. Sometimes parents die tragically e.g., in a<br />
car accident, children end up in orphanages and foster<br />
families, or sometimes with random people who are<br />
completely uninterested in their upbringing. Among the<br />
ones that I finally show as the aggressors, nine out of<br />
ten have experienced victimisation in their own families.<br />
Charles Manson was sold by his mother to prostitutes,<br />
and then he was raised by different care centres and foster<br />
families. In the information that I have gathered, I found<br />
a common element – it was there that he experienced<br />
the greatest harm. There are sources that describe the<br />
situations in orphanages – many of their cruel practices<br />
came to light after years. Most well-known were the cases<br />
of children from Ireland, Belgium, and the United States<br />
of America, some also came from Poland. Currently, I<br />
am reading a book written by a Polish woman living in<br />
Canada about cases of extreme cruelty. 2 I need to take<br />
2 Joanna Gierak-Onoszko: “27 śmierci Toby'ego Obeda”<br />
breaks from reading – its content is paralysing. The book<br />
describes the children, the grown-ups that have been<br />
through a long-term violence from the hands of the de<br />
facto national institutions. The survivors of “care” centres<br />
in Canada can be seen as similar to the survivors of the<br />
Holocaust.<br />
Whose fault is it? The abused children do not understand<br />
why they are being harmed by their guardians. Often,<br />
they see themselves as guilty of it, they protect their<br />
oppressors.<br />
A mother becomes one with the child to which she gives<br />
birth. If a child experiences abuse, they lose their sense<br />
of safety. And still they love and protect their oppressor.<br />
Often the children living in orphanages, despite their<br />
tragic experiences, still await their patents. They miss<br />
them and feel responsible for what has happened. The<br />
problem arises when they become adults. In the future<br />
children like these will focus on themselves, they will fight<br />
only for themselves. Patrick Diaz, my guru, an American<br />
foto: Dominik Hajder<br />
<strong>POST</strong> <strong>SCRIPTUM</strong> 71 71
I have always seen<br />
the criminal’s mind<br />
as similarly fragile<br />
to embroidery.<br />
Kidneys, embroidery<br />
Liver, embroidery<br />
psychiatrist who works with FBI and CIA, sums it up<br />
shortly: “a person, broken as a child, no longer thinks<br />
about another being as an adult.”<br />
Can the evil really be unnoticed for years? Often, only<br />
after the crime happens, the neighbours learn that<br />
the victim was so close to them, no one figured it out,<br />
no one said anything. Who should educate the people?<br />
Is it the role of artists – the most sensible individuals<br />
in our society?<br />
This is a very important question – as an artist I have<br />
addressed several institutions in Poland asking for help in<br />
organising the exhibition, however, I received no support.<br />
I also did not receive any reasonable arguments for not<br />
helping me. I do not know if the representatives to whom<br />
I talked were scared by the burden that the subject of<br />
serial killers carries, or rather, as I was informed in one<br />
of the emails: “this subject is not the key to judge if<br />
someone becomes a bad person”. I feel as if they told me<br />
that this topic is not real. The United States introduced<br />
profiling based on cooperation of therapists, psychiatrists,<br />
criminologists, the police, special services, in which they<br />
not only seek for the criminal, but also for their motives and<br />
conditioning they experienced in their childhood which<br />
led them to become the “criminal”. I have asked experts<br />
on their opinion on my exhibition. On multiple occasions,<br />
I have heard: “you are born a serial killer, a psychopath”.<br />
No one is born as pure evil. Often paedophiles are raped<br />
when they are little. The victim becomes the aggressor.<br />
I had the chance to talk to a foundation which protects<br />
children from domestic violence. There was an idea to<br />
create workshops for parents and teachers that would<br />
spread awareness on the initial symptoms of domestic<br />
violence. The foundation was to support this project with<br />
their own experts. A few days ago, I received a message<br />
that they will not engage in my project because this<br />
subject is not really related to their area of expertise,<br />
which does not involve art. What else is a better mission<br />
of education other than art? It is unbelievable that even<br />
the NGOs concerned with human rights did not decide<br />
to help me. Paradoxically the answers were similar – we<br />
do not touch upon violence. To whom then, should a<br />
child, a human being experiencing violence, talk to? For a<br />
change, when I was sharing my project with a well-known<br />
French criminologist, a professor from Sorbonne, the<br />
answer came back immediately. The exhibition took long<br />
to come together. However, thanks to my stubbornness,<br />
and the importance of the topic, and the good people<br />
that I have encountered, the project is slowly but surely<br />
coming to an end.<br />
It is apprehending that the legitimisation of violence<br />
and the violation of human rights appears in everyday<br />
life. Maybe that is why artists are being blocked. Or<br />
maybe people are afraid to talk about difficult subjects.<br />
As a mother I have taken part in female forums<br />
concerning the upbringing of children and family. I was<br />
terrified to learn about the social acceptance of physical<br />
punishment, of screaming, of emotional manipulation.<br />
Very often spanking done on the bare bottoms of a young<br />
girl by a father can influence her perception of sexuality<br />
and maturity in her future relationships. Giving allowance<br />
to violence, especially the lack of any reaction results in<br />
its propagation.<br />
We are facing difficult times. Data shows that domestic<br />
violence has grown considerably during lockdown.<br />
This is terrifying. I think that after the lockdown concerning<br />
the pandemic and violence, which happens behind closed<br />
doors, it will take several years for a wave of people with<br />
psychopathic predispositions to appear. The imposed<br />
change of lifestyle, lockdown with the oppressor can<br />
72 <strong>POST</strong> <strong>SCRIPTUM</strong>
Details<br />
photo: Damian Andrzejewski<br />
cause the appearance of domestic violence, which wasn’t<br />
even there to begin with.<br />
How, at the end of the day, you were able to get in touch<br />
with experts, psychologists, criminologists for them to<br />
support your project with their knowledge?<br />
I started addressing them as a criminologist, and therefore<br />
as an expert myself, not only as an artist. I did not get this<br />
degree to try and find criminals, I needed the knowledge<br />
to protect human rights. It has opened a lot of doors<br />
for me. Together, with my newly formed team, we are<br />
developing extensive educational materials. I wouldn’t be<br />
able to do it by myself as I don’t have the psychological,<br />
psychiatric, or pedagogical knowledge. I needed experts<br />
in these fields. I can share some secret with you – I am in<br />
contact with one of the most well-known specialists on<br />
the psyche of serial killers in the world. I would like to give<br />
the people the courage to act when they see violence,<br />
I want them to feel and identify the symptoms.<br />
Are you opening the Pandora box?<br />
I realized that for a lot of adults, that have experienced<br />
this kind of violence, this exhibition will be a key to<br />
understanding the reasons behind evil. It will open them<br />
up. It will allow them to understand what the mechanism<br />
behind the evil is. The children are innocent. I decided<br />
that it would be too traumatic to only come back to the<br />
memories. That’s where the idea of creating a supportive<br />
group of experts came from: their help, the material we<br />
prepare in every country in which we will present the<br />
exhibition, giving the resources on where to seek help,<br />
where their questions can be answered, are all crucial.<br />
Alicja, for whom is this exhibition?<br />
For future and current parents. For sensitive people, for<br />
the ones that have experienced violence, for the ones<br />
who are afraid of it. For the people that are indifferent<br />
to evil. For the ones who are curious in what ways art can<br />
express a topic as difficult as this one. The audience which<br />
wants the thrills because they have watched too much<br />
true crime on Netflix, won’t find what they are looking<br />
for. Technically the exhibition is only for of-age viewers.<br />
I want to stress this: its main aim is to educate every<br />
single citizen of the world, of every belief. This exhibition<br />
is a tribute to the experts who explore the minds to<br />
prevent such tragedies. It’s a bow for every member<br />
o f se r v ic e s that are burde ne d by the ir re spo nsibilitie s.<br />
It is also a thank you to all of my teachers.<br />
What do you see through your magnifying glass?<br />
Human harm. Fault. Whose? Let’s be vigilant.<br />
You have said some beautiful words – this exhibition<br />
is a promise that you have made to your daughter.<br />
Can you comment on that?<br />
I have promised my daughter that I will do everything<br />
in my power for her to have a beautiful childhood,<br />
development, knowledge and that I will fight for the same<br />
for other children.<br />
What next, can you tell us?<br />
Traveling with the exhibition will take around two years.<br />
But I am already working on a new idea. Next challenge.<br />
Next education. “Paedophilia present in the media.” [KBS]<br />
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73
Arco van Ieperen<br />
Arco van Ieperen was born in Gouda, the<br />
Netherlands, but has lived and worked<br />
in Poland for over two decades. As a<br />
lecturer at the State University of Applied<br />
Sciences in Elblag, he teaches general and<br />
business <strong>English</strong>, business correspondence,<br />
marketing and economics. He writes poetry<br />
in Dutch, <strong>English</strong> and Polish, has received a<br />
number of awards for his Dutch and Polish<br />
poetry and has been published in various<br />
magazines and anthologies. He is a member<br />
of the Alternative Elblag Literary Club and<br />
the Alternative Society, which organizes<br />
the annual “Wielorzecze” literary festival in<br />
Elblag. He is currently working on a volume<br />
of poetry in Polish.<br />
74 <strong>POST</strong> <strong>SCRIPTUM</strong>
Hiccup<br />
Stutthof<br />
in sunny thunder<br />
through the gate of death<br />
seven decades later<br />
shadows digging graves<br />
folds in a field of forget-me-nots<br />
embraced by barbed wire<br />
numbered stars<br />
bathing in sweat and ignorance<br />
arbeit macht frei<br />
all saw the blue sky again<br />
at the end of the chimney<br />
Downtown pub<br />
A blue haze surrounds the lights,<br />
letting loose the beasts only the dark<br />
will tolerate. Minds are muddled,<br />
depressions drowned, as time<br />
is reduced to a single dot, the world<br />
a small room.<br />
Sounds soothe like a soft blanket,<br />
wrapping a careless concoction<br />
of searching souls on a quest<br />
to quell their fears. Feelings<br />
forever left unspoken, lost<br />
in a labyrinth of obscuring language.<br />
The world’s a mirage of unsolved mysteries<br />
and the greatest are to be found<br />
deep inside ourselves.<br />
The lingering kiss on the doorstep<br />
still chills my spine. Leaving feels<br />
like stepping into a moving prison, caught<br />
between white lines, a stranger’s<br />
reflection in the mirror.<br />
My temporary abode welcomes me<br />
like an ill-fitting straightjacket,<br />
the oppressive walls chasing me<br />
out to explore ancient desires.<br />
I study humanity at night, lazily<br />
drifting like flotsam with one<br />
tasty specimen demanding<br />
further inquiry. The room<br />
a cave inciting excitement.<br />
Long lost rituals revived,<br />
an ecstasy as durable<br />
as the parting cigarette.<br />
The flickering streetlight guides<br />
the high-heeled echoes of a sinful<br />
sidestep. Denial sets in.<br />
It’s just a minor hiccup, bound<br />
to disappear if I only hold<br />
my breath.<br />
On the line<br />
My private shame washed<br />
in a public lavatory where all<br />
is on display. My life reduced<br />
to ridiculous clips and sound bites,<br />
served in five-minute portions<br />
to a hungrily awaiting world,<br />
to be devoured and regurgitated.<br />
Too well-bred to lower myself<br />
to the gutter, I feel I’m slowly<br />
being choked by embarrassment<br />
and a lump of pride too big<br />
to be swallowed.<br />
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75
Izolda Kiec about Ginczanka<br />
Aleksander Rafałowski, Portrait of Zuzanna Ginczanka, 1937<br />
(National Museum in Warsaw; free domain)<br />
„and behind<br />
me, a streak<br />
of raw poems<br />
mark my trace”,<br />
ABOUT ZUZANNA GINCZANKA<br />
She has been known as a legend of the<br />
Warsaw bohemia in the interwar period.<br />
As an exotic beauty who brought the<br />
bored capital of Poland to its knees in the<br />
mid-1930s. Men competed for just one<br />
walk in the company of this pretty young<br />
lady and women talked about her with<br />
a sneer. Jan Kott wrote many years after<br />
the war: “She had one eye so black that<br />
the iris seemed to obscure the pupil, and<br />
the other was brown with golden spots.<br />
Everyone admired her poems, in which<br />
something Persian was revealed, just like<br />
her beauty”.<br />
Over the years, she was present almost<br />
exclusively in the memories of Polish<br />
writers and poets, including the most<br />
outstanding ones: Julian Tuwim, who<br />
was considered her promoter, Witold<br />
Gombrowicz, attracted to her mysterious<br />
personality, Józef Łobodowski, who<br />
tried to attribute to himself the merits<br />
of commemorating this contemporary<br />
Shulamite.<br />
Who was she really? A nineteen-year-old<br />
who, in her debut – the only volume of her<br />
poems included this one – Otherness:<br />
Look:<br />
a purple troubadour announces a festival with piped<br />
cries –<br />
merchants distribute scarlet and ointments with<br />
heaped spoons<br />
on stilts of glass sopranos singing ladies sway and<br />
swoon –<br />
dancers jangle torsos and the jewels of their thighs –<br />
– And you bore yourself<br />
traipsing<br />
the same streets<br />
every day,<br />
and in your health is death’s malaise<br />
like a needle in the veins.<br />
Joy flows,<br />
though nowhere near,<br />
in a pink ship of stealth,<br />
down a far-off, alien river<br />
of ultramarine and clay.<br />
They’ll talk about your grief: ‘’flatfooted, sorry,<br />
stunted’’<br />
They’ll talk about your sorrow: ‘’as bland as you<br />
please’’.<br />
No verses of line fabrics,<br />
nor any odes abundant<br />
will remind them<br />
who you were<br />
far beyond the seven seas.<br />
76 <strong>POST</strong> <strong>SCRIPTUM</strong>
MY LITTLE TOWN<br />
Zuzanna Polina Gincburg was born on March<br />
9, 1917 in Kiev. Probably at the end of that year,<br />
her parents – Cecylia (nee Sandberg) and Szymon –<br />
decided to move to Równe Wołyński, where Chaja and<br />
Abram Sandberg resided. And it was them, Gincburg’s<br />
grandparents, who raised the girl when her father<br />
left for Berlin, and her mother made a new life for<br />
herself. (A few years before the outbreak of World<br />
War II, Cecylia married the Czech brewer Walter Roth,<br />
with whom she emigrated to Spain).<br />
The Sandbergs lived on the main street of the<br />
city – 3 Maja 132, in a magnificent brick house, one<br />
of the very few there. Its ground floor was occupied<br />
by a pharmacy owned by her grandmother –<br />
a shop where you could buy literally everything, from<br />
medicines to cinema tickets. Sanka – as Zuzanna was<br />
called at home – had a special task assigned by Chaja.<br />
As Kazimierz Brandys recalled: “before every Christmas,<br />
she decorated the display of her grandmother’s shop<br />
dressed like an angel. She would kneel in a white dress<br />
with wings, a silver band on her forehead, or maybe<br />
gold, and white shoes’’.<br />
Izolda Kiec about Ginczanka<br />
GRAMMARS<br />
(– and to relish words is such joy,<br />
To cherish, to sip them like wine –<br />
To hold, to lift them up, to view in a light divine).<br />
Adjectives stretch like cats<br />
Cats are meant to be cuddled, oh, so,<br />
Soft cats cosy and warm purr poetry andante,<br />
maestoso,<br />
Cats with eyes that spring forth lakes,<br />
Emerald pools deep enough to drown,<br />
Dreamily, I stare into their pupils<br />
Green and blue reflected deep down.<br />
This is the shape and the form,<br />
This content of indispensable renown,<br />
The firmness of the essence of things,<br />
Matter made manifest as a noun.<br />
And the stillness it is of the world<br />
And calm, and still and at rest,<br />
A thing that lasts, still and is,<br />
The world into flesh compressed.<br />
Here are simple tables and hard wooden benches,<br />
Here is gentle dew and summer rain that drenches,<br />
Here is a red church with its heaven-bound dart,<br />
And a veiny, pulsating, simple old human heart.<br />
It wasn’t an Orthodox Jews’ household. Chaja<br />
was – as we would say today – a modern philanthropist<br />
and activist of Jewish women’s organizations. No wonder<br />
that she carefully educated her granddaughter, who<br />
attended the French kindergarten of Madame Sauvage,<br />
took music and drawing lessons, and subscribed to<br />
Lviv and Warsaw literary magazines. Finally – Gincburg<br />
became a student at the best high school in Równe –<br />
the Polish State Junior High School named after Tadeusz<br />
Kościuszko. It must have been a real challenge for<br />
a girl raised in a home where only Russian was spoken.<br />
Zuzanna learned the Polish language herself. What’s<br />
more – as a student of the 5b class, she made her debut<br />
as a poet by publishing a poem called A holiday feast.<br />
Her poems officially announced in the school magazine<br />
concerned the reality of the school, lessons, and<br />
readings. They show an extraordinary talent and reveal<br />
a unique poetic imagination.<br />
In 1934, Zuzanna took part in the “Literary<br />
News” Young Poets Competition; it is said that at<br />
the instigation of Tuwim himself, as it was probably<br />
Sanka’s mother who had previously sent him several<br />
poems for evaluation. The debuting poet received<br />
a distinction for the poem Grammar, in which her<br />
interest in language was revealed – sensual and<br />
conscious, announcing a creator aware of her craft.<br />
No wonder that immediately after graduating from high<br />
school, Zuzanna – as Ginczanka – moved to Warsaw ...<br />
Right in the heart<br />
of the Capital’s downtown<br />
As Tuwim’s favourite, young Zuzanna would<br />
visit the first floor café of Mała Ziemiańska on<br />
Mazowiecka street, accompanied by Scamanders<br />
(a Polish group of experimental poets founded in<br />
1918 by Julian Tuwim, Antoni Słonimski, Jarosław<br />
Iwaszkiewicz, Kazimierz Wierzyński and Jan Lechoń).<br />
She published mainly in Skamander, and in 1936 she<br />
published the volume About Centaurs, which, although<br />
did not arouse much criticism, began building her<br />
legacy at Warsaw salons. The reviews that appeared in<br />
the press after the publication of Ginczanka’s collection<br />
of poems show that the author’s craftsmanship was<br />
appreciated and that the difference and individuality<br />
of this poetry was noticed. And it looks like the<br />
elements that we value and admire today in her poetry,<br />
were a problem to the critics at the time. A problem<br />
they couldn’t quite deal with. So, they patronized<br />
or discredited her.<br />
<strong>POST</strong> <strong>SCRIPTUM</strong><br />
77
Zuzanna Ginczanka, Anna Nogid (Zuzanna’s aunt), Maria Zenowicz, (wife of K.Brandys). Równe 1938 (owned by I. Kiec)<br />
Izolda Kiec about Ginczanka<br />
artists gathered around Witold Gombrowicz,<br />
meeting at the “Zodiak” cafe. This group<br />
included: Stanisław Piętak, Kazimierz Brandys,<br />
Stefan Otwinowski, Giza Ważykowa – a group<br />
of followers of the philosophy of “Mr. Witold”,<br />
accepting specific “table” forms and rules.<br />
Perhaps the reality created by this eccentric<br />
and weirdo helped Ginczanka to forget about<br />
the hunt for her for a moment, to believe that<br />
thanks to literature, thanks to artistic creation<br />
– it is possible to survive. “I remember,” Witold<br />
Gombrowicz wrote to Stanisław Piętak after the<br />
war, “that, returning home from “Zodiac”, I was<br />
explaining to Gina, that for this upcoming war,<br />
one must have poison. And she laughed”...<br />
Perhaps, thanks to her acquaintance with<br />
Tuwim, Zuzanna found herself in the circle of young<br />
artists who, at the turn of 1935 and 1936, started<br />
publishing the satirical weekly Szpilki. The editorin-chief<br />
of the magazine was Zbigniew Mitzner, the<br />
most important illustrators being: Eryk Lipiński,<br />
Andrzej Siemaszko, Jerzy Zaruba, Henryk Tomaszewski,<br />
and well known poets: Światopełk Karpiński, Janusz<br />
Minkiewicz, Stanisław Jerzy Lec, Andrzej Nowicki,<br />
Edward Szymański. And amongst this male group<br />
of satirists, the one and only woman – Ginczanka.<br />
Apart from social jokes and scuffles, there were many<br />
moral issues revealed in her poetry, insightful social<br />
observations, but also many fears. It is known from<br />
recollections that Ginczanka was hit by anti-Semitic<br />
attacks more than once – at the University of Warsaw,<br />
where she studied education, and among suspicious<br />
writers and “gentlemen journalists” employed<br />
in tabloid magazines. The anonymous editors of the<br />
Warsaw newspaper “I Know Everything” published in<br />
<strong>Feb</strong>ruary 1937, a disgusting text entitled Dear friend<br />
Gincburżanka! Don’t be… Ginczanka.<br />
Shortly before the outbreak of the war,<br />
Zuzanna probably felt best in the company of young<br />
I DIDN’T LEAVE AN<br />
HEIR HERE<br />
In June 1939, Zuzanna went on holiday<br />
to see her grandmother. She didn’t know that<br />
she’d never come back to Warsaw. At the<br />
beginning of 1940, she moved to Lviv, where<br />
she could be closer to the literary world, which<br />
she must have missed so much. In magazines<br />
published by the Association of Polish and<br />
Ukrainian Writers, she submitted her own<br />
poems and translations (including works by<br />
Lesia Ukrainka, Paweł Tyczyn, Włodzimierz<br />
Majakowski, among others). But she also made<br />
important decisions regarding her private life.<br />
She married Michał Weinzieher – lawyer by<br />
education, art critic by passion. Strange as it<br />
was, her decision to marry him allowed to save<br />
Grandma. Michał was well-known among Soviet<br />
dignitaries, and Zuzanna probably wanted to<br />
help her grandmother, who had been evacuated<br />
by the new authorities from her beautiful<br />
family home to an uncomfortable outbuilding.<br />
It worked, because right after the wedding of her<br />
granddaughter, Chaja returned to the apartment<br />
above the store.<br />
But it was not Michał Wienzieher<br />
who was Zusanna’s love at that time. Janusz<br />
Woźniakowski – a graphic designer, graduate<br />
of the Academy of Fine Arts in Krakow and<br />
activist of the communist underground –<br />
accompanied the poet in those most difficult<br />
and dramatic moments of her life. In Lviv,<br />
when, after the Nazi troops entered the city<br />
78 <strong>POST</strong> <strong>SCRIPTUM</strong>
Izolda Kiec about Ginczanka<br />
Book cover “O centaurach” Warszawa 1936) “School Echoes” – debut of Zuzanna Gincburżanka, Poetry of Ginczanka; Pub. Marginesy, Warszawa<br />
and after the creation of the ghetto, Ginczanka (now<br />
an Armenian named Marysia) was hiding in an apartment<br />
in a tenement house at 8a Jabłonowskich Street,<br />
and in Kraków, where they both died.<br />
The escape from Lviv to Krakow was forced<br />
by Zuzanna’s deteriorating situation. The former<br />
caretaker of the tenement house, where the poet<br />
lived – an anti-Semite and informant, Zofia Chominowa<br />
– reported several times to the Gestapo that a Jewish<br />
woman was hiding in her house. All Zuzanna’s friends<br />
were escaping, but she kept returning to the house<br />
closely watched by Chominowa. It was then that she<br />
wrote her last poem, referring to My Testament by Juliusz<br />
Słowacki, beginning with a phrase from Horace:<br />
Non omnis moriar – all my proud estate,<br />
Meadow table clothes, wardrobe castles strong,<br />
Swathes of table linen, homely treasures great,<br />
And dresses, light dresses – these are my swan song.<br />
Because I leave behind not a single heir,<br />
Let your curious hands through my Jew things browse,<br />
Ms Chomin of Lviv, my volksdeutscher betrayer,<br />
May they serve you well if conscience allows.<br />
And you, dear neighbours, recall my name and face<br />
As you remembered me when the Gestapo came,<br />
Minding to show them my hiding place,<br />
They noticed me then. Now, mind me again.<br />
Drink to my grave and supposed wealth:<br />
Fine drapes, candlesticks, my remains your prize:<br />
Goblets raise, friends, to your lasting health,<br />
Drink all night, drink! And when the sun does rise<br />
Start hunting for gemstones, digging for gold<br />
Through mattresses, sofas, furnishings what may<br />
The bounty you seek, the treasures you want hold<br />
As you go tearing into stuffed horsehair and hay.<br />
Feathers ripped from cushions, clouds of gutted quilts<br />
Will snow upon your hands, turn your arms to wings,<br />
Pure white down will bind my blood congealed<br />
Letting you take flight, my angels, my kings.<br />
Zuzanna and Janusz left Lviv when<br />
the information about her grandmother’s death reached<br />
them – Chaja Sandberg died of a heart attack on her way<br />
to the execution site in Zdołbunów or Sosenki. Nothing<br />
held Sanka there no longer. The most dramatic and final<br />
stage of the escape had begun.<br />
In Krakow, Zuzanna initially hid at Zyblikiewicza<br />
Street in the Güntner family’s apartment, where<br />
Wienzieher was already living under the assumed<br />
name of Danilewicz. She then moved to Wróblowice<br />
near Krakow and here at the beginning of 1944 she<br />
was informed about the arrest of Woźniakowski, which<br />
took place during an accidental round-up, or as a result<br />
of a provocation aimed at liquidating the communist<br />
underground in the capital of Małopolska. Zuzanna then<br />
returned to Kraków and found shelter with a friend,<br />
artist Elżbieta Mucharska, on Mikołajska Street. From<br />
here, in <strong>Feb</strong>ruary 1944, the Gestapo captured Ginczanka<br />
and took her to the prison at Montelupich Street, and<br />
then at Czarnieckiego Street. She told the women<br />
staying with her in the cell that she had been handed<br />
over by the caretaker with whom she had conflict;<br />
because of her dress, or maybe some other, not very<br />
important ‘Jewish thing’ …<br />
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Izolda Kiec about Ginczanka<br />
Eryk Lipiński, Caricature of Zuzanna Ginczanka (owned by Izolda Kiec).<br />
<strong>POST</strong> <strong>SCRIPTUM</strong><br />
After the war, Julian Tuwim wrote<br />
to Zbigniew Mitzner: “Every day I remember<br />
those who died, every day I sigh for them,<br />
especially for my poor friend Ginczanka ...”<br />
And Gombrowicz to Piętak: “Please, tell me<br />
when and how poor Gina died. Why are you<br />
saying that she was tortured? “<br />
Jan Śpiewak, Kazimierz Wyka and Juliusz<br />
Wiktor Gomulicki started preparations for<br />
publishing selected poems by Zuzanna<br />
Ginczanka. Julian Przyboś published her last<br />
poem in Odrodzenie – which soon became<br />
evidence in the trial of Zofia Chominowa,<br />
an “informer”, accused of handing over<br />
Jews to the German police. However,<br />
the deliberations of the Szczecin Writers<br />
Convention in 1949 were not favourable<br />
for Zuzanna. She was called “Tuwim in<br />
a skirt”, a bourgeois poet, an epigone of<br />
the Scamandrites. It was decided to forget<br />
about her. And it was only in the 1990s that<br />
Zuzanna returned to our literature and the<br />
awareness of readers. All of Ginczanka’s<br />
works were published, including manuscripts<br />
saved by Eryk Lipiński, who liquidated<br />
Zuzanna’s Warsaw apartment in September<br />
1939. The poet’s monograph was published,<br />
and numerous artistic works inspired by her<br />
biography and poetry.<br />
The last traces of Zuzanna Ginczanka are<br />
her demands for food and clothing that she signed,<br />
sent from prison to the Polish Welfare Committee<br />
of Krakow-City. The last one dated April 18, 1944. There<br />
are many indications that the poet was moved in the<br />
last transport of prisoners from Krakow to the Płaszów<br />
camp and shot there on May 5, 1944.<br />
After the publication of the first<br />
selection of Ginczanka’s poetry in 1991,<br />
Wacław Oszajca said, not completing his<br />
thought: “without poetry, the life of this<br />
young girl ...” Let me finish the sentence:<br />
without poetry, the life of this young girl<br />
would not be remembered. Zuzanna<br />
Gincburg would be one of the millions,<br />
anonymous, deprived of a name, individual<br />
features or individual history, just a victim<br />
of genocide. Did she sense the drama of her<br />
own death and the power of her poetry in<br />
the beautiful yet tragic Bird’s glow, when<br />
she wrote: “and behind me, a streak of raw<br />
poems mark my trace”? [IK]<br />
80 <strong>POST</strong> <strong>SCRIPTUM</strong>
Izolda Kiec about Ginczanka<br />
Publisher. Marginesy, Warszawa<br />
Izolda Kiec; fot. A. Wykrota<br />
GINCZANKA<br />
NO ONE WILL GUARD ME<br />
Izolda Kiec<br />
Publisher. Instytut Kultury Popularnej, Poznań<br />
SZOSZANA<br />
MEANS INNOCENT<br />
Izolda Kiec - prof. dr hab. in the field<br />
of cultural studies; literary scholar<br />
and a theatrologist; president of the<br />
Popular Culture Institute Foundation,<br />
employed at the University of Arts in<br />
Poznań(at the Department of Curating and<br />
Art Theory). The author of articles and<br />
book monographs on literature and the<br />
theatre of the 20th century and forms<br />
of popular culture, including: Editor<br />
of the works of Zuzanna Ginczanka,<br />
Roman Tadeusz Wilkanowicz and Felicja<br />
Kruszewska. In 2015, awarded by<br />
the Minister of Culture with the<br />
“Meritorious for Polish Culture” badge.<br />
In 2016 and 2020, a scholarship holder<br />
of the Minister of Culture and National<br />
Heritage in the field of literature. In<br />
2017, she received a scholarship from<br />
the Marshal of the Wielkopolska Province<br />
in the field of Culture and protection of<br />
national heritage.<br />
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MONIKA<br />
CICHOSZEWSKA<br />
www.monikacichoszewska.com<br />
Outdoor PAW Model: Kasia<br />
Black and white combined with chiaroscuro<br />
build an atmosphere of nostalgia, filled with<br />
emotions and mystery, peace or drama.<br />
82 <strong>POST</strong> <strong>SCRIPTUM</strong>
Fotografuje wielkoformatowymi aparatami. innych, w których zajęła 4 pierwsze, 3 drugie<br />
i 3 trzecie miejsca oraz 15 Honorable<br />
Fascynuje ją praca w ciemni i procesy<br />
chemiczne, a w szczególności technika Mention: Tokyo i Moscow International Foto<br />
mokrego The artist kolodionu, takes pictures którą using wybrała large-format jako cameras. Fascinated Awards, by working Fine Art in Photography, a dark room, chemical Black&White processes<br />
medium<br />
and, in particular,<br />
przekazu<br />
the<br />
artystycznego.<br />
wet collodion technique, she has chosen<br />
Spider,<br />
this<br />
Monochrome,<br />
medium of artistic<br />
Neutral<br />
transmission.<br />
Density,<br />
The<br />
Art<br />
photographic<br />
reality is one created by her, associated with the unknown, resulting from the physical and chemical process<br />
of creating the<br />
Rzeczywistość fotograficzna<br />
photograph. Currently,<br />
jest rzeczywistością<br />
She consciously kreowaną and clearly przez refers nią, to połączoną<br />
nature, showing how Ambrotypy much we are prezentowała connected it, how na much wystawach we depend<br />
Cichoszewska<br />
Limited,<br />
is working<br />
Portret<br />
on projects<br />
Prawdziwy.<br />
called Desires and Coexistence.<br />
z niewiadomą on it. Nature irrevocably wynikającą imposes z procesu on us the rhythm of passing, indywidualnych as the consequences w Galerii of seasons, Strefa life Art cycles: the<br />
fizykochcemicznego time of birth, adolescence, powstania love, maturity, zdjęcia. and death. w Żorach oraz Oko we Wrocławiu.<br />
Realizuje obecnie cykle zatytułowane: „Pragnienia”,<br />
took 4 ”Współistnienie”. first places, 3 second W and swojej 3 third twórczości<br />
places as well as między 15 Honorable innymi: Mentions: „Korzenie” Tokyo and w Moscow Centralne Interna-<br />
Oko,<br />
Brała udział w wystawach kolektywnych<br />
Monika Cichoszewska is a winner of the international photo contest DEBUTS 2017 and many others, in which she<br />
świadomie tional Photo i wyraźnie Awards, Fine nawiązuje Art Photography, do natury, Black&White Poznań, Spider, Monochrome, w Muzeum Neutral Fotografii Density, Art Limited, Real<br />
pokazując Portrait. odbiorcy jak silnie jesteśmy<br />
w Bydgoszczy, Festiwal Fotografii Tradycyjnej,<br />
Zabrze, BWA Kielce.<br />
z nią związani, jak bardzo zależymy od niej.<br />
She presented her ambrotypes at individual exhibitions in the “Art Zone Gallery” in Żory and “Eye” in Wroclaw.<br />
Natura nieodwracalnie narzuca nam rytm Jej prace zostały ostatnio wybrane<br />
The artist took part in collective exhibitions, including “Roots” in the “Centralne Oko” in Poznan, the Museum of<br />
przemijania, Photography jako in Bydgoszcz, następstw the Festival pór roku, of Traditional cykli Photography, i prezentowane Zabrze, BWA w Kielce. wystawach Her work „Light was recently Sensitive”<br />
at the Intersection Galeria Art Gallery, Intersection, Gilbert, USA, Gilbert, “Living Image”. USA,<br />
selected<br />
czasu and presented narodzin, at the dojrzewania, exhibitions “Light miłości, Sensitive” życia:<br />
dojrzałości Halide Project i śmierci. Gallery, Philadelphia, USA, 13 JMC Women „ Photographers, Living Image”. Nostrum Galeria Photo Halide Gallery, Project, Barcelona.<br />
Laureatka międzynarodowego konkursu Philadelphia USA, 13 JMC Women Photographers,<br />
Galeria Foto Nostrum, fotograficznego DEBUTS 2017 oraz wielu<br />
Barcelona.<br />
Julka<br />
I remember times when taking photos required skills<br />
and equipment (including darkroom kits). Now anyone<br />
can take a shot, even with the phone, there are<br />
more opportunities for example, with digital editing.<br />
Is photography finished as an art form, or is the<br />
opposite?<br />
Are we really still questioning if photography is art?<br />
My favourite artist and photographer Zdzislaw Beksiński<br />
once wrote in a letter to a friend, another photographer<br />
Jerzy Lewczynski: “photography, as such, cannot be art,<br />
and this lies in its very essence. The whole attempt of<br />
taking an artistic photo is a contradiction and it’s the<br />
biggest nonsense you can imagine. Remember what<br />
I’m going to tell you Jurek because today I’m under<br />
influence of alcohol and in a seer mood. Photography<br />
is not art! Puffery! Shit! Sham! Bye!” You could agree<br />
with this, but sometimes I subjectively feel that some<br />
photos can qualify for the title of art if they engage,<br />
evoke emotions, provided that they do not reflect<br />
reality. Perhaps, thanks to computer manipulation,<br />
photography is now even closer to art. Everyone should<br />
find the answer to this question within themselves.<br />
Dedicated to the forest; Model: Agnieszka Surdej; outdoor PAW<br />
What camera and what lenses do you shoot with?<br />
I use XIX century technique and take pictures using glass<br />
plates. I have an old Kodak View Camera large format<br />
cameras 6 1/2” x 8 1/2” (about 16.5 cm x 21.5 cm) and<br />
originating from the GDR: Mentor Panorama 18cmx<br />
24cm, Głobica 18cmx 24cm lenses 250, 300, 360 Tessar<br />
and Graflex camera 4 x 5 “ Aero Ektar lens, 210 Tessar.<br />
I used to take black-and-white photos because in<br />
the past the colour was difficult to achieve (different<br />
magnifiers, different photographic film, different photo<br />
chemicals). And now, when technology allows you to<br />
show colours without any restrictions, photographers<br />
are running away from colour. How did you develop<br />
your passion for black-and-white photography?<br />
Let me explain that ambrotype imposes<br />
monochromatism because the image on the glass forms<br />
a metallic silver, and unexposed parts of a picture are<br />
transparent, meaning they become black. Despite the<br />
fact that these are quite contrasting photos, they are<br />
<strong>POST</strong> <strong>SCRIPTUM</strong><br />
83
very beautiful and glowing when you look at them.<br />
This happens due to the shimmering silver and<br />
three-dimensionality created by the base material<br />
of glass. It is the appearance of the original and its<br />
reality that attracts me in this technique.<br />
Black and white combined with chiaroscuro,<br />
in my opinion, most successfully create the<br />
atmosphere of nostalgia, imbued with emotions<br />
and mystery, calmness or drama. Black-and-white<br />
photography does not correctly convey the reality<br />
that we perceive with our eyes in colour, thereby<br />
manipulating it, often introducing an element of<br />
visual uncertainty that can puzzle the recipient<br />
and encourage them to stay with it longer.<br />
You have taken many beautiful, sensual, painfully<br />
real, almost stripped photos. For me, nudity is<br />
beautiful, pure, and natural. A naked woman<br />
is the quintessence of beauty, the embodiment<br />
of the beauty of nature. What do you think? How do<br />
you use this (sorry for the term) ‘’tool’’ – the naked<br />
body of a model?<br />
Beautifully said: “the embodiment of the beauty of<br />
nature.” That is exactly what nudity is. My female<br />
nudes lack the erotic elements. Nudity does not absorb<br />
all the viewer’s attention. It is only a way to show<br />
expressions, a way to show relationships, emotions, and<br />
our coexistence with nature. I want these images to be<br />
poetic, so that they penetrate deeper into our inner<br />
world, so that the recipients can find in them a part<br />
of themselves, especially that meditative part.<br />
Sometimes I watch shows about famous<br />
photographers. And it always surprises me that<br />
the photo scene is usually put together beforehand,<br />
a model is arranged against a pre-prepared<br />
background. All the photographer needs to do is to<br />
press the button. I admit that this amuses me.<br />
David predator - Model: David Hemke, Make-up: Ewelina Łośko<br />
84<br />
84 <strong>POST</strong> <strong>SCRIPTUM</strong>
Feelings,<br />
Outdoor @plener_lody<br />
Models @anna_urbanska201anson @aadaa_l<br />
an emanation<br />
of the wonders of nature<br />
@Outdoor_lodyModel: Yulia<br />
<strong>POST</strong> <strong>SCRIPTUM</strong> 85<br />
85
The picture is born in ahead. It needs to be created,<br />
felt, and composed. A child from kindergarten can<br />
click the button. How are your photos created?<br />
Do you see them before they come into being?<br />
I agree. It doesn’t discredit digital photography, but<br />
for me, processing a large number of photos, making<br />
countless decisions in the post-production stage, is an<br />
endless struggle with oneself. Traditional photography<br />
forces a different approach, forces thoughtful shots at<br />
the stage of creating a photo and limits the number<br />
of photos taken. To explain my approach to working<br />
on a photo closer, I put that in stages:<br />
The first stage is the search for aesthetic experiences,<br />
inspirational motifs previously imagined or already<br />
existing somewhere. Most often it is a forest, river,<br />
meadow, trees, branches or an industrial constituent,<br />
a search for a background to take a photo of a person.<br />
The second stage is looking through the camera’s<br />
matte matrix (the matte matrix is frosted glass: 16 x21,<br />
5 cm or, for example, 18x24cm. The opaque coating<br />
allows you to view the image. To set the focus we<br />
often use magnifying glasses with x10 magnification<br />
search for composition, selecting elements and their<br />
proportions, and placing the subject among them.<br />
You need to assess the need for perspective correction<br />
(required in architecture photography) or purposefully<br />
changing perspective and focus if this is the desired<br />
result. Using a wide-format camera is very interesting<br />
since the picture of reality captured on the focusing<br />
screen is “upside-down” and it’s a mirror image of<br />
the world and it’s incredibly beautiful. This image for<br />
me is subjectively final. To capture it, I record it on<br />
a light-sensitive material, collodion plate, as due to<br />
its specificity, brings me closest to the original image<br />
viewed on the focusing screen.<br />
The next stage is the preparation of light-sensitive<br />
material in a manual chemical process (it takes place<br />
in a portable photo lab, most often it is a special tent).<br />
Accompanied by the smell of ether, I pour iodized<br />
Helium over the transparent glass followed by a bath<br />
of silver nitrate. After 3-4 minutes, the emulsion<br />
becomes light-sensitive, and you can put the plate<br />
in the cartridge.<br />
The last stage involves exposing the image: waiting<br />
or the right moment, the soft light falling at the set<br />
and the model (often it all changes mischievously,<br />
when I arrive with the sensitized plate at the set)<br />
correcting the position of the person’s body, their gaze<br />
and getting the focus right before manually opening<br />
and closing the lens, measuring passing seconds out<br />
loud.<br />
The next magical stage of the image preserving<br />
process pojawiam can się also z uczuloną involve the kasetą person na observing planie), skorygowaniu<br />
the<br />
slow<br />
ułożenia<br />
disclosure<br />
ciała fotografowanej<br />
of her image in<br />
osoby<br />
the photo.<br />
i jej spojrzenia<br />
This is<br />
oraz<br />
emotional. It takes from 30 minutes to 1 hour to<br />
produce<br />
ustawieniu<br />
a single<br />
ostrości,<br />
image.<br />
a następnie<br />
Each time,<br />
na<br />
the<br />
manualnym<br />
end result<br />
otwarciu<br />
is<br />
burdened i zamknięciu by some obiektywu, degree mierząc of the unknown. sekundy na When głos.<br />
it Emulsja is disappointing, kolodionowa you jest need bardzo to repeat mało the światłoczuła, shot. The<br />
resulting co w efekcie effect powoduje is influenced długi by czas both naświetlania the work of - the od<br />
photographer, kliku do kilkunastu the model, sekund. the Najdłuższy weather conditions, czas, w jakim<br />
and chemical processes that occur during the<br />
wykonałam zdjęcie z modelem, to 5 min 30 sek. Od<br />
whole process. In that way, the implementation<br />
of momentu the project włożenia acquires płyty a subjectively do kasety nieubłaganie multiplied biegnie<br />
artistic czas, który value oddala as well możliwość as personal wywołania and emotional obrazu utajonego.<br />
W zależności since od each temperatury photo is otoczenia, a one-off, jest to od 10<br />
consequences,<br />
impossible min do maksymalnie to repeat. This 20-30 is what min. attracted me to<br />
this<br />
W kolejnym<br />
technique<br />
magicznym<br />
as well as the<br />
procesie<br />
fact that<br />
utrwalenia<br />
it is an instant<br />
może<br />
process.<br />
uczestniczyć również fotografowana osoba, obserwując<br />
I powolne have this ujawnianie idea in my się head: jej wizerunku a project named:<br />
zdjęciu,<br />
“Poland a towarzyszą in one temu picture”. emocje. To show Na wykonanie Polishness jednego<br />
in zdjęcia just one należy frame. poświęcić Would od it be 30 a min religious do 1 godziny.<br />
procession?<br />
Rezultat końcowy,<br />
Session<br />
za<br />
in<br />
każdym<br />
the parliament?<br />
razem obarczony<br />
Maybe<br />
jest<br />
a<br />
demonstration? The picture is not clear yet. What<br />
would<br />
pewną<br />
you<br />
dozą<br />
see<br />
niewiadomej.<br />
in a photo like<br />
Kiedy<br />
that?<br />
jest on niezadawalający,<br />
trzeba powtórzyć zdjęcie. Na uzyskany efekt składają się<br />
I bowiem don’t think zarówno I could działania show such fotografa, an extremely fotografowanej diverse<br />
society osoby, in warunki the 1st termiczne, photo. It’s jak an interesting i procesy chemiczne question<br />
– it would be a challenge, but rather for a carefully<br />
zachodzące w jego trakcie. Realizacja projektu zyskuje<br />
thought through series. There are too many black<br />
and w ten white sposób aspects subiektywnie to clearly define zwielokrotnioną who we are. wartość<br />
artystyczną oraz implikacje osobiste i emocjonalne, gdyż<br />
każde zdjęcie jest jednostkowe, niemożliwe do powtórzenia.<br />
To właśnie ujęło mnie przy wyborze tej techniki oraz<br />
to, że jest to proces natychmiastowy.<br />
Kiedyś myślałem o takim projekcie: “Polska w jednym<br />
zdjęciu”. Pokazać polskość w jednym kadrze. Czy byłaby<br />
to religijna procesja? Obrady w Sejmie? A może jakaś<br />
demonstracja? Jeszcze się ze sobą wewnętrznie nie<br />
pogodziłem. Co Ty widziałabyś na takim zdjęciu?<br />
Chyba nie umiałabym w 1 zdjęciu pokazać tak zróżnicowanego<br />
skrajnie społeczeństwa.<br />
Ciekawe pytanie-wyzwanie, ale raczej na przemyślaną<br />
serię. Jest zbyt wiele aspektów, czarno-białych, by jednoznacznie<br />
określić jacy jesteśmy.<br />
The collodion emulsion is very little light-sensitive,<br />
which leads to a long irradiation time from a few<br />
to a dozen seconds. The longest time it took me to<br />
take a photo with a model is 5 min 30 sec. Time runs<br />
inexorably from the moment the plate is inserted into<br />
the cassette, which delays the possibility of conjuring<br />
the hidden image. Depending on the temperature, it<br />
takes from 10 minutes to a maximum 20-30 minutes.<br />
86 <strong>POST</strong> <strong>SCRIPTUM</strong><br />
Faint breath of the wind, Model Yulia, Chorwackie plenery
What does Monika Cichoszewska like to do when she’s<br />
not holding a camera?<br />
My absolute dream come true was when I was flying<br />
as a licensed glider pilot. For example, in the Croatian<br />
thermal streams at an altitude of 950 m above sea level.<br />
I still really miss the space and adrenaline. I have also<br />
passed a diving PADI exam. I have dived in extremely<br />
difficult conditions in Poland, but also in the magnificent<br />
coral Ko Tao and in Israel with dolphins – a magical<br />
experience! Diving, however, for me is about overcoming<br />
my own phobias. Currently, I devote myself entirely to<br />
photography, my development in this field, attending<br />
gatherings, meeting people like me with a photographic<br />
passion. I love jazz. I love to travel, and I organize it<br />
myself. Most of all I am attracted to Japan – been there<br />
4 times, but the place still excites me. [JP]<br />
THE AMBROTYPE (FROM ANCIENT GREEK: ἈΜΒΡΟΤΌΣ<br />
— “IMMORTAL”, AND ΤΎΠΟΣ — “IMPRESSION”) ALSO<br />
KNOWN AS COLLODION POSITIVE IN THE UK, IS A<br />
POSITIVE PHOTOGRAPH ON GLASS, MADE BY A VARI-<br />
ANT OF THE WET PLATE COLLODION PROCESS. LIKE A<br />
PRINT ON PAPER, IT IS VIEWED BY REFLECTED LIGHT.<br />
Emotional self-portrait<br />
Model @madlenn.model@plener_lodyModel @madlenn.model<br />
Kamila<br />
Models: Dawid Hemke i makijaż Ewelina Łośko @QueenAkashaMua, Agnieszka Surdej, @loreleyyulia, @ aadaa_l, @ madlenn.model, Plenery: @plenerywchorwacji, @plener_lody, @analogowywroclaw<br />
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87
POETRY<br />
Recommended<br />
photo: Marek Truszkowski<br />
Agnieszka Herman<br />
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Agnieszka Herman - Polish poetess, journalist, graphic<br />
designer. She published Wybuchło słońce (The Sun<br />
Exploded, Warsaw 1990), Zapisane światłem (Written by<br />
the light, Warsaw 1995) Jesienią najtrudniej iść środkiem<br />
dnia (The hardest thing is walking in the middle of the<br />
autumn day , Warsaw 2015), Punkt styczności (The crosscut<br />
point - poems collected in Bulgarian, 2018). Her poems<br />
have been published in many anthologies and magazines<br />
in Poland, Bułgaria, India, Turkey, Japan, Kingdom of<br />
Great Britain, Ukraine and USA. She participated in many<br />
polish and international literature festivals. Finalist of<br />
2020 Orpheus Poetry Award K.I. Gałczyński for her Late<br />
Styles book Tło (Background, Warsaw 2019). She won<br />
the readers’ and participants’ vote at the awards gala<br />
[Poetry Award K.I. Gałczyński 2020]. She cooperates with<br />
large publishing houses in Poland where she designs book<br />
covers. She is the author of cover designs, some of them<br />
international bestsellers. She is a member of the Polish<br />
Haiku Association.
Quarantine<br />
let the window and snow be the background.<br />
a poet stands against the barrel of the lens<br />
without a pose usually ready for such occasions.<br />
a suit button dangles on the last thread.<br />
we wait for a ray of sunshine.<br />
for contrast. for a glance,<br />
which will lead us somewhere.<br />
and then darkness appears.<br />
the poet rests his head on it.<br />
he closes his eyes. he is at home.<br />
In a black and white photograph<br />
you can breathe like before.<br />
Rivers flow, we used to jump into them.<br />
In the bend. It’s deeper there.<br />
Under a mountain covered in spruces.<br />
Where we were basking on the rocks,<br />
where we were building dams,<br />
where we were pulling out troutes with our hands,<br />
where we were skipping stones,<br />
where we were looking for glistening small fish,<br />
where we were singing and waiting.<br />
I miss you my river. I miss you bright day.<br />
translated by Anna Maria Mickiewicz<br />
translated by Kaja Herman<br />
“LATER”<br />
I am looking for a suitcase on the internet for “LATER”.<br />
Red one as courage that allows you to hit the road.<br />
I will start in the restaurant Honorata with father Tomasz.<br />
We will order a duck with beetroot and baked apple.<br />
I had my wedding there. It’s June. The shortest night of the year.<br />
A crowd of guests. Pheromones or perfume.<br />
Buzzing in the head. Lots of flowers.<br />
We leave some of them at the monument<br />
of the “Little Insurrectionist”.<br />
Helmet too big for a boy’s head. I will not give my child to war.<br />
I take a bath with freesias, roses, sunflowers.<br />
They are in the bedroom. On the balcony. On my dress.<br />
Our life smelled like a florist for a long time.<br />
Right “LATER” we will be ready.<br />
I will have a red suitcase.<br />
And the priest a wreath of flowers on the head.<br />
translated by Kaja Herman<br />
let a dream be the background<br />
I have a hat with a thousand butterflies.<br />
they are swarming overhead.<br />
they flutter with velvet wings.<br />
I smile at the reflection<br />
in the exhibition windows.<br />
people are passing by<br />
crossing to the other side<br />
because butterflies are black<br />
like death.<br />
translated by Anna Maria Mickiewicz<br />
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89
POETRY<br />
IRINA<br />
KOVALYOVA<br />
RC<br />
Union of Translators of Russia,<br />
as well as the founder and the<br />
president of the international art<br />
festivals “Lanterna di Genova”<br />
in Italy and “Steppe Lira” in<br />
her homeland – in the stanitsa<br />
Novopokrovskaya. She is also<br />
the Goodwill ambassador from<br />
the city Camagna Monferrato<br />
(Piemonte, Italy).<br />
THAT’S WHY<br />
I know that’ll never die.<br />
Have nothing for death to pay.<br />
But like a star in the sky<br />
I’ll go another way.<br />
IRINA KOVALYOVA<br />
A modern Russian<br />
poet, translator, journalist. She<br />
was born in March 21, 1964<br />
in Southern of Russia – in the<br />
stanitsa (Cossack settlement)<br />
Novopokrovskaya, Krasnodar<br />
Region, in a family of doctors.<br />
She graduated from an <strong>English</strong><br />
special school in Moscow,<br />
Pirogov`s Russian State<br />
Medical University with a<br />
degree in children’s neurology<br />
and the Literary university<br />
named after Maxim Gorky.<br />
Irina is a member of<br />
the Union of Russian Writers,<br />
the head of the literary<br />
translation section of the<br />
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The winner of numerous<br />
national and international<br />
awards, including the Grand<br />
Prize of the International Literary<br />
Foundation named after Milan<br />
Füsht of the Hungarian Academy<br />
of Sciences and the International<br />
Russian Prize founded in Czech.<br />
The author of 10 books<br />
of poems: “The Fourth Troy”,<br />
“Caesarean section”, “Order<br />
of Hospitallers”, “Terra Italica”,<br />
“Country of dragonflies”,<br />
“Memory card”, “Ligurian Gulf”,<br />
“I’ll draw a large and ripe wave<br />
today”, “Gardens behind the<br />
heart”. Her poems are translated<br />
into <strong>English</strong>, Italian, Chinese,<br />
Hungarian, Slovak, Macedonian,<br />
Belorussian, Uzbek.<br />
Irina Kovalyova , s poetry<br />
belongs to a modern literary<br />
movement called “The realism of<br />
light”.<br />
Don’t ask me – it’s not OK! –<br />
To close my eyes and trust.<br />
This year, this month, this day,<br />
This minute could be my last.<br />
And so, my friend, that’s why<br />
To do all my best I try<br />
In order to see as much<br />
As possible and to touch,<br />
To hear, to learn, to feel,<br />
Don’t stay like the water still,<br />
To travel, to fly, to smell<br />
And all that remember tell.<br />
Don’t force after you to repeat.<br />
You’ll never succeed with it!
THE GRASSHOPPER<br />
Small insects shoot into the air,<br />
Leave minute bubbles on the water<br />
And dizzy with desire, they pair,<br />
An insect couple, a son, a daughter.<br />
I’ve sung the whole long lovely summer –<br />
And forty of them, not just one! –<br />
Like an enchanted, dazed newcomer,<br />
Like a grasshopper in the sun.<br />
I’ve danced myself, in little wings<br />
Made out of glitter-covered gauze.<br />
We seniors danced in, of all things,<br />
The morning show – to wild applause!<br />
My family came to nursery-school<br />
To watch our childish insect plays.<br />
I hated that industrious fool,<br />
That ant, with all his selfish ways.<br />
I still do, may God punish me.<br />
I know. My reason’s weak at times.<br />
I love the thing that’s given, that’s free,<br />
A ray of sunlight or these rhymes.<br />
The joy, when Saturday comes round –<br />
While Monday morning is sheer hell.<br />
To work oneself into the ground<br />
Is something fools can do quite well,<br />
To force one’s way past mindless friction<br />
Until there’s only bed – forget<br />
That inspiration, poems, fiction,<br />
Elude the zealot’s fishing net.<br />
I love all simple, effortless things;<br />
The industrious poet lacks romance.<br />
Small wonder that God granted wings<br />
To grasshoppers and not to ants.<br />
THE DACHA<br />
We buy the tickets for both of us.<br />
The chance of a fast train is slim.<br />
Most poets gallop on Pegasus,<br />
But you and I live under him.<br />
Not laden like pack-mules, we fly,<br />
We spread our wings, survey the scene.<br />
Look north – there’s Moscow, look south –<br />
why,<br />
There’s Tula – where I’ve never been,<br />
Although I eat its sweet spice-cake –<br />
All seven patterns, a special brand.<br />
My nephew always loves to bake<br />
Sand-pies on scattered river sand.<br />
It’s mixed with clay from the Oka,<br />
Washed almost white.<br />
Young Vova roams<br />
The river-bank; his sand-pies are<br />
Like Easter-cakes with little domes.<br />
Our dacha’s amber, the roof is green.<br />
It’s not as spacious or as tall<br />
As other dachas you’ll have seen,<br />
But it’s the loveliest of them all.<br />
Here everything’s sealed in a glow<br />
Of resin, window-frames to eaves,<br />
And only Pegasus can know<br />
What poems we have up our sleeves.<br />
translated by Mary Hobson<br />
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-<br />
INTERVIEW<br />
SEBASTIAN MOŃ<br />
92<br />
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AS AN ARTIST, I CONSTANTLY<br />
LOOK FOR MY OWN FORM<br />
OF EXPRESSING EMOTIONS.<br />
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93
MELANCHOLIC<br />
INDUSTRIALISM<br />
It is impossible not to compare your paintings with the<br />
art of the Polish master Zdzislaw Beksinski and H. R<br />
Giger. What do you think and how do you feel about it?<br />
Such comparisons, especially in the style I represent, are<br />
very difficult to avoid. I don’t feel particularly bad about<br />
it, although the fact is, the vast majority of people are<br />
looking for the influence of Beksinki and they are literally<br />
everywhere. To be honest, it really doesn’t matter to me.<br />
I don’t feel any pressure, because as an artist, I constantly<br />
look for my own form of expressing emotions.<br />
I’ve read that you have no formal art education, that<br />
you are self-taught. I, as an all-round self-taught person,<br />
admire your hard work and your desire for self-improvement.<br />
What was your artistic path? Did you start<br />
by copying the masters? And if so, who?<br />
My creative path began in my youth, when I drew with<br />
what I could, on what I could. Later, I expressed my passion<br />
for creativity with pencils and and watercolours. In<br />
fact, I spread my wings when I discovered acrylic paints.<br />
This gave me new opportunities and the energy to create.<br />
I’ve stuck with them to this day, and this is my favourite<br />
medium. There were, of course, attempts to imitate<br />
94 <strong>POST</strong> <strong>SCRIPTUM</strong><br />
other artists, but I saw it more as a kind of exercise and<br />
test of my abilities. The leitmotif on which I based my<br />
art in my youth was a broadly understood fantasy, which<br />
I quickly completely abandoned in favour of surrealism,<br />
and more recently “ melancholic industrialism”, as I like<br />
to define my work.<br />
How long does it take you to complete one painting?<br />
It depends on how many things are interrupting me<br />
whilst I am working. I am a person who is completely<br />
absorbed in all kinds of activities. In addition to drawing,<br />
I also love sports, especially mountain long-distance<br />
running, obstacle recess and kettlebells workout (s).<br />
Training takes a lot of my time and I try to reconcile<br />
these two passions, although I admit that this is not an<br />
easy task. Generally speaking, one painting takes about<br />
a month.<br />
Do you believe in afflatus?<br />
I believe in hard work, persistence and an endless<br />
passion for creation. I don’t wait for an inspiration and<br />
I don’t really think about it. I draw because I breathe it.<br />
The whole world depicted in my paintings is with me
<strong>POST</strong> <strong>SCRIPTUM</strong><br />
95<br />
95
96<br />
96 <strong>POST</strong> <strong>SCRIPTUM</strong>
I HAVE ALWAYS BEEN INTERESTED<br />
IN UNUSUAL, DARK SUBJECTS,<br />
ON THE VERGE OF MADNESS.<br />
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<strong>POST</strong> <strong>SCRIPTUM</strong><br />
97
98<br />
98 <strong>POST</strong> <strong>SCRIPTUM</strong>
MY CREATIVE PATH BEGAN IN MY<br />
YOUTH, WHEN I DREW WITH WHAT<br />
I COULD, ON WHAT I COULD.<br />
twenty-four hours a day. Maybe this is a constant inspiration?<br />
I don’t know if I can answer this question unequivocally.<br />
How many pictures have you drawn so far? Do you<br />
keep any records?<br />
I have no foggiest idea; I don’t do numbers.<br />
What is art for you?<br />
An escape from everyday life. It is my own world, where<br />
I like to immerse myself, move around and absorb every<br />
part of it.<br />
What inspires you?<br />
Everything that surrounds me.<br />
Zdzislaw Beksinski worked at his home, in the twilight,<br />
using artificial light. How are your paintings created?<br />
What is your favourite place to create?<br />
I create at home to the accompaniment of my favourite<br />
music.<br />
What is The Sacrament of Awakenings?<br />
This is the title of a book I wrote some time ago. The<br />
Sacrament of Awakenings is a horror novel in the atmosphere<br />
of the Walking Dead, Resident Evil with a trace of<br />
Silent Hill. This project took a lot of energy.<br />
The text, cover design and illustrations are all my own<br />
creation. There is a second part in my drawer waiting to<br />
be finished. Perhaps one day I will strive to have them<br />
published.<br />
You belong to the Facebook group called The Dark<br />
Side of Art, you listen to Behemoth, you are a fan of<br />
The Walking Dead, you write about zombies, why such<br />
interests?<br />
I have always been interested in unusual, dark subjects,<br />
on the verge of madness. I’ve been involved with black<br />
metal and similar types of music since I was very young.<br />
Behemoth is one of my favourite bands to this day. The<br />
post-apocalypse topic has always stimulated my imagination<br />
and is very close to my heart. I literally absorb<br />
all kinds of creativity related to the zombie theme. This<br />
fascination probably started within the first minutes of<br />
playing such games as Resident Evil or S. T. A. L. K. E. R.<br />
(this is not exactly post-apocalyptic, but the vibe is cool).<br />
I’ve been a fan of anything to do with electronic entertainment<br />
for more than twenty years, and in my free<br />
time, apart from sports or painting, I like to get under the<br />
skin of virtual reality game characters.<br />
What do you do professionally?<br />
I am a P.E. teacher, and I also have many other coaching<br />
credentials. I’ve been involved with sports for as long as<br />
I can remember. I started out like most guys, playing all<br />
day on the football field and running around the yard.<br />
This was followed by taking part in track and field events:<br />
sprint races, relay races or long jump events. Now I’m<br />
mostly involved with long-distance running, which I mentioned<br />
already.<br />
Your work is characterized by the high quality and the<br />
amount of small details (in my opinion), are you a patient<br />
person in other areas of life?<br />
In sports, yes. In other areas, I often have less patience.<br />
Where can someone view/ buy your paintings?<br />
I do not like to part with my works, but of course, they<br />
are for sale. I can be contacted through social media.<br />
I also have a Facebook page dedicated to my painting.<br />
Recently, Instagram users can also dig into my art. In<br />
addition to virtual spaces, I occasionally exhibit my work<br />
in art galleries.<br />
Finally – what’s your advice for young artists?<br />
Do what you believe in.<br />
Thank you. [RC]<br />
RENATA CYGAN<br />
<strong>POST</strong> <strong>SCRIPTUM</strong> 99 99
JULIUSZ ERAZM BOLEK<br />
GOLD VEIN<br />
gold vein of the city<br />
lights at evening<br />
rips from night’s skin<br />
blinds, engrosses<br />
All see, desire<br />
the gold vein<br />
none can buy it<br />
or even touch<br />
you never know<br />
where its light leads<br />
even the cat can’t know<br />
who walks the roofs<br />
grains of gold sand<br />
run down the streets<br />
rushing to steal the new born day<br />
and when the sun’s eye lifts its lid<br />
the gold vein disappears<br />
none know this magic<br />
none saw the witch<br />
graphic: RC<br />
***<br />
even windmills fall from the sky<br />
and sink in your eyes<br />
you stepped from a Modigliani<br />
which I never<br />
managed to paint<br />
paradise apples fall from trees<br />
escape to paradise<br />
and I look out between them<br />
for your traces<br />
to find out<br />
where you came from<br />
and where I’ll disappear<br />
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DEVIL<br />
have you ever felt the devil<br />
like a storm wave<br />
swim right to the threshold<br />
as you and a girl make love<br />
and with the voice of a choked stream<br />
demand help<br />
perhaps to cut<br />
your dream life short<br />
when tulips flower<br />
so very sad<br />
bereft of time<br />
that he might share<br />
something heroic<br />
at the games others invent<br />
in stories of unfinished fights<br />
and fictional as many things<br />
possessing eyes<br />
lighting fires<br />
hands that can shake the world<br />
and thoughts to wring out<br />
violence from every man<br />
but worst<br />
to feel the devil as you stroll<br />
with promenades<br />
amongst fresh fruit stalls<br />
still sitting<br />
strangely quiet<br />
without even a<br />
bottle of beer<br />
just sitting<br />
watching you<br />
and waiting<br />
BEAR PAWS<br />
bear paws are massive<br />
he can sweep the world with them<br />
bear paws<br />
are impractical and un-useful<br />
when he destroys that which he wants<br />
kiss these paws<br />
suck each finger<br />
when desire<br />
crumbles on your lips<br />
you will not return to sense<br />
desire regardless of the cost<br />
to find yourself<br />
amid a world swept by<br />
this beast of fur<br />
the plush lookalike<br />
you’ve loved since childhood<br />
SQUARING THE CIRCLE<br />
a square<br />
is perfect equality<br />
of a four-sided world<br />
a triangle<br />
is a poor square<br />
a circle<br />
is a perfect square<br />
a sphere<br />
is absolute<br />
but only<br />
squaring the circle<br />
is invincible<br />
graphic: RC<br />
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101
POETRY FESTIVAL<br />
IN INDIA<br />
102<br />
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GUNTUR – HYDERABAD 2019<br />
The festival organizers: Nagasuseela Panchumarthi<br />
and Gopichand Paruchuri.<br />
Foreign Delegates<br />
103<br />
<strong>POST</strong> <strong>SCRIPTUM</strong> 103
All For Peace, Peace For All<br />
Guntur is not the largest (about 750 thousand<br />
inhabitants), but one of the most densely<br />
populated cities in the world, located in the<br />
central-eastern part of India, only 40 km from the Bay<br />
of Bengal, almost 1,800 km by rail from New Delhi,<br />
a journey which takes at least 33 hours (I have not<br />
tried).<br />
Here in Guntur the International Poetry Festival<br />
is organized (last September for the 13th time),<br />
traditionally in the buildings of JKC College, which<br />
for the occasion is always decorated with fresh<br />
flowers, petals and twigs. Outside there are tuk-tuks,<br />
scooters, and cars speeding in various directions,<br />
seemingly without any order or plan. Noise and chaos.<br />
And inside, behind the door – several hundred people<br />
enjoying poetry. Unreal...<br />
The latest festival, for obvious reasons, took place<br />
online, but I want to bring back memories about<br />
the 12th edition of the festival, which happened<br />
in September 2019, as it is worth to mention.<br />
Our polish group was invited To India by Dr.<br />
Lanka Siva Rama Prasad – an extraordinary man:<br />
an Indian poet, translator, publisher, editor,<br />
philanthropist and a respected doctor of cardiac<br />
surgery. This was a group of Polish poets: Alicja<br />
Kuberska (Inowrocław), Agnieszka Jarzębowska<br />
(Sieradz), Izabela Zubko with her husband Rafał<br />
and daughter Agnieszka (Warsaw), Ryszard Grajek<br />
(Czechowice-Dziedzice), Anna Czachorowska (Warsaw),<br />
Bożena Helena Nowak-Mazur (UK) and Renata Cygan<br />
(UK).<br />
I met Prasad in Poland, during the Slavic Poetry<br />
Festival in Czechowice-Dziedzice in 2018, where I had<br />
the role to be his personal translator (from the <strong>English</strong><br />
language of course). Prasad is an open man, very easy<br />
going, kind, and full of good, positive energy, so he<br />
quickly made friends with Polish poets. And during<br />
one nice evening (full of poetry, food, and liquors of<br />
all kinds) he decided to invite us to India. If anyone<br />
took this announcement seriously, it certainly wasn’t<br />
me. But Prasad had kept his promise. In September<br />
2019, very excited, we found ourselves (with the group<br />
mentioned above) at a poetry festival in the heart<br />
of Asia.<br />
Poetry festivals; what are they for? – someone<br />
would ask. For poets who for a moment want to feel<br />
appreciated? For organizers or city authorities who<br />
want to fulfill some missions, or just settle their political<br />
104<br />
1 0 4 <strong>POST</strong> <strong>SCRIPTUM</strong><br />
responsibilities? Or maybe (warmer, warmer) – for<br />
ordinary people – lovers of words, random listeners,<br />
and most of all, for students – young people for<br />
whom meeting with live poets and their work is<br />
contact with another, maybe a bit strange and<br />
surprising, world? I assure you – at each such meeting<br />
there is at least one young mind that will “click” and<br />
listen with understanding and appreciation. And even<br />
for this only one soul, it is worth visiting these poetic<br />
festival places and sharing our poetry. In India, there<br />
were many such interesting young souls. You can see<br />
in them some unusual eagerness for knowledge, for<br />
learning, some hunger for exploring new paths.<br />
This is what struck me most at the festival in Guntur:<br />
selfless involvement of the students, willingness<br />
to help – incognito, without complaint, with<br />
a smile on the face, and great respect for the guest.<br />
For us – accustomed to western directness – it was<br />
even slightly embarrassing at times. Indian people<br />
are: polite, well behaved, they have respect for<br />
visitors, they are extremely hospitable and proud of<br />
their traditions. In such an atmosphere of mutual<br />
respect and curiosity, our group of Polish poets,<br />
for the first time in history, took part in the 12th<br />
International Poetry Festival – Guntur 2019, under the<br />
slogan: All For Peace, Peace For All.<br />
The hosts of the festivals in Guntur are two<br />
lecturers at JKC College – Nagasuseela Panchumarthi<br />
and Gopichand Paruchuri. With their hard work –<br />
their own and the young volunteers’ – they have<br />
achieved real success. During the 12 years of these<br />
events, several thousand (I am not exaggerating,<br />
I have checked this) poets, writers, publishers, artists,<br />
literature professors, and all sorts of enthusiasts<br />
of the written word passed through college<br />
buildings. Among them – our Polish representation.<br />
Numerically modest, but undoubtedly treated<br />
like VIPs. The organizers provided us with an<br />
accommodation, food, transport and tourist<br />
attractions.<br />
For the occasion of the festival, an Anthology<br />
The Vase was published, containing poems from<br />
around the world (in <strong>English</strong>), including ours.<br />
Someone will ask about the spoken language<br />
(quite important in case of poetry). Well, in this<br />
part of India, the native language is Telugu (spoken<br />
by over 80 million people!). Of course, there is also<br />
the national language – Hindi. But the festival was<br />
conducted in <strong>English</strong>, which they learn from early
Foreign Delegates - a bilboard on the College’s wall<br />
Guntur streets<br />
The Polish group in Salar Jung Museum<br />
Nagasuseela Panchumarthi, Renata Cygan and Gopichand Paruchuri<br />
B. Narsing Rao, Renata Cygan, the director<br />
of Salar Jung Museum and Dr. Lanka Siva<br />
Rama Prasad<br />
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Alicja Kuberska, Renata Cygan, Izabela Zubko i Bozena Helena Mazur-Nowak in Ramoji Film City<br />
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Ramoji Film City<br />
Dr. Lanka Siva Rama Prasad and B. Narsing Rao
childhood. Dr. Prasad made a very nice gesture for us,<br />
as at his own expense, he translated (from <strong>English</strong> to<br />
Telugu) and published our poetry books for the needs<br />
of the festival.<br />
The event was organized with great attention<br />
to detail, full of diverse flavours. After long speeches<br />
– there was time for traditional dance performed<br />
by young girls, after reciting poems – handing out<br />
prizes, certificates, honouring with traditional props:<br />
colourful scarves, turbans, statuettes, etc. After the<br />
awards – lighting candles and arranging them in a<br />
circle of fresh petals. Lots of magical moments and<br />
good, positive energy. It should be mentioned that all<br />
women (including students) dress in saris every day<br />
(known as cheera in Telugu). It is truly unbelievable<br />
that this traditional garment is still being worn, dating<br />
back at least 5000 years. What an extraordinary<br />
richness of colours and patterns! During these few<br />
days I have not seen two similar saris – each is unique,<br />
and the ladies look like tropical flowers in them.<br />
After the end of the festival in Guntur,<br />
we were transported to Hyderabad – the capital<br />
of Andhra Pradesh.<br />
Nagasuseela Panchumarthi, Ryszard Grajek and Gopichand Paruchuri<br />
In Hyderabad, we were joined by one of<br />
the most famous Tollywood directors (yes, yes.<br />
Bollywood – in Bombai, Tollywood – in Telangana),<br />
an extremely interesting, colourful man – B. Narsing<br />
Rao. He is a director, screenwriter, composer,<br />
producer, actor and painter, known for his films in<br />
Telugu. The list of awards and distinctions he has<br />
received is really impressive. And this extraordinary<br />
man, (privately – a friend of Prasad), took care of<br />
a group of Polish poets for the duration of the festival.<br />
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Ramoji Film City.<br />
Polish group singing Polish song on the stage<br />
Poetry is magic in itself,<br />
but poetry in India is like<br />
sinking into completely<br />
fairy-tale areas.<br />
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Ryszard Grajek w tradycyjnym stroju<br />
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Together with Prasad, they sponsored our entire stay<br />
in Hyderabad.<br />
It was with great pleasure that we visited the<br />
world’s largest (according to the Guinness Book of<br />
Records) film studios – Ramoji Film City. Covering over<br />
2,000 acres, it offers over 500 movie sets. Such an<br />
amazing place!<br />
The next day, information about festivals<br />
in Guntur and Hyderabad appeared in more than<br />
10 independent magazines. At the meeting in the<br />
prestigious Salar Jung Museum (which houses the<br />
largest and greatest collection of antiques in the<br />
country), the organizers of GIPF and Writers Corner<br />
honored festival guests with special diplomas – the<br />
International Life Time Achievement Award. At this<br />
meeting, there were about 20 photojournalists and at<br />
least 5 television stations for which we gave interviews.<br />
It is impossible to describe all the attractions<br />
and mention all the cordial meetings in which we<br />
had the opportunity to participate. But one thing<br />
I particularly remember – a meeting at the Vijayawada<br />
& Armaravati Cultural Centre at the invitation of<br />
President Padmai Iyengar-Paddy, a poet and a writer.<br />
After the official presentations, we were met with a<br />
surprise in the form of a song to the poem by Wisława<br />
Szymborska (famous Polish poet and a Nobel prize<br />
winner), The Three Strangest Words. The artist sang it in<br />
a traditional style, to a very exotic music, completely in<br />
Polish language! What an effort! It was a really touching<br />
experience. There were many more such flavours.<br />
For example, reading poems in the atmospheric Fort<br />
Golconda – pure magic! Our entire stay in India was<br />
beautiful, colourful, and unique. It was like traveling<br />
back in time, sinking into the extraordinary culture<br />
– it was a richness of flavours, smells, and unusual<br />
spiritual experiences. Extraordinary people, interesting<br />
conversations, unexpected friendships. Poetry is<br />
magic in itself, but poetry in India is like sinking into<br />
completely fairy-tale areas. [RC]<br />
How can you not<br />
love festivals?<br />
How can you not<br />
love POETRY?<br />
Photos:<br />
Rafal Jarnicki, Agnieszka Jarzębowska, Renata Cygan,<br />
Renata Cygan and Nagasuseela Panchumarthi,<br />
official website of the GIPF Poerty Festival<br />
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KRZYSZTOF<br />
SYLWESTER<br />
ŁOZOWSKI<br />
Krzysztof Sylwester Łozowski was born<br />
in 1970 in Sosnowiec. After graduation from the<br />
Secondary School of Visual Arts in Katowice he<br />
went to study film animation at the Post-secondary<br />
Artistic Studio in Bielsko-Biała. He also earned a<br />
degree in Graphic Arts from the Teachers College in<br />
Katowice. In 1993 he enrolled in the painting and<br />
drawing programme offered by the Department<br />
of Arts at the Art Institute of the University of<br />
Katowice, from which he graduated in 1998. As an<br />
artist, he employs a variety of techniques, including<br />
oil and acrylic painting, drawing, painting on old<br />
wood, watercolour (experiments with handmade<br />
paper from across the world), doll design, his own<br />
artistic techniques, photography and graphic design.<br />
He has created a number of painting series, such as<br />
The Town of Łozowsko Wielkie, Poppy Ladies, Pick<br />
Your Tree, Fairy Tales for Adults, The Wooden World<br />
and Water. His works have been shown as part of<br />
individual and collective exhibitions in Poland and<br />
abroad. They can be found in private collections<br />
across the world.<br />
Art Gallery<br />
www.lozowski.art.pl<br />
lozowski.krzysztof@gmail.com<br />
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“The water of Łozowsko is alive – so much that it seems to<br />
be breathing when whisked by a tender brush. It pours itself<br />
onto the canvas with a gentle cascade of colours shimmering<br />
with seasons, times of the day and moods of the moment. It<br />
becomes green and silver, gold and crimson red. Magnetic,<br />
promising and mysterious; it is just water that desires to be<br />
nothing else. You may immerse in it, fish out a dream and<br />
touch the unknown. You may lose yourself in its rippling or<br />
follow the plume of the moon’s shadow to suddenly disperse<br />
in its glitter. The water of Łozowsko knows no bounds when<br />
it murmurs with tranquillity. It is primeval. Flowing from the<br />
source of the Artist’s imagination, it stimulates your own<br />
creativity. Do not close your eyes. Look into its depths, let<br />
yourself be carried away by them. Can you feel it? It is alive…”<br />
Grażyna Orlińska<br />
THE TOWN ŁOZOWSKO WIELKIE<br />
Houses can be people.<br />
Flowers wearing hats can<br />
speak and laugh.<br />
Clowns have too big shoes.<br />
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WATER<br />
How did it happen that you had become an artist – a<br />
painter?<br />
When I was a child, I was watching my brother paint and<br />
draw. Janusz, who is 12 years older than me, is a painter.<br />
I enjoyed very much squeezing oil paints from tubes and<br />
the process of creating something on a white canvas.<br />
There was nothing and, suddenly, there is something.<br />
I filled in everything possible with doodles: cards,<br />
copybook covers, tables, and walls. I remember I made<br />
corrections in the paintings on the walls using my<br />
crayons. One day I caused a great scandal – I irreversibly<br />
destroyed some religious pictures when I decided to add<br />
some dynamics to them and drew fire flames around the<br />
figures.<br />
As I remember, I always doodled impulsively, almost<br />
destroyed and threw away what I had drawn. At the same<br />
time, I was singing and shouting. It was a little painting<br />
theatre of a child. When I wanted to draw a simple tower,<br />
and it would always lean to one side, so as a punishment I<br />
drew it upside down.<br />
My brother, who noticed my interest, gave me blank<br />
sheets of paper and assigned topics to draw. He would<br />
also find competitions. One picture from that period has<br />
been preserved until today – maybe it is the first work<br />
in the series The Town of Łozowsko Wielkie. When my<br />
brother was not around, I would be looking at all painting<br />
albums he had and going through books devoted to art<br />
history. I would set up easels, the palette and turn into a<br />
painter, just like him. And this has remained with me until<br />
today.<br />
In the world that I created for myself at that time I<br />
could build a variety of houses, cities, talking animals<br />
and story-telling birds. I could play there as much as I<br />
wanted. The reality around me then was very difficult<br />
for a child and the world of painting enabled me to<br />
escape it and find myself a safe haven.<br />
Who are the residents of Łozowsko Wielkie?<br />
Łozowsko Wielkie is the world of fantasy, unfulfilled<br />
dreams, joy and sadness. Everything happens here.<br />
It was born during a sad and difficult period of my<br />
childhood. There are no rules here, anything is<br />
possible. Houses can be people, flowers wearing hats<br />
can speak and laugh, clowns have too big shoes and<br />
noses. Thoughts intermix, clouds can sing, and people<br />
can walk on clouds. Different voices inhabit the walls<br />
of mysterious townhouses and look at us through<br />
hundreds of windows left ajar. Maybe they are assessing<br />
us, maybe they would like to give us some advice.<br />
They are waiting, observing and gazing at us. Windows<br />
are waiting for someone who will come, pass by, stop<br />
and cast a furtive glance. Someone who will have the<br />
courage to enter a house from the Town of Łozowsko<br />
Wielkie. Freaky birds will welcome them with speech<br />
that has never been heard, a cat will give them a bored<br />
look and turn away ostentatiously. Someone is doing his<br />
laundry, someone is looking for butterflies, someone is<br />
observing everything from afar. Maybe the town is us<br />
as we may see ourselves there, our joy, happiness, lies,<br />
scheming, and vanity or, maybe, the town only pretends<br />
to be a land of joy.<br />
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My style is above<br />
all expressions.<br />
According to critics your art is expressive. How would<br />
you define your style?<br />
My style is above all expressions. Great dynamics of<br />
the movements of a brush, spatula, pencil, splashing<br />
and rubbing. Everything is possible: every tool, fruit,<br />
vegetable may be a paint or pencil. Every surface is<br />
good to create a painting. Destroying a cardboard<br />
while painting is nothing wrong. The cardboard did not<br />
collaborate as required and it needs to be convinced or<br />
bribed. Sometimes there is what I call ‘snoozing’: small<br />
and precise touches of a brush, which are also needed.<br />
But when there is no need, I try to avoid them. I wake up<br />
and quickly, without too much thinking for hours about,<br />
e.g. what colour to use, I start painting.<br />
I am in charge of the canvass, not vice versa. At the same<br />
time, it is important for me to find colour harmony, so<br />
that each colour that appears in a picture is coherent<br />
with others. They need to create an entirety. The series<br />
Water, which I am currently working on, offers this kind<br />
of opportunities for me – endless water, painted in a<br />
sweeping manner using various kinds of spatulas.<br />
‘The hell of an artist is an eternal search for oneself’ –<br />
to what extent does this quote apply to you?<br />
This is a very important and true quote. I have been<br />
looking for myself all my life. As I have already said, it all<br />
started in my childhood. A little human being who was<br />
lost was trying to find shelter, a safe place for himself.<br />
And this is how he started to build his world with many<br />
questions. Why is it so that they are the way they are?<br />
Why am I here? What will happen tomorrow? Will there<br />
be a tomorrow? Constant uncertainty, fear and anxiety.<br />
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On the one hand, the process of creation keeps pushing<br />
you towards new solutions, new answers and themes. You<br />
create many series of pictures, but they may all become<br />
grey in one moment. Something has been pushing me to<br />
continue to search, think, never give up and keep picking<br />
myself up. This is a never-ending story.<br />
You have told me that there is a lot of your true self in<br />
your drawings. Your drawings are gloomy and grim. I<br />
can see scarecrows, malicious faces, prying eyes and<br />
black trees with clawed hands in them. I can see anxiety<br />
and inadaptability. Do I understand it well? What do<br />
you think about my interpretation?<br />
Drawings are extremely important. I have created them<br />
throughout my entire life since childhood. There was<br />
a time when I stopped painting for a long time, but I<br />
still created drawings. It happens without any special<br />
attention on my part, just like drinking tea or coffee. It<br />
comes by itself. Drawings are the best reflection of my<br />
moods and all states of mind. They are real: the line gets<br />
crazy on paper creating, crossing out, ripping things apart<br />
and often shouting. Usually, various heads, which I call<br />
types, appear. These elongated faces with large noses<br />
wear hats, are wrapped up with big collars and have big<br />
hands. These might be scarecrows of my childhood or<br />
adult life, I do not know, but they have been with me all<br />
the time. They come out of my head. These are often<br />
horrible dreams or grim thoughts. Self-portraits, the<br />
series The Once Was a Tree both surprise and rejoice, cry<br />
and ask questions.<br />
You are a magician, you paint with passion, you have<br />
curiosity for the world and the freshness of a child’s<br />
glance. There is still a lot of a little boy in you, isn’t<br />
there?<br />
As I have already said, I have been a little boy all the<br />
time. Now, I do realise that I do not quite want to grow<br />
up and become a serious gentleman. A child’s view of<br />
the world is something wonderful, it gives rise to so<br />
many interesting questions. Answers to them may be<br />
very surprising and almost unimaginable, both in art<br />
and all other disciplines. I would encourage everyone to<br />
become a bit of a child, to relax and allow oneself a little<br />
madness, to bend oneself both left and right, sometimes<br />
shout unexpectedly and sing incompetently. In this way,<br />
two opposing ideas may clash and become a beginning<br />
of something new and wonderful. Let us be children<br />
insomuch as it is possible.<br />
In one of your interviews you said: ‘I create regardless<br />
of days or hours’ – could you expand this thought?<br />
I may become completely lost in creation. Days and<br />
hours cease to exist, and everything is subordinated<br />
to my creative work. This state of mind can absorb<br />
me completely. Life, in a way, becomes transferred to<br />
the picture, where the everyday life is. This is where<br />
discussions and arguments are transferred, too.<br />
It may seem mad, but this is what the creative process<br />
looks like.<br />
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Harmony arises at the most unexpected moment.<br />
You create drawings, caricatures, watercolours, acrylic<br />
and oil paintings on wood and canvas using a brush or<br />
spatula. Do you have a favourite technique?<br />
All the time I have been looking for new techniques, new<br />
forms of expression. I like challenges very much. I like to<br />
learn and acquire new skills step by step. They allow me<br />
to freely explore new themes in my new series later on.<br />
Currently, I have been working using a spatula. I paint<br />
quickly and spontaneously. Looking for harmony, which<br />
has always been in my focus, is like constructing with<br />
building blocks. Spatulas offer an opportunity to build<br />
structures using such ‘blocks’. And, obviously, I have<br />
never parted with pencils. I carry them around in every<br />
pocket. You never know when a drawing is going to attack<br />
me.<br />
For quite a while now I have been following your<br />
artistic activity. I can hear music and see theatre in<br />
your pictures. How much planning and how much<br />
improvisation is there in your art? Do you have a story<br />
already prepared when you sit down in front of a blank<br />
canvas?<br />
As you have aptly phrased it, ‘pure improvisation’,<br />
madness, variations and trials dominate my art. I do<br />
not sketch before painting – I use paints from the very<br />
start. I am not afraid of a white canvas. Only then can<br />
the most surprising, completely unpredictable, or almost<br />
impossible, effects be achieved. Harmony arises at the<br />
most unexpected moment. Before painting I try to calm<br />
my mind down or remove the surrounding reality away<br />
from me in a way. The time needs to be right, so that<br />
the ideas stuck in my head may come to life on paper or<br />
canvas and I am not a barrier to it. I would rather wait for<br />
the right moment than accelerate it.<br />
For example, I have been waiting for the series of<br />
drawings devoted to childhood. Let me just add that each<br />
picture ‘provokes’ the next one. I think that inside my<br />
head there are enough ideas for a few human lives.<br />
Who is Krzysztof Łozowski’s favourite artist?<br />
My favourite artists have been changing over the years.<br />
I have always been attracted to Bosch and Bruegel, their<br />
vision of the world and the way they revealed human<br />
fears, weaknesses and defects. When I look at albums or<br />
visit museums, I pay attention to the colour or rather the<br />
combination of colours. And here, I would like to offer my<br />
compliments to Claude Monet.<br />
What is art for you?<br />
Art is my way of life. It means to sustain despite fear and<br />
evil that have always accompanied us. Art is a smile and<br />
joy. It is the sense of fulfilment. It is also the expectation<br />
of tomorrow, in particular the morning. I often get up very<br />
early and I start to paint immediately. This is when I can<br />
enjoy peace and quiet. Pictures are created, they start<br />
talking and – at such an early hour – they can be heard.<br />
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A rt is my way of life.<br />
Art is a smile and joy.<br />
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first paintings from childhood<br />
Where do you like to paint the most?<br />
I have painted everywhere, most often at my studio at the<br />
moment. If I can, I go to the meadow or the forest. This is<br />
where I create, among birds and ants.<br />
You are a very prolific artist. Do you know how many<br />
pictures you have painted? Do you have any register?<br />
Quite a few, I think, but I do not know the exact number<br />
of the pictures I have painted. As I have said, there are<br />
even more of them in my head, they are the pictures still<br />
to be created.<br />
How long does it take you to create one picture?<br />
My recent pictures have been painted really fast. I think<br />
that the fewer corrections, the better. Sometimes I may<br />
get angry with the canvas and change something before I<br />
finally go back to my initial concept. Sometimes a picture,<br />
in order to be created, needs one hour and at other times<br />
it is an entire day.<br />
I do not like corrections. I prefer to start something<br />
from afresh. There is always a possibility that this time<br />
something new and unexpected will appear and I will be<br />
surprised by the picture.<br />
I wish you many of such moments of surprise. [RC]<br />
Translated by Dagmara Wolska<br />
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