DOI Heft:
Rozprawy
DOI Artikel:Bojarowski, Ewa: Recepcja współczesnej sztuki polskiej w Niemczech po 1989 roku
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.29066#0262
260
EWA BOJAROWSKI
many social problems - the works of artists of both countries respond to the local
context. I am analyzing such similarities comparing the art of Katarzyna Kozyra and
Thomas Griinfeld, and Anna Baumgart and the Berlin artist, Birgit Brenner.
Besides, the exhibitions proved how important it is to recognize specilic artists as
individuals. As Sabrina von Ley has put it, "Each artist is a separate planet which
cannot be detined in ethnic terms."
To the West, the Polish art of today are lirst of all those artists who over the
last 16, and particularły the most recent several years, have been appreciated by the
Western audience and German art market determined by the fali fair in Berlin.
Berlin has become an extremeiy important place for Polish artists and German
galleries. Paulina Ołowska has exhibited her works in the "Neu" Gallery, Dominik
Lejman in "Capri," Piotr Jaros in "Giti Nourbaksch," Zbigniew Rogalski, Rafał Buj-
nowski, and Anna Nestorowicz in "griedervonputtkamer," and Mirosław and Piotr
Uklański in "Nordenhake." Many Polish artists, such as Maria Deskur, Katarzyna
Kozyra, and Monika Sosnowska worked as grant beneficiaries in Berlin.
Can we say that the presence of Polish artists on the German market is a proof
that Polish art is "in vogue" there? At present, the interest in Polish art in the West
can be compared to a chain reaction. The examples which I have shown demonstrate
how much time it took Polish artists to attract the attention of the German spectator
and buyer. Their interest has been consistently growing. The "Young Polish Artists"
recognized on the German market do not make one specific current — they come from
different groups and centers. Their works can be found in various collections. They
cooperate with many galleries. There is no common denominator, which seems to
prove that the present situation stems from a long process and is not an effect of
a temporary market trend.
EWA BOJAROWSKI
many social problems - the works of artists of both countries respond to the local
context. I am analyzing such similarities comparing the art of Katarzyna Kozyra and
Thomas Griinfeld, and Anna Baumgart and the Berlin artist, Birgit Brenner.
Besides, the exhibitions proved how important it is to recognize specilic artists as
individuals. As Sabrina von Ley has put it, "Each artist is a separate planet which
cannot be detined in ethnic terms."
To the West, the Polish art of today are lirst of all those artists who over the
last 16, and particularły the most recent several years, have been appreciated by the
Western audience and German art market determined by the fali fair in Berlin.
Berlin has become an extremeiy important place for Polish artists and German
galleries. Paulina Ołowska has exhibited her works in the "Neu" Gallery, Dominik
Lejman in "Capri," Piotr Jaros in "Giti Nourbaksch," Zbigniew Rogalski, Rafał Buj-
nowski, and Anna Nestorowicz in "griedervonputtkamer," and Mirosław and Piotr
Uklański in "Nordenhake." Many Polish artists, such as Maria Deskur, Katarzyna
Kozyra, and Monika Sosnowska worked as grant beneficiaries in Berlin.
Can we say that the presence of Polish artists on the German market is a proof
that Polish art is "in vogue" there? At present, the interest in Polish art in the West
can be compared to a chain reaction. The examples which I have shown demonstrate
how much time it took Polish artists to attract the attention of the German spectator
and buyer. Their interest has been consistently growing. The "Young Polish Artists"
recognized on the German market do not make one specific current — they come from
different groups and centers. Their works can be found in various collections. They
cooperate with many galleries. There is no common denominator, which seems to
prove that the present situation stems from a long process and is not an effect of
a temporary market trend.