DOI Artikel:
Grzybkowska, Teresa: Bartholomeus Strobel młodszy redivivus – między barokową reprezentacją a videoartem: wystawa „Wrocławska Europa” w Muzeum Narodowym we Wrocławiu
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.39128#0243
BARTHOLOMEUS STROBEL MŁODSZY REDIVIVUS - MIĘDZY BAROKOWĄ REPREZENTACJĄ...
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In the video ait presented in the Wroclaw exhibition the first sequence shows StrobeTs painting from Madrid of richly dressed
men celebrating at splendidly set tables. In the centre of the picture Herodias is holding St. John’s head and Herod looks at it in hon or.
The scene of the saint’s martyrdom is depicted on the margins of the picture; it occupies a narrow right strip of the composition. In
the next video sequence the banqueting hall turns into a supermarket - the temple of modem consumerism. Tables aie set up in front
of checkouts for the supermarket customers. A black-clad praying figure appeals thus disturbing the feast, and then is lifted out of the
film’s frame. After a while Salome brings St. John’s bloody head on the tray and puts it on the table. Thanks to this travesty, Strobel’s
painting which is a great allegory condemning unjust governments and the death and humiliation of the virtuous, is timeless in its content.
It shows how relevant artists aie as society’s conscience. The exhibition shown in Wroclaw was innovative in the context of the Polish
museology, and testifies to great new exhibiting opportunities for the future dialogue between the past and the present.
trans. Katarzyna Krzyżagórska-Pisarek
243
In the video ait presented in the Wroclaw exhibition the first sequence shows StrobeTs painting from Madrid of richly dressed
men celebrating at splendidly set tables. In the centre of the picture Herodias is holding St. John’s head and Herod looks at it in hon or.
The scene of the saint’s martyrdom is depicted on the margins of the picture; it occupies a narrow right strip of the composition. In
the next video sequence the banqueting hall turns into a supermarket - the temple of modem consumerism. Tables aie set up in front
of checkouts for the supermarket customers. A black-clad praying figure appeals thus disturbing the feast, and then is lifted out of the
film’s frame. After a while Salome brings St. John’s bloody head on the tray and puts it on the table. Thanks to this travesty, Strobel’s
painting which is a great allegory condemning unjust governments and the death and humiliation of the virtuous, is timeless in its content.
It shows how relevant artists aie as society’s conscience. The exhibition shown in Wroclaw was innovative in the context of the Polish
museology, and testifies to great new exhibiting opportunities for the future dialogue between the past and the present.
trans. Katarzyna Krzyżagórska-Pisarek