Kreowanie przyjaznej przestrzeni – Lubelskie Spotkania Plastyczne '76
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Date
2016
Authors
Journal Title
Journal ISSN
Volume Title
Publisher
Stowarzyszenie Historyków Sztuki, Wydawnictwo KUL
Abstract
Rzeźba jako element przestrzeni publicznej znalazła stałe miejsce w miejskim plenerze. Dekady lat 60. i 70. w Polsce w sposób szczególny zaznaczyły się w historii rzeźby, obfitując w różnego rodzaju artystyczne sympozja i plenery, w których efekcie miasta wzbogaciły się o nowe realizacje rzeźbiarskie. Masowo powstające w tym okresie osiedla mieszkaniowe stały się idealną przestrzenią, w której rzeźba, wkomponowana w układ architektoniczny, mogła harmonijnie go współtworzyć i oswajać „miejski chaos i zagubienie” najbliższego otoczenia człowieka. Jedną z takich inicjatyw były Lubelskie Spotkania Plastyczne w 1976 roku. Wzięło w nich udział kilkudziesięciu artystów plastyków z całej Polski, którzy zaprojektowali i wykonali kilkadziesiąt realizacji: malarskich, mozaikowych, rzeźbiarskich – na ścianach szczytowych, w prześwitach, na alejach i skwerach osiedli Lubelskiej Spółdzielni Mieszkaniowej.
Sculpture, as an element of public space, found its special place within the urban space. The 1960s and 1970s were especially important moments in the history of sculpture. Many artistic symposia and plain-airs had been held in numerous Polish cities. Those events contributed to the appearance and proliferation of new sculptural forms. The housing estates that were built at that moment, provided the ideal space for three-dimensional forms integrated into the architectural layout, harmoniously co-creating and domesticating the city chaos and the sense of lostness within the closest surrounding of the man. One of the most important initiatives in the 1970s were Lubelskie Spotkania Plastyczne 1976 (eng. Lublin Visual Arts Meetings). Several dozen artists from the whole country took part in them. The participants designed and created murals, mosaics and sculptures, which were placed on the gable walls of the blocks of flats, situated on the squares and along the alleys of the housing estates of LSM (Lubelskiej Spółdzielni Mieszkaniowej, eng. Lublin Housing Cooperative). Many of them still exist, such as for instance sculptures on Mickiewicz and Piastowskie Estates, and the mosaics on Słowacki Estate. The artists – authors of these works of art had different aims. Some of them created autonomous works, intended to function independently of their surroundings, but most of them were supposed to actively co-create the existing socio-urban space. Introducing art into dwelling places was supposed to be an important factor in the education of aesthetics as well as an evidence of integration of fine arts into the urban environment. Following the observation of architect Jan Żochowski, one may divide all projects into two main groups referring to two decades – periods in which particular estates were built. For older ones – like Mickiewicz and Słowacki Estates – the artists mainly prepared propositions subtly complementing the already existing architectural space. The second group – projects for housing estates based on the idea of panel building (Krasiński, Sienkiewicz, Konopnicka and Prus) – characterized by variety of solutions, interfering more conspicuously with a repetitive layout of “factory of houses”.
Sculpture, as an element of public space, found its special place within the urban space. The 1960s and 1970s were especially important moments in the history of sculpture. Many artistic symposia and plain-airs had been held in numerous Polish cities. Those events contributed to the appearance and proliferation of new sculptural forms. The housing estates that were built at that moment, provided the ideal space for three-dimensional forms integrated into the architectural layout, harmoniously co-creating and domesticating the city chaos and the sense of lostness within the closest surrounding of the man. One of the most important initiatives in the 1970s were Lubelskie Spotkania Plastyczne 1976 (eng. Lublin Visual Arts Meetings). Several dozen artists from the whole country took part in them. The participants designed and created murals, mosaics and sculptures, which were placed on the gable walls of the blocks of flats, situated on the squares and along the alleys of the housing estates of LSM (Lubelskiej Spółdzielni Mieszkaniowej, eng. Lublin Housing Cooperative). Many of them still exist, such as for instance sculptures on Mickiewicz and Piastowskie Estates, and the mosaics on Słowacki Estate. The artists – authors of these works of art had different aims. Some of them created autonomous works, intended to function independently of their surroundings, but most of them were supposed to actively co-create the existing socio-urban space. Introducing art into dwelling places was supposed to be an important factor in the education of aesthetics as well as an evidence of integration of fine arts into the urban environment. Following the observation of architect Jan Żochowski, one may divide all projects into two main groups referring to two decades – periods in which particular estates were built. For older ones – like Mickiewicz and Słowacki Estates – the artists mainly prepared propositions subtly complementing the already existing architectural space. The second group – projects for housing estates based on the idea of panel building (Krasiński, Sienkiewicz, Konopnicka and Prus) – characterized by variety of solutions, interfering more conspicuously with a repetitive layout of “factory of houses”.
Description
Keywords
rzeźba w przestrzeni publicznej, sculpture in public space, Lubelskie Spotkania Plastyczne, Lublin Visual Arts Meetings, Lubelska Spółdzielnia Mieszkaniowa, Lublin Housing Cooperative
Citation
Paragone. Rzeźba na granicy, red. Elżbieta Błotnicka-Mazur, Lechosław Lameński, Marcin Pastwa, Lublin 2016, s. 171-190
ISBN
978-83-8061-340-9