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Confrontations: Sessions in East European Art History

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Mapping Łódź Eighties

editorial3 March 2020

Juliane Debeusscher

Tomasz Załuski’s comprehensive presentation “Lodz in the 1980s – The Local is Networked” immersed us into the atmosphere of the local cultural scene of the decade. With the introduction of martial law on December 1981, artistic initiatives sought to explore a “third way” far from any political, religious and even artistic authority – and, possibly, ridiculing it. The idea of “embarrassing art” invented by Łódź Kaliska epitomises this attitude of anarchism, surrealism and self-mockery, promoting art as “unfruitful, insignificant, stupid, uninteresting, unconstructive, incoherent” (and so on…).

Particularly interesting to me were the critical discussion on the authoritative position and legacy of the neo-avant-garde of the 1970s and the emblematic phenomena of the “Pitch-In-Culture.” Understood primarily as a means of collecting money for alcohol (vodka) and food, it manifested itself through gatherings, performances, screenings and exhibitions in private locations, like the Attic (Strych) run by Łódź Kaliska. While many projects focused on black humour, absurdity and excess, they also reflected a sense of community, self-organisation as well trans-generational and transnational cooperation that could provide a ground for a fruitful comparison or dialogue with other Eastern European initiatives of that time.

Such communal experience was not devoid of agonistic dimension, as Tomasz remarked. No consensus around common principles, but rather a particular form of “atomization” – also evoked by Piotr Rypson in Warsaw – that allowed these practices to survive under martial law and even be continued in other forms after the system’s change in the 1990s.