By editorial, on 3 March 2020
… why Self-Organization can no longer be seen as an Alternative Art Current
By Sandra Bradvić
The Andrzej Wróblewski Foundation was founded in 2012 in Warsaw by Marta Wróblewska, Krystyna Łysik, dr Magdalena Ziółkowska, Wojciech Grzybała with the goal to develop, popularise, and contextualise the knowledge of Andrzej Wrólblewski’s life and work (b. 1927, Vilnius – d. 1957, Tatry Mountains).
The impressive work the founders have done since the inception – like providing organizational and academic support for all those interested in the research on the life and practice of Andrzej Wróblewski; extending conservation supervision; initiating and organizing of exhibitions and other educational formats; completing the archive; and publishing activities – reads like a public contract of a national institution. The Foundation further very thoughtfully holds all proprietary copyrights to almost all works created by Andrzej Wróblewski, which has enabled it to release the reviewed scholarly publication Avoiding Intermediary States (Hatje Cantz, 2014), which since stands for the main reference source with regard to the proper and standardized use of the artist’s work titles, which alone is a pivotal accomplishment.
It is precisely because the Wróblewski foundation is not a state institution, but a personal initiative which has though set very high professional working standards –supposedly the sphere of competence assigned to major national institutions–, which makes such an endeavor even more remarkable and why it can even be considered a role model, not only for the ‘alternative’ art scene and not only but especially for post-communist/post-socialist states, whose ‘official’ institutions –as it is well known–, still happen to struggle with finding the right concepts and methodological approaches as to how to create and mediate new narratives of their own art history.
To take an example, one could look at Bosnia-Herzegovina, where in 2011 seven major cultural institutions had to close their doors to the public. The reason: their unresolved legal status after the collapse of former Yugoslavia in 1991. A lack of substantial financial support on the one hand, but also the lack of ideas to envision new possible structural models, most of them got lost in transition from one to the other socio-political system and remained caught in the legal limbo until this very day.
So the relevant question in this context would seem to be: can institutionally independent and self-organised artistic and curatorial collectives any longer be seen as an alternative current, when their counterpart, namely the art institutions, have largely become dysfunctional and inefficient as a site for the creation and establishment of working standards, as well as of their visionary structural, organizational and conceptual changes? No, I would claim.
The Wróblewski Foundation, while being concentrated on one artist only, yet at the same time demonstrating a wide range of activities and a far-reaching visibility and international recognition of both the work of Andrzej Wróblewski and of the foundation, seems to prove it.