Akcesja Polski do Unii Europejskiej w przedstawieniach narodowego dyskursu
Journal Title: Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego - Year 2018, Vol 50, Issue 4
Abstract
Poland’s accession to the European Union in the images of national discourse In the history of Poland, since the end of the 18th century, a number of milestone events can be pointed out, including accession of Poland to the European Union (1 V 2004). Even before the accession, paintings Raptus Poloniae. Divina Polonia rapta per Europa profana (1998) by Franciszek Starowieyski, and Polonia (2003) by Wojciech Siudmak, in the language of allegory presented the contemporary situation of Poland and Europe. The artistic comments on the unification of Poland and the European Union appeared in 2004 in the high art and in pop culture. In the latter there is e.g. a photographic work Orlica by the Lodz Kaliska group, combining a naked female body with the wings of the Polish emblem, and a drawing Poland returns to Europe by Andrzej Mleczko, published on the cover of the weekly “Polityka”, which showed the charge of compatriots to the West. Both works were iconoclastic in relation to the Polish design tradition. In the 1990s Polish national symbolism was present in some works of critical art. The motifs of the national iconosphere were also used by Piotr Uklanski, a known in the world artist of modern art, author of the work Flag (Poland) (2005). Art projects showing the high position of Poland in the European Union were created in 2011, in connection with the Polish presidency of the Council of the European Union. It belonged to popular art and visual communication, such as the dynamic logo of the Polish presidency designed by Jerzy Janiszewski, a number of posters created for the 11th edition of the AMS Gallery poster competition “Teraz Polska [Now Poland]” in Warsaw, or the iconic work Polish Presidency in the European Union. I cannot give you much by The Krasnals.In contemporary artistic records, the simplified language of expression corresponds with the requirements of fast media communication. As a result of the change of political power in Poland in 2015, uncompromising artistic expressions are replaced with heroic images of Polishness, defining the azimuths of social correctness.
Authors and Affiliations
Anna Myślińska
Keywords
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