Kategorie-Archiv: Theater

Tadeusz Kantor – Inbetween Structures

© Polish Institute.

Tadeusz Kantor | e-flux

Tadeusz Kantor
Inbetween Structures

10 September–15 November 2015

Opening: 10 September, 7pm

Polnisches Institut Berlin
Burgstrasse 27
10178 Berlin


Tadeusz Kantor (1915–90) is best known as an outstanding and highly original figure of 20th century theatre, as well as the creator of his own theatre group and of productions imbued with poetry derived from his own complex Galician origin. He is also known for being one of the most important figures of the Krakow art scene and arguably the most prominent representative of the Art Informel movement in Poland.  Kantor is also credited with inventing and naming the medium of emballage (from French “emballer,” meaning “to wrap”), a practice of wrapping up various objects, which defined his art works following the Informel period.

Celebrating the centenary of Tadeusz Kantor’s birth, the exhibition Tadeusz Kantor: Inbetween Structures brings a new perspective to Kantor’s complex theatrical, cinematic and visual oeuvre. Focusing on the early phase of Kantor’s artistic career (1954–65), the exhibited works (which include the long lost film Attention!…, as well as numerous drawings, gouaches, paintings, collages, photographs and written manifestos) not only highlight the profundity of his early art, but also shed new light on the international perception of Kantor as a visual artist.

It is crucial to understand that Kantor’s visual works were equally important to him as his theatrical productions. All of his works are explorations of intense artistic processes that were leading in different directions and structures. Choosing the actual form of a work was never random, but rather very carefully decided upon.

This wide artistic oeuvre displayed as part of Tadeusz Kantor: Inbetween Structures reveals the complexity of Kantor’s ideas about art and forges a new perspective on his playful approach to bridging the gaps between art forms as well as working creatively in-between these fields and the structures of art. His capacity to move through existing categories and forms is quite unparalleled to other artistic practices of the time. The exhibition Tadeusz Kantor: Inbetween Structures will not only foster a fresh look at one of the masters of modern Polish art, but will also raise an understanding of the unmatched creative and open atmosphere that existed in Poland in the years 1955–59.

Curated by Dr. Marc Glöde

This project was initiated by Polish Institute  Berlin and is co-produced by the Polish Cultural Institute in London, the Polish Institute in Berlin and Summerhall in partnership with Cricoteka, National Museum in Krakow, Museum of Modern Art in Warsaw and Krakow Festival Office and supported by Culture.pl.



Forty-seven architecture teams from Poland and abroad have been invited to take part in the competition for development of architectural – urban design concept for the new seat of „Cricoteka“ as well as the Museum of Tadeusz Kantor in Nadwiślańska Street in Cracow.

On July 19 the Centre for the Documentation of the Art of Tadeusz Kantor „Cricoteka“ finalized the procedures related to verification of the applications for the competition for the new seat, including the erection of the Museum of Tadeusz Kantor.

On July 1 the competition Jury – composed of the below mentioned members – held its first session:

Adam Budak – curator in Kunsthaus, Graz;
Przemysław Gawor, Ph.D. – architect, Speaker, Member of the Jury;
Ewa Kaczmarczyk – Vice-Director of the Centre for the Documentation of the Art of Tadeusz Kantor „Cricoteka“;
Krystyna Łyczakowska – architect, the Cracow branch of the Polish Architects Society;
Krzysztof Markiel, MA – Director of the Department of Culture and National Heritage of the Marshal Office of the MałopolskaVoivodship;
Marek Pabich, Ph.D. – architect, The Technical University of ŁódĹş;
Anda Rottenberg – art historian, Chairperson of the Modern Art Museum Board in Warsaw;
Andrzej Starmach – Director of Starmach Gallery, President of the Nowosielscy Foundation Board in Cracow;
Marco de Michelis – Dipartimento di Storia dell?architettura della Universita IUVA di Venezia;
Janusz Sepioł, MA – architect, Marshal of the Małopolska Voivodship;
Prof. Andrzej WyĹźykowski – Chief Municipal Architect of the City of Cracow

Mr. Janusz Sepioł was elected Chairman of the competition Jury.

Then the competition Jury acquainted itself with the documentation submitted by forty-nine architecture teams.
Following its first session, twenty-eight teams were invited to take part in the competition and the remaining twenty-one were summoned to provide the missing formal documents in their applications.Therefore the number of qualified teams ultimately amounted to forty-seven, including four foreign teams.

The deadline for the architects to submit their complete competition submissions expired on September 15, the adjudication and verdict announcement took place on 26 September 2006.


At present Cricoteka is located in several different branches: the Centre?s Office and The Krzysztofory Gallery are situated in Szczepańska Street, the Archives are in Kanonicza Street, the Gallery – Atelier of Tadeusz Kantor in Sienna Street and the collection storerooms are located in Przemysłowa Street. These scattered locations, limited space conditions and a small – only 300 m2 in total – exhibition area, which does not fulfil the basic requirements and standards for exhibitions, do not allow to meet the expectations of the vast number of people interested in the artist’s work.

The envisaged new seat of the Centre (with its total area of 3000 m2) should fulfil a broad cultural function (place for artistic events, visual arts exhibitions, theatre performances, concerts and presentations as well as seminars and workshops) as well as allow for the exhibition of the artistic output of Tadeusz Kantor in all areas of his activity, which so far has been impossible due to the limited conditions of the Centre.
The design assumes the establishment of a venue which will make it possible to:
– organise a permanent exhibition presenting the entirety of Cricoteka’s collections as well as temporary exhibition halls presenting interchangeably the works of Tadeusz Kantor, related artists and young creators;
– provide the appropriate conditions for archive collections, which fulfil the standards required for long-term preservation, create a professional restoration, archives and digital video-processing studio;
– create the appropriate conditions for the convenient method of making the archives collections available to the interested individuals and the use of resources from a well-stocked library;
– construct a multifunctional hall enabling the organisation of seminars, multimedia presentations, theatre performances and workshops, film screenings, lectures and meetings;
– design new cultural infrastructure through revitalization and adaptation of the Old PodgĂłrze Power Station;
– expand co-operation between the institutions in Poland and abroad;

The envisaged investment should constitute a creative adaptation of the historic complex of the former PodgĂłrze Power Station preserving the historic values of the buildings and its recognizable structure, which can reflect the acceptance and identification with its location.

Owing to the significance of Tadeusz Kantor’s art for the world culture, the facility should constitute an expression of architectural homage paid to the artist, simultaneously enabling the presentation of his artistic output in a manner adequate to the importance of his work and creating the right conditions for the artists‘ comprehensive co-operation.

The competition is announced in accordance with the resolution of the Małopolska Voivodeship Board. The investment plan has been entered into a Long-term Investment Programme of the Małopolska Voivodeship for the years 2006 – 2008.

Ed. Jolanta Kunowska, Tomasz Tomaszewski

Theaterkritik: Die Frau, die gegen Türen rannte

Die Frau die gegen

Die Frau, die gegen Türen rannte


Die Bühne ist schlicht weiß. Man spielt mit Lichteffekten. Paula ist blondiert, trägt einen Plastikpullover, einen Jeansrock und bewegt sich kantig. „Egal was ich tat, ich war eine Schlampe. Ich weiß nicht, woran es lag. Ob an meinen Beinen, meinen Haaren oder meinen großen Brüsten. Ich sah, dass meine Lippe blutete. Ich war gestürzt. Ich war doch gestürzt? Der Alkohol betäubt. Noch ein Schlückchen und ich bin wieder jung. Vier Kinder und kein Job. Es fing alles so schön an.“ Er fragte: “Was ist mit Deinem Auge?“ Ich sagte: “Ich bin gegen eine Tür gelaufen, aber es ist ok, das passiert eben.“ „Ja, du musst besser aufpassen, mein Schatz.“ Dieses Schwein, denkt sie, jetzt ist es schon so weit, dass er unsere halbwüchsige Tochter anguckt. Er muss weg, endgültig. Paula nimmt die Bratpfanne und schlägt zu. In dem Schlag ist die Ohnmacht und Wut aller gelittenen Jahre. An die Achtziger kann sie sich nicht erinnern, zu viel Liquid. Er verlässt anstandslos das Haus. Es ist so einfach, warum hat sie es siebzehn Jahre lang ertragen. Die Tochter fragt: “Was wird nun?“ „Das weiß ich nicht“, sagt Paula.

Die Akteurin leuchtet bis fast in die tiefsten Abgründe. Eckig, einfühlsam und echt spielt Bettina Hoppe Milieu und Klischee der Paula Spencer. Die existentielle Angst wird mit Alkohol und Tanz betäubt. Und dann ein Grund, den sie nicht ertränken kann. Sie schlägt zurück. Ein einfühlsames, aber vor allem ehrliches Einfrauenstück über Identität, Krisen und Kraft. Man denkt unweigerlich an Film Noir.


2014 © by Christiane Linke