《残影余像》免费高清在线观看_剧情片全集

1 ) 要尊重艺术，要相信艺术家

电影讲述的是波兰艺术家斯特热敏斯基生前最后的那几年。电影让我看到了艺术家在狂热的社会主义环境中生存是怎样的艰难。工作被强行辞退、作品被毁掉、不让他有工作，我看到这位艺术家在生命的最后几年里过得如此惨不忍睹。电影里提到了多次关于艺术与政治。电影里的艺术协会会长在一次讲座中声称人民需要的艺术就是好艺术，但电影中却并没有表现人民的需要到底是什么，所谓他们的艺术仅仅是那么多斯大林的画像、那么多展现列宁的雕塑和绘画。斯特热敏斯基认为艺术要表现艺术家的心境。他想做中立的艺术，但是当时的社会要求他必须站队。坚持自我的艺术家最终败给了这个社会，只能说肺结核也许是上天给予他的恩赐吧。死于肺结核总是比死于饥饿要来的体面一些。

当这部电影在讨论艺术与政治的时候，随着斯特热敏斯基的生活逐渐变得糟糕，我也一直在考虑这个。斯特热敏斯基是一名画家，然而在当今社会我们接触到的更多的可能不是传统的艺术，而是文学、电影、音乐、戏剧等。电影中当时的社会背景要求艺术家为了当时的社会环境服务，而当今社会的我们已经比那个时候自由的多。现在的作家或者艺术家能够自由的表达想表达的东西。我想纯粹的艺术是很美的，美的艺术能够吸引人随着前往。当艺术家在表达纯粹的艺术的时候他表达就是艺术家的心境，就是艺术家通过自己的眼睛、自己的手、自己的脑所二次创作出来的现实。但是当一名艺术家在进行艺术表达之前就有了自己的立场，那么他所有的表达就会都从这个立场出发。这也让我联想到了现在抗击新冠肺炎期间我们的文宣工作。当我们看到很多表达致敬一线医生护士和工作人员的作品、表达理解并同时鼓舞封闭在家中的人们的作品，我们会感到感动、感到欣慰。我们会为我们祖国强大的动员能力感叹的同时更加做好自己能够做的事情。但是我们同时也看到像方方那样“屁股决定脑袋”的人不停的传递负面情绪，甚至传递谣言。这些表达出来的东西都是表达者眼中的“残影余像”，只不过有的是美好纯粹的，有的是丑陋不堪的。在这个时候那些鼓舞人民的“艺术”就是人民需要的“艺术”，它或许不高雅也不先锋，但是它表达了人们心里最热忱的情感、最浓烈的期盼。有的人写出来的东西只不过是为了她或者他心中另一个在大洋彼岸的信仰服务罢了。

看完这部电影以后我去搜了一下斯特热敏斯基，蹦出来的第一个链接是罗兹斯特热敏斯基美术学院。我想这就是现代对这位伟大艺术家的贡献的肯定吧。这又让我想到了老舍。我们不应该强迫艺术家去虚伪的表达，我相信有中立的艺术存在。艺术家和他们的作品都是值得尊重的，他们向我们展示了这个世界的美好。我也相信好的艺术家都是真实的，他们的作品会忠于他们自己的感受。我永远不会忘记在当时在中国美术馆看到的一幅黄果树瀑布的画，站在画的前面我仿佛就能听到奔腾的流水发出的惊雷声，这是艺术带给我的震撼。我在电影里“正确的艺术作品”中看不到艺术家自己，艺术家们仿佛成为了工匠。我想艺术的蓬勃发展需要我们给艺术家们表达的空间，同时我也希望无论是绘画、文学、音乐、戏剧中能够没有那种夹带私货的东西。

最后想说电影给我感受比较深的一点是：还是得少吸烟。斯特热敏斯基的女儿不停的劝告他少抽烟他都没听过，电影的最后他死于肺结核。

2 ) 弗拉迪斯瓦夫·斯特泽敏斯基生平

1893年11月21日生于明斯克（现为白俄罗斯）波兰绅士家庭，在明斯克附近的兹洛塔戈尔卡天主教堂受洗。他的父亲是沙皇军队军官，1902年退休。

1904年，他11岁时加入莫斯科沙皇亚历山大二世军校，1911年毕业。这所学校为他提供了细致的教育，是斯特泽明斯基父母梦想的军事生涯的第一阶段。

1911年，开始在彼得堡的沙皇尼古拉斯军事工程学院学习。在这里，他获得了广泛的知识领域的建筑学和军事建设的历史。

1914年7月中旬，刚毕业不久，他就被派往比亚利斯托克区的奥索维克要塞，担任工兵军官。第一次世界大战期间，他参加了东线的军事行动，并指挥一支工兵部队。

1916年5月6日至7日晚，在白俄罗斯佩尔沙耶附近，他因战壕中的手榴弹爆炸而受重伤。右大腿和左前臂截肢后，他在莫斯科的普罗乔洛夫医院休养。手榴弹的碎片也伤了他的眼球。这场事故毁了他继续从军的希望。在医院里，他遇到了未来的雕塑家和妻子卡塔日娜·科布罗（Katarzyna Kobro，1898-1951）。

1917年，由于幻觉的疼痛，他不能使用假肢。只有拄着拐杖才能使他的运动康复，他要用拐杖直到生命的尽头。在莫斯科，他对工厂老板施楚金的私人艺术收藏着迷，其中包括从印象派到立体主义的各种法国绘画。由于没有历史文献，我们只能猜测斯特泽明斯基开始研究历史和艺术理论。十月革命后艺术事件的爆发无疑加快了他的艺术教育。

1918年5月至11月，他参加了由弗拉基米尔·塔特林（Vladimir Tatlin）领导的艺术和艺术工业分部在人民教育委员会莫斯科美术科（Izobrazitelnyi Otdel Narodnogo Komissariata po Prosveschenyu）框架内举行的会议，简而言之，是IZO Narkompros。小组成员包括卡齐米尔·马列维奇和安托万·佩夫斯纳等艺术家，他们讨论了建立一个“艺术文化博物馆”网络的想法，在这个网络中，莫斯科的全俄罗斯博物馆将扮演主要角色。秋天，他开始在第一个免费的艺术工作室学习，被称为斯沃博德尼耶大师工作室（Svobodniye Masterskiye）。工作室于九月在莫斯科的老斯特罗戈诺夫学校开放。

1919年，像苏联的大多数艺术家一样，他参加了当时特有的活动。年初在明斯克，他与雕塑家Ciechanowski和当地的IZO Vsevolod Dmitrev主任一起设计了这座城市的装饰，以庆祝2月23日红军成立一周年。1月份他的父亲去世。2月，他（连同亚历山大罗琴科）被提名为莫斯科艺术和艺术工业委员会成员，该委员会一定相当于斯特泽明斯基在前一年工作过的伊佐·纳尔孔波斯分部。

他与安托万·佩夫斯纳一起领导了全俄罗斯展览中心办公室（VSserossyskoye Tsentralnoye Vystavochnoe Byuro），这是一个在IZO框架内成立的机构，在全国各地举办展览。他在莫斯科举办的第八届画展上展示了自己的画作，据说这次画展是由佩夫斯纳组织的。早些时候，他可能是第一次参加里亚赞的展览。

秋天，他搬到了斯摩棱斯克，一直住到去波兰。最初，他在斯摩棱斯克地区人民教育部（Gubernskiy Otdel Narodnogo Obrazovanya）担任艺术分部的讲师。

12月，斯特泽明斯基可能应马列维奇的邀请，参加了一个由至上主义创始人组织的地方和莫斯科艺术家展览。他在马列维奇的艺术同僚圈子里扮演了更重要的角色，他们组成了一个名为“新艺术倡导者”（Utverzhditeli Novogo v Iskustve）的组织，称为UNOVIS。

1920年上半年，他是古博诺下属博物馆和美术联合部（Podotdel muzeyev y izobrazitelnykh iskustv）艺术科的主任。作为该科的代表，他被任命为艺术委员会秘书，该委员会的第一次会议于4月4日举行。他在那里代表最左翼的方向。理事会决定了当前有关剧院装修、布景、展览等方面的问题。

在3月15日开幕的斯摩棱斯克展览上，斯特尔泽明斯基展示了十件作品，包括马雅科夫斯基的布福神秘剧的风景草图。这些草图可能与二月份在维捷布斯克上演的这部神秘剧的序幕制作有关。

展览结束后，艺术家的作品被选入艺术文化博物馆（Muzeya Khudozhestvennoy Kultury）展出，该博物馆被称为MCHK。

6月29日，斯特泽明斯基就拉斐尔绘画中的创作原则和构图体系发表演讲。夏天，卡塔日娜·科布罗来到斯摩棱斯克。他们一起监督了伊佐工作室古博诺-隶属于联合国维也纳办事处。住在维特布斯克附近的马列维奇经常访问斯摩棱斯克；他们一起教授立体主义和至上主义的原则。斯特泽明斯基的一个学生当时是纳迪娅·乔达西维奇，后来被称为万达·乔达西维奇·格拉博斯卡或纳迪娅·莱格。斯特泽明斯基在莫斯科与乌诺维斯集团合作。

1921年，他和科布罗的工作室就在斯摩棱斯克（Bolshaya Sovetskaya）的大街上。他们一起为俄罗斯电信机构罗斯塔（ROSTA）设计了政治海报，罗斯塔和IZO一样，都依赖于纳尔孔普罗斯的同一部分艺术。三月份，他参加了在维特布斯克举行的为期一天的联合国维也纳办事处演出。

次年年初，他在书记官长面前与卡塔日娜·科布罗结婚，然后他们都“偷渡”到波兰。斯特泽敏斯基决定叛变的原因之一可能是他对苏俄政局和艺术生活发展方式的分析。令人惊讶的是，没有证据显示这位艺术家在那一年的创作。也许他不再为伊佐·纳科姆普莱斯工作了，那家公司当时已经两次重组——在年初和10月份。尤其是其结构的第二次变化，通过赋予中央政治机构控制艺术的权力和使艺术服从布尔什维克宣传的需要，限制了艺术自由。

1922年，由于非法越境，斯特泽敏斯基夫妇在警察局呆了几个星期。他们第一次定居在维尔纽斯，在他父亲去世后，艺术家的家人一直住在那里。斯特泽明斯基在卢卡辛斯基的主要军事课程上任教。10月在柏林，他的一幅画在苏联艺术最伟大成就的展览上展出。斯特泽明斯基在其开创性的文章《俄罗斯艺术笔记》中提出了自己对苏联艺术发展的批判性观点：第一部分出现在11月的《日罗特尼卡》杂志上，第二部分出现在第四期。这本杂志是由一位波兰诗人，他未来的老朋友塔德乌斯·佩珀创办和编辑的。

他的妹妹贾尼娜死了。卡塔日娜·科布罗离开维尔纽斯，她不会说波兰语，长期被迫不活动，不得不应付丈夫的家人，他们对她不利。她搬到里加的亲戚家。

1923年，他们的下一个定居地是威列卡·波维亚托瓦，斯特尔泽明斯基在卢卡西耶维奇少校课程结束后搬到那里寻找一份永久性的工作。在当地的Henryk Sienkiewicz州立男女高中，他教绘画，也许直到1924年中期。

他开始与维塔塔斯凯努克斯蒂斯合作，他可能在莫斯科见过他。他们一起在维尔纽斯举办了波兰第一次建设主义艺术展——新艺术展，5月20日在科索剧院开幕。他们设计了一个目录——一个早期实用印刷品的例子。在展览中，除了发起者外，还有三位艺术家参加，他们将成为建构主义先锋派的主要代表：亨利克·斯塔耶夫斯基、米奇斯洛·斯祖卡、特雷莎·扎诺尔。

1924年，斯特泽敏斯基是波兰建构主义者团体协会（association of Polish constructismists Blok）的联合创始人，该协会是他迄今为止参与的所有艺术实验的结果。该组织被称为《BLOK》杂志的出版商，由Szczuka编辑，第一期于3月8日出版。斯特泽敏斯基在那里发表了许多未署名的文章和他的作品的复制品；在随后的几期中，斯特泽敏斯基又发表了一些文章和许多复制品。3月15日，在华沙，劳林克莱门特公司的汽车展厅，他参加了一个为集团展览揭幕的展览。开盘前，卡塔日娜·科布罗可能来自里加很短一段时间。夏天艺术家去里加看望他的妻子。7月29日，他们在那里举行了教堂婚礼，这是科布罗获得波兰公民身份的一个条件。在回到波兰之前，他们都在里加湾度过了几个星期的假期。

斯特尔泽明敏斯基在理论和实践上都反对马列维奇的至上主义，他根据自己系统的原则创作了单色绘画——这些都是统一（平面）的作品。今年，他的名字第一次出现在波兰未来主义者的名字中，出现在西欧出版的《RIVISTA D'ARTE未来主义》（RIVISTA D'ARTE FUTURISTA）杂志上。

1925年，布洛克集团解体了：艺术家没有参加该集团随后的展览和出版物。他更喜欢以Cracow杂志ZWROTNICA为中心的艺术家，该杂志为其出版物设计封面，包括朱利安·普尔兹博斯（Julian Przybos）的诗集，他早些时候在杂志编辑部见过他。这次接触标志着他们长期合作和友谊的开始。

那时他一定见过华沙的年轻建筑师，普拉森集团的未来成员——最著名的是西蒙锡库斯和博丹拉赫特。据斯泽科西尼高中以前的学生说，斯特泽明斯基当时正在写一部艺术史——也许是在起草他未来的教育计划。与此同时，在莫斯科的MCHK（Tretyakov画廊）展出了他的画作（很可能是现在保存在伊万诺沃的画作），还有大卫·斯特伦伯格、米哈伊尔·拉里奥诺夫、亚历山大·德雷文、奥尔加·罗扎诺娃和纳坦·奥尔特曼的作品。

1926年1月和2月，他在纽约国际戏剧展上展出了自己的作品。上半年，斯特泽敏斯基仍主要与他的克拉科夫接触。他很可能为第六期《日罗特尼卡》设计了整个艺术作品。在随后的几期杂志中，他发表了关于当代艺术观点的评论和争论性的评论。他曾两次在艺术家协会杰德诺罗（独角兽）展出，杰德诺罗是克拉科夫学院（Cracow Academy）的一批毕业生，代表着作品的质量、技术方面，以及反对艺术中的信息或意识形态。他在那里展示了一系列静物画和风景画，这些作品来源于他对立体派绘画结构的分析。

夏天，斯特泽敏斯基一家搬到了洛兹附近的布热津尼。斯特泽敏斯基在斯特里科夫斯基人文高中教绘画。几乎在他们搬到布热津尼的同时，斯特泽明斯基夫妇又与华沙的艺术家们重新建立了联系。受西蒙锡库斯（Szymon Syrkus）的启发，现代主义建筑师、雕塑家和画家组成了一个名为Praesens的小组。它的创立者中包括该集团的前成员Katarzyna Kobro和Henryk Staiewski。艺术家们以同样的名字制作了一本杂志，这本杂志成为了该组织的理论机构——第一期杂志出现在6月份。斯特泽明斯基加入这个小组稍晚，在十月第一届普拉森展览在华沙画廊扎切塔开幕之前。展出的作品证明了画家和建筑师之间的合作。斯特泽敏斯基和爱泼斯坦一起设计了雕塑家家的室内设计，我们对此知之甚少；他为锡库斯的皮草店和锡库斯和奥德菲尔德的教堂设计了色彩。此外，他也是为Perskie Oko剧院的室内设计展示项目的艺术家之一。这家剧院可能是1925年9月5日在华沙的Nowy Swiat街和Swietokrzyska街拐角处的一所房子里开业的歌舞剧院，普罗纳斯科曾为之工作。在Zacheta画廊，Strzeminski也展出了他自己的个人作品：玻璃画、书籍封面和插图。也许玻璃上的画是三幅丢失的抽象画，一年后在三月份的ZWROTNICA杂志上复制。我们可以把它们看作是艺术家最早研究数学计算问题、平面节奏问题和构造对比形式问题的著作根据相同的数字表示法”。斯特泽明斯基作为为本次展览目录（功能性绘画和建筑文本）撰写文本的作者之一，为实践的理论纲领做出了重要贡献。

他又回到了在华沙组织现代艺术收藏的想法。他起草了现代艺术画廊协会的章程（9月生效），该协会在很短的时间内运作，只是名义上是在第二年。他想在波兰展出卡齐米尔·马列维奇的作品，并邀请这位艺术家去波兰——由于他在1927年3月对华沙进行了短暂的访问，他的作品展览终于开幕了。斯特泽明斯基经常去华沙，通常住在波丹·拉赫特家。第一批绘画在画布上的建筑作品来自今年，只有一幅幸存下来。另一本转载于次年3月的《日罗特尼卡》杂志。

1927年1月9日写给Vytautas Kainukstis Strzeminski的一封信中，他对Praesens集团的一些画家提出了非常严厉的批评，据说这些画家想通过妥协和“某种违禁品”的方式“走私对现代艺术的尊重”。后来他写道：“（…）但事实上，这一结果将与俄罗斯的结果一样——暂时的承认和完全的忽视，因为新艺术应该公开出现，不露面目，它应该站在无遮掩的立场上，要求承认，不是因为它的有用性，而是因为它的优越性（……）”。3月初，他可能与来自普雷森的艺术家一起招待了Kazimir Malevich，3月25日，他在华沙波兰艺术俱乐部的展览开幕后，在波兰Analiza Wspolczesnych Kierunkow Artystycznych（当代艺术运动分析）发表了演讲。

今年4月，在同一个俱乐部举办了史崔兹明斯基作品的首次个人展览。在展览期间，他以演讲的形式介绍了他的艺术方案Unizm i dualizm w sztuce（Unism and Dualism in Art）。讲座的内容后来发表在夏季出版的DROGA杂志上，1928年以书的形式出现在Praesens图书馆系列中。今年5月，在纽约的一个展览机械时代，他展示了两件作品：失落的咖啡馆和（与锡库斯一起）皮草店的项目，可能是早些时候在普拉森集团（Praesens group）的一个展览上展示的。他在布热津尼生活和工作，同时在科卢兹基教书。1927年年中，他在科卢兹基得到了一份很有吸引力的工作，为了避免上下班的辛苦，他很快就和妻子搬到了扎科维兹。8月/9月，他在科卢兹基定居。他在两所学校教画画：一所是米奇威茨街的男女同校高中，由教师协会拥有；另一所是工商女子高中，由波兰学校组织和学费提供很少的资助。在后者中，他和妻子每周上12个小时的课。不久，他制定并推出了自己的设计师教育计划，取得了令人鼓舞的成果。

去年11月，他在列宁格勒的一个展览上展出了他从MCHK收集工具和工业产品的绘画作品：Novyje tecenija v isskustve（艺术新趋势）。去年12月，他和一群来自洛兹的画家在洛兹的城市美术馆展出。

1928年，他开始与西奥·范多斯堡（Theo van Doesburg）通信，后者的文章以及斯特泽明斯基（Strzeminski）和其他人的文章被印在3月10日在华沙开幕的现代主义沙龙目录中。这次展览由斯特泽明斯基组织，开创了展示现代艺术的传统（如图洛夫斯基所写）“在其广泛的创新实验中——它强调了建设的重要性”。斯特泽明斯基展出了他的几幅立体派系列作品、五幅抽象派作品、一把椅子和一些绘画作品。在目录中发表的文章中，他建议前卫应该更加完整。他的书Unizm w malarstwie（Unism in Painting）是由Henryk Staiewski设计的封面出版的。

在由Stanislaw Baczynski编辑的《XX世纪华沙双周刊》中，Strzeminski发表了三篇文章。他在波兰建筑师协会（SAP）第二届年度沙龙上写下了当代建筑，在世界艺术形势的背景下，讨论了波兰艺术家的保守和前卫作品。他从历史的角度分析了不同的艺术学校教育体系，强调了将研究与传统联系起来的必要性，提出了“不同类型的技术问题解决方案”。在他的文章Przedmiot iprzestrzeri（对象与空间）中，他引入了“空间现象的计算节奏”的概念，这是一个不同于“对比系统”的系统，并导致了对象与空间的统一。他和妻子一起写了一本关于空间构成的书。

在波兰建筑师协会（SAP）宣布的一项竞赛中，斯特泽明斯基和他的妻子获得了烟草亭设计的二等奖。斯特泽明斯基夫妇第一次在波兰赫尔半岛的查卢比海滨度假。在未来的几年里，他们会回到那里好几次。斯特泽明斯基，一个伟大的阳光爱好者，喜欢日光浴。

11月，他参加了波兰艺术家联合会（ZZPAP）在华沙举办的第一次展览，并于1月在克拉科夫再次举办。在巴黎的秋季沙龙上，他与普拉森集团一起展出了三幅油画，其中包括建筑构图2a和4a。他参加了12月在布鲁塞尔、海牙和阿姆斯特丹举行的由波兰艺术海外促进会（TOSSPO）组织的国际展览。在那里，他再次展出了他的一幅画在玻璃和静物上（猫）。同年，他的名字首次出现在由Trzaska、Evert和Michalski出版的波兰百科全书中。

1929年1月13日在克拉科夫开幕的联合会华沙分部（ZZPAP）第一次展览上，他获得了300兹罗提的二等奖。他展示了29幅作品：静物画、风景画、抽象画和绘画。

普拉森小组的成员对艺术的功能有不同的看法：当他们开始筹备波兹南国家展览馆和展览馆的室内设计联合项目时，冲突就出现了。对斯特泽明斯基来说，这项事业是他最后一次试图与这个目前由功能主义者主导的团体达成妥协。在5月开幕的展览上，他还展示了他的个人作品：一幅玻璃画和建筑构图8b。6月，他在洛兹展出了协会的开始。

上半年，斯特泽明斯基开始为朱利安·普尔兹博斯的诗歌设计平面布局。

同时，他还参与了由斯坦尼斯拉夫·巴钦斯基编辑的新杂志《欧罗巴》（EUROPA）的社会和政治事务节目，第一期分为两个版本：5月和9月。斯特泽明斯基希望它成为先锋派的平台。很快他就大失所望，在他看来，9月份的那期完全是一种耻辱。然而，他一直把这本杂志作为普及先锋派理论和艺术的手段。6月16日，斯特泽明斯基在写给Przybos的一封信中谈到了他离开Praesens集团的计划。那个月晚些时候，他向他通报了组建一个“基于统一所有现代性——诗歌、艺术、建筑——的更广泛原则”的新团体的前景。斯特泽明斯基声称，离开普雷森斯的直接原因是科布罗为国家展览送去的雕塑丢失了；他还抱怨负责组织展览和财务结算的组织成员的行为。

七月初，斯特泽明斯基一家在华沙巴茨基酒店住了几天之后，就离开这里去查卢比度假了。他们在科卢兹基的房子一定既不舒适也不安全，因为9月份的“天花板坍塌”，必要的重新装修持续了一段时间，使得所有的艺术作品都不可能完成。尽管有很多问题，斯特泽明斯基和科布罗的书，科姆波-兹卡普泽斯特泽尼。空间构成。《时空节奏及其计算》一书于秋季出版。由于财政困难和一些委托拍摄的照片尚未准备好（复制品将包括Kobro丢失的作品），该书推迟出版。

关于这本书，斯特泽明斯基与乔治·凡通格罗通信。斯特泽明斯基通过书信往来，如与旅居巴黎的波兰诗人布热科夫斯基（Jan Brzekowski）的交往，对欧洲先锋派的处境了如指掌。他努力寻找关于现代艺术的最新文献，并发起了广泛的信息交流。

晚秋，一个新的团体成立了“a.r.”（真正的前卫），包括：Kobro，Staiewski，Strzeminski。去年12月，Przybos加入了这个组织，一年后——Brzekowski。同时，在《欧罗巴·斯特泽明斯基》杂志上发表了他的三篇文章：比兰斯·摩登尼兹穆（现代主义的总结），这篇文章简要地回顾了他自己的艺术生涯和普拉森小组的工作，一篇关于米茨瓦夫·斯佐卡的照片蒙太奇的文章和一篇题为斯诺比兹·摩登主义（斯诺比斯主义和现代主义）的文章。去年12月，他计划启动一项新的出版计划，即“a.r.”图书馆，这将与Praesens的计划相适应。

在邻近的洛兹市，他找到了安置现代艺术收藏品的有利条件，并以极大的精力开始将自己的想法付诸实践，设法在小组成员和市议会教育和文化部主席普热达乌·斯莫利克之间找到支持。

同年，他绘制了我们所知的大多数建筑作品，并最终拒绝了“绘画中的建筑学”问题和“由于形式对比而产生的戏剧性特征”，转而进一步寻求绘画作为一个平面四合院的“有机统一”。

12月，他的紧张生活导致他的机体“极度衰竭”；第二年年初，他也遭受了这种疾病的折磨。

1930年，斯特泽敏斯基继续从事各种各样的工作，这些工作常常是相互交织的：这些是他的艺术、说教、理论、新闻和组织活动。

1月和2月，他再次与团队开始展览；他在克拉科夫与圣卢克兄弟会一起的展览上展示了他的水彩。他在4月初出版的《波纳德》一书（见上图）中更正了朱利安·普尔兹博斯诗歌图形排列的最后证据，该书已作为《阿拉伯共和国图书馆》第一卷出版。在这部作品中，他运用了自己的功能印刷的思想。他起草了第一个版本，然后起草了“a.r.”小组第一号公报的最后文本，该公报也于4月出版。该出版物由斯特泽明斯基本人和他的朋友资助。公告的想法是，它应该像一本小册子，某种（正如他所写的）“介于宣言和广告之间”的东西，一张附在普兹博斯书上的传单。人们可以在这里读到“the（…）”a.r.“group，它与欧洲的艺术先锋运动合作，扩展了其思想的征服范围，从而带来了创造力和现代性”。公报的一部分由《当代艺术》杂志发表，由扬·布热科夫斯基在巴黎编辑。与Henryk Staiewski和Julian Przybos Strzeminski一起组织了该集团在波兰和欧洲的出版物发行。他试图建立一个“代表”网络，成为传播波兰前卫出版物的中心和交流思想的场所。他就此事与来自慕尼黑的简·柴霍尔德、来自柏林的赫沃思·瓦尔登和包豪斯进行了广泛的通信。

斯特泽明斯基利用斯塔耶夫斯基对巴黎的访问和简·布热科夫斯基对该小组活动的兴趣，指导两位艺术家寻找什么，努力为国际现代艺术收藏赢得礼物。斯特泽明斯基与洛兹市议会就藏品地点进行的无休止的谈判似乎即将结束。他本人向欧洲和波兰先锋派代表征集艺术作品，并与他们在各种出版物和其他企业进行合作。他与蒙德里安、多斯堡、瓦通格罗、马列维奇、马内蒂、扎诺维尔、佩珀、格拉博斯卡等通信。今年2月中旬，斯塔耶夫斯基从巴黎带来了第一批画作，今年夏天，又有其他画作问世。三月份，他试图与捷克现代主义者建立联系，但没有成功。月底，由于部长级艺术部提供了1000兹罗提的补贴，关于空间构成的书已经出版。

4月，位于洛兹的J.和K.Bartoszewicz历史和艺术博物馆开馆时，由于无法控制的原因，现代艺术收藏品尚未向公众开放。为这一场合准备的第一部分艺术目录包括Strzeminski的Kompozycje i studia fakturou（构图和事实研究），在第六房间展出了洛兹艺术家的作品。

上半年，他写了对早些时候出版的书的评论。Jan Tschichold和Franz Roh，Laszlo Moholy Nagy和Tschichold在新版式上-发表在欧罗巴杂志上。他还发表了一篇关于托斯波作品的评论文章。通过出售（通过Przybos的调解）他自己的画“妥协型”，他努力收集资金，完成了整本书空间构图的印刷。

在Strzeminski教女孩如何设计和生产所谓的服装配饰的工商学院，他不顾一些老师的反对，推出了自己的教育计划。他的学生的作品在学校展览中展出，并可能在洛兹等地出售。今年6月，他消除了疑虑，在科卢兹基又签了一年的合同。

在假期开始时，由于异常高温，他患上了中暑，不得不像他所描述的那样，在科卢兹基度过一个“冷漠和半梦状态”的夏天。在这本杂志的最后一期《当代艺术》夏季版（3）中，斯特泽明斯基发表了他的作品《戏剧化》（戏剧质量与建筑学）。总结了他艺术生涯中最重要的成就，从单一的“平面”绘画到建筑构图，再到下一个阶段，这些成就都是在“真实”的单一绘画中得以实现的；他今年已经开始构思这些绘画。

8月下旬，斯特泽明斯基与史泰耶夫斯基协商了一个“a.r.”第二组公告项目。他考虑了出版一本新的前卫杂志的可能性——这个项目部分是由克拉考圈和贾卢·库雷克实现的。九月份，他写信给朱利安·普尔兹博斯，讲述了即将在NOWA GENERACJA发表的关于“a.r.”组织的文章——我们对这篇文章一无所知。

9月，通过他的调解，卡齐米尔·马列维奇要求该组织在波兰举办他的第二次展览。苏联的政治形势，最后艺术家的早逝，使这项工程无法进行。

到了秋天，感冒在他的“颈部腺体”，没有完全治愈，导致病情复发。尽管病了，他还是努力工作。Strzeminski设计了“a.r.”字母表，Staiewski做了一些小的改进。

12月，在洛兹举行的波兰当代书籍和插图展上，他获得了ZWROTNICA杂志广告海报奖。由于长期的经济困难，老师们在学校的工资很不合理。12月18日，这一情况导致了斯特泽明斯基参加的工商学院教师罢工。

圣诞节前不久，斯特泽明斯基又获得了1000兹罗提的补助金，用于完成这本书的印刷。他是一个纪念碑的作者，这座纪念碑可能是在波兰独立十周年之际，被纳粹摧毁的。

1931年1月，斯特泽明斯基经常就与博物馆及其收藏有关的问题访问洛兹。2月15日，位于沃尔诺西广场的J.K.巴托斯泽维奇博物馆（J.and K.Bartoszewicz Museum）的现代艺术馆开幕。同一天，Strzeminski以“a.r.”组织的名义签署了一项关于存放国际现代艺术收藏品的协议，其中包括当时的21件作品。洛兹市议会的代表是Przedaw Smolik，多亏了他，整个计划才得以完成。

2月，由斯特泽明斯基和科布罗所著的插图丰富的书出现了，书名为《空间构成》。时空节奏及其计算）。这本书作为“a.r.”系列图书馆的第二卷出版。在Cracow杂志LINIA Strzeminski写了一篇关于新建筑的文章，应该是“（……）社会和个人生活节奏的调节因素”。他的文章Architektonizm Mody（时尚建筑主义）发表在杂志ARCHITEKTURA I BUDOWNICTWO上，介绍了一个Koluszki学派的项目，比包豪斯和苏联学派的思想更现代。

斯特泽明斯基创作了一系列不同于以往的作品，前三幅作品于12月在华沙冬季沙龙展出。在他明年发表在《抽象创作》杂志上的文章中，他写道：“（……）在检查了我绘画中的建筑节奏之后，我现在开始思考绘画的统一性。”

新学年开始时，斯特泽明斯基一家搬到了洛兹。他们在皮拉莫维奇大街住了很短一段时间，住在一个只有一个房间的原始公寓里；后来在56号，里波瓦街，10楼。几周后，他们也搬离了这间同样小又不舒服的公寓，斯特泽明斯基当时正在创作一幅身份不明的油画《静物画》，他给普尔兹博斯写信说，这幅画“主观的”，而且“与以前的任何东西都不同”。到了秋天，他们搬去了一套更舒适的公寓，位于锡尔皮亚街22号，6号，10号。窗外的景色使这位艺术家想起了“山景或峡谷”。最早的作品，小格式，画在纸板上的不干胶，他们属于系列城市景观洛兹，斯特泽明斯基将继续在未来几年绘画。

9月，他开始在Kopernika街41号的女子州立工商学院工作。很快，他就成了安德泽亚街7号10号公立技术培训学校的校长。这是一所为印刷工和房屋油漆工提供额外培训的学校。斯特泽明斯基教授印刷术和功能印刷原理。在这所学校的毕业生中有他后来的朋友和合作者：Wladyslaw Gorski，Janusz Tusinski，Boleslaw Utkin。他继续努力扩大收藏。十月份已经收录了59部作品。

10月31日，在IPS的洛兹办公室，他发表了一篇《现代艺术与艺术学校》（Sztuka nowoczesna a a szkoly artystyczne）的演讲，该演讲将于明年在DROCA杂志上发表。斯特泽明斯基和科布罗在扎科潘的普尔兹博斯公司一起过圣诞节，也许还有新年。他遇到了斯坦尼斯劳·伊格纳西·维特基维奇。可能就是在那时，他画了他现存最早的山景（猫）。

他11月11日给普尔济博斯的信特别有趣。斯特泽明斯基在书中分析了共产主义对现代艺术的影响。他写道：“共产主义，”（…）使艺术变得贫瘠，它不仅敌视新的艺术形式，而且也敌视任何一般的艺术（……）”然后他继续说：“（……）除非我们不追查现代艺术的所有社会和意识形态后果——形式的逻辑——否则它将悬在虚无之中，找不到任何社会延伸（……）。”维塔塔斯·凯努克斯蒂斯在维尔纽斯发表了一篇关于斯特泽明斯基的Unism的演讲。

1932年，斯特泽敏斯基参加了今年1月在洛兹举行的波兰艺术家协会（ZAP）展览，他在那里首次展示了洛兹的山景和两个城市景观。在1月30日IPS办公室的展览中，他发表了一篇演讲《现代艺术的出发点》（Punkt wyjscia sztuki nowoczesnej）。2月下旬，波兰艺术家协会（ZAP）大会授权他参加GLOS PLASTYKOW编辑委员会的工作，GLOS PLASTYKOW是一本以Cracow出版的视觉艺术插图杂志。斯特泽明斯基在1938年以前一直参加这个委员会的工作。从1933年中期起，该杂志成为波兰艺术家联合会的官方机构和国家平台。

三月份出版了《国际现代艺术收藏图册》。导言是由普泽道斯莫利克写的。在这75部作品中，有三部是斯特泽明斯基的作品，其中包括在出版物中转载的统一体作品9部。这本目录被广泛分发，扬·布热科夫斯基在巴黎售出了50本。

这并不意味着收藏品已经完成，4月14日，更多的作品从法国运来，在接下来的几年里，直到第二次世界大战爆发，收藏品扩大到111件。Strzeminski在3月7日的《ILUSTROWANA REPUEUKA》一篇关于洛兹绘画艺术的文章中写到了这一收藏的重要性。在IPS洛兹办公室组织两次展览期间。在4月30日举行的春季沙龙和现代印刷品展览上，斯特泽明斯基得知他获得了1932年洛兹市视觉艺术奖。在此之前，新闻界进行了热烈的讨论，特别是在KURIER LODZKI和GLOS PORANNY，他们询问了许多艺术家对该奖项的看法。斯特泽明斯基也参与了这项研究，他认为在艺术家的选择中，应该采用尽可能广泛的视角。颁奖仪式于5月25日举行，在传统派画家瓦达·多布罗沃尔斯基（Wadaw Dobrowolski）领导的保守派圈子里引发了暴力抗议。斯特泽明斯基在致辞中对这一荣誉表示感谢，他说：“只要我的力量和力量允许，我将继续为这种最适合当今时代的艺术而奋斗。”。第二年，暴力袭击仍在继续。斯特泽明斯基试图通过组织一场新闻宣传活动来保护自己，而不是自己，而是先锋艺术，尽管有很多人恳求，普尔兹博斯却出人意料地没有加入。诗人的沉默解释了为什么他们之间的关系在明年变得冷淡，尽管这并没有阻止他们的合作。该奖项和获奖艺术家在官方和公开的声明中得到了支持，这些声明由普泽达斯莫利克、利昂奇维塞克、利沃夫集团阿尔特斯和其他人发表。

斯特泽明斯基在这所技校安装了一台印刷机，这所技校已于5月份开始工作。这个学生的作品在许多展览会上受到高度赞扬。

斯特泽明斯基接受邀请，参加7月中旬在利沃夫举办的名为“新一代”展览的组织委员会。这是继现代主义沙龙之后的第二次展览，它延续了展示各种现代艺术的传统，同时也宣布对不同方向的实验感兴趣。这里的建构主义者被色彩主义者控制着。斯特泽明斯基，谁在利沃夫展示了三个统一的作品，决定只显示他的景观和两个静物时，展览搬到洛兹秋季。

斯特泽明斯基和妻子以及斯莫利克一家在赫尔半岛的查卢比度暑假，这次住在克里索维安卡宾馆。大概在八月初，他带着一系列新的瘟疫画回到了洛兹，这是他的第一幅海景画。他在写给普兹博斯的信中写道：“海胜于山。地平线的永久线和一切事物的可变性。大自然不是一个偶然的问题：一棵树或一座山，而是一个元素的一部分：光、热、水、沙，也就是说，一切都更纯净、更重要……”斯特泽明斯基在一天之内非常迅速地画出了这些画。起初，他用铅笔或硬纸板背面的油漆，不定期地和他们约会。他还用这种方法创作了其他作品：洛兹的城市景观、静物画、抽象作品和1933-1934年的其他作品。他总是用同一家公司来装裱它们：洛兹的利奥波德•尼基尔（leopoldnikiel），咨询装裱的类型和颜色。他在波兰艺术家协会（ZAP）于12月18日在洛兹开幕的一个展览上展示了一系列这些绘画作品。秋天，他参加了技术培训学校的戏剧团工作。

11月底，在历经重重困难后，第二组《中华民国公报》发布。这是一份四页的浓缩传单。斯特泽明斯基是几篇短文的作者和合著者，他设计了出版物的视觉方面。

朱利安·普兹博斯·瓦塔布拉斯（Julian Przybos Wgtab las）的一本诗集《深入森林》（Deep into the Forest）由斯特泽明斯基（Strzeminski）印刷设计出版。这本书作为“a.r.”图书馆的第三卷出版。斯特泽明斯基11月和12月在克拉科夫逗留期间发表了一次演讲，学院的学生都参加了。他写道，他结识了新朋友——可能是在克拉科夫集团的成员中。在接下来的几年里，他将更加密切地参与其中。

他还成为国际抽象创作团体的一员，与Katarzyna Kobro和Henryk Staiewski一起。他在这组杂志上发表了两篇与这组杂志同名的文章。这次他在维斯拉和妻子朱利安·普尔兹博斯的陪伴下在山上度过了圣诞节。

1933年，在新建的Montwill Mirecki住宅区的Srebrzynska街45号75号租了一套现代化的三居室公寓。2月23日，在IPS的华沙部分发表了一篇名为Zasady formy（形式原则）的演讲。

年初，在与Capists的误判结盟后，和“a.r.”集团与Cracow集团的艺术家和来自L'ART CONTEMPORAIN的巴黎艺术家建立了更密切的联系，希望能激活日渐衰弱的前卫运动。他们一起组织了一次展览，仅一次是3月10日在华沙IPS和秋季在洛兹开幕的Grupa Plastykow Nowoczesnych（现代艺术家团体）。这是斯特泽明斯基作品最重要的表现形式：他展示了11幅建筑作品，以及9幅早期和成熟时期的统一体作品。在他看来，这个小组现在的主要目标是“克服新成形主义和立体主义的影响”。展览期间，他参加了宗教和公共教育部5月13日至25日举办的进一步技术培训学校校长课程。同时，他还参与了简·布热科夫斯基·德鲁吉约索比的诗集的平面设计。有汉斯·阿尔普的画。这本书作为第四卷在“a.r.”图书馆出版。下一本书是同一作者的《整体诗集》。也许在那个时候，当布热科夫斯基在Arp的画作后奋力拼搏时，斯特泽明斯基送给艺术家两幅他的画（cat.1.43和1.55）。

五月出版了第一期的季刊FORMA，直到1939年才不定期出版。它正式成为波兰艺术家协会（ZAP）Lodz部门的机关，后来又成为波兰艺术家联盟（ZZPAP），但实际上它是“a.r.”团体的平台。它的编辑是卡罗·希勒，董事会成员除了斯特泽明斯基、安妮拉·门克索瓦、斯特凡·韦格纳、杰瑞·克劳斯和1936年的卡塔尔兹纳·科布罗。这是波兰唯一一本广泛涉及现代艺术问题的杂志。斯特泽明斯基发表了许多文章、转载的作品评论和反映其观点的编辑笔记。为了福尔马，他得到了蒙德里安，马列维奇和其他人的文章。他的文本Druk funkcjonalny（功能性印刷），其中Strzeminski发展了先前概述的新印刷艺术的理论基础，发表在杂志GRAFIKA，并在1935年晚些时候作为第6卷的“a.r.”图书馆。像往常一样，他在查鲁比度暑假。他在那里画了一系列海景，第一幅是6月23日，最后一幅是8月15日。

8月/9月，他被提名为核查委员会成员，该委员会的成立是由于对去年的裁决和意见两极分化的持续争议引起的ZPAP内部分裂。他成为新成立的波兰艺术家联盟（ZZPAP）洛兹分会的成员，该分会反对同时成立的波兰洛兹艺术家工会。9月和10月在波兹南的艺术促进研究所举办了他的一人画展，斯特泽明斯基展示了海景，可能是今年画的，还有其他一些不耐烦的画。他就最近的绘画作了一次演讲。

他的文章Sztuka miast i maszyn（城市和机器的艺术）——他对艺术和后工业社会之间关系的兴趣的影响，发表在10月份的GLOS PORANNY杂志上。在10月20日和21日于华沙举行的代表大会期间，他是波兰艺术家联盟ZZPAP洛兹组的代表。

11月16日，他在IPS的华沙办事处发表了第二次演讲，主题是“Czy kryzys sztuki jest kryzysem strukuralnym Czy koniunkturalnym”？（艺术危机是结构性的还是暂时性的？）。秋天，他开始争取博物馆的新董事会，其中也包括一些艺术家-他担心的新趋势，在市议会有关收藏在洛兹博物馆。12月/1月，在工会组织的一次展览上，他在其他作品中只展示了一幅异教作品。

1934年他参加了对发表在维尔纽斯杂志ZACARV上的“a.r.”第2组公告中的想法的讨论。藏书协会出版了一本名为《波兰现代艺术》（Sztuka Nowoczesna w Polsce）的书，Strzeminski是其作者之一。他从建构主义的角度分析了波兰当代艺术。

他继续参加定期的IPS沙龙，这次是在冬季沙龙。三月份，在华沙的一家咖啡馆里，一个展览开幕了，展出了他的作品和亨利克斯塔耶夫斯基的作品。斯特泽明斯基主要展示了洛兹的海景和城市景观。他认为这次展览“相当批判性”，认为他的作品真正的意义在于其理论的统一。他讽刺地说：“（……）但是在这个像华沙现在这样的弱智和僵化的社会里，我怀疑即使是更受欢迎的图片也不会被理解。”。在展览所展示的绘画中，他试图实现“不规则对称的节奏”，以此表达依赖于“视觉生理学”和“视觉内容的程度”的新的视觉方式

3月24日展览开幕后不久，他参加了在华沙举行的波兰艺术家联盟第二届特别大会。他与卡罗尔·希勒和利沃夫的代表们一起提出了一项决议，即将举行的美术之友协会沙龙将遭到抵制；虽然会议否决了这项动议，但最终宣布了抵制。

他当校长的那所学校安装了一台平版印刷机。斯特泽明斯基向波兰艺术家联盟（ZZPAP）成员提供了这本书。他制作了他的第一幅石版画，并在洛兹的工会展览上展示了其中一些。

他为工会成员举办了一系列为期一天的展览和讨论会，并邀请了来宾。4月21日，他可能就下列主题进行了讨论：“绘画、其形式和现代建筑；外部（文学）主题和通过形式发展绘画内容；形式要素及其对绘画结构的意义”。6月2日，与会者讨论了下列主题：“用颜色构图绘画；绘画作为现代建筑的组织因素之一；意识在超现实主义中的作用”。

他像往常一样和妻子在海边的查卢比度暑假。他的新海景很可能是在9月份在他那一年的第二次单人展览上在利沃夫展出的。同样在九月份，他的作品《抽象绘画的完整性》（integralizm malarstwa abstrakcylnego）发表在杂志FORMA上。在WIADOMOSA LITERACKIE上，他发表了他的文章Co myslg o architekturze（我对现代建筑的看法），回应了该杂志的询问。在GAZETA ARTYSTOW的文本Blokada sztuki（艺术封锁）中，他强烈反对民族艺术的假设，并指出模糊艺术和政治之间的区别的危险。在同一本杂志的magicznosco i postgp（魔法与进步）一文中，他否定了主题性的无产阶级艺术的观念，认为它不适合这个时代。

1935年2月，在克拉科夫的艺术家之家，一个展览开幕，展示了克拉科夫集团及其两位客人的作品：卡塔日娜·科布罗和斯坦尼斯劳·斯特泽明斯基。斯特泽明斯基接受了邀请，并参加了4月17日的展览开幕式；正如M.Sobieraj所说，斯特泽明斯基可能认为对克拉科夫艺术家的艺术负有责任，这是反学术的，但远远不是创新的。在艺术与社会关系的基本问题上，他代表了一种截然相反的观点。他反对“新现实主义”的主导倾向，即在大经济危机后主导现场的民族运动。相反，斯特泽明斯基提出了“艺术产业化”的乌托邦构想。在那个时代，艺术作品应该是“一个视觉的绘画实验”，“一个使功利和生产潜力丰富的发明”，它的目的必须是“增加一般的社会活动和能量”，他在他的文章Hasto przeciw stabilizatorom sztuki（一个反对艺术稳定器的信号）中写道，发表在一份纪念克拉科夫展览的传单上，也发表在《泰戈德尼克·阿蒂斯托》杂志上。他建议在洛兹的一个展览上展出克拉科夫集团的作品。在许多情况下，他表现出对他人的宽宏大量：在展览前不久，他帮助一位来自洛兹的年轻艺术家亨利克维辛斯基（Henryk Wicinski）获得了市议会的拨款。春天，由于经济困难，斯特泽明斯基夫妇不得不搬离他们的公寓：他们将住在44英尺的斯雷布兹恩斯卡街75号的新的两室公寓里，直到战争开始。Strzeminski设计了另一本书，作者是Jan Brzekowski Zacisnigte dookota ust（紧闭双唇），该书在第二年由Max Enst出版。

福马5月号在一系列信件中发表了一篇讨论文章，开始于去年12月，作者是利昂·奇维泰克（Leon Chwistek）——这是Unism的代表和Strefism（区域理论）的创始人之间的一场争论。Chwistek关于“反unism”可能成为这两种理论的共同纲领的建议没有被接受，争议仍然没有得到解决。

斯特泽明斯基确信“博物馆在艺术教育中发挥着最重要的作用”，在同一期的《形式》杂志中，他指出，需要从19世纪波兰绘画作品中为洛兹博物馆挑选适当的展品。5月11日，他在洛兹的Jankel Adler展览上发表了关于现代艺术的演讲，随后第二天就主要论点进行了辩论，这再次表明了他的兴趣有多广泛。

11月11日，他与斯特凡·韦格纳一起参加了在华沙举行的波兰艺术家联盟ZZPAP代表大会。大会期间讨论了组织全国沙龙的问题。沙龙原计划是由工会成员艺术家们举办的所谓“好艺术”的展示会。斯特泽明斯基当选为明年1月开幕的展览资格委员会和评审团成员。

11月30日，他在洛兹市公共图书馆大楼举行的另一次技术培训学院学生和毕业生的版画展览上，就功能性版画的性质，作了一次演讲。

1936年，华沙一月份的艺术沙龙后来转给了洛兹、利沃夫和卢布林，但没有达到预期的效果，大多数奖项都颁给了彩民。尽管有很多保留意见，斯特泽明斯基还是参加了这个沙龙，为“独立创作”辩护。他只展示了洛兹的城市景观。

他曾在前年年底组建的现代艺术家展组委会工作，试图组织“a.r.”和克拉科夫集团的联展。1月6日，他代表委员会与Sasza Blonder和Henryk Staiewski签署了一封致研究所IPS的信，建议在研究所的所有展览室举办这样的展览。但是，IPS研究所的领导们不再有兴趣与当时遇到严重危机的先锋派代表进行任何接触；经过长时间的考虑，决定不提供举办这些展览的设施。

在一月份（4）期的福尔玛·斯特泽米斯基发表了一篇关于简·马特伊科的文章，他提出了一种不同的观点，认为马特伊科是未来学家的先驱。

2月22日，他在IPS研究所读到一篇关于Surogatesztuki（艺术的代言人）的论文，该论文后来发表在BUDOWA杂志上。他认为，当前艺术危机的根源在于现代艺术的潜力与社会对它的需求，即“实际消费”之间的不平衡。抽象之后的下一个阶段可能是功利主义艺术的阶段，这将使“组织集体和个人生活的过程”成为可能。他的文本Aspekty rzeczywistosci（现实的方面），对他的理论至关重要，发表在8月（5）期的FORMA。在“超现实主义者错综复杂的生物线纠结”中，他注意到了一个抽象艺术的机会，即利用“智力和合理化的冲动”，能够创造出与“心理-生理”相对应的艺术形式“反应”，全人类共有的。当年制作的系列石版画被命名为Lodz bez Funkcjonalimu（Lodz无功能主义）。他后来的绘画和战争序列，可以看作是试图发现这样的形式。

十一月他们的女儿尼卡出生了。

“a.r.”组织出版了Jan Brzekowski用法语写的小册子Hans Arp。这本书原本是一系列类似出版物中的第一本书，但不幸的是，由于该组织的解体和整个波兰前卫运动的解体，这些计划都失败了。

斯特泽明斯基为卡齐米尔·马列维奇编辑了一张专辑，并在其中收录了他自己的至高无上的石版画——作为对这位艺术家的致敬。

1937年，斯特泽明斯基没有被邀请参加IPS组织的全国绘画沙龙。

汉斯·阿尔普收藏的两幅画在1月和2月的巴塞尔建设主义艺术展上展出。斯特泽明斯基家族努力使他们的孩子活着，这在很大程度上使父亲无法继续他的艺术工作。

1938年，斯特泽明斯基参加了在洛兹开幕的波兰当地艺术家联合会（ZZPAP）展览，展示了洛兹-贝兹-Funkcjonalismu（洛兹无功能主义）系列中的失业者。也许他也在11月在克拉科夫展出了这些作品，12月下旬在利沃夫的一个展览上展出了洛兹区的成员们的作品，这个展览是在工会的一些地方部门的展厅里举行的，他们仍然与他合作。他编辑了Jan Tschi-chold的书的波兰语版本（排版格式Gestaltung，巴塞尔1935年），波兰语标题为drukowoczesny（现代排版）。上一期的FORMA没有收录他的文章。

1939年夏天，斯特泽明斯基一家和他们的女儿在海边度假，这一次也是在赫尔半岛的查鲁比度假（尽管他们住在孔科尔一家，他们在那里度过了第一个暑假）。斯特泽明斯基创作了新的图画，海景和海滨松树的版本。“a.r.”图书馆的最后一卷（第七卷）出版了——艺术家的作品《广告构图原则》（Zasady kompozycji reklamowej），整个版本在战争开始后不久被销毁。9月1日纳粹德国入侵波兰。

由于害怕入侵的德国军队，斯特泽明斯基离开洛兹，迁往威利加，9月17日，这个城镇被另一个入侵的侵略者——红军占领。斯特泽明斯基在威利加工作，在当地的一所中学当老师。

他创作了第一部战时画作《西白俄罗斯》。

1940年他可能是5月1日《城市装饰》的作者。5月中旬，他与家人返回纳粹占领的洛兹市。起初，他们住在格但斯卡街的阿德拉和杰瑞·克劳兹家里。

他们不可能回到战前的公寓，因为所有房客都被驱逐，公寓被德国家庭接管。相反，斯特泽明斯基夫妇在当时位于施维默韦格22a的怀斯潘斯基街的卡罗尔住宅区有一间带厨房的房间，没有基本的便利设施。

初夏，卡塔日娜·科布罗的妹妹从里加来到洛兹。他们和杰瑞·克劳兹一起成功地保存了斯特泽明斯基留在他们老房子地窖里的作品。他们得到了另一位朋友斯特凡·格里泽茨扎克（Stefan Grzejszczak）的帮助，这位艺术家可能与他一起存放了一些较小的画作。科布罗的雕塑被纳粹分子移走，扔在垃圾堆上。他们中的一些人很幸运地被发现，连同斯特泽明斯基的画作，他们被藏在公寓地板下的一个小地窖里，斯特泽明斯基夫妇在战争期间住在那里。

在那一年的系列驱逐中，斯特泽明斯基提到了对平民的残忍的大规模驱逐。

当德国当局开始就卡塔日娜·科布罗的德俄血统向她施压时，斯特泽明斯基夫妇考虑到孩子的福祉，签署了所谓的俄罗斯西安名单，使他们有权获得更高比例的食物。这一事实对他们的未来生活产生了不良影响，也是他们至今和谐婚姻出现危机的原因之一。

1941年，战争杂志《利兹曼斯塔特泽图尼克》3月号刊登了阿道夫·卡尔格尔关于国际现代艺术收藏及其发起者的一篇文章。他的作品，像整个收藏品一样，都被宣布为“未经犹太教的艺术作品”的典范。斯特泽明斯基创作了另一个画作周期，与战争、占领和早期系列驱逐直接相关；标题可能是对家园的战争，而不是内战，因为它通常写在博物馆的目录中。

斯特泽明斯基靠画明信片、肖像画和装饰妻子制作的布袋过着非常朴素的生活。或许他也曾在艺术陶瓷系的Zdunska Wola陶器厂与Boleslaw Hochlinger共事。

那一年或是接下来的一年，他患了严重的眼疾，在医院里住了一段时间。

他和妻子和女儿在波兹南度过圣诞节，卡塔日娜·科布罗的姐姐在波兹南定居，后来她父亲也在波兹南定居。

1943年斯特泽明斯基绘制了自行车景观和静物画。

1944年他的一幅私人收藏的彩色石版画在巴塞尔的一个混凝土艺术展上展出。

1945年，当战争还在进行时，ZZPAP的第一次组织会议在洛兹举行。斯特泽明斯基拒绝担任洛兹分部的主席。1月19日，德国占领军仓促从该市撤退后，苏军进入洛兹。

斯特泽明斯基夫妇很快回到了战前的公寓，地址是佛罗里达州斯雷布兹恩斯卡街75号。斯特泽明斯基和妻子之间产生了一场深刻而严重的个人冲突。其中一个影响是后来他们为了孩子的监护权在法庭上发生了争执。早春，卡塔日娜·科布罗因腿部疾病在洛兹的一家医院接受了手术。

斯特泽明斯基开始在海盟版块的平面工作室工作，他设计了邮票等。他是在洛兹创办一所艺术学院的发起人之一，该学院反对重新开放的美术学院，目的是在工业和应用艺术方面教育设计师。在春天，艺术教育委员会接受了斯特泽明斯基的想法，并决定开办高等艺术学校（WSSP）。组织工作开始，学生开始报名。

初夏，斯特泽明斯基会见了来洛兹进行短暂访问的朱利安·普兹博斯。他参加了战后第一届联合会洛兹区展览（ZZPAP），展览于8月和9月在H.Sienkiewicz公园前研究所办公室开幕。学年开始时，斯特泽明斯基被新成立的学校WSSP聘为签约副教授。他讲授：艺术史，形式原理，版式和功能图形。他制定了自己的教育计划，特别强调作文和形式原则。他个人的、非传统的讲座，综合知识，邀请听众参与对艺术作品形式的分析，在学生中极受欢迎。

秋天，斯特尔泽明斯基向检察官提出申请，要求“停止对放弃波兰国籍的起诉”。斯特泽明斯基在申请书中提出了几个理由，使他在德国占领期间签署了所谓的俄罗斯居民名单。其中之一就是想拯救他的艺术作品，纳粹称之为“堕落”。经过1946年12月30日漫长的法律程序，斯特泽明斯基得到了一个积极的决定——他被平反。

11月，罗兹市博物馆的存货清单上列出了斯特泽明斯基的78件作品，其中包括来自7个周期的44幅画，作为艺术家的礼物。第一批69件作品是前一个月捐赠的。另外九件作品是通过他的朋友加入博物馆收藏的，斯特泽明斯基曾经和朋友们一起存放了他的一些作品。例如，应艺术家的要求，他的前学生Janusz Tusinski向博物馆捐赠了三幅画。此次捐赠包括：统一派作品（早期和成熟）、建筑作品、海陆景观、城市景观、立体派静物画和立体派景观。在这些图画中，有一个新的周期，是在那一年制作的，上面有一个解释性的标题“手”，而我们却没有。

与战争有关的最后一个周期是一系列为我的朋友——犹太人——设计的拼贴画。来自贫民区和死亡集中营的纪实照片，或是被判灭绝的犹太人的脸，都有图画、色块和富有表现力的诗意标题作为补充。斯特泽明斯基通过他的前学生朱迪塔·索贝尔的调解，将整个周期，除了一个学院捐赠给了普兹博斯，捐赠给了耶路撒冷的雅德·瓦舍姆学院。

1946年暑假期间，他带着女儿去了下西里西亚山区诺瓦鲁达村为WSSP学生组织的第一个露天讲习班。他与罗曼·莫德泽莱夫斯基教授和斯特凡·韦格纳教授一起是该小组的主管之一。斯特泽明斯基在那里创作了一系列的素描、水彩和山景画，这些都是他在经常出山游览时观察到的，他参加了这些散步，展示了他惊人的健康。在新学年，他是韦格纳管理的空间艺术学院空间艺术系主任。他主持了功能性的平面艺术工作室。

他参加了11月和12月举办的一年一度的联合ZZPAP沙龙，在那里他展示了3幅山景。他当时获得了市议会艺术文化部颁发的一项奖项。

洛兹是一座在战争中没有被摧毁的城市，它靠近被摧毁的华沙，因此在战争结束后不久，它就成为艺术生活的中心。这是战前克拉科夫集团、利沃夫圈子和艺术家特洛姆华沙代表短暂访问的地方。斯特泽明斯基有机会恢复因战争而停止的接触，并建立新的接触。他可能遇到了塔德乌斯·坎特，他当时对洛兹先锋派和洛兹市都非常重要。12月，Marek Wlodarski在给Jonasz Stern的信中写道，斯特泽明斯基与Teresa fyszkiewicz和Stefan Wegner一起代表了新成立的“波兰进步艺术家团体”中的当地艺术界。据他说：'（…）该小组有一个有趣和连贯的思想和艺术方案。我们拒绝了印象派的资产阶级思想，这种思想没有通过现实的考验，但另一方面，我们也不想与社会主义现实主义的白痴有任何共同之处，后者把艺术的概念分为内容和形式。”

1947年2月，特蕾莎·特什基维茨和杰瑞·克劳茨基·斯特泽明斯基在洛兹波兰艺术家联盟（ZPAP）的工作合作社办公室共同展出。

他以大屠杀为主题的个人作品展于皮奥特科夫斯卡街102号沙龙开幕。

2月15日，洛兹学校被授予法令，并成为一所名为高等艺术学校（PWSSP）的州立学校。

5月，他成为青年艺术家和学者俱乐部的画家组成员，该俱乐部的办公室和现代艺术画廊位于华沙的波兰陆军大厦，其中包括一些“现代”艺术家。

假期前不久，他离开了家人，搬到了一个出租的房间里——这也是他在8号Kollataj街的工作室。这个房间很快就成了一个会议场所，在那里举行了关于艺术的长时间讨论。斯特泽明斯基和他的朋友和学生们一起，讨论了他关于视觉的理论工作的每一章。他通常用他最喜欢的浓咖啡和蔓越莓酱来欢迎客人，总是抽很浓的香烟。斯特泽明斯基在艺术史讲座的基础上，写了一些文章，后来发表在普热格拉德的《艺术史》和《奥德罗泽尼》上，分析了希腊人、哥特式艺术家和印象派画家的看法。其中一人的合著者是斯特凡·克里吉尔，他是斯特尔泽明斯基当时的学生。在杂志MYSL WSPOLCZESNA Strzeminski上发表了一个更大的作品片段（正如他自己所说），他在战前曾在上面工作，但在占领期间被摧毁；它的标题是Lodz sfunkcjanalizowana（功能化Lodz）。在这项工作中，他发展了他的城市理论，形成了一个健康和理性的方式。后来，这部作品的战前手稿被塞缪尔·斯泽克茨（Samuel Szczekacz，Zur）捐赠给了洛兹的穆泽姆·斯祖基（Muzeum Sztuki）。

7月20日左右，他参加了在诺瓦鲁达再次举行的第二次露天学生讲习班。斯特泽明斯基创作了更多的山景、云、山和云，以及其他类似的作品。在他担任校长的空间艺术系的新学年里，斯特泽明斯基介绍了建筑问题（设计、绘图、材料理论、构造学）的第一门课程。他是这个扩展教育项目的发起人。罗曼·莫德泽莱夫斯基认为，在这样做的过程中，斯特泽明斯基希望继续在“a.r.”小组的方案中提出的想法。他把艺术看作是引进社会变革的一种手段，试图发展普通艺术教育和专业培训。他在空间艺术系的项目对其他学院的教学大纲产生了决定性的影响，从而决定了学校未来的特色。斯特泽明斯基在电影、摄影和国家设计系讲授艺术史，这是洛兹未来电影学院的起源。他还向纺织系的学生讲授艺术史和形式原则。

他为纺织品设计家具和印花图案。他和莫德泽莱夫斯基一起就学校和轻工业合作的可能性进行了谈判，但没有结果。他与Jerzy Oprustil合作为萨格勒布博览会设计波兰展馆。

初秋，他遇到了作家佐菲亚·纳尔科夫斯卡。在她9月19日的日记中，她写到了这次会议：“（……）晚上与最不寻常的Strzeminski（…）有关艺术的事情是非同寻常和有趣的。我记得普兹博斯是多么珍视他的智慧同样尝试写作的画家是另一回事（…）。他白发苍苍，活泼，机智，他说什么都带着微笑（…）。我没有读过他在手稿中写的故事。这是我良心上更持久的痛苦之一。他的聪明才智、创新精神和始终如一的顽强精神赢得了人们的尊敬。”纳科夫斯卡在这里的意思可能是斯特泽明斯基的未完成的小说，它保存在手稿中。

他的个人问题可能是斯特泽明斯基请假一个月的原因。我们不知道为什么政府部门拒绝了他的请求。

10月24日，艺术学院高级理事会向文化艺术部提出一项决议，授予斯特泽明斯基教授一职，以表彰他的艺术、理论和教育工作，但没有得到答复。斯特泽明斯基参加了青年艺术家的展览，11月30日在青年艺术家和学者俱乐部开幕，在那里他只展示了一幅画：山和云。

1948年2月，他在俱乐部的一个回顾展上展示了他的战争画，随后进行了讨论。在斯特凡·韦格纳·斯祖卡·穆西·乌萨萨德尼奇·斯沃吉特（Stefan Wegner Sztuka musi uzasadnic swojbyt）的就职演讲（艺术必须证明其存在的合理性）之后，与会者讨论了斯特尔泽明斯基的视觉理论的原则。

他参加了在卡托维兹举办的现代画家展览。Strzeminski应August Herbin（2月13日和24日的来信）的邀请，加入了国际新Realites集团，并参加了该集团的展览，该展览还将附有一份特别在这一场合出版的目录。上半年，受Muzeum Sztuki（艺术博物馆）馆长玛丽安·米尼奇（Marian Minich）的委托，Strzeminski设计了博物馆二楼的肿瘤室，这是工厂老板M.Poznanski的故宫。这个房间是国际和波兰艺术展览的中心点，以系统的风格安排呈现。博物馆的开幕式于6月13日举行。斯特凡·克里吉尔协助斯特尔泽明斯基完成了这个项目，画家的作品是由艺术家和斯特尔泽明斯基战前的学生瓦迪斯洛·戈尔斯基完成的。在作者的意图中，这个肿瘤室原本是一个自主的建筑空间，后来变成了一个“功能性”空间，一个展览室。在那里，博物馆展出了德斯蒂尔艺术家的作品、亨利克·斯塔耶夫斯基的绘画作品、卡塔日娜·科布罗的空间作品。斯特泽明斯基为这个特殊的房间制作了两件空间作品和一套家具。正如J.Ladnowska所写，新塑主义者的房间“再现了新建筑未实现的理念”，并作为“新的教学实验室，用于卡塔日娜·科布罗的雕塑作品。”

斯特泽明斯基和学生们一起在诺瓦鲁达的露天车间度过了假期。他与杰尔兹·奥普鲁斯蒂尔一起设计了中央造纸工业研究所的展馆，以展示收回的领土，该展馆于今年夏天在弗罗茨瓦夫举行的8月份世界捍卫和平知识分子大会之前开放。正如K.Czerni所说，这次展览是为了展示现代艺术的社会实用性。

他与WIES杂志建立了联系，并在那里发表了一系列关于城市规划和社会学以及绘画及其感知的文章。在他指导的空间艺术系的新学年里，其他课程被引入，这些课程更集中地处理建筑问题。他还讲授艺术史、构图原理、室内设计和家具设计、色彩和光线问题、平面艺术和空间规划。他还在新成立的电影学院讲授艺术史。在洛兹大学，他作了一系列的演讲。他的不同兴趣可以在Rytm sztuki romariskiiej（罗马式艺术的节奏）一文中看到，在该文中，他与Lech Kunka一起介绍了重建Leczyca附近Tum学院教堂的项目。

12月，斯特泽明斯基在克拉科夫举办了第一届现代艺术展，但由于种种原因，斯特泽明斯基没有被接受，而他被派去参加这次展览的绘画橱窗在未知的情况下迷失了方向。这是一次更痛苦的经历，特别是展览被认为是“现代艺术家”的一个对抗平台。它以创造自由的名义成为一种独立的表现形式，并试图与公众建立联系。

斯特泽明斯基创作了他的第一部太阳派作品，也被称为后像。

1949年他与人合著了6月份在波兹南国际博览会上实现的轻工业展馆的设计。他以新的风格设计了亭子附近的建筑。他画了最后一幅遗像，其中三幅捐赠给洛兹的穆泽姆·斯祖基。6月底，在卡托维兹举行了第四届全国人民行动党代表大会，这是一个具有重要影响的事件，谴责了“艺术世界主义”和四十年的徒劳无功的实验，但最重要的是确定了社会主义现实主义的基本和必须的规则。斯特泽明斯基创作了第一批绘画作品，这些作品是他自己对新现实主义口号的诠释：纺纱工、织布工、纺织工人。夏天，他独自呆在比鲁托维兹和诺瓦鲁达——他从当地孤儿院画了许多风景画和儿童肖像。

9月1日，他与普华永道董事签署了下一学年的另一份合同。这一次，他将领导建筑学艺术系，该系是在空间艺术系成立的地方。他教授形式、空间设计、艺术史、功能图形艺术和家具设计的原理。他?

3 ) 艺术之死

被红色笼罩的房间，压抑而又来势汹汹，大概从这一刻开始，就已经预告了他之后的人生。电影已经足够沉重，可或许，现实要比之更甚。

所有人都被封住了嘴。被强行要求站队，若是你所支持的是他们的对立面，他们会温和地对你说“我建议你改变立场”。

而始终不愿意站队的人，或者说持有不同看法的人，最终的下场，是被排斥被打压被抹杀，甚至失去了画画的资格，因为，他买不了颜料。不是买不起，而是因为不能买。不，这已经不仅仅是一个人被排斥被打压被抹杀，而是整个艺术的死亡。

我不懂艺术，不懂画作，不懂什么叫做新造型主义，但是我想，艺术应该是纯粹的。被统一被安排的艺术，不应该被称之为艺术。当艺术被刻意沾染上政治色彩的那一刻，或许，它就已经死了。但是，艺术之死不会是永远的。人们的嘴，也不会永远被封上，正如斯特热敏斯基的那句话“现在发生的事情，只是历史中的一阵风而已。它总会过去的，回归于平静”。

尽管有无知暴虐的人。

但是也有为了艺术的死亡而怅然若失的人。他们或许无力改变什么，他们或许不够勇敢，但是，至少，他们对艺术不是无动于衷。他们还会为了艺术而难过而悲伤。

更重要的是，还有一些人，他们深爱着艺术。这样的人，或许不多，但是只要有这样的人存在，我想，艺术必然是会重生的。

4 ) 一部沉重的电影

用了两个晚上看完的电影，太沉重的题材总是无法让我一次性看完，就像我最近在看的一本书，当情绪到达一个点时我需要用暂时的转移让它渐渐消散这是瓦依达导演的最后一部作品，画面干静的仿佛不管再加上什么都是多余的去掉什么又不完整一样，我很少去看特别悲伤沉重的电影而且还是纪实性的，那种对于现实的无力感会影响我很久，就像这部电影说的是苏联统治波兰后的一个普通的不能再普通的故事，就像故事的主角斯特热敏斯基说“一切都会过去，这只是历史中的一阵风而已。”但是因为政治背景的相同所以不免想到曾经一些发生在自己国家的历史故事，也可能不仅仅是相同的背景关乎于政治的题材总是冷血而残酷的，这部电影也不例外，前期越热闹后期就越凄凉，而身体的残疾对与精神的坚持行成了强烈的对比，不管是老艺术在人来人往的工厂门口倒下却无人问津，唯一一个伸出援手的还是一个信教徒，还是最后倒在那些残破的“提线木偶”中，而橱窗外冷漠行走的路人无人侧目，都让人心生悲痛又不忍责怪他当初的选择。我喜欢的片段是他知道自己时日无多而坚持起身把白色花染成蓝色去看望了连最后一眼也没看上的逝去的妻子，他说因为她眼睛是蓝色的看这类电影不如看快餐电影，吃过爆米花感受了震撼时间就过去了，看的时候总是希望时间再快点好让主人公的苦难能少受些，以前人们总说一切都会过去的新时代会到来的，不过是角度不同何来感同身受

5 ) 《残影余像》观影笔记 2017/06/03

这是波兰导演安杰依.瓦依达留给世界的最后一部作品，如果说每个人都有一个终其一生都在思考的命题，那么瓦依达的命题就是作为独立的个体，究竟如何存活于民族国家的大叙事中。

电影的开篇美得让人屏息，一片绿油油的田野上，零星开着朵朵白花，几个年轻人撑着画板写生，不一会儿，他们跟着老师一起抱着双臂自由自在地从山坡上滚下来，嬉笑玩耍，与自然融为了一体。在这儿，年轻的姑娘汉娜第一次见到这个对她一生产生至深影响的男人，美术学校艺术史的讲师Strzemiński ，他是赫赫有名的先锋派画家，倡导绘画中的形式主义，也是余像理论的开创者。与大自然的无忧无虑形成强烈对比的，是Strzemiński的独腿独臂，虽然电影并没有交代他身残的原因，但是结合时代背景不难猜出来这是一战在他身上留下的罪孽。而这片田野的视角构图其实也是一道隐喻，似乎从一开始就预示了他的命运。

Strzemiński接过汉娜带给他的一束白花，轻描淡写地说出了整部电影最重要的一段话，他说，“图像必须被你吸收，当我们凝视一个物体，眼中会形成映像，待我们将眼光投向别处，眼中会留有那个物体的余像，它留下了痕迹，形状相同，但颜色相反，是一个残影余像。而人真正看到的，只能是他所感知到的。”初听以为是一段无关痛痒的艺术理论，可当我看完整个故事，再回头去听开头这一席话，才觉得鼻尖酸楚。

苏联占领了波兰，斯大林的“为社会主义服务的写实主义”理论被奉为圭臬，Strzemiński的领导告诉他，你现在正站在人生的十字路口上，可惜这里不能久留，无论你选择哪一条路走下去，都是你最终决定了你自己的命运。不出意外，作为一个崇尚形式主义的先锋艺术家，Strzemiński选择了他的艺术，当文化部长召集师生大谈促进生产的写实主义是唯一正确的艺术形式时，Strzemiński打断了他洋洋自得的演讲，告诉他艺术是形式的实验室，新的艺术形式理应得到尊重，不是因为他们的实用性，而是因其优越性。

在顶撞文化部长前不久，他还在给他的学生们讲梵高，瓦依达选择了梵高的《麦田》，仔细看来，你会发现这幅画的构图的意像与影片开头的自然景观有几分相似，这幅画是梵高的遗作，而这堂课也是Strzemiński人生中的最后一课。他告诉他的学生们，梵高的画作来自于活生生的人，不是精神层面的臆想，而是真实的观察。

失去教职的Strzemiński很快就被艺术家协会驱逐，在极权社会主义的国度里，他逐渐失去了作为一个艺术家、甚至是作为一个人活着的权力。没有证件不可以买颜料，不可以再作画，在计划经济的框架下他甚至无法为自己挣到一张粮票，贫困和饥饿几乎将他吞噬，当他的邻居因为欠债而拒绝给他提供食物，甚至侮辱性地将已经倒出来的汤原封不动倒了回去，Strzemiński只能无奈地低下头去舔舐盘中仅剩的残羹。村上春树曾经在一次演讲中说，如果一颗脆弱的蛋冲向体制的墙，他会永远选择站在蛋的这一面。而Strzemiński却是面对这堵高墙，将自己活成了这颗支离破碎的蛋。

当初，Strzemiński因为坚持自己的艺术理念遭到学生开除时，学生们依依不舍地送他下楼说要退学继续跟着他学画画，那时他云淡风轻地笑了一下，说“现在所发生的一切，只是历史上的一阵风。总会停歇，重归平静。”学生们觉得他们的老师像一个先知，而他说得也没错，70年后再回首那段历史，曾经志得意满的弄潮儿们早已经消失地无影无踪，却是这样真实而鲜活的生命活在了图形之中，活在了影像之间，最终被人们所铭记。

我想，如果有选择，Strzemiński大概也是不愿意让自己的生活被人们记住的，不是羞于启齿而是没有必要。除艺术之外，他的感情显得克制隐忍，甚至于淡漠。女儿每次来画室看他，都会在他的额头上亲亲一吻，而他鲜有回应，虽然影片没有着重叙事，我们也能看到他和同为艺术家的夫人已经分道扬镳，甚至在她临终的时候都没能再见一面。

得知妻子已经去世，Strzemiński眼眶渐红，喃喃地说他应该去她的坟上献祭一束蓝色的花朵，女儿问为什么是蓝色的，他说你妈妈的眼睛是多么蓝啊。影片最后，当他知道自己大限将至，逃出医院之后做的第一件事就是回家，将汉娜送给自己的白花用仅剩的蓝色颜料染蓝，轻轻地放到了亡妻的坟头。这一幕，是整个影片唯一让我控制不住泪点的一幕，他对他的学生说，在艺术与爱中，我们只能给予我们所拥有的。在艺术里，他给许多年轻人打开了认识世界和自我的另一扇窗户，然而在俗世的爱中，他能给的何其有限，而一世的爱恨纠葛都化于一束蓝花。因为你的眼睛是那么蓝，像天空的颜色。

一束白花染蓝，一场无疾而终的爱慕和有缘无份的相伴，色调的改变是这部影片最精彩的叙事。除此之外，还有葬礼上女儿的红外套反穿变成黑外套，斯大林巨幅的红色画像将白色的画板染红，当我们结束凝视将目光移开，眼中会留有物体的余像，它留下了痕迹，形状相同，但颜色相反，我们能看到的，只是我们所感知到的。

人的一生，就是不断与自己和解的过程。在Strzemiński的故事中，极权主义的叙事只是画布上的白色背景，将他一生的爱与遗憾映衬其上，最终我们记得的或许不是一个先锋派画家，而仅仅是一个麦田里的守望者，一个画过、爱过、真实地活过的人。

6 ) 一些资料搬运

原地址：http://www.ddg.art.pl/strzeminski/life.html

关于 Władysław Strzemiński 中文资料直接是没有，搜到一些英文资料，留作资料备用。

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Wladyslaw Strzeminski 1893-1952

--- Life and Work
1893
Born 21 November in Minsk (now Byelorussia) into a family of Polish gentry. He was the oldest son of Maximilian Benedict Strzeminski (1847-1919) and Ewa Rozalia nee Olechnowicz, whom Maximilian married in 1886. He was baptized in the Catholic Church in Zlota Gorka near Minsk. His father, officer of the Tsarist Army, Lieutenant-Colonel, retired in 1902 and worked in the Provident Fund. He had a sister Janina and a brother Walerian. Spent his childhood in Minsk in "a house surrounded by a garden" at 21 , Kozhevenna Street.

1904
As an eleven-year old boy he joined the Tsar Alexandre II Cadet School in Moscow, from where he graduated in 1911 . The school, which provided him with careful education, was the first stage in Strzeminski's military career dreamed about by his parents.

1911
Began studying in The Tsar Nicholaus Military School of Engineering (Voyennoe Inzhyneryinoe Uchylishche) in Petersburg. Here he gained wide knowledge in the field of the history of architecture and mititary construction.

1914
In mid-July, shortly afler graduating, he was delegated as an officer of sappers to the Osowiec fortress in the Bialystok District. During World War I he took part in military operations on the Eastern Front, and was in command of a sappers' unit.

1916
At night 6/7 May, near Pershaye in Byelorussia, he was seriously injured by the explosion of a grenade in trenches. After the amputation of his right thigh and left forearm he recuperated in Prochorov Hospital in Moscow. The splinters of the grenade also injured his eyeball. This accident ruined his hopes for the continuation of a military career. In the hospital he met Katarzyna Kobro (1898-1951), future sculptor and wife. She was a sister of mercy who looked after wounded officers during the war. At that time she already used to mould in clay, intending to study sculpture.

--- 1917
Strzeminski probably spent many months in the hospital. He could not use artificial limbs because of the phantomic pains. His kinetic rehabilitation was made possible only by crutches, which he was to use till the end of his life. In Moscow he was fascinated by the private art collection of the factory owner Shchukin, which included a wide variety of French paintings from Impressionism to Cubism. Since there are no historical documents, we can only guess that Strzeminski started to study history and theory of art. His artistic education was undoubtably quickened by the eruption of artistic events which came in the wake of the October Revolution.
1918
From May to November he took part in the meetings of the Subsection of Art and Artistic Industry, which was headed by Vladimir Tatlin, within the framework of the Moscow Section of Fine Arts of the People's Commissariate of Education (Izobrazitelnyi Otdel Narodnogo Komissariata po Prosveshchenyu), in short IZO Narkompros. The group included such artists as Kazimir Malevich and Antoine Pevsner, who discussed the idea of founding a network of "museums of artistic culture" in which the main role would be performed by the All-Russian Museum in Moscow.
In the summer he visisted his parents in Minsk.
In the autumn he started studying in the First Free Artistic Studios, known as SVOMAS (Svobodniye Masterskiye). The studios were opened in September in the old Strogonov School in Moscow. At school he met Katarzyna Kobro again. On 5 December his name was included in the list of 143 (146?) artists, whose paintings, by the decision of the IZO Narkompros, should be purchased for the prospective Museum of Artistic Culture in Petersburg. The museum was opened only on 3 April 1921, its director was Natan Altman. In 1926 its collection was moved mostly to the State Russian Museum in Leningrad. Two of Strzeminski's paintings come from this early collection, dated later (cat.1.3 and 4). The only known painting from 1918 is in the Museum in Ivanovo. (cat. 1. 1 ).

1919
Like most of the artists in Soviet Russia he took part in the agitprop activities characteristic of those times. At the beginning of the year in Minsk, he designed together with the sculptor Ciechanowski and the director of the local IZO Vsevolod Dmitrev, the decoration of the city to celebrate the first anniversary of The Red Army on 23 February. Strzeminski also stayed in Minsk for family reasons: in January his father died.
In February he was nominated (together with Alexandre Rodchenko) to the Moscow Committee of Art and Artistic Industry, which must have been an equivalent of the IZO Narkompors Subsection, in which Strzeminski worked in the previous year.
Together with Antoine Pevsner he directed The All-Russian Central Office of Exhibitions (Vsserossyiskoye Tsentralnoye Vystavochnoe Byuro) - the institution founded within the IZO framework to organize exhibitions all over the country. He showed his paintings at the VIII exhibition in Moscow, supposedly organized with Pevsner. Earlier, he took part, probably for the first time, in an exhibition in Riazan. He did not graduate from SVOMAS.
In autumn he moved to Smolensk, where he lived till he left for Poland. Initially he worked as an instructor of the Subsection of Art in the Smolensk District Department of People's Education (Gubernskiy Otdel Narodnogo Obrazovanya), in short GubONO.
In December, possibly on Malevich's invitation, Strzeminski participated in an exhibition of local and Moscow-based artists, organized by the founder of Suprematism. He played a more important role in the circle of Malevich's artistic colleagues, who formed a group called the Advocates of New Art (Utverzhditeli Novogo v Iskustve) known as UNOVIS.

--- 1920
In the first half of the year Strzeminski was the director of the Section of Art of the Joint Departments of Museums and Fine Arts (Podotdel muzeyev y izobrazitelnykh iskustv) affiliated with GubONO. As a representative of the section he was made the secretary of the Arts Council, whose first meeting took place on 4 April. He represented there the far left-wing orientation. The council decided on the current problems regarding the decoration of theatres, the setting, exhibitions, etc.
In Smolensk at an exhibition opened c.15 March, Strzeminski showed ten works, including sketches for the scenery of Mayakovsky's Buffo Mystery Play. These sketches may be connected with the production of the Prologue to this Mystery Play, performed in February in Vitebsk.
The artist's works after the exhibition were selected for the presentation in the Museums of Artistic Culture (Muzeya Khudozhestvennoy Kultury), known as MCHK.
29 June Strzeminski delivered a lecture on the principles of creativity and the systems of composition in Raphaeal's paintings.
In summer Katarzyna Kobro comes to Smolensk. Together they supervised the IZO Studio GubONO - affiliated with UNOVIS. Malevich living in nearby Vitebskwould often visit Smolensk; together they taught the principles of Cubism and Suprematism . One of Strzeminski's students was at that time Nadia Chodasiewicz, known later as Wanda Chodasiewicz-Grabowska or Nadia Leger. Strzeminski exhi- bited with the UNOVIS group in Moscow.
1921
Strzeminski's and Kobro's studio was on the main street of Smolensk (Bolshaya Sovetskaya) . Together they designed political posters for the Russian Telegraphic Agency, ROSTA, which was an institution dependent, as the IZO, on the same section of art in Narkompros.
In March he took part in a one-day show of UNOVIS in Vitebsk.
Towards the end of this year or at the beginning of the next year, he married Katarzyna Kobro before the registrar, and then they both "smuggled themselves" into Poland. Probably one of the reasons for Strzeminski's decision to defect was his analysis of the political situation in Soviet Russia and of the way in which artistic life developed. Surprisingly there is no evidence of the artist's creative work in that year. Maybe he stopped working for the IZO Narkompros, which had been by then twice reorganized - at the beginning of the year and in October. Especially the second change of its structure limited artistic freedom by giving central political institutions the power to control art and by subjecting art to the needs of the Bolshevik propaganda.

1922
The Strzeminskis spent a few weeks in the police-station as a result of their illegal crossing of the state border.
They first settled in Vilnius where the artist's family had been living after his father's death. Strzeminski taught and lectured at Major Lukasinski Military Courses. In October in Berlin one of his paintings was shown at an exhibition of the greatest achievements of Soviet art. Strzeminski presented his own critical views on the development of Soviet art in his pioneering article, 0 sztuce rosyjskiej- notatki (On Russian Art - Notes): the first part appeared in the November issue of ZWROTNICA, the second part in issue 4. The magazine was founded and edited by a Polish poet, Tadeusz Peiper, his future long-time friend.
. His sister Janina died. Katarzyna Kobro left Vilnius, she did not speak Polish, suffered from long periods of forced inactivity, and had to cope with her husband's family, who were unfavourable towards her. She moved to her relatives in Riga.

--- 1923
Wilejka Powiatowa was the next place of their settlement, Strzeminski moved there in search of a permanent job after the closure of the Major Lukasiewicz Courses. In the local Henryk Sienkiewicz State High School for Boys and Girls he taught drawing, maybe till mid 1924.
He produced Synthetic, Post-Suprematist and Post-Cubist compositions - these paintings were all early artistic realizations of the nascent theory of Unism. He started collaborating with Vytautas Kainukstis, whom he probably had met in Moscow. Together they both arranged in Vilnius the first Polish exhibition of Constructivist art - The New Art Exhibition, which was opened 20 May in the Corso Theatre. They designed a catalogue - an early example of functional print. In the exhibition, apart from its initiators, three artists participated who were to become main repesentatives of Constructivist avant-garde: Henryk Staiewski, Mieczyslaw Szczuka, Teresa Zarnower. Strzeminski's review of the exhibition published in ZWROTNICA is still the basic source of information about this artistic event.
1924
Strzeminski was a co-founder of an association of Polish Constructivists Blok, organized as the consequence of all his artistic experiments in which he had been engaged so far. The group became known as the publisher of the magazine BLOK, edited by Szczuka, its first issue appeared 8 March. Strzeminski published there many unsigned articles and reproductions of his works; in subsequent issues there were further articles by Strzemiriski and many reproductions. He participated in a show which inaugurated the group's exhibitions, the show was opened 15 March in Warsaw in the Automobile Showroom of the Laurin-Clement Company. Before the opening, Katarzyna Kobro probably came from Riga for a short time. In summer the artist visited his wife in Riga. There on 29 July they had a church wedding, which was a condition for Kobro to be granted Polish citizenship. Before coming back to Poland they both spent a few weeks of holidays at Riga Bay.
Then they moved to Szczekociny, a small town on the Pilica River. In the Co-educational High School of the District Department of the Wloszczowski Regional Council, Strzeminski started to teach drawing - possibly at the suggestion of the headmaster of the school, Adam Nowinski, a devotee of the new art. He visited Warsaw many times, taking part in meetings and discussions of the Blok group, which were held usually in Szczuka's flat or in the offices of the Polish Art Club in the Polonia Hotel. Remembering Moscow collections of modern art and their role in the artistic education of the people, Strzeminski made the first, yet unsuccessful, attempt to organize a similar collection in Poland. In a letter to Julian Przybos from 8 February 1931 he wrote: "(...) I suggested to the members of the Blok that such a museum should be organized, but to no avail, because Szczuka was afraid of the technical and the painterly matters, of the painterly culture (...)".

In the November-December issue of BLOK, Strzeminski published an article B=2, which was considered to be the first formulation of the theory of Unism; there he specified what makes his views different from Szczuka's utilitarian theory.
With the Blokgroup he exhibited again in Riga and maybe in Brussels and Tallin.
Strzeminski, opposing Malevich's Suprematism both in his theory and practice, produced monochromatic paintings, based on the principles of his own system - these were Unistic (flat) Compositions. This year his name appeared for the first time among the names of Polish Futurists in a magazine RIVISTA D'ARTE FUTURISTA published in Western Europe.

--- 1925
The Blok group disintegrated: the artist did not take part in subsequent exhibitions and publications of this group.
He was more attracted to the artists centred around the Cracow-based magazine ZWROTNICA, designed covers for its publications, including poetry books by Julian Przybos, whom he had met earlier in the editorial office of the magazine. This contact marked the beginning of their long co-operation and friendship.
At that time he must have met young architects from Warsaw, future members of the Praesens group - most notably Szymon Syrkus and Bohdan Lachert.
According to his former students from the Szczekociny High School, Strzeminski was writing at that time a history of art - maybe drafting one of his future educational programmes.
Meanwhile in MCHK (The Tretyakov Gallery) in Moscow his painting was exhibited (most probably the one kept now in Ivanovo), together with the works by David Sterenberg, Mikhail Larionov, Alexandre Drevin, Olga Rozanova, and Natan Altman.
1926
In January and February he presented his works at the International Theatre Exhibition in New York.
In the first half of the year Strzeminski was still involved mostly with his Cracow contacts. He probably designed the whole art work for the sixth issue of ZWROTNICA. In the following issues of the magazine he published reviews and polemical notes on the current views on modern art. He exhibited twice with the Artists' Guild Jednorog (Unicorn), a group of graduates of Cracow Academy, who stood for the quality of work, for its technical side, and against messages or ideology in art. He showed there a series of Still Lifes and Landscapes - paintings which stem from his analyses of the structure of Cubist paintings.
In summer the Strzeminskis moved to Brzeziny near Lodz. Strzeminski taught drawing in the Stryjkowski High School of Humanities. Almost at the same time as they moved to Brzeziny, the Strzeminskis renewed their contacts with Warsaw artists.
In the first half of the year, inspired by Szymon Syrkus, Modernist architects, sculptors and painters, formed a group called Praesens. Among its founders were former members of the Blok, Katarzyna Kobro and Henryk Staiewski. The artists produced a magazine under the same name, which became the group's theoretical organ - the first issue appeared in June. Strzeminski joined the group a little later, before the first October exhibition of Praesens opened in the Warsaw Gallery Zacheta. The works presented at the exhibition testify to the co-operation between the painter and the architects. With Epstein, Strzeminski designed the interior of the Sculptor's House, about which we do not know much more; he produced a colour-design for Syrkus' Fur Shop and for a church by Syrkus and Oderfeld. Furthermore, he was one of the artists who exhibited the project for the interior-design of the Perskie Oko Theatre. This theatre is probably the cabaret which was opened 5 September 1925 in a house at the corner of Nowy Swiat Street and Swietokrzyska Street in Warsaw, and for which Pronaszko used to work. In the Zacheta Gallery Strzeminski exhibited also his own individual works: paintings on glass, book covers and illustrations. Maybe the paintings on glass were the three lost abstract works, reproduced one year later in the March issue of ZWROTNICA. We can treat them as the artist's earliest studies of the question of mathematical calculations, of the problems of the rhythm of flat and contrastive forms constructed "(. ..) according to the same numeric representation". As one of the authors who wrote texts to the catalogue of this exhibition (the text on functional painting and architecture), Strzeminski made an important contribution to the theoretical programme of Praesens.
He returned to the idea of organizing a collection of modern art in Warsaw. He drafted the statute (validated in September) of the Association of the Gallery of Modern Art, which functioned for a short time, and only nominally, in the following year.
He wanted to exhibit Kazimir Malevich's works in Poland and to invite the artist to Poland - as a result of his exertions Malevich paid a short visit to Warsaw in March 1927 and an exhibition of his works was finally opened.
Strzeminski often visited Warsaw, staying usually at Bohdan Lachert's.
First Architectural Compositions, painted on canvas, come from this year, only one has survived. Another one was reproduced in the March issue of ZWROTNICA the following year.

--- 1927
In a letter written 9 January to Vytautas Kainukstis Strzeminski was very critical about some of the painters from the Praesens group who supposedly wanted to "smuggle regard for modern art" by means of a compromise and a "kind of a contraband". Later he wrote: "(. ..) but actually the results will be the same as in Russia - temporary recognition and total neglect, because New Art should appear openly, with its face uncovered, it should stand unmasked and demand recognition not for its usefulness, but for its superiority (...)". In early March together with the artists from Praesens he may have entertained Kazimir Malevich, who on 25 March after the opening of his exhibition in the Polish Art Club in Warsaw delivered a lecture in Polish Analiza Wspolczesnych Kierunkow Artystycznych (The Analysis of Contemporary Art Movements).
In the same club in April the first one-man exhibition of Strzeminski's works was organized. During the exhibition he presented in the form of a lecture his artistic programme Unizm i dualizm w sztuce (Unism and Dualism in Art). The text of the lecture was later published in the Summer issue of the magazine DROGA, and in 1928 appeared in book form in the series The Praesens Library. In May at an exhibition Machine Age in New York he showed two works: the lost Cafe and (together with Syrkus) the project for the Fur Shop, possibly the one presented earlier at an exhibition of the Praesens group. He lived and worked in Brzeziny, teaching at the same time in Koluszki. In mid 1927 he was offered an attractive job In Koluszki, and in order to avoid strenuous commuting, he soon moved with his wife to Zakowice. In August/September he settled in Koluszki. He was teaching drawing in two schools: the Co-educational High School in A. Mickiewicz Street, owned by the teachers' association and the Girls' High School of Industry and Commerce, which was scantily subsidised by the Polish School Organization and from tuition fees. In the latter he and his wife taught 12 hours of lessons a week. Soon he formulated and introduced his own educational programme for designers, achieving encouraging results.
In November his painting from the MCHK collection Tools and Pro- ducts of lndustry was shown at an exhibition: Novyje tecenija v isskustve (New Tendencies in Art) in Leningrad. In December with a group of painters from Lodz he exhibited in the City Art Gallery in Lodz.
1928
In the early months of the year he started correspondence with Theo van Doesburg whose text along with articles by Strzeminski and others, was printed in the catalogue of the Modernist Salon, opened in Warsaw on 10 March. The exhibition, organized among others by Strzeminski, initiated the tradition of presenting modern art (as A Turowski wrote) "in the broad range of its innovatory experiments - it emphasised the significance of construction". Strzeminski exhibited several of his paintings from a series of studies on Cubism, five abstract compositions, a chair and a few drawings. In the text published in the catalogue he suggested that avant-garde should be even more integrated. His book Unizm w malarstwie (Unism in Painting) was published with the cover designed by Henryk Staiewski.
In the Warsaw biweekly XX CENTURY edited by Stanislaw Baczynski, Strzeminski published three articles. He wrote about contemporary architecture on the occasion of the II Annual Salon of the Polish Architects' Association (SAP), discussing both conservative and precursory works of Polish artists against the background of the situation of arts in the world. Analyzing different educational systems of art schools in a historical perspective, he emphasized the necessity to link the studies with tradition, by presenting "different types of solutions to technical problems". In his article Przedmiot iprzestrzeri (Object and Space) he introduced the notion of "the calculatory rhythm of a spatial phenomenon" which was a system different from the "system of contrasts" and led to the unity of object and space. He worked with his wife on a book about the composition of space.
In a competition announced by the Polish Architect's Association (SAP) Strzeminski and his wife received the 2nd prize for the design of a tobacco kiosk. For the first time the Strzeminskis spent their holidays in Poland at the seaside in Chalupy, Hel Peninsula. They would go back there several times in the coming years. Strzeminski, a great lover of sunlight, delighted in sunbathing.
In November he took part in the 1st Exhibition of the Polish Artists' Union (ZZPAP) in Warsaw, repeated in January in Cracow. With the Praesens group he exhibited three paintings, among them Architectural Composition 2 a and 4 a, at the Autumn Salon in Paris. He participated in an international show in Brussels, The Hague, and Amsterdam, begun in December, and organized by the Society for the Promotion of Polish Art Abroad (TOSSPO). There he exhibited again one of his paintings on glass and Still Life (cat. 118). In the same year his name appeared for the first time in the Polish encyclopedia published by Trzaska, Evert and Michalski.

--- 1929
At the First Exhibition of the Warsaw Section of the Union (ZZPAP), which was opened 13 January in Cracow, he was awarded the 2nd prize of 300 zlotys. He showed 29 works: still-lifes, landscapes, abstract paintings and drawings.
Members of the Praesens group were divided in their opinions on the functions of art: the conflict emerged when they started preparing the joint project of the interior design for the pavillions and exhibitions halls at the National Exhibition (PWK) in Poznan. For Strzeminski this enterprise was his last attempt to come to terms with the group which by now was dominated by Functionalists. At the exhibition opening in May he showed also his individual works: a painting on glass and Architectural Composition 8 b. In June he exhibited in Lodz with the Association Start.
In the first half of the year Strzeminski started designing graphic arrangements for Julian Przybos' poems.
At the same time he worked on the programme of the new magazine EUROPA devoted to social and political matters, and edited by Stanislaw Baczynski, the first issue appeared in two editions: in May and in September. Strzeminski wanted it to be the platform of the avant-garde. Soon he was greatly disappointed, the September issue was in his view a total disgrace. However, he kept using the magazine as a means of popularizing the theory and the art of the avant-garde. l6 June in a letter to Przybos Strzeminski wrote about his plans to leave the Praesens group. Later that month he informed him about the prospects of organizing a new group "based on the broader principle of uniting all modernity - poetry, art, architecture". Strzeminski claimed that the direct reason for leaving Praesens was the fact that Kobro's sculptures sent for the National Exhibition had been lost; he also complained about the behaviour of the members of the group who were responsible for the organization of the exhibi- tion and for its financial settlements.
In early July after a few days spent in Warsaw at Baczynski's, the Strzeminskis left for their holidays in Chalupy.
Their house in Koluszki must have been neither comfortable nor safe, since in September "the ceiling collapsed", the necessary redecora- tions which lasted for some time made all artistic work impossible. Despite numerous problems Strzeminski and Kobro's book, Kompo- zyqa przestrzeni. Obliczenia rytmu czasoprzestrzennego (Space Composition. Time-Space Rhythm and its calculations), was sent to print in autumn. Its publication was delayed because of financial difficulties and because some of the commissioned photographs were not ready (the reproductions were to include the lost works by Kobro).
In connection with this book Strzeminski corresponded with Georges Vantongerloo. Strzeminski had many contacts by correspondence, e.g. with Jan Brzekowski, Polish poet living in Paris, he knew well the situation of the European avant-garde. He strove for the availability of recent literature on modern art and initiated a widespread exchange of information .
Late in autumn a new group was formed, "a.r." (real avant-garde) including: Kobro, Staiewski, Strzeminski. In December Przybos joined the group, a year later - Brzekowski. At the same time in the magazine EUROPA Strzeminski published his three texts: Bilans Modernizmu (The Summing-up of Modernism), which was a brief recapitulation of his own artistic career and of the work of the Praesens group, an article on Mieczyslaw Szczuka's photo-montages and an article titled Snobizm a Modernizm (Snobism and Modernism). In December he planned to start a new publishing initiative, the "a.r." Library, which would be in oppposition to Praesens.
In the neighbouring city of Lodz he found favourable conditions for locating the collection of modern art and with great energy he started to put his idea into life, managing to find support among the members of the group and in Przedaw Smolik, the chairman of the Department of Education and Culture of the Municipal Council.
In the same year he painted most of the Architectural Compositions which are known to us, and ultimately rejected the problem of "architectonics in painting" and "its dramatic character resulting from the contrast of forms, in favour of further search for the "organic unity" of the painting as a flat quadrangle.
In December his intensive life led to "extreme exhaustion" of his organism; he suffered from it also in the beginning of the next year.

--- 1930
Strzeminski continued his involvement in different kinds of work, which often intermingled: these were his artistic, didactic, theoretical, journalistic and organizational activities.
In January and February he exhibited again with the Group Start; he showed his water-colours at an exhibition together with St. Luke Brotherhood in Cracow.
He corrected the last proofs of the graphic arrangement of Julian Przybos' poems in his volume Z ponad (From Above), which was published as volume 1 of the "a.r." Library in early April. In this work he employed his own idea of functional print. He drafted the first version, and then the final text of the Bulletin of the "a.r." group, no. 1 , which was published also in April. The publication was financed by Strzeminski himself and his friends. The idea of the Bulletin was that it should be like a pamphlet, something (as he wrote) "between a manifesto and an advertisement", a leaflet added to Przybos' book. One could read there "that (...) "a.r." group, which co-operates with artistic avant-garde movements in Europe, extends the conquests of its ideas and consequently brings about creativity and modernity". A fragment of the Communique was published by the magazine L'ART CONTEMPORAINE - SZTUKA WSPOLCZESNA, edited in Paris by Jan Brzekowski. Together with Henryk Staiewski and Julian Przybos Strzeminski organized distribution of the publications of the group in Poland and Europe. He tried to form a network of "representatives" - which were to become centres for distributing Polish avant-garde publications and places for the exchange of ideas. He conducted extensive correspondence about this matter with Jan Tschichold from Munich, Herwarth Walden from Berlin and Bauhaus.
Making use of Staiewski's visit to Paris and Jan Brzekowski's interest in the activities of the group, Strzeminski strove to gain gifts for the International Collection of Modern Art, by instructing the two artists what to look for. Endless negotiations which Strzeminski conducted with the Municipal Council of Lodz about a place for the collection seemed to be coming to a close. He himself asked for works of art from the representatives of European and Polish avant-garde, with whom he co-operated in various publications and other enterprises. He corresponded with Piet Mondrian, Theo van Doesburg, Georges Vantongerloo, Kazimir Malevich, Filippo Tommaso Marinetti, Teresa Zarnower, Tadeusz Peiper, Wanda Chodasiewicz-Grabowska and others. First paintings for the collection were brought from Paris by Staiewski in mid-February, others followed in summer this year. In March he tried to establish a contact with Czech Modernists, yet to no avail.

At the end of the month the text of the book on the composition of space was already printed thanks to the subsidy of 1000 zlotys granted by the Ministerial Department of Art.

In April, when the J.and K. Bartoszewicz Museum of History and Art in Lodz was opened, the collection of modern art was not yet available to the public for reasons beyond control. The catalogue of the first section of art prepared for this occasion included Strzeminski's Kompozycje i studia fakturowe (Compositions and factural studies), exhibited in Room VI among works by Lodz artists.

In the first half of the year he wrote reviews of the books published earlier. Jan Tschichold and Franz Roh, Laszlo Moholy-Nagy and Tschichold on new typography - published in the issues of EUROPA. He also published there a critical text on the work of TOSSPO. By selling (through the mediation of Przybos) his own drawings "of the compromising type", he strove to collect money to complete the printing of the whole book on the composition of space.
In the School of Industry and Commerce, where Strzeminski was teaching girls how to design and produce the so-called clothes accessories, he introduced his own educational programme, despite the resistance of some teachers. The works of his students were shown at school exhibitions and possibly sold e.g. in Lodz. In June, casting his doubts asides, he signed the contract in Koluszki for another year.
At the beginning of holidays as a result of unusually high temperatures he suffered from heat stroke, and had to spend the summer in Koluszki in "the state of apathy and half-dream", as he described it. In the summer issue (3) of L'ART CONTEMPORAIN - SZTUKA WSPOLCZESNA, which was also the last issue of this magazine, Strzeminski published his text Dramatyzm i architektonizm (Dramatic Quality and Architectonics). It summarized the most important achievements of his artistic career which led from the Unistic "flat" paintings through architectonic compositions towards the next stage, which was realized in "factural" Unistic paintings; he was already working on the idea of these paintings in this year.
In late August Strzeminski consulted with Staiewski a project of Bulletin of the "a.r." group no. 2. He considered the possibility of publishing a new avant-garde magazine LINIA AWANGARDY - this project was partly realized by the Cracow circle and Jalu Kurek. In September he wrote to Julian Przybos about the forthcoming article on the "a.r." group in NOWA GENERACJA - nothing is known to us about this publication.

In September, through his mediation, Kazimir Malevich asked the group to organize his second exhibition in Poland. The political situation in the Soviet Union, and finally the premature death of the artist made the project impossible.
In the autumn a cold in his "neck glands", not fully cured, resulted in the recurrence of the illness. Despite the illness he worked intensively. Strzeminski designed the "a.r." alphabet, with some small improvements by Staiewski .
At the Autumn Salon - a travelling exhibition organized by the Institute of the Propaganda of Art (IPS) in Warsaw and other cities, opened 29 November - Strzeminski showed two works Still Life and Landscape, probably one of the Koluszki landscapes.
In December at an exhibition of Polish contemporary book and illustration in Lodz he received an award for an advertising poster for the ZWROTNICA magazine. Teachers were paid at schools very irregu- larly due to permanent financial difficulties. On 18 December this situation led to a teachers' strike in the School of Industry and Commerce, in which Strzeminski took part.
Shortly before Christmas Strzeminski received another subvention of 1000 zlotys for completing the printing of the book. He was the author of a monument erected in Koluszki, probably on the occasion of the tenth anniversary of Polish Independence, destroyed later by the Nazis.

--- 1931
In January Strzeminski often visited Lodz on matters connected with the Museum and its collection. The opening of the Modern Art Hall in the building of the J.and K. Bartoszewicz Museum at Wolnosci Square was held on 15 February. On the same day in the name of the "a.r." group Strzeminski signed an agreement about depositing the International Collection of Modern Art, which included at that time 21 works. The Lodz Municipal Council was represented by Przedaw Smolik, thanks to whom the whole scheme could be concluded.
In February the richly illustrated book by Strzeminski and Kobro appeared, titled , Kompozycja przestrzeni Obiiczenia rytmu czasoprzestrzennego (Space Composition . Time-Space Rhythm and its Calculations). The book was published as the second volume in the series "a.r." Library.

In the Cracow magazine LINIA Strzeminski wrote an article on the new architecture which should be "(. ..) the regulating factor in the rhythm of social and individual life".

His article Architektonizm Mody (Architectonism of Fashion), publish- ed in the magazine ARCHITEKTURA I BUDOWNICTWO, presented a project of the Koluszki school, more modern than the ideas of Bauhaus and Soviet schools.

Strzeminski painted a series of Unistic Compositions, different in their factures, the first three were exhibited at Winter Salon in December in Warsaw. In his article included next year in the magazine ABSTRACTION-CREATION, he wrote: "(. . .) having examined the architectonic rhythm in my paintings, I now take up the idea of the unity of a painting."

In the beginnings of the new school year the Strzeminskis moved to Lodz. They lived for a short time in Piramowicza Street, in a one-room, primitive apartment; later in 56, Lipowa Street, fl. 10. After a few weeks they moved also from this flat which was equally small and uncomfortable, Strzeminski worked at that time on an unidentified painting, Still Life - about which he wrote to Przybos, that it was "subjective" and "different from anything before". In autumn they moved to a much more comfortable flat in 22, 6 Sierpnia Street, flat 10. The view from the window reminded the artist of "mountain landscapes or canyons".
First works, of small formats, painted in distemper on cardboard were produced, they belonged to the series City-scape of Lodz, which Strzeminski was to continue painting in the following years.

In September he started working in the girls' State School of Industry and Commerce in 41 , Kopernika Street. Soon he became headmaster of the Public School of Technical Training no. 10 at 7, Andrzeja Street. It was a school which offered additional training for printers and house-painters. Strzeminski taught typography and the principles of functional printing. Among the graduates of the school were his later friends and collaborators: Wladyslaw Gorski, Janusz Tusinski, Boleslaw Utkin.

He continued striving to enlarge the collection. In October it already included 59 works.

On 31 October in the Lodz office of the IPS he delivered a lecture Sztuka nowoczesna a szkoly artystyczne (Modern Art and Art Schools), which was published next year in the magazine DROCA.

Strzeminski and Kobro spent Christmas and perhaps New Year together, in the company of Przybos, in Zakopane. He met Stanislaw Ignacy Witkiewicz. Possibly it was then that he painted his earliest surviving Mountain Landscape (cat. 154).

His letter to Przybos from 11 November is especially interesting. Strzeminski analyzes there the influence of Communism on modern art. Communism, he wrote, "(. ..) makes art sterile, it is hostile not only to the new forms of art, but also to any art in general (.. .)" Then he continued: "(.. .) Until we do not trace all the social and ideological consequences of modern art - the logic of form - it will hang in the void and will not find any social extension (.. .)"
Vytautas Kainukstis delivered a lecture in Vilnius about Strzeminski's Unism.

--- 1932
Strzeminski took part in the January exhibition of the Polish Artists' Association (ZAP) in Lodz, where for the first time he showed Mountain Landscape and two City-scapes of Lodz. During the exhibition on 30 January in the office of the IPS he delivered a lecture Punkt wyjscia sztuki nowoczesnej (The Point of Departure of Modern Art). In late February he was delegated by the General Assembly of the Polish Artists' Association (ZAP) in Lodz to take part in the work of the Editorial Committee of GLOS PLASTYKOW - an illustrated magazine on visual arts, published in Cracow. Strzeminski participated in the works of this Committee until 1938. From mid 1933 the magazine was the official organ and the national platform of the Polish Artists' Union ZZPAP.
In March the illustrated catalogue of the International Collection of Modern Art was published. The introduction was written by Przedaw Smolik. Among the 75 works there were three by Strzeminski, including Unistic Composition 9 reproduced in the publication. The catalogue was widely distributed, 50 copies were sold in Paris by Jan Brzekowski .
It did not mean that the collection was completed, on 14 April further works arrived from France, and in the following years till the outbreak of World War II the collection was enlarged to 111 works. Strzeminski wrote about the significance of the collection in e.g. ILUSTROWANA REPUEUKA, 7 March, in an article about the art of painting in Lodz. During the organization of the two exhibitions in the Lodz office of IPS. The Spring Salon and the Exhibition of Modern Print, 30 April, Strzeminski learnt that he had been awarded the City of Lodz Award for Visual Arts for 1932. It was preceded by a heated discussion in the press, especially in KURIER LODZKI and GLOS PORANNY, which asked many artists about their opinions of the award. Strzeminski also took part in it, he postulated that in the selection of artists the widest possible view should be applied. The ceremony of granting the award took place on the 25 May and caused violent protests in the conservative circles led by the traditionalist painter Wadaw Dobrowolski. In his speech, expressing his gratitude for the honour, Strzeminski said: "In as much as my strength and power allow me I will continue to fight for that kind of art, which is best suited for the present epoch". Violent attacks were continued also in the following year. Strzeminski tried to defend not himself but the avant-garde art by organizing a press campaign, which Przybos surprisingly did not join despite many entreaties. The poet's silence explains why the relations between them grew chilly next year, although it did not stop their collaboration. The award and the awarded artist found support in official and public pronouncements made by Przedaw Smolik, Leon Chwistek, the Lvov group Artes and others.
Strzeminski installed a printing press in the Technical School, which had already started working in May. The student's works were highly praised at numerous exhibitions.
Strzeminski accepted the invitation to take part in the Organizational Committee of an exhibition called New Generation, in Lvov in mid July. It was the second show after the Modernist Salon which continued the tradition of presenting a wide spectrum of modern art, while also declaring interest in a different direction of experiments. The Constructivists were dominated here by the Colourists. Strzeminski, who exhibited in Lvov three Unistic Compositions (8, 10, 11) decided to show only his Landscape and two Still Lifes when the exhibitions was moved to Lodz in autumn.
With his wife and the Smolik family Strzeminski spent summer holidays in Chalupy in Hel Peninsula, staying this time in the guest house Kresowianka. He returned to Lodz probably in the beginning of August with a series of new paintings in distemper - his first Seascapes. In his letter to Przybos he wrote: "(...) The sea is better than the mountains. The permanent line of the horizon and the changeability of everything else. Nature is not a matter of chance: a tree or a hill, but a part of an element: light, heat, water, sand, i.e. everything purer and more essential..." Strzeminski painted these paintings very quickly, in one day. He dated them, at first irregularly, with a pencil or with paint on the back side of the cardboard. He used this method also in other compositions produced by this technique: city scapes of Lodz, still-lifes, abstract compositions and other works which come from 1933-1934. He framed them always by the same firm: Leopold Nikiel in Lodz, consulting on the type and colour of the frames. He showed a long series of these paintings at an exhibition of the Polish Artist's Association (ZAP) opened 18 December in Lodz. In the autumn he was involved with the theatre group functioning at the School of Technical Training.
In the end of November after many difficulties, Bulletin of the "a.r." group no. 2 was issued. It was a four-page, condensed leaflet. Strzeminski was the author and co-author of a few short texts, he designed the visual aspect of the publication.
A book of poems by Julian Przybos Wgtab las (Deep into the Forest) was published with typographical design by Strzeminski. The book was published as the third volume of the "a.r." Library. During his stay in Cracow, in November and December, Strzeminski delivered a lecture, which was well attended by the students of the Academy. He wrote that he had made new acquaintances - probably among the members of the Cracow Group. with which he was to become more closely involved in the following years.
He also became member of the international group Abstraction-Creation, together with Katarzyna Kobro and Henryk Staiewski. He published two texts in the magazine of this group bearing the same title as the group.
Further factural Unistic Compositions were produced.
He spent the Christmas holidays in the mountains this time in Wisla, in the company of his wife and Julian Przybos.
--- 1933
The Strzeminskis rented a modern three-room flat in 75, Srebrzynska Street nr 45, in the newly built Montwill Mirecki Housing Estate. On 23 February Strzeminski delivered a lecture in the Warsaw section of IPS called Zasady formy (The Principles of Form).
In the beginning of the year after a misjudged alliance with the Capists, Strzeminski and the "a.r." group established closer contacts with the artists of the Cracow Group and the Paris artists from L'ART CONTEMPORAIN hoping to activate the weakening avant-garde movement. They organized an exhibition together, only once as the Grupa Plastykow Nowoczesnych (Group of Moden Artists), which was opened in IPS in Warsaw on 10 March and in autumn in Lodz. It was the most important presentation of Strzeminski's works: he showed 11 Architectural Compositions, and nine Unistic Compositions from the early and mature periods. In his opinion the main aim of the group was now "to overcome the influence of Neoplasticism and Cubism". During the exhibition he participated in the course for headmasters of Schools of Further Technical Training organized 13 to 25 May by the Ministry of Religious Denominations and Public Education. At the same time he worked on the graphic design of the poetry book by Jan Brzekowski W drugiejosobie. with drawings by Hans Arp. The book was published in the "a.r." Library as volume 4. The next book was Poezja integralna by the same author. Maybe at that time, while Brzekowski strove after the drawings by Arp, Strzeminski sent the artists two of his paintings (cat.1.43 and 1.55 ).
In May the first issue of the quarterly FORMA appeared, which was published irregularly until 1939. It was officially the organ of the Lodz section of the Polish Artists' Association (ZAP), and later the Polish Artists' Union (ZZPAP), but in practice it was the platform for the "a.r." group. Its editor was Karol Hiller, the board included apart from Strzeminski, Aniela Menkesowa, Stefan Wegner, Jerzy Krause, and in 1936 Katarzyna Kobro. It was the only magazine in Poland which dealt so extensively with the problems of modern art. Strzeminski published a number of articles, commentaries to the works reproduced, and editorial notes which reflected his views. For FORMA he obtained articles by Piet Mondrian, Kazimir Malevich, and others. His text Druk funkcjonalny (Functional Print), in which Strzeminski developed the previously outlined theoretical foundations of the new art of printing, was published in the magazine GRAFIKA, and later in 1935 as volume 6 of the "a.r." Library. As usual he spent his summer holidays in Chalupy. He painted there a sequence of Seascapes, the first one of which is dated 23 June and the last 15 August.
In August/September he was nominated to the Verifying Committee, which was formed as a result of the split within ZPAP provoked by continuous controversies about the last year's award and the polarization of views. He became member of the newly formed Lodz section of the Polish Artists' Union (ZZPAP) which was in opposition to the Polish Trade Union of Lodz Artists, formed at the same time. In September and October in Poznan in the Institute for the Promotion of Art his one-man exhibition was held, Strzeminski showed Sea scapes, painted probably this year, and other paintings in distemper. He delivered a lecture on recent painting.
His article Sztuka miast i maszyn (The Art of Cities and Machines)- the effect of his interest in the relations between art and post-industrial society, was published in one of the October issues of GLOS PORANNY. He was representative of the Lodz section of the of Polish Artists' Union ZZPAP during the Convention of Delegates, held in Warsaw 20 and 21 October.
He delivered his second lecture in the Warsaw office of IPS on 16 November on Czy kryzys sztuki jest kryzysem strukuralnym czy koniunkturalnym? (Is the crisis in art structural or transitory?). In autumn he started fighting for a new board of the Museum which would include also a few artists - he was worried by the new tendencies in the City Council as regards the collection in the Lodz Museum. In December/January at an exhibition organized by the Union he showed only one Unistic Composition among other works.
1934
He joined in the discussion on the ideas included in Bulletin of the "a.r."group no. 2 which was published in the Vilnius magazine ZACARV. The Bibliophile Association published a book titled Sztuka Nowoczesna w Polsce (Moden Art in Poland), Strzeminski was one of its authors. He analyzed Polish contemporary art from the point of view of a Constructivist.

He continued to take part in the regular IPS Salons, this time in the Winter Salon.
In March in a cafe of this Institute in Warsaw an exhibition was opened, with a selection his works and works by Henryk Staiewski. Strzeminski showed mainly the sea and city-scapes of Lodz. He thought of the exhibition "rather critically", writing that the real meaning of his work is the theory of Unism. He observed sarcastically: "(...) But in the society so retarded and so ossified as Warsaw has now become, I suspect that even much more popular pictures would not be understood (...)". In the paintings shown at the exhibition, he tried to achieve "rhythms of irregular symmetry" as expressions of the new way of seeing dependent on "the physiology of sight" and on "the degree of the visual contents."
Shortly after the opening of the exhibition on 24 March he took part in the 2nd Extraordinary Congress of the of Polish Artists' Union (ZZPAP) in Warsaw. Together with Karol Hiller and the delegates from Lvov he moved a resolution that the forthcoming Salon of the Association of the Friends of Fine Arts be boycotted; the boycott was finally announced although the meeting rejected the motion.
In the school of which he was the headmaster a lithographic press was installed. Strzeminski made it available to the members of the Polish Artists' Union (ZZPAP). He produced his first lithographs, and showed some of them at an exhibition of the Union in Lodz.

He initiated a series of one-day exhibitions and discussion meetings for the members of the Union and invited guests. On 21 April he probably conducted a discussion on the following themes: "Painting, its forms and modern architecture; external (literary) theme and the development of the painting's contents by means of form; elements of form and their meaning for the structure of the painting". On 2 June the following topics were discussed: "composition of a painting by means of colour; painting as one of the organizing factors in modern architecture; the role of consciousness in surrealism".
In the meantime he organized the exhibition of the works by the students of the School of Technical Training, called Functional Typography, opened at the Lodz section of the Institute for the Promotion of Art (IPS). He also organized exhibitions of works by students and graduates of the school in the following years.
He spent summer holidays as usual with his wife in Chalupy, at the seaside. His new Seascapes were probably shown in September in Lvov at his second one-man exhibition that year. Also in September his text lntegralizm malarstwa abstrakcylnego (The Integrity of Abstract Painting) was published in the magazine FORMA. In WIADOMOSA LITERACKIE he published his article Co myslg o architekturze (What I think about modern architecture) in reply to the inquiry made by the magazine. In GAZETA ARTYSTOW in his text Blokada sztuki (Blockade of Art) he declared himself strongly against the postulates of national art and pointed to the dangers of blurring the distinction between art and politics. In the same magazine in the text Magicznosc i postgp (Magic and Progress) he negated the idea of thematic, proletarian art as inadequate to its time.
He painted his last surviving Unistic Composition. One of them was shown probably at the December exhibition of the Union.

--- 1935
In February in the Artists House in Cracow an exhibition was opened presenting the works by the Cracow Group and its two guests: Katarzyna Kobro and Stanislaw Strzeminski. Strzeminski accepted the invitation and took part in the opening of the exhibition on 17 April; as M. Sobieraj remarked, Strzeminski probably felt responsible for the art of the Cracow artists which was anti-academic, though far from innovatory. He represented a decidedly opposite view on the basic issue of the relations between art and society. He opposed the dominating tendencies of "new realism", the national movement, which dominated the scene after the great economic crisis. Instead Strzeminski presented his utopian vision of the "industrialization of art". In those times, the work of art should be "a visual painterly experiment", "an invention which fertilizes utilitarian and productive potentials", and its aim must be "to multiply general social activity and energy" - he wrote in his article Hasto przeciw stabilizatorom sztuki (A Signal Against the Stabilizers of Art) , published in a leaflet commemorating the Cracow exhibition, and in the magazine TYGODNIK ARTYSTOW. He suggested that the works of the Cracow Group be shown at an exhibition in Lodz. In many cases he showed his magnanimity towards others: shortly before the exhibition, he helped a young artist from Lodz, Henryk Wicinski, to get a City Council grant. In the spring due to financial difficulties, the Strzeminskis had to move from their flat: they would live in their new two-room flat in 75, Srebrzynska Street, ft 44, until the beginning of the war. Strzeminski designed another book by Jan Brzekowski Zacisnigte dookota ust (Tight around the lips), which was published with the drawings by Max Enst in the following year.
The May issue of FORMA published a discussion in a series of letters begun in December of the previous year with Leon Chwistek - it was a dispute between the representative of Unism and the founder of Strefism (the Theory of Zones). Chwistek's suggestion that the idea "anti-unism" might become the common platform for the two theories, was not accepted and the controversy remained unsolved.
Strzeminski was convinced that "museums play the most important role in artistic education", in the same issue of FORMA he pointed to the need of a proper selection of exhibits from 19th century Polish painting for the Lodz museum. How wide his interests were could be seen again in his lecture on modern art which he delivered at Jankel Adler's exhibition in Lodz on 11 May, followed next day by a debate on the main thesis.
On 11 November he took part together with Stefan Wegner, in the Congress of Delegates of the Polish Artists' Union ZZPAP in Warsaw. The organization of a national salon was discussed during the Con- gress. The Salon was planned to be a presentation of so called good art by the artists, who were members of the Union. Strzeminski was elected to the Qualifying Committee and to the jury of the exhibition, which was opened in January of the next year.
30 November he gave a talk on 0 istocie drukow funkcjonalnych (The Nature of Functional Typography), in the building of the City Public Library in Lodz during another exhibition of prints by students and graduates of the School of Technical Training.
1936
The January Art Salon in Warsaw, transferred later to Lodz, Lvov and Lublin, fell short of expectations, most awards were given to the Colourists. Despite many reservations Strzeminski participated in the Salon to defend "independent creative work". He showed only City-scapes of Lodz.

He worked on the Organizing Committee of the Modern Artists' Exhibition, formed by the end of the previous year, trying to organize a joint show of the "a.r." and the Cracow Group. On behalf of the Committee he signed with Sasza Blonder and Henryk Staiewski on 6 January a letter to the Institute IPS suggesting that such a show be organized in all the exhibition rooms of the Institute. But the leaders of the Institute IPS were no longer interested in any contacts with the representatives of the avant-garde, which encountered a period of serious crisis at that time; after a long deliberation it was decided not to offer the facilities for organizing these exhibitions.
In the January (4) issue of FORMA Strzemiiski published an article on Jan Matejko - where he proposed a different view of Matejko's technique seeing him as a forerunner of Futurists.
On 22 February he read a paper in the Institute IPS on Surogatysztuki (The Surrogates of Art), which was later published in the magazine BUDOWA. He believed that the present crisis in the arts had its roots in the disproportion between the potentials of modern art and the social demand for it, its "actual consumption". The next stage after abstraction may be the stage of utilitarian art, thanks to which it will be possible to "organize the processes of collective and individual life". His text Aspekty rzeczywistosci (Aspects of Reality), crucial for his theory, was published in the August (5) issue of FORMA. In "the intricate tangle of the Surrealists' biological lines" which is actually only "a reflection of the game played by blind forces and the rhythm of blood", he noticed an opportunity for abstract art, which - making use of "intellectual and rationalizing impulses" - is capable of creating artistic forms corresponding with "psycho-physiological reactions", common to all human beings.The lithographs from the series produced that year were entitled Lodz bez funkcjonalizmu (Lodz without functionalism). His later drawings and war sequences, can be seen as an attempt to discover such forms.
Summer holidays spent at the seaside in Chalupy.
In November their daughter Nika was born.
The "a.r." group published Jan Brzekowski's brochure Hans Arp written in French. It was intended as the first book in a series of similar publications, but unfortunately these plans collapsed, because of the breaking up of the group and the disintegration of the whole Polish avant-garde movement.

Strzeminski edited an album dedicated to Kazimir Malevich, and included there his own Suprematist lithography - as an hommage to the artist.

--- 1937
Strzeminski was not Invited to the National Salon of Painting, organized by IPS.
Two paintings from Hans Arp's collection were exhibited in January and February during the exhibition of Constructivist art in Basel. The Strzeminskis strove hard to keep their permanently ill child alive, which to a large degree made it impossible for the father to continue his artistic work.
1938
Strzeminski participated in an exhibition of the local Polish Artists' Union (ZZPAP), opened in Lodz, presenting The Unemployed from the series Lodz bez funkcjonalizmu (Lodz without Functionalism) . Maybe he showed these works also in November in Cracow, and in late December in Lvov at an exhibition of works by members of the Lodz section in exhibition halls of local sections of the Union which still co-operated with him. He edited the Polish version of Jan Tschi- chold's book (Typographische Gestaltung, Basel 1935) , with the Polish title Druknowoczesny(Modern Typography). The last (6) issue of FORMA did not include any of his articles.

1939
In summer the Strzeminskis and their daughter spent their holidays at the seaside, this time also in Chalupy on the Hel Peninsula (although they stayed in the house of the Konkols where they had spent their first summer holidays). Strzeminski produced new drawings, versions of Seascapes and Seaside Pines. The last (seventh) volume in the "a.r." Library was published - the artist's work Zasady kompozycji reklamowej (The Principles of Composition in Advertising), the whole edition of which was destroyed shortly after the beginning of the war. 1 September Nazi Germany invaded Poland.
In fear of the Invading German army the Strzeminskis left Lodz and moved to Wilejka, 17 September the town was taken over by another invading aggressor - the Red Army. Strzeminski worked in Wilejka as a teacher in the local high school.
He produced his first wartime cycle of drawings, West Byelorussia.

1940
He was probably the author of the First of May decorations of the town. In mid May he returned with his family to the Nazi-occupied city of Lodz. At first they stayed with Adela and Jerzy Krauze in Gdanska Street.
It was impossible for them to return to their pre-war flat, because all tenants were evicted and the flats taken over by German families. Instead the Strzeminskis got a room with a kitchen, without basic conveniences, in the Karolew housing estate, at Wyspianski Street, then 22a, Schwimmerweg.
In early summer Katarzyna Kobro's sister came from Riga to Lodz. Together with Jerzy Krauze they succeeded in saving Strzeminski's works which had been left in the cellar of their old house. They received help from another friend, Stefan Grzejszczak, with whom the artist probably deposited some of his smaller paintings. Kobro's sculptures were removed by the Nazis and thrown on the scrap heap. Some of them were luckily found and together with Strzeminski's paintings they were hidden in a small cellar under the floor of their flat, where the Strzeminskis lived during the war.
In the series Deportations produced that year Strzeminski referred to the cruel mass deportations of civilians.
When the German authorities started to press Katarzyna Kobro with regard to her German-Russian origins, the Strzeminskis, taking into consideration the well-being of their child, signed the so-called Russian sian list, which entitled them to a higher ration of food. This fact had a bad influence on their future life and was one of the reasons for the crisis in their hitherto harmonious marriage.

--- 1941
The March issue of the war journal LITZMANNSTADTER ZEITUNC published an article by Adolf Kargel on the International Collection of Modern Art and its initiator. His works, like the whole collection, were declared to be examples of Entartete undjudische Kunst. Strzeminski produced another cycle of drawings, directly linked with the theme of war, the Occupation and the earlier series Deportations; the title was probably War Against Homes, and not Civil War, as it was usually written in the inventories of the Museum.
Strzeminski earned his very modest living by painting postcards and portraits and decorating rag bags produced by his wife. Probably he also worked with Boleslaw Hochlinger in the pottery factory in Zdunska Wola in the department of artistic ceramics.
That year or the following one he suffered from a serious illness of his eye - for some time he was in hospital.
He spent Christmas with his wife and daughter in Poznan, where Katarzyna Kobro's sister settled, and later her father.
1942
The cycle of drawings Faces was produced.

1943
Strzeminski drew the cycle Landscapes and Still Lifes.

1944
His next cycle was titled Cheap as Mud.
One of his colour lithographs from a private collection was shown at an exhibition of Concrete Art in Basel.

1945
When the war was still on, first organizational meeting of ZZPAP was held in Lodz. Strzeminski refused to be president of the Lodz section. 19 January after a hasty retreat from the city by the German occupying forces, the Soviet army entered Lodz.
The Strzeminskis quickly returned to their pre-war flat in 75, Srebrzynska Street, fl 44. A deep and serious personal conflict grew between Strzeminski and his wife. One of its effects was later a battle between them for the custody of the child fought in a court of law. In early spring Katarzyna Kobro was operated on in one of the Lodz hospitals in connection with the illness of her leg.
Strzeminski started working in the Graphic Workshop of the Sea League Section - he designed, among other things, postage stamps. He was one of the initiators in founding an art college in Lodz, which in opposition to the reopened Academies of Fine Arts, was to educate designers in industrial and applied arts. In the spring the Artistic Education Council accepted Strzeminski's idea, and decided to open the Higher School of Arts (WSSP). Organizational work started, students began to enrol.

In early summer Strzeminski met with Julian Przybos who came to Lodz for a short visit. He participated in the first post-war exhibition of the Lodz section of

短评

#2017SIFF#苦大仇深现实主义传记片。能在天朝电影节上全靠波兰使馆扛着吧。瓦伊达平均水平作品，最后一部仍然中气十足没有失手就值得加一星。可惜没能深挖艺术观念和人物剧情之间的关系，以及社会主义现实主义与左翼先锋派之间的关系，说到底这部影片还是……现实主义啊……

10分钟前

胤祥
推荐

没办法，看到所有类似文革的受害者，我都心有戚戚。

15分钟前

4cats
推荐

瓦伊达遗作，再现宁折不弯的先锋画家的最后岁月。沉稳克制的叙事掩不住厚重的历史感与“个体是历史的人质”的悲凉底色。男主和双女主的表演无可挑剔。精妙色彩调配：斯大林海报的红色魔影，红衣女儿vs灰冷环境，被刷白的展厅彩墙，亡妻坟前的蓝花。| 现在所发生的一切，只是历史上的一阵风。（8.8/10）

16分钟前

冰红深蓝
力荐

其實共慘主義的褪色亦是一種畫風，它創作的正是對一切正常生活的殘影余像⋯同行觀看者看罷後說，我姥爺的美術老師當年直接被人扔到硫酸缸裡，大言不慚點說，Strezminski所經歷的其實已經好過很多了⋯

21分钟前

Diogenes
力荐

“现在所发生的一切，只是历史的一阵风”，很应景的片啊，只是一阵风不可怕，怕的是这阵风随时又刮回来。

25分钟前

陈哈
推荐

在艺术和爱中，你只能给予你所拥有的。

26分钟前

把噗
推荐

权力扼杀艺术的最高指示：饿死艺术家。安杰伊•瓦伊达的最后一部作品，如此悲凉，如此有骨气，晚节铮铮，可敬可佩！

29分钟前

Clyde
推荐

瓦依达的遗作，一如既往地关注波兰的历史。聚焦一位前卫画家在红色波兰前几年的遭遇，展现红色恐怖与有风骨艺术家之间的冲突。这样的故事其实也存在于所有红色政权早期，让观众有着切身的联想。史特热敏斯基说，现在发生的一切，只是历史的一阵风。他说得很对，只不过这阵风太漫长太凄厉。

30分钟前

优游卒岁
力荐

4.5 勃库斯洛·林达表演绝了，少条腿穷得叮当仍一股霸气收不住，不似有些传记片演技虽好却易沦为个人秀，林达则是完全服务于导演意图与整体风格的，作为遗作，戏里西外都是瓦伊达的一个十分卓越的句号，无论于历史于电影，凛然正气，胸怀恢廓，免滥情去赘语，方为王道，狭隘扭曲都终将被证明只是一阵风

33分钟前

甘草披萨
推荐

房间里被红色巨幅画像吞没的自然光线，人体模特垂下的假手

35分钟前

Marty McFly
推荐

瓦伊达的最后一部电影，看得太揪心了。魔鬼披上人皮，摧毁艺术摧毁美。而艺术家不会在政治迫害面前低头，如果非要站队的话，他们会站在美的那一边。

40分钟前

巴伐利亞酒神
推荐

3.5；秉承一以贯之的主旨，苏联红色翅翼下的阴影波兰，社会主义的现实主义意识形态决定了艺术家们的站队，艺术一旦与政治挂钩，难逃傀儡命运；巨幅红色，巴黎蓝花束，色彩的斑斓对应情绪波动，拍得平静无比，一曲清冷的天鹅之歌，再见大师。

44分钟前

欢乐分裂
还行

一个富有生气的开端，然后接着就是狂风暴雨，是政治对于艺术的干预（印着斯大林的红布挡住自然光，令一切笼上一层红；教学时黑暗中的投影被通知开会的人打开，光进入，而课被迫停止，一光一暗），画面如诗，叙事沉静，冬日冷色和暗色大衣，只有在宣扬革命时的大块的红、艺术作品、女儿、和最后献上的一束染就的“蓝”花那里才有色彩的波动。其实那些默认他的处境的人是知道他的价值的，就像那个遵照上面指令开除他的女人。一切处理得干净利落。ps，没想到第一部瓦伊达就是他的遗作。

46分钟前

易思棠
推荐

#BIFF# 三天前去世的瓦伊达遗作。波兰先锋派艺术家Strzemiński的传记片，对其艺术理念及撰写《The theory of vision》过程略有提及，但着重于探讨时代的变迁下艺术家所遭受的苦难。拍得四平八稳。『现在所发生的一切，只是历史的一阵风。』

51分钟前

btr
还行

默念着“对于爱与艺术，最多也只能倾己所有”这句话哭了一整场。

52分钟前

BLTEmpanada
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他画着先锋的作品，却放置在了倒退的时代。这明明是个崭新的国家，却充斥着陈旧的霉斑。当画布被斯大林的旗帜染红，正昭示着政治染指艺术。而他用拐杖撕裂了一道口子，便踏上忤逆的不归之途。一个显赫的艺术家被辞退工作开除艺籍，没资质买颜料没余钱买粮食，艺术的式微令人心痛，制度的冰冷让人心寒。

54分钟前

西楼尘
还行

社会主义对与艺术家的迫害是不分肤色、种族、东西的。完全一样，不给你工作，利用粮票进一步让没有社会工作、社会角色的人等着活活被饿死，利用各种证件控制人们的思想、行为，让你无路可走。没有什么不同，底层掌握政权，就只有这一条路可走。哪里还区分得开是社会主义苏联，还是社会主义波兰，抑或是社会主义朝鲜。

55分钟前

Sabrina
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在这个节点这部作品能在国内上映真的让人惊讶。朋友们不要惊慌，去以色列。

59分钟前

Methy
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瓦伊达这部遗作笔墨浓重刻画了艺术以及艺术家被极权蹂躏，同时也折射了自己早期的某些经历，似乎冥冥之中为自己拉上生命闭环的锁扣。他的大多作品都紧紧记录时代的痕迹和烙印，脉络清晰。本片一如既往的对台词和细节都精雕细琢，真羡慕波兰能有一位如此伟大的影人。他的作品，社会意义已经超越了影片本身。

60分钟前

老珂
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又一部讲20世纪艺术家的好电影出现了真好，还如此优雅地正中问题核心；因为相似的社会背景，看的时候我感到特别亲切、更加感慨，再多的就不说了

1小时前

如
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