Special Projects
Literature
Capleton’s fire, Mesajah’s returns, all about the One Love Sound Festival
Film
p. 8
Visual Arts
Architecture
Theatre
Professor Leszek Kolankiewicz about the Dziady Festival at the Theatre Olympics p. 4-5
Lower Silesia
Music
Opera
Oskar Zięta About an unusual sculpture for ECoC On Dahlia Island p. 21
Performance
micro GRANTS
The map of artistic backyards and calendar of events for November and December p. 14-15 and 19
STANDARD SET OF GRAPHIC SIGNS
For all projects financed from the funds of the the Multiannual Government Programme and t
No 6
FREE COPY
November–December 2016 Authors include excellent journalists and great artists • Interviews• Columns • Profiles • Photos • Calendars and ECoC events programs
24 pages
In Wrocław,
Europe’s Capital of Culture, film stars will receive European
Cultural final of ECoC Wroclaw 2016 set to the rhythm of theatre, film, great music and all other arts
F
our Seasons in Wrocław. Set to Vivaldi’s rhythm? Yes, to the rhythm of music, but not only the one called “serious”, but also rock, jazz, and in November – positive reggae vibrations, or world music during ONE LOVE SOUND FEST. Four seasons in the rhythm of culture, art, artistic emotions. European Capital of Culture enters its final phase. With an artistic step. Going for artistic and cultural variety. Wrocław is the World Book Capital (until April 2017); now all European
theatre goers turn their attention to the Theatre Olympics, hosting the most amazing creators and visionaries of the fifth muse. And soon they will give way to film stars, who will come to Wrocław to receive European Oscars for best films, meet Wrocław’s audiences, and present films nominated for the European Film Awards 2016. In December, Wrocław – the city of Grotowski and Różewicz – will become the city of Krzysztof Kieślowski, Agnieszka Holland and Andrzej Wajda, who
Stanisław Bereś talks about
Stanisław Lem and Wrocław’s Lemological Congress
pp.
10-11
photo. EFA/Michael Tin-
Oscars
Last year European Film Awards Gala was held in Berlin. Now, it’s time for Wrocław. said in his last interview that it was in Wrocław that he had the most freedom. But during the last months of EcoC Wrocław 2016, we will also be the city of Stanisław Lem, Poland’s great writer and visionary. So do come to the Lemological Congress, at which culture will combine with science, philosophy and even astronautics. A universe of culture? Absolutely – it’s here that futurologists will meet artists during the event under the slogan: CULTURE-FUTURE /IDEA OF WROCŁAW in order to talk
of ECoC Closing Weekend, with Niebo in the Centennial Hall; the premiere of The Troubadour in the opera; more festivals and a hundred of other cultural events in Wrocław. Of course, this isn’t the end, as we’re going to continue as the capital of culture until the exceptional, artistic New Year’s Eve party on Wrocław’s city hall square. Well, then, after midnight 2017, 2018, 2019…. For – as seen during the past twelve months – Wrocław is, and will remain, a city of culture. Its European capital.
about the future of culture, civilization and our city. That’s not all. Zbigniew Preisner’s world premiere concert with the script by Ewa Lipska; more musical festivals; PHOTOGRAPHY NEVER DIES and other visual arts exhibitions; in addition more microGRANT initiatives of our inhabitants and the ones by artists in residence hosted by us; artists entrances from the backyards… and the program
Zbigniew Preisner:
Agnieszka Holland
“You don’t want
European cinema is about curiosity and love
war? Go for culture.” pp.
6-7
pp.
2-3
2 In Wrocław, the European Film Awards ceremony (Gala in NFM) will be broadcast by New Horizons Cinema on 10 December from 19.00. Details on: www.kinonh.pl
photo. Greg_Gorman
Cinema
European Capital of Culture with Pierce Brosnan and other big film stars,
at the European Film Awards 10 December, in Wrocław for the first time
T
he most prestigious prize for European film makers is awarded by the European Film Academy members in ten categories, Film of the Year being the most important of them. The first gala was held in Berlin in 1988, when the city was the European Capital of Culture. The main prize winner was Krzysztof Kieslowski for his A Short Film about Killing. In 2010, the statue was given to Roman Polański for The Ghost Writer, and in 2014 to Paweł Pawlikowski for Ida. Among the 28 films awarded, there have been those by Theo Angelopoulos, Ken Loach, Nikita Michałkov, Lars von Trier, Pedro Almodóvar, Jean-Pierre Jeunet, Michael Haneke and Paolo Sorrentino. The 29th award-giving ceremony has been planned for 10 December in Wrocław. Numerous world renowned film stars will come to Wrocław. Which ones? We will learn on 6 November, when the AFA nominations will be announced. We know that Pierce Brosnan is going to come as an honorary guest, to receive the Special European Award for Achievement in World Cinema. Wim Wenders will also be joining us. All the nominated and awarded films will be shown in New Horizons Cinema. The gala itself will be hosted by Maciej Stuhr in National Forum of Music. The ceremony is broadcast annually by European, American, Latin American and New Zealand TV stations.
The first gala was held in Berlin in 1988, when the city was the European Capital of Culture in 1988. The main prize winner was Krzysztof Kieślowski, for A Short Film about Killing.
must show
interest, respect and love Jan Pelczar in a conversation with the director Agnieszka Holland, chair of the European Film Academy
Is it possible to define the Europeanness of cinema, without resorting to the opposition of Hollywood? Agnieszka Holland: We don’t have to build an opposition, no real barriers divide us. Hollywood has always emerged from European film. American cinema addresses the global market and courts as big an audience as possible. European film is its laboratory. Without these inspirations, Hollywood wouldn’t develop. d What does the Europeanness of cinema consist in? A.H.: European cinema gives something that Americans won’t offer. These are films in native languages of particular countries, addressing the specificity of their cultures. The Academy promotes the harmonious and profound collaboration between particular film professions, freedom of artistic expression, minimized censorship – both ideological, political and bluntly economi-
cal. When building a common Europe, it’s worth not only remembering about culture, but also beginning with culture, upholding it. Cinema is the best example of this – it’s international by nature. There are few films that would address local markets. It’s important that they should travel, that they should be aided by shared European financing. Most European countries subsidise native cinema, because they understand that it’s an important part of national culture. d What is a threat to it? A.H.: When cinema parts ways with the audience, divided into niche, pure festival cinema and more commercial products. Then a kind of emptiness develops inside it. The biggest danger for European cinema will be to leave the audience merely the choice similar to that between philharmonic music and disco polo. And the whole sphere of music which one listens to on every day basis, which releases emotions and teaches sensitivity, will remain uncultivated and will disappear. This musical metaphor can be used now for cinema. d Europe is turning right, entrenching itself anew in national borders. A.H.: National walled fortresses. From this point of view, culture has always been leftist. Its ambition has been to
communicate itself without exclusions. When politics starts excluding, cinema should show interest, magnanimity, respect and love. And empathy for other beings. Cinema, from this point of view, stays more leftist and Christian than the political or social mainstream. Not in a religious, but philosophical sense. d European films can be extremely different: from Argento to Haneke; what then connects filmmakers from Europe? A.H.: In good European cinema, xenophobic or fascist voices are rare. This is the cinema that believes in the individual human rights. It’s suspicious towards ideological and political systems. European films about important issues can be popular, but we also maintain respect for experimentation. Selecting films for our awards, I always persuade my colleagues to include those which can’t count on more than 50-100 thousand viewers, but contribute considerably to rejuvenating the language of film. The greatest asset European cinema has is its variety. American cinema strives for schemes and templates. Its European counterpart tries to renew itself constantly.
At first there was Kieślowski... Krzysztof Majewski talks to Marion Döring, the director of European Film Academy
photo . Holger André, 1988
Can the European Film Academy awards be compared to the
Oscars? Marion Döring: Both yes and no. On the one hand, we don’t want to compare them with the Oscars. They’re in another league. American cinema is very popular all over the world. We give awards to wonderful films which, however, aren’t so well known nor financially-successful. On the other hand, they are partly like the Oscars – the Film Academy chooses the best
European films, and there’s no other award of the same rank or range. d Festivals like Cannes, Venice or Berlin seem competitive. M.D: There’s a big difference between festivals and our award. The films presented at festivals have their premieres there. They are at the beginning of their journeys, that’s why the makers care so much about the awards. European Film Awards focus on the whole previous year. Many people compare the EFA with the Golden Palm given at Cannes festival, still these are two different approaches to film and ways of awarding it. d Currently, Europe seems more divided; European Film Awards can be a consolidation means?
M.D: Film makers react to what’s happening now and are very aware of political and social changes. Artists feel it’s their duty to tell what’s going on in the world. Our gala can become a platform for a conversation about Europe. We’re all worried about today’s situation. European awards remind us about the freedom of speech and artistic freedom. d Th e European Film Awards Gala takes place in Berlin every second year, and in between it wanders around Europe. This time it is held in Wrocław, the European Capital of Culture 2016. The first award, called Felix then, was gien to Krzysztof Kieślowski, and two years ago – to Paweł Pawlikowski.
Literature
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Architecture
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Music
Lower Silesia
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Performance
photo. BTW Photographers
Pasolini and Antonioni. When I studied, Pasolini was the most inspiring for me. The French with the New Wave were also important; my master was Bresson. I admired Bergman, English cinema, Polish films by Wajda, Munk, Has and Tarkovsky from Russia. This was the generation of authors equipped with WWII experience. Their followers did not have that painful experience or the understanding of tragedy any more. Post-war European cinema was very mature, searching. Today avantgarde language is difficult to encounter, everything got evened out. Difficult personal and life experiences open compartments, for both audiences and filmmakers, with greater cognitive ambitions and a greater depth of experiencing things.
d Does the Academy have some influence on how and where we can watch these films? We can’t always get access to European experiments. In Wrocław, we are spoilt by two multi-room studio cinemas, but that’s not the case elsewhere. A.H.: Cinema distribution is the can of worms of European cinema. The case is similar with independent and nonEnglish language films in US. Distributors are seldom ambitious. One can see that with the example of Poland. We have a couple of leading companies, however they are afraid to take more risky decisions. If something sells well, they sell it on. They demand purity of genre. If the effort has to be made to open oneself to a new language, trust in the viewer’s intelligence, then it’s more difficult to convince them. If we are to be competitive across universal markets, we have to realize that talent is our greatest capital. d What instruments do academics have? A.H.: The most effective is making good films and making them reach the biggest number of viewers. This is the
Why the decision that it’s Wrocław this year? M.D: There are many reasons. One of them is the title of the European Capital of Culture, which Wrocław has now become. It was many times that our choice was a city-host of ECoC. European Film Awards are a child of a European Capital of Culture – the fourth edition to be exact, taking place in Berlin. They were supposed to be a one-off event which, however, became significant enough in the divided city and divided Europe for the organizers to decide to continue it. I remember Krzysztof Kieślowski who, after receiving his Felix for A Short Film about Killing, said: “I hope Poland is part of Europe.” A year after that, in 1989, I met him in Paris. All the artists there were very excited, feeling coming
task not only for creators but also for producers, distributors, culture animators – all these professions are gathered in the Academy. There are European Film Awards, which will be handed out this year in Wrocław. Their significance is growing year by year; they are an important instrument for promotion. d The Academy is also trying to attract younger viewers. A.H.: The second important event organised by the EFA is its Young Audience Award. We choose three films for 12-14 year-olds from the suggestions. They are shown on May Sunday in various European cities, including Wrocław. Young viewers vote for the best one. Then, a bit like in Eurovision, via dial-up connections, films are discussed and votes are given. The point is to educate future audiences. d Did you have European masters at the beginning? A.H.: When I started, European cinema was a mine of unbelievable talents and creative personalities. I was impressed by Italian cinema – the one deriving from neo-realism, and Fellini,
I remember Krzysztof Kieślowski who, after receiving his Felix for A Short Film about Killing, said: “I hope Poland is part of Europe.”
changes. Kieślowski said: “We have to come back home. In Poland, reality is changing too.” d We can expect EFA Master Class – masterly classes with European creators in Wrocław? Yes, we can. We’ll use the time before the ceremony. Already now, in New
d What will cinema be like without Andrzej Wajda? A.H.: Great emptiness is left. Andrzej has left us. He used to show what cinema could be, not only regarding films themselves, but as a conversation about the world and the feeling of responsibility for it. Many generations of film makers have a feeling of being orphaned. Both those who loved him and those who didn’t like him. He was a man that had stayed the point of reference all the time. He’s the only filmmaker who, for many years, had shaped Poles’ shared imagination. He himself used to joke that he was the Matejko of Polish film. He contributed greatly to forming communities around questions, images, values and symbols. The present authorities are trying to use such potential, but propagandist-ideological desires are not enough; we need free spirit and the talent of an artist who loves their culture and history but doesn’t turn a blind eye to difficult and painful questions. d How is Wajda going to be commemorated during the Gala in Wrocław? A.H.: We wanted to present him with an Honorary Award of the Academy. Andrzej was very happy to accept this offer. He’d always wanted us to be part of European cinema. We want to create something beautiful so that his spirit will appear in Wrocław.
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Wenders,
European Awards and German Film November and December in New Horizons Cinema
A shot from The Great Beauty, directed by Paolo Sorrentino, who received the European Film Award in 2013. • Wim Wenders’ films’ retrospective and meeting with the director on 11 December, after the screening of Pina, at 16:00. The retrospective of the films by Wim Wenders – a German director, one of the most outstanding contemporary film makers and President of European Film Academy – will be held until 11 December. In November/ December, New Horizons Cinema will show many titles, including the Oscar nominated The Salt of the Earth, Buena Vista Social Club and Pina, the best documentary of 2011, according to the European Film Academy. • The review of the films – winners of European Film Awards will last until 30 December. NHC brings back all the films that have been awarded since 1988. In November and December, we can watch the productions that were awarded in its second and third decades. The program includes, among others, Michael Haneke’s Caché (2005) and The White Ribbon (2009). During the last days of December, Paweł Pawlikowski’s Ida will be shown alongside Paolo Sorrentino’s The Great Beauty and Youth. At the end of November and beginning of December, the program of nominated to European Film Awards films will be announced on www.kinonh.pl. • 16th German Film Week. 4-10 November. 10 titles in the program. The review will open with Toni Erdmann, presented during 16th IFF T-Mobile New Horizons, and announced by the audience one of the best films of the festival. • Five Flavours Film Festival. 18 – 24 November. Wrocław replica of the cult festival of Asian films Five Flavours. This year, it’s the only review of Eastern and South-eastern Asian cinema. It celebrates the 10th anniversary of the latter. For a decade, Five Flavours has invited the most interesting films from this fascinating and culturally diverse region. • Argentinian Film Festival. 25 November – 1 December. In November/ December, New Horizons Cinema will stage the Argentinian Film Festival. The program contains 12 titles, including El Clan by Pablo Trapero and Argentina, Argentina – the most recent film by the master Carlos Saura. • Programs details and tickets available online: www.kinonh.pl.
Horizons Cinema, a Wim Wenders’ films’ retrospective is being staged, and at the end the director will come to meet the audience. When we get to know the nominees – on the 5 November – we’ll begin the presentation of titles and meetings with their makers. d Did Wrocław make the impression of a film city on you? It definitely did; there’s no shortage of film infrastructure here. What really surprised me is that it’s such a young city. I can feel a great young spirit here. I heard one quarter of its inhabitants are students. It is felt in the streets and cinemas. It has the spirit which we have in Berlin too. We need more such cities as Wrocław, also for a better world.
photo. EFA
Special Projects
3 November 20:00 Armine, Sister Jarosław Fret | ZAR Theatre Stara Piekarnia 4 November 19:00 Forefathers’ Eve Eimuntas Nekrošius | National Theatre in Warsaw (with audio description) Wrocław Opera 5 November 12:00 The Truth of Great Myths Eimuntas Nekrošius | Tomasz Kubikowski Cycle: Truth and Only Truth Wrocław Puppet Theatre 19:00 Krapp’s Last Tape Robert Wilson | Change Performing Arts (USA, Italy) Wrocław Contemporary Theatre 6 November 18:00 Krapp’s Last Tape Robert Wilson | Change Performing Arts Wrocław Contemporary Theatre 20:00 Wait, wait, wait… (for my father) Jan Fabre | Troubleyn/Jan Fabre (Belgium) Audiovisual Technologies Centre (CeTA) 21:00 Medee. On Getting Across Jarosław Fret | Teatr ZAR Jerzy Grotowski Institute Laboratory Theatre Room 7 November 12:00 The functions of border sensory experiences in Jan Fabre’s theatre Jan Fabre| Anda Rottenberg Cycle: Truth and Only Truth Wrocław Puppet Theatre 19:00 Prometheus Bound Theodoros Terzopoulos | Attis Theatre (Greece) Institute of Power Systems Automation (IPSA) 19:00 Wait, wait, wait…(for my father) Jan Fabre | Troubleyn/Jan Fabre Audiovisual Technology Centre (ATC) 21:00 Medee. On Getting Across Jarosław Fret | Teatr ZAR Jerzy Grotowski Institute, Laboratory Theatre Room 8 November 12:00 The Truth of Virtual Reality Theodoros Terzopoulos | prof. Małgorzata Sugiera Cycle: Truth and Only Truth Wrocław Puppet Theatre 19:00 Prometheus Bound Theodoros Terzopoulos | Teatr Attis Institute of Power Systems Automation (IPSA) 19:00 Medee. On Getting Across Jarosław Fret | ZAR Theatre Jerzy Grotowski Institute, Laboratory Theatre Room 9 November 16:00 Dionysius’ Return Participants: Theodoros Terzopoulos, Freddy Decreus, Savvas
19:00 Medee. On Getting Across Jarosław Fret | ZAR Theatre Jerzy Grotowski Institute, Laboratory Theatre Room 10 November 16:00 “Something is rotten in this epoch of hope.” Meeting dedicated to Heiner Müller Participants: Jürgen Holtz, Ginka Tscholakowa, Thomas Martin, Erdmut Wizisla, host: Frank Raddatz Barbara: infopoint, cafe, culture 19:00 Amor Theodoros Terzopoulos | Attis Theatre (Greece) Audiovisual Technology Centre (ATC) 11 November 19:00 Amor Theodoros Terzopoulos | Attis Theatre Audiovisual Technology Centre (ATC) 12 November 10:00 Peter Brook: The Tightrope Film Dir.: Simon Brook Lower Silesian Film Centre
PROGRAMME 7 November 17:00 Disconnected Farma v jeskyni (Czech Rep.) Polish Theatre, Świebodzki Stage 19:00 Thousand Languages Nini Julia Bang (Denmark) Studio Na Grobli
19:00 BOI ProFitArt Edmund Wierciński Contemporary Theatre in Wrocław, Stage in the Attic
Great Theatre Olympics is held in Wrocław. During this “festival of festivals” in November, we will witness the unique Dziady Recycling Festival.
19:00 Disconnected Farma v jeskyni Polish Theatre, Świebodzki Stage
Dziady Recycling Festival will be dedicated to Dziady (Mickiewicz’s Forefathers’ Eve) as a cultural blueprint, one of the most original and momentous works in Polish culture. Its originality and significance stem from the fact that Dziady is a metasocial commentary – that is, a story told by the community that inhabits Polish lands, which is about this community. Originally – and, at a basic level, until this day – this story has been told through celebrating commemorative rituals, including those that involve visiting and decorating graves on All Saints’ Day (1 November) and All Souls’ Day (2 November), and in more ancient times – through celebrating Dziady rituals (especially Dzmitrauskiya Dzyady in the autumn and Radaunickiya Dzyady in the spring) which survived centuries after the ‘Baptism of Poland’, especially in the borderlands between Belarus, Poland and Lithuania, but which have now been reduced to offering a feast to the dead. The pre-Christian form of these rituals – typical of the Slavic religion – was reconstructed in the early 19th century by the Romantic poet Adam Mickiewicz, who portrayed them for what they used to be – the ritual spiritual séances which involved the conjuring up and talking to spirits and
9 November 17: 00 Dead Line Studium Teatralne (Poland) Świebodzki Station 20:00 Scores of Reality Porywacze Ciał Theatre (Poland) Jerzy Grotowski Institute, Na Grobli Studio
13 November 19:00 Battlefield Peter Brook and Marie-Hélène Estienne | Teatr Bouffes du Nord Wrocław Contemporary Theatre
19:00 The Crack CHOREA Theatre (Poland) Edmund Wierciński Contemporary Theatre in Wrocław, Stage in the Attic
7–13 November Eastern Line consists of presentations from young independent theatres from Central-Eastern Europe, covering the diversity of theatrical language that theatrical companies use. Eastern Line is a festival developing the idea of The Third Theatre, which views both institutionalized and bygone avant-garde critically. It’s a defence line of theatre culture against culture targeting at the show. The performance will be presented by: Studium Teatralne, CHOREA Theatre, Porywacze Ciał Theatre, (Kana Theatre), Song of the Goat Theatre, ZAR Theatre (Poland), Nini Julia Bang (Denmark), Farma v jeskyni (Czech), ProFitArt (Slovenia), Theatrical Group Zero Point (Greece), PLAVO pozorište (Serbia). Tickets for the performances can be purchased from: • Ticketpro Internet page • Ticketpro sale points (incl. shops: Empik, Media Markt, Saturn Planet) • Theatre Olympics Festival Office in Barbara (8c Świdnicka St.) from 12.10.2016 to 13.11.2016 from 9:00 to 18:00. Single ticket for a particular performance: 30 PLN (numbered places), pass for 11 performances: 160 PLN More: www.theatreolympics2016.pl/nurty/eastern-line
Poland
8 November 17:00 Thousand Languages Nini Julia Bang Na Grobli Studio
10 November 17:00 Scores of Reality Porywacze Ciał Theatre (Poland) Jerzy Grotowski Institute, Na Grobli Studio
Performances as part of Eastern Line
a cult story about
19:00 BOI ProFitArt (Slovenia) Wrocław Contemporary Theatre, Stage in the Attic
19:00 Battlefield Peter Brook and Marie-Hélène Estienne | Teatr Bouffes du Nord (France) Wrocław Contemporary Theatre
Dziady
20:00 Dead Line Studium Teatralne Świebodzki Station, 20b Orląt Lwowskich Square 11 November 17:00 The Crack CHOREA Theatre Contemporary Theatre in Wrocław, Stage in the Attic 18:00 Gospels of Childhood ZAR Theatre (Poland) Świebodzki Station 19:00 We Zero Point Theatre Group (Greece) Jerzy Grotowski Institute, Laboratory Theatre Room
then sending them back to the nether world, and the mutual accommodation/ assistance of the living and the dead.
A political pamphlet and sentimental performance
Mickiewicz’s drama Forefathers’ Eve (Dziady), which is an open work (Parts II and IV came out in 1823, Part III in 1832, the unfinished Part I was published posthumously in 1860), was conceived as a modern analogue of theatre’s birth out of ritual, and as such it is rightly regarded as an arch-drama. It is a syncretic work which combines a ritual spiritual séance and Catholic exorcisms, an intimate celebration of remembrance and the drama of existence, a dramatization of the current political events and a messianic mystery ritual. As a blueprint for a theatrical spectacle, it is a blend of Gothic horror and ceremonial theatre mystery ritual, a scathing political lampoon and a suicide’s sentimental performance. Mickiewicz’s Forefathers’ Eve (Dziady) – described as a Polish metaphysical drama of a Faustian type – has lent a unique flavour to Polish literature and theatre. This refers not only to the productions of the play, which form a special strand in the history of Polish theatre, running from the Modernist Stanisław Wyspiański
21:00 Project: Mother Kana Theatre (Poland) Polish Theatre, Świebodzki Stage 12 November 17:00 Project: Mother Kana Theatre, Polish Theatre, Świebodzki Stage 18:00 Gospels of Childhood, triptych Teatr ZAR Świebodzki Station 18:00 We Zero Point Theatre Group Jerzy Grotowski Institute, Laboratory Theatre Room 20:00 Lear’s Songs The Song of the Goat Theatre (Poland) The Song of the goat Theatre 21:00 Dream – a Story from Terezin PLAVO pozorište (Serbia) Jerzy Grotowski Institute, Na Grobli Studio 13 November 17:00 Dream – a Story from Terezin PLAVO pozorište Jerzy Grotowski Institute
photo. Magdalena Madra
2 November 20:00 Armine, Sister Jarosław Fret | ZAR Theatre Stara Piekarnia
Stroumpos, Jae Kyoung Kim, Georgios Sampatakakis, host: Monika Blige Barbara: infopoint, cafe, culture
photo. Natalia Kabanow
Theatre Olympics Wrocław 2016 ”The world is a place of truth.” Performances and meetings in the mainstream
photo . Natalia Kabanow
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Dziady Recycling Festival 27 October – 4 November About Mickiewicz’s Forefathers’ Eve – through Zadara and Nekrošius’ staging, Fret, Kos, Miśkiewicz, Passini, Rodowicz-Czechowska, Szczawińska and Trela’s remixes of historical realisations, Mahler’s music in Fanshil’s interpretation, Rutkowski’s lecture about the cult of the dead and commonly shared memory – through voodoo and candomblé practices, Rybicki Trio’s ritual music and jazz All Souls’ Day, Guicheney’s “konformans”, Bułaj’s live reportage and Bułaj, Mądra and Verger’s photography exhibitions, an exhibition of Haitian painting from the Kawalec collection, a review of Kolankiewicz’s films, Napiórkowski’s debate: about Dziady as Pole’s living myth – through Kolankiewicz, Majchrowski and Sieradzki’s debates. Program Tue 1 November 16:00 Whose ‘Forefathers’ Eve’ Is It? Remix of Kazimierz Dejmek’s Forefathers’ Eve Paweł Miśkiewicz and Zbigniew Majchrowski Świebodzki Railway Station Admission free 18:00 Afro-Haitian Cult of Voodoo Ceremony Joseph Auguste Louis and members of Rasin San Bout Temple, Cazale, Haiti Old Bakery
(1901) to his Postmodernist continuator Jerzy Grzegorzewski (1987 and 1995), from Leon Schiller’s monumental theatre (1932, 1933, 1934 and 1937) to Miron Białoszewski’s homemade intimate performance (1961) and Jerzy Grotowski’s ‘poor theatre’ (1961), but also to the productions infused with the same spirit as Forefathers’ Eve, such as Jerzy Grotowski’s and Józef Szajna’s Acropolis (1962) and Tadeusz Kantor’s séance, The Dead Class (1975), which can be described as 20th-century’s emblematic Forefathers’ Eve. This strand of work is still alive, as evidenced by 2016 revivals of the play: by Michał Zadara in Wrocław and Eimuntas Nekrošius in Warsaw, both of which will be staged at the Festival. In addition, some past productions of the play will be remixed: from Grotowski’s Forefathers’ Eve to Jerzy Grzegorzewski’s Forefathers’ Eve:
Twelve Improvisations, including Kazimierz Dejmek’s historic production (1967). Dejmek’s revival went down in history mostly because it coincided with the social drama that unfolded in Poland in March 1968.
The narration of the sense of existence
The blueprint contained in Mickiewicz’s drama has played out not only in literature and theatre, but also in social life, configuring the ideas, emotions, fantasies and dreams of the community. As a narrative presenting the raison d’être of this community in the form of a messianic mystery ritual, this blueprint has the social calibre of an eschatological myth. But if we see the Dziady that derives from Mickiewicz’s drama as a quasi-sacred, mythologising Polish cultural performance, we must acknowledge that its effectiveness is transgressive and lays
itself open to the charge of sacrilege and blasphemy.
Why recycling
In the era of environmentalism, recycling is the modern name for both eternal return and ricorso, the recurrent patterns of social history. Commemorative rituals are a recycling of sorts, too, as they enable us to re-live something that has entered collective memory. The festival will focus on recycling in the form of remixing the past productions of Forefathers’ Eve, which constitute a living performative archive of Polish culture. It will be one big recycling of the cultural project of Forefathers’ Eve, carried out in an era of a reactionary craving for myth, on the one hand, and of distrust of any kind of mythologizing on the other. The festival will be a test to see if Forefathers’ Eve can still be regarded as metasocial commentary, and if so, to determine what it says today.
19:00 Solaris, dir. Andrei Tarkovsky The Night of the Living Dead, dir. George A. Romero Films / SERIES Haunting Presence: Phantoms of Cinema Introduction: Tomasz Kolankiewicz New Horizons Cinema Wed 2 November 10:00 How Did Mickiewicz Play ‘Forefathers’ Eve’? Adam’s ‘Active Poetry’ at Collège de France Lecture by Krzysztof Rutkowski Barbara: infopoint, café, culture 16:00 My Class Remix of Tadeusz Kantor’s The Dead Class Łukasz Kos and Roberto Bolesto White Stork Synagogue 19:00 The Fearless Vampire Killers, dir. Roman Polański The Shinning, dir. Stanley Kubrick Films / SERIES Haunting Presence: Phantoms of Cinema Introduction: Tomasz Kolankiewicz New Horizons Cinema Thu 3 November 10:00 What Kind of ‘Forefathers’ Eve’ do Poles Need? Discussion Participants: Dariusz Kosiński, Jacek Kopciński, guests: Paweł Goźliński, Jacek Hałas, Małgorzata Piekutowa; host: Jacek Sieradzki
Barbara: infopoint, café, culture 16:00 Remix as a Lesson Remix of Konrad Swinarski’s Forefathers’ Eve Jerzy Trela PWST National Academy of Theatre Arts, Big Stage 19:00 Uncle Boonmee Who Can Recall His Past Lives, dir. Apichatpong Weerasethakul The Others, dir. Alejandro Amenábar Films / SERIES Haunting Presence: Phantoms of Cinema Introduction: Tomasz Kolankiewicz New Horizons Cinema Fri 4 November 10:00 ‘Forefathers’ Eve’ in the Theatre, or ‘What Is (Un)Thinkable in Poland’ Discussion Participants: Łukasz Drewniak, Małgorzata Dziewulska, Marcin Kościelniak, Bogusław Kierc, Joanna Walaszek; host: Zbigniew Majchrowski Barbara: infopoint, café, culture 16:00 Forefathers’ Eve’: A Crash Remix of Jerzy Grzegorzewski’s Forefathers’ Eve: Twelve Improvisations Weronika Szczawińska and Agnieszka Jakimiak The Grotowski Institute, Na Grobli Studio 19:00 Forefathers’ Eve Performance Eimuntas Nekrošius | National Theatre, Warsaw Wrocław Opera 19:00 Dybbuk, dir. Michał Waszyński Birthplace, dir. Paweł Łoziński Films / SERIES Haunting Presence: Phantoms of Cinema Introduction: Tomasz Kolankiewicz New Horizons Cinema Pass: 100 PLN (19 events)
Presence. Phantoms of Cinema 28 October - 4 November 2016 The theme of death and rituals connected to it is represented in film very strongly. In the film review accompanying Dziady. Recykling Festival, we are using the “Double Bill”, a formula dating back to American films from Great Depression era: two films shown one after the other at the price of one. This way various, seemingly unconnected films can be juxtaposed. Thus a contemporary mock-documentary is going to be placed next to a Polish classic, the sublime authorial cinema next to a low-budget horror from the 1930s. These encounters of different styles and genres, colour and black and white pictures, made in various places and times will allow for the presentation of a wide spectrum of ways in which film makers dealt with death. The programme was prepared by Tomasz Kolankiewicz.
Leszek Kolankiewicz
T
he author (born 1954) is a professor of cultural studies and anthropologist of performance. He was Director of the Centre of Polish Culture at the Sorbonne
(2012–2016), Director of the Institute of Polish Culture at the University of Warsaw (2005–2012), Chair of the Committee of Cultural Sciences of the Polish Academy of Sciences (2007–2011), Chair of the Intangible Cultural Heritage Team at the Polish Ministry of Culture and National Heritage (2010–2012) and Deputy Chair of the Executive Board of the Polish Association of Cultural Studies (2005–2009). He was a member of the Polish Committee for UNESCO (since 1992) and a collaborator of the International School of Theatre Anthropology. His books include: Na drodze do kultury czynnej (Road to Active Culture, 1979), Święty Artaud (1988, 2001; Saint Artaud), Samba z bogami. Opowieść antropologiczna (1995, 2007; Samba with the Gods: An Anthropological Story), Dziady. Teatr święta zmarłych (1999; Dziady: Theatre of the Feast of the Dead, forthcoming English-language version), Wielki mały wóz (2001; The Big Little Dipper).
Presence. Phantoms of Cinema Programme Wed 2 November 2016, 19:00 The Fearless Vampire Killers, dir. Roman Polański, USA, Great Britain 1967, The Shining, dir. Stanley Kubrick, USA, Great Britain 1980 Thu 3 November 2016, 19:00 Uncle Boonmee Who Can Recall His Past Lives, dir. Apichatpong Weerasethakul, France, Spain, Holland, Germany, Great Britain, Thailand 2010, other dirs. Alejandro Amenábar, France, Spain, USA, Italy 2001
Fri 4 November 2016, 19:00 Dybuk, dir. Michał Waszyński, Poland 1937, Place of Birth, dir. Paweł Łoziński, Poland 1992 Tickets and passes to the film review can be purchased at New Horizons Cinema, and tickets for Dziady. Recykling – in the National Forum of Music Debates and exhibitions – free admission Detailed information available via the Bilety tab on: www.theatreolympics2016.pl
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d The concert is also based on texts by the Roman philosopher Seneca the Younger. Do you think we can refer to his thought that history teaches us humility and should be a lesson for the future? Z.P: Seneca was a great philosopher. In his Dialogues, Thoughts and other texts he described our human weaknesses, the relationship between the ruling and the ruled very accurately; he defined the ethics that those in power should be guided by. What he wrote about has not lessened in value. And today, in this beguiled world, his theses are like an SOS signal.
You don’t want
war? Maciej Kuczyński and Jacek Antczak talk with Zbigniew Preisner, the composer and director of „2016 Where to Now?”, the premiere of which will take place in the National Forum of Music in the European Capital of Culture Wrocław 2016
d Ewa Lipska is one of the greatest Polish – and not only Polish - poets of today. What does her poetry say to contemporary human beings? Why was it her works that you chose for your spectacle in ECoC Wrocław? Z.P: Like every great poet, Ewa Lipska describes our times ingeniously. She conveys them in her poems brilliantly, but she also understands cooperation with music excellently and she perfectly knows how powerfully the combination of these two arts conveys meaning.
Several months ago, before the concert in the European Capital of Culture, Ennio Morricone told us that musical culture in European countries was very uneven and one of the aims of ECoC should be an attempt to make European centres more concerned about music. Do you think that the European Capitals of Cultures’ objective should be to promote the highest-level musical culture and to combine arts, for example music with film, or – as it is the case with your concert in the NFM – music with great Polish poetry? Zbigniew Preisner: The aim of all empowered people in the world is to promote art. Music, as an art, defends itself more or less, for without music, the modern world would not exist. Can you imagine a day without music? That it suddenly disappears from the radio, Internet, television? Obviously, there always remains the question about its quality. All art has undergone pauperization in today’s world, and music has as
well. The music we compose as accompaniment to film has nearly acquired the authority of classical music. The question is open: “Is it because contemporary music is so weak that scarcely anyone wants to listen to it, or is it because film music is so wonderful that it has begun to take over classical music?” However, both classical and film music are based on great literature, so it’s a duty of everyone who decides to promote art. Good art: literature, film, theatre and music d „2016 Where to Now?” is a performance that attempts to answer the question: “Who are we in the second decade of 21st century?” In what way will the performance, beside posing such important questions, answer it? Z.P: My role and the role of Ewa Lipska, the author of the script and poems, is to pose questions, like “Where are we heading?”, but it is not our role to answer them. It’s as if a director told us the themes of his film and how it is supposed to be interpreted. Please, come to the concert.
”2016 WHERE TO NOW?”
L
isa Gerrard and Polish stars will perform on 10, 11 and 12 November in Zbigniew Preisner and Ewa Lipska’s spectacle.
Zbigniew Preisner, an eminent composer, will perform in Wrocław – the
European Capital of Culture 2016 – in a new role: not only as a music creator, but as a director. The premiere of his spectacle entitled “2016 Where to Now?” is planned for 10 November at the National Forum of Music. During the concert, we will see and listen to world-famous artist Lisa Gerrard, known for her projects with Dead Can Dance and This Mortal Coil, awarded, together with Hans Zimmer, with Golden Globe (2001), Oscar Nomination for music to ” Gladiator”, and singers: Jerzy Trela, Beata Rybotycka, Anna Szałapak, Edyta Krzemień, Jacek Wójcicki, Konrad Mastyło and Józef Skrzeka. The script of the spectacle was written by the poet Ewa Lipska, based on Lucius Annaeus Seneca’s and her own works. The authors of the spectacle want to show the inextricable continuity of history which should be not only a warning, but also a lesson in humility for contemporary and future generations. The symbolically presented civilizational anxiety of the contemporary world is supposed to urge the audience to find the answer to the question who we – Poland and our surrounding world - are in 2016 and where we are heading. Preisner’s spectacle will also feature Polish renowned artists and National Forum of Music Choir under Agnieszka Franków-Żelazny, as well as Wrocław Pantomime Theatre under Zbigniew Szymczyk. The spectacle is a part of the musical and theatrical programme of the European Capital of Culture Wrocław 2016. The event is co-financed by Norwegian Funds and EOG from Island, Lichtenstein and Norway.
photo . Anna Włoch
Go for
culture!
ANNA SZAŁAPAK A singer and literary song performer. The ”White Angel” of Piotr Skrzynecki’s cabaret in Kraków, Piwnica pod Baranami (The Cellar under the Rams). She collaborates with outstanding artists, poets, composers and musicians, including Ewa Lipska, Michał Zabłocki, Zygmunt Konieczny, Zbigniew Preisner, Jan Kantym Pawluśkiewicz, Andrzej Zarycki, Grzegorz Turnau, Andrzej Sikorowski, Jacek Wójcicki and Konrad Mastyło. Holding a PhD in humanities, she is a curator at the Historical Museum of Kraków.
d “2016 Where to Now?” features a whole array of stars, including Lisa Gerrard. What was your motivation when you chose these artists and how has the cooperation gone during the preparations for the concerts in the National Forum of Music? Z.P: Whenever I compose music, be it for film or, as in this case, concerts, I choose artists who will realize my musical conception. The artists I’ve been working with on this performance originate from different musical trends, but I need such artists to realize this concert. That’s why both Lisa Gerrard and Anna Szałapak, as well as Beata Rybotycka, Edyta Krzemień and Jacek Wójcicki, will be performing. But also The National Choir of National Forum of Music and Wrocław Pantomime Theatre. All of them will be accompanied by musicians I’ve been collaborating with for years. I hope that together we will manage to move and touch you during the evening. d The National Forum of Music was erected within the European Capital of Culture Wrocław 2016 and is one of the most state of the art concert halls in Europe. Its unique architecture and technology allow for the reception of the highest quality sounds. What will it mean for you to present your work in this facility? Z.P: This hall is indeed beautiful in every respect: both architectural and –
photo. Arkadiusz Sędek
JERZY TRELA An outstanding theatre, film and TV actor. A graduate of Ludwig Solski Academy for the Dramatic Arts in Kraków. He has performed in the Variety Theatre and for many years he was an actor of Helena Modrzejewska National Stary Theater in Kraków. A lecturer at Ludwig Solski Academy for the Dramatic Arts in Kraków. His key performances include Dziady (Forefather’s Eve) and Wyzwolenie (Liberation) directed by Konrad Swinarski. A laureate of many awards, honourable mentions and distinctions.
photo. Anna Włoch
BORIS KUDLIČKA A renowned and inspiring scenographer, designer and architect. He graduated from the Scenography Faculty at the Academy of Fine Arts and Design in Bratislava. He also studied at ASP in Groningen in Holland. Since 1995, he’s been working in Warsaw. He is mostly famous for opera design. Together with the director Mariusz Treliński, he has created an artistic duet, whose musical performances break the classical form of an operatic performance. He also cooperates with many performing spaces, including ones in Berlin, Frankfurt, Moscow.
photo.J.Mazurek
LISA GERRARD An excellent Australian vocalist, composer and actress. In 1981, she joined Brendana Perry’s group Dead Can Dance. Her nine albums, released in the years 1984-1995, clearly show the Gerrard-Perry duet’s expanding interests, embracing a universal combination of world musical influences, medieval songs, folk ballads, baroque stylizations, Celtic motifs, electronics, samples and many others. After the successes of the albums made with Dead Can Dance and solo, the next phase in her career involved composing film music.
photo. archiwum artysty
EWA LIPSKA A poet, writer, the author of many volumes of poetry, laureate of prestigious awards both in Poland and abroad, including the Kościelskis’ Award, awards in Geneva, PEN Club, Jurzykowski’s Foundation in New York, Wrocław’s monthly Odra Awards, Literary Award Gdynia. In the years 1991- 1997, she worked for Polish Embassy in Vienna, as Head of the Polish Institute. A member of PEN Club and Polish Academy of Learning.
photo. Danuta Węgiel
The authors and stars of the spectacle “2016 Where to Now?”
what is very significant for me – acoustic. I’m happy that such hall was built in your city. Art is needed by a society. And this hall offers the audience the highest standards for music listening. I’m happy to be able to play here. I’m looking forward to this meeting. d Over two million people took part in cultural events in the first six months of ECoC Wrocław 2016. If we narrowed down the titular question and focused on culture, where do you think European culture is heading? What is it like? What enthuses, and what irritates or disappoints you about it? Z.P: Just look on the Internet and see on what sites the information about art
EDYTA KRZEMIEŃ A theatre, musical actress and vocalist connected to Musical Theater Roma in Warszawa. A graduate of Vocal Faculty of Fryderyk Chopin University of Music in Warszawa, Vocal Faculty of 2nd Degree State Higher School of Music in Kraków, and other schools. She performs in Rozrywka Theatre in Chorzów, Gliwice Music Theatre, Podlasie Opera and Philharmonic, Music Theatre in Poznań, Gdynia Musical Theatre and others.
Music
is. This is also the case with the press and all media. Culture’s been relegated to the periphery, and artists have as well. Actually no rights are respected on the Internet. The author of a work can have millions of online “views” or “hits”, but they hardly profit from them. Everybody reckons art should be for free and we create it just for the audience. Artists’ copyrights stayed far behind the technological possibilities of using their work. Once, as far as I remember, pirates that copied our work and sold it illicitly in places like Dziesięciolecie Stadium in Warsaw used to be prosecuted. What is happening now on the Internet is one big mega-piracy. It’s as if a grocery shop owner said to a sugar producer: “Cus-
Lower Silesia
Opera
Performance
JACEK WÓJCICKI An actor and singer endowed with the intriguing tenor timbre, a graduate of the Ludwig Solski Academy for the Dramatic Arts in Kraków. He has performed in Julisz Słowacki Theatre in Kraków, featured in films, TV series and cabarets (including Piwnica pod Baranami and Olga Lipińska’s Cabaret). He performs together with artists like Grażyna Brodzińska, Małgorzata Walewska and Beata Rybotycka. He has received many prestigious awards.
tomers need sugar,” but he wouldn’t pay the latter for it. Artists don’t demand anything more but that their work, distributed successfully, should be profitable. Nothing more. In order that art can still exist, immediate legal regulations are necessary. If they aren’t introduced, which means artists are not paid for the publications of their works in electronic media, it is highly probable that art will collapse or become pauperized. Based on what I see, artists are going to rebel. I imagine this rebellion as all artists’ refusal to pay taxes. For, since governments rob us by not creating laws which would protect us, why should we pay?! If I were someone in power, I would seriously consider it, because the day might
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micro GRANTS
STANISŁAW TABISZ A painter, graphic, scenographer, pedagogue and art critic. He has graduated from Department of Painting of Kraków Academy of Fine Arts, at present he is its President. He is connected to the Piwnica pod Baranami cabaret, he performed with the group and realized the scenography to its programs. His painting, drawing and graphics are permeated with the poetic atmosphere of fairy tale, dream, magic. He prepares stage props and costumes for the performance.
come when complete silence fills our space. d 2016 is a breakthrough year for Wrocław in a way, its residents wonder what direction their city should take after ECoC has ended. Are you still going to go for culture, both the high one and the local one, integrating communities? Is it worth it? Z.P: It is. It’s worth investing in everything that is connected with culture and art, because they are the creative future, cheaper than preparing for war. If culture collapses, there will be war. ZBIGNIEW PREISNER
film and theatre music composer, known for his collaboration with Krzysztof Kieślowski, Louis Malle, Claude
ZBIGNIEW PALETA A violinist and composer. He has played with Ewa Demarczyk, Marek Grechuta and Anawa band. He performed in Piwnica pod Baranami and Stary Theatre in Kraków. He collaborated with Zbigniew Preisner and Jan Kanty Pawluśkiewicz. In 1980, he emigrated to Mexico, where he lives. He was awarded the Academia Mexicana de Artes y Ciencias Cinematográficas.
photo. archiwum artysty
Theatre
photo. archiwum artysty
BEATA RYBOTYCKA An actress and singer, graduate of Ludwig Solski Academy for the Dramatic Arts in Kraków. She has performed in theatres like Stary Theater, Theater Scena STU, Piwnica pod Baranami, The Ludowy Theater in Nowa Huta and The Danuta Baduszkowa Musical Theater in Gdynia. She has appeared in numerous films and TV series. She cooperates with Jan Kanty Pawluśkiewicz, Zbigniew Preisner, Grzegorz Turnau, Jacek Wójcicki and Konrad Mastyło. Currently, her home theatre is Theater Scena STU.
Architecture
photo. Jacek Wrzesinski
Visual Arts
Film
photo. Kinga Taukert
Literature
photo. Robert Wolański
Special Projects
Miller, Hector Babenco, Jean Becker, Agnieszka Holland, Luis Mandoki, Thomas Vinterberg and Fernand Trueba. Awarded the French César twice, The Los Angeles Critics Association Awards thrice, and the Polish Srebrny Niedźwiedź once. Member of The French Academy of Cinema Arts and Techniques. PREMIERE: 10 November 2016 at 19.00 ADDITIONAL PERFORMANCES: 11 and 12 November 2016, at 19.00 National Forum of Music, 1 Wolności Square Zbigniew Preisner – music and directing, Ewa Lipska – screenplay, Boris Kudlicka – scenography TICKETS: 150 PLN - VIP, 100 PLN - I category, 80 PLN - II category, 60 PLN - III category. They are available at Impart box office 17 Mazowiecka Street, Wrocław. Booking: tel. 71/341-94-32 or email: rezerwacje@impart.art.pl.
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Nneka’s
tales,
At the beginning, there was Mesajah
Hala Stulecia pełna miłości i gwiazd podczas
powroty Mesajah On 19 November we can expect a real feast of reggae and roots, dub and ragga, hip-hop and dancehall sounds in the Centennial Hall. This year’s edition of One Love Sound Fest, co-organised by ECoC Wrocław 2016, won’t miss out on musicians from world music circles nor digital sounding experiments. Over the years, Wrocław’s festival has developed into the biggest meeting with reggae music in Europe. The thirteenth edition of One Love Sound Fest ”will play itself out” in the magnificent, modernist interiors of the Centennial Hall, which can accommodate up to 10,000 fans. The artistic profile of the event definitely breaks currently dominant festival schemes. The artists will present the most recent, ambitious and exciting projects from all over the world.
The main stage will host big stars: Capleton (Jamaica), Nneka (Nigeria), Balkan Beat Box (USA/Israel), Lee
photo. Hugues Lawson Body
One Love Sound Fest 2016
“It’s probably my most personal and thorough album. I supervised the process of its making: starting with recording, through vocals, arrangements, to mastering,” Mesajah says. The album is the outcome of the work of many people who’ve always supported the artist in his musical career. Together with his band Riddim Bandits, he produced musical recordings so that he could later – in the quiet of his house – focus on vocals, arrangements and choirs by sterling I Grades, who accompanied Mesajah during concerts. Wlazi from Bethel band, Cheeba and paXon and Yanaz graced the album with their guest stanzas. The composition was also influenced by Bubblaz – a Jamaican from Firehouse Crew, who’s been a part of the Riddim Bandits team for over a year. As a result, coherent material emerged – with an unusual sound and highly emotive, sincere lyrics. “The lyrics take up the themes oscillating around searching for one’s self in today’s convoluted world.” Wrocław’s artists states. It is in the Centennial Hall that the music from Powrot do korzeni will be heard in November at the festival, which has a special meaning for Mesajah. “I will have an opportunity to present most of my new material at One Love Sound Fest 2016. This festival is particularly important for me, because I’ve been involved in it since its first edition, organized in the then WZ club in Wrocław. Since that time, I’ve been present at One Love every year. We’ve played many times with NDK here; two years ago, I played my solo concert, and during the years when I didn’t perform officially, I appeared at it anyway. In addition, everything takes place ‘in my house’, as I was born in Biskupin. I’m happy that Wrocław has its significant reggae festival, and - most of all – that I can be a part of it.”
From Mad Professor to Bass Aid Sound System
The thirteenth edition of One Love Sound Fest ”will play itself out” in the magnificent, modernist interiors of the Centennial Hall, which can accommodate up to 10,000 fans. The artistic profile of the event definitely breaks currently dominant festival schemes.
The stars of One Love Sound Fest 2016 Capleton
B
orn on 13 April 1967 as Clifton George Bailey
III. His future stage name, Capleton, was given to him after the most famous lawyer in the city by his friends who admired his intelligence and argumentation skills. When Capleton made his first appearance on stage in the late 80s, dancehall was in a different place than it is today. Ruthlessness and lyrics about guns were commonplace. This most promising debutant marked his arrival with a series of hits. Everything he produced became a hit, and the young artist with a caustic tongue and strong vocal quickly became one of the most certain dancehall hitmakers. In 1992, when he released the album ”Alms House”, Capleton became more than an entertainer: he became the leading light of justice expressed by music. “United, we stand; divided, we fall.” he sang on behalf of his musical friends. Many of Capleton’s songs and most of his critics mention ”fiery flame”. Capleton hopes to resolve this confusion for good. ”It’s not about physical fire. In fact it’s spiritual, verbal and musical. You know, fire is everything that concerns being,” the artist explains.
Nneka
T
he Sunday Times, when writing about her debut album, announced her as the new Lauryn Hill. Today, having won many awards, the
Nigerian vocalist comes back with her fourth album “My Fairy Tales” with a beguiling reggae sound. ”I decided to call this project ‘My Fairy Tales’ as a means to convey the content which is sometimes gloomy and bitter, but in such a way that it sounds more pleasant. ”Nneka says. ”My previous albums had quite grim titles, like ‘No Longer At Ease’ and ‘Victim Of Truth’,” she adds. The album “My Fairy Tales” was made when the artist was living in Paris. It’s a conceptual album, probing the lives of African people in exile, and the struggle they face concentrating on being responsible towards their children, but also on the significance of culture, education and identity. Nneka Lucia Egbuna was born and grew up in the Nigerian Delta region. She moved to Germany when she was 19, and started her anthropological studies. The politically engaged texts quickly confirmed her position as one of the strongest voices coming out of Africa. Nneka’s lyrics raise many social issues, including motherly love, romantic disappointments and search for justice. Nneka electrifies the audience all over the world together with The Roots, Gnarls Barkley, Nas and Damian Marley. She was awarded the MOBO Best African Act, recorded ”Viva Africa” for 2010 FIFA in South Africa.
Mesajah
A
ctually Manuel Rengifo
Diaz – a vocalist,
lyrics author, producer and composer. He’s well known as a co-originator of Natural Dread Killaz band, with whom he started his musical adventure in 2003. In 2008, he decided to start his parallel solo career, releasing his first album ”Ludzie Prości” (Simple People). The album amazed with the authorial interpretations of reggae, dancehall, dub and hip-hop.
photo. archiwum organizatora
Capleton’s fire,
Scratch Perry & Pura Vida 80th Birthday Show (Jamaica/Belgium) and native performers: Eastwest Rockers, Damian Syjonfam and, most importantly, Wrocław’s artist Mesajah, whose latest album Powrót do korzeni (Return to the Roots) has just been released. The thirteenth edition of One Love Sound Fest ”will play itself out” in the magnificent, modernist interiors of the Centennial Hall, which can accommodate up to 10,000 fans. The artistic profile of the event definitely breaks currently dominant festival schemes.
By no means will there be fewer attractions on the sound system stage of the festival. It will host: Mad Professor (Great Britain), Sugar Cane Experience – RAPHAEL, Lion D, JAH SUN, BIZZARRI SOUND (Italy/USA), Randy Valentine (Great Britain/Jamaica) and Polish musicians: Zjednoczenie Soundsystem, TaLLib, PAXON, Bass Aid Sound System and Foliba & Special Guests. The whole will be hosted by Maken together with 27 Pablo.
It was a success, a great
tickets
on Polish musical stage. The energy of his concerts is so incredible that the
The tickets for the festival will cost 100 PLN in advance, and 120 PLN on the day of the event. They are available on: www. onelove.pl and in Ticketpro chain (incl. Empik, Media Markt and Saturn).
event on the Polish reggae stage, and enjoyed considerable interest of the media. The piece ”Każdego dnia” (Every Day), which promoted the album, remains a big hit today, known not only to reggae fans. In February 2012, Mesajah issued the second solo album entitled “Jestem stąd” (I come from Here). Both the title of CD and its themes address the issue of the discrimination of people with different skin colour. The author appeals for tolerance and equality, regardless of one’s origin, faith or views. In June 2013, his third record ”Brudna prawda” (Dirty Truth) was released. A combination of styles and skills makes critics describe Mesajah’s creativity as remarkable, for he possesses the unique ability to go beyond genre conventions, draw from the quintessence of various forms, and to give great power to his works. Owing to this, he creates an entirely new quality audience enjoy themselves till the very last sound. On 53th Opole National Festival of Polish Song, Mesajah won the concert Super Premieres 2016 by the audience voting for his song ”Wolne” (Free).
Special Projects
Literature
Film
Visual Arts
Architecture
Theatre
Music
Lower Silesia
Opera
Performance
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micro GRANTS
Joe Cocker told us in Wrocław:
During the Friendship Festival, the Wrocław band OCN will be celebrating its anniversary, along with Raz, dwa, trzy, Lech Janerka and other stars of the Polish stage. They’ve shared the stage with the greatest music stars, recorded seven albums, changed the name at the peak of their popularity, and attempted to win over stages abroad. OCN (known as Ocean prior to 2013) is celebrating its 15th anniversary. Its members have changed many times, its permanent nexus being Maciej Wasio, who Bartosz Synowiec (Radio Wrocław Kultura) talked to on the occasion of the coming anniversary – the Friendship Festival, co-organized by the European Capital of Culture Wrocław 2016. Is OCN a one-person project? Maciej Wasio: It’s an authoritarian democracy. These are the voting elements that rotate. They can always contribute a lot, but it’s me that decides, and I’m not afraid to take responsibility for my choices. d The group was supposed to be a temporary project at the beginning. You wouldn’t probably have expected then that you would celebrate such anniversary? M.W.: I assumed that everything would last 15 minutes, not 15 years. It was to be a garage project which wasn’t supposed to go outside our cubbyhole, then outside of Wrocław’s clubs, and then those in Poland. Despite the number of years which have passed, only now do I have the feeling that we start for real, that everything assumes a definite shape and maturity.
You start for real, being experienced musicians. In that case, what can an experienced musician communicate to a beginner? M.W.: As a young musician, I treated such slogans as piffle, but there’s nothing more important in music than truth and emotions. Paradoxically, no matter how much you try to hide it, the listener will always sense sincerity or the lack of it.
Everything depends on the references one receives. We have some from the very prestigious Sziget Festival. Its organizers praised the production of our concert a lot. The management of each star analyses very thoroughly the bands that might perform as the one opening of their concert. It’s not connected with the popularity of an artist at all. We know that a couple of big Polish stars of considerable stature laid money on the table to play before Kings of Leon. The management, however, put more emphasis on organizational effectiveness. We are lucky to have an incredible technical team.
photo. Roland Okoń
photo. Marcin Bakiewicz
”Have fun, lads.”
d What was the most important memory for you in the group’s career? M.W.: The moment when we arrived to soundcheck at the National Stadium in Warsaw. We we supporting Byonce, among others. When I saw the enormity of the concert production and the place we were to play, my jaw dropped to the ground. I thought to myself: “It was worth knocking about from hole to hole.” Still, in art there are no best or worst things, because there can always be something even better or worse still to come. d You’ve shared the stage with a lot of world class stars, like Kings of Leon recently in Kraków. You’ve had the opportunity to meet all these musicians in person. Which one of them - regarding
their personality - has made the greatest impression on you? M.W.: My best memory is that of meeting the late Joe Cocker, who invited us to the opening of the concert in the Centennial Hall (then People’s Hall). We had a booked rehearsal, but Joe informed his team that he wanted to play a song he hadn’t played for years, and everything fell behind schedule considerably. We hadn’t been let on the stage before the opening of the gates of the hall and didn’t have time for a rehearsal anymore; we had to start playing. Joe Cocker, passing by, just told us: “Have fun, lads.” He probably liked our concert: afterwards we got a very kind hand written letter and a fridge filled with the bottles of very expensive alcohol from him. d How come you open for so many stars so often?
d A while ago your record company announced that you were setting off to conquer the West. How did it come to that? M.W.: At a certain moment we recorded three songs in English and sent them to a competition organized by Sziget Festival. We won Polish eliminations and went to the festival. Then the song “Waterfall” reached the European Warner Music Group, we got the response with a proposition of a contract. The record got a great reception, we sold around 160 thousand records. On the record “Demon i karzeł” (Demon and Dwarf), I came back to Polish language; I felt that I could express my recent emotions only in my mother tongue. However, I don’t think it impossible for us to come back to the foreign path. d To celebrate your anniversary, you organize the Friendship Festival. As the name suggests, you friends will appear at it… M.W.: And friends with capital “F”! Raz Dwa Trzy band, which mainly operates in Wrocław, and Jamal, also strongly connected with our city. We also invited Happysad group; we’ve roamed the country up and down with them this year. Muchy, with an ingenious – I think – lyric writer Michał Wiraszko, will come from Poznań. I’m proud to be honoured by the presence of Lech Janerka and a fantastic vocal-
I Friendship Festival 15 December 2016, Hala Orbita ”When celebrating, always have your friends along!” - this is the motto of the first edition of Friendship Festival. 15th anniversary of Wrocław’s band OCN (known for years as OCEAN), became the opportunity to gather on one stage performers, who, regardless of separate musical worlds, struck close personal relationships. On 15 December 2016 in HALA ORBITA in Wrocław, we will see the formations which don’t have to be especially recommended. Alongside jubilees, HAPPYSAD, RAZ DWA TRZY and MUCHY will play. Additionally, their active participation in the event was confirmed by the renowned artists, such as LECH JANERKA, MONIKA BORZYM, OLAF DERIGLASOFF and the leader of the group JAMAL - TOMASZ “MIODU” MIODUSZEWSKI. These are not the only surprises and unique interactions planned for this evening. The Friendship Festival is part of EUROPEAN CAPITAL OF CULTURE WROCŁAW 2016.
ist Monika Borzym. The stage will also host the man who is someone between my spiritual father and brother - Olaf Deriglasoff. Please, come on 15 December to Hala Orbita. d Do you have any anniversary wishes? M.W.: For us to want to go on and have the same shivers playing concerts. So that our activity won’t ever become routine. Bartosz Synowiec
Bartosz works as a journalist for Radio RAM, Radio Wrocław and Radio Wrocław Kultura, where he hosts shows and interviews musicians.
10
Lem
Łukasz Śmigiel and Jacek Antczak in a conversion with Professor Stanisław Bereś, literary scholar and critic, author of an extended interview with Stanisław Lem and a co-organizer of the Lemological Congress It’s been the tenth death anniversary of Stanisław Lem, the writer who we think should have got a Nobel Prize. In European Capital of Culture, we will hold Lemological Congress. Where does such an idea come from? Stanisław Bereś: Anything that serves as an opportunity to commemorate a writer of such rank and intellectual class is good, and the ending of the European Capital of Culture fits this purpose ideally. Leminaries such as this do not take place only in Poland – they’re a cycle of events which were initiated in Lviv, where a conference dedicated to Lem was organized in September. The choice of city wasn’t accidental: Lviv discovers that it can regard Lem’s oeuvre as its heritage. I’ve always suspected Lviv’s residents feel slightly offended by the fact that Lem abjured their city. Well, he simply didn’t want to go there, but one can find a lot of connections to Lviv in his books. The next events are planned for the beginning of November in San Sebastian and Barcelona. They will revolve around the premiere of Borys Lankosz’s film The Author of Solaris..
photo. Myroslav Parkhomyk
d I s it a documentary? S.B.: Yes, it is, but fictionalized to a great degree; owing to many theatrical inserts, it can be called a quasi-documentary. It also contains, not presented so far, the recording of the recitation of a very amusing, anti-regime, work which Lem, risking a lot, created under the Stalinist
regime. It also features film recordings made by him. I must admit that when I saw them for the first time, they took my breath away. Not because they presented something dramatic, but simply because I saw Lem and his wife, the people who I used to know well, but who aren’t with us anymore. It was like travelling in time. The whole cycle of Leminaries will round up with the biggest, three-day event in Wrocław – Lemological Congress, whimsically referring to his book The Futurological Congress. I think it was Irek Grin that came up with the idea; he asked me one day if I could make up some lemological event. So I did. d An extraordinary group of figures will join us at the Congress in Wrocław S.B.: I’ve always dreamt of Lem’s work being discussed not only by literary scholars, who naturally will appear at the congress, like writers will. I want his oeuvre to be looked at from various perspectives, that’s why the event will host people of different specialisations: physicists, astrophysicists, psychologists, biologists, and geneticists, who will analyse Lem form every point of view possible. d Lem was known first of all as a writer, but he was also a physician by education, an essayist, and a thinker. And who was he for Stanisław Bereś, who conducted an extended interview with him?
S . B. : There’s a t e r m ‘R e n a i s sance man‘, but it doesn’t begin to cover such a phenomenon as Lem: a mind such as his doesn’t occur often in our times. He was a man who grasped an exorbitant number of scientific fields. For example, when he was writing a literary scholarly book, the whole literary studies institute of the Polish Academy of Sciences gathered to deliberate on it with him. A similar situation took place after the premiere his book Summa Technologiae, when the greatest philosophers gathered, ready to enter into a debate with the author. It can be said that both these skirmishes ended with draws, but Lem defend-
,
sations were debated on. The Nobel Prize winners that were gathered there wanted to discuss complicated issues. It was not accidental that Lem had a few outstanding friends among Nobel laureates, like Professor Kapica, the father of Soviet astronautics, Professor Frank, or Professor Korolev. These remarkable scientists often happened to grab Lem after his literary meetings and take him to a hotel, where they discussed matters of earth and sky together. Such minds willing to learn something from Lem must prove something..
These outstanding scientists often happened to grab Lem after his literary meetings and take him to a hotel, where they discussed matters of earth and sky together. Such minds willing to learn something from Lem must prove something. – stanisław Bereś
ed his theses alone. When an amateur takes up philosophy, literary studies, physics or cybernetics, and proves a specialist in these fields, we know we are dealing with a true unique specimen on the world scale. Anyway, it was the only writer that was invited to the famous conference in Byurakan, where extra-terrestrial civili-
d How did your adventure with Lem start? S.B.: TLem’s work made up for the world literature which my generation was denied access to. He filled in the gaps in our education in the field of strict sciences, especially technology. And once you became addicted to his cool, contrived early plots, you went on to the next ones: more complex books which were like academic, philosophical or futurological treatises. I accompanied Lem in this phase of his creative activity, and at certain point I thought: “It’s time to sit with him and talk.” At that time, martial law was hanging in the air and we were all terribly worried at the university. I assumed Lem was worried too, and I was right – he agreed to a meeting. Once the conversation started, it actually became a sure-fire hit. I was lucky to get a word in edgewise. He got so whipped up that his answers turned into whole lectures. I don’t know if anyone managed to master the art of telling a scientific tale to the extent Lem did. I used to host a literary program on Polish TV during which I talked to a great number of writers, and I have to admit that I simply have never encountered a man of such broad knowledge and intelligence in my life.
photo. 1973, Stanisław Lem Pegaz copyright Bolesław Lutosławski
Wrocław talks about who knew everything ahead of time
Lemological Congress 28-30.11. various locations around Wrocław Stanisław Lem – one of the most prominent minds on our continent at the turn of 20th and 21st centuries – he intrigued with his knowledge, erudition and visionary conceptions of the future of our planet and the human species. His books taught and amused several generations in many countries – they were translated into over 40 languages. The American writer Philip K. Dick even suspected that a team of scientific experts and writers hid under the name of Lem. During the Congress, the most eminent representatives of distinct specialisations: astronomers, mathematicians, physics, IT specialists, biologists, geneticists, literary scholars, linguists, philosophers, ethics, sociologists and film makers will focus their attentions on the conceptions conveyed in the works of the author of Solaris. The congress will be accompanied by film shows and “Lem Session”, a jazz concert dedicated to the writer.
Special Projects
Literature
Film
Visual Arts
Architecture
Theatre
Music
Lower Silesia
Opera
Performance
micro GRANTS
28 November 2016 New Horizons Cinema, room 6, 19a-21 Kazimierza Wielkiego St. 9.00-10.00 Screening of Borys Lankosz’s film, ‘The Author of Solaris’ 10.00-12.00 Debate I – Lem live Prof. Stanisław Bereś ed. Tomasz Fijałkowski Ewa Lipska ed. Małgorzata Nycz Wojciech Zemek Michał Zych Borys Lankosz’s documentary The Author of ‘Solaris’ is the starting point of the first debate, whose participants knew Stanisław Lem well and collaborated with him, including family members, friends, his former assistant and the authors of conversations with the writer. 12.30-14.30 Debate II – Lem and the Polish language Prof. Jerzy Bralczyk PhD assistant Prof Maciej Eder Prof. Jan Miodek Prof. Tadeusz Piotrowski Stanisław Lem’s literary Polish language has always been the object of linguists’ admiration and amazement, because he was a carnivalesque experimenter, specialising in neologisms, verbal games and lexicographic inventions in his novels and essays. 16.00-18.00 Debate III – Lem on the small and big screen PhD assistant Prof. Krzysztof Kornacki Prof. Arkadiusz Lewicki Prof. Krzysztof Loska Prof. Tadeusz Lubelski Lem lived to see 27 film and TV adaptations of novels by outstanding directors, like Andriej Tarkowski, Steven Sodebergh, Andrzej Wajda, Edward Żebrowski. But Lem used to hammer the adaptations. Why? What is their real role and place in the history of film? 18.00-20.45 The show of Andrzej Tarkowski’s film Solaris 21.00-22.45 The show of Steven Sodebergh’s Solari
d Is it possible to prepare for a conversation with Stanisław Lem at all? S.B.: Before the conversation, I’d read everything that had been written about Lem, and I don’t think I’d missed anything. As it turned out, it wasn’t enough for someone like him. Luckily, God watched over my reason and I assumed a wise stand of a student who comes to a master, saying: “Rabbi, tell me how this world is constructed.” And he, the master, answered. d There’ll surely be a lot of futurological theories on the Lemological Congress. Wasn’t it the case with Lem that he could predict future events? The image of what we
experience today emerges from many of his books written in the 50s and 60s. S.B.: There’s a scene in The Magellanic Cloud, in which the protagonist on a spaceship takes out a trion – a small crystal which, inserted in a drive, made it possible to browse thousands of books that he’d taken with him for his multi-annual journey. Just like a flash drive in a pocket that can contain thousands of files with books and documents. When it comes to reading various civilizational and development trends, Lem showed an incredible intuition. For example, his book The Chain of Chance contains a scene in which an astronaut acting as
an inspector, when going with an escalator at a French airport, suddenly notices a Japanese person who pulls the safety pin, trying to detonate the bomb. The character manages to save the life of a little girl at the very last moment, but he dies in the explosion. We have to remember that at that time the notion of suicide terrorist attacks didn’t exist, and Lem had to coin such possible future image in his head. And, unfortunately, history showed it came true. d I n your opinion, Professor, does Lem’s work have as a big an influence on audiences today as it did years ago? S.B.: Lem’s work and his conceptions survived, although, unfortunately, they’ll become more and more forgotten. Fewer and fewer people read this kind of prose; fantasy will triumph in Poland, whereas hard sci-fi doesn’t have too many followers or fans. Many of my students bluntly admit they’ve never seen Lem’s books.
29 November 2016 Concert Hall of K. Lipiński Academy of Music in Wrocław Building E, 7-11, Zelwerowicza St. 9.00-11.00 Debate IV – Lem the explorator Prof. Marek Abramowicz gen. Mirosław Hermaszewski Prof. Jerzy Lukierski Prof. Michał Różyczka When Stanisław Lem wrote his first books, whose characters were astronauts and whose setting was space, the era of universe exploration was merely beginning. How did the writer’s imagination refer to reality? Did his books affect the researchers and explorators of the universe? 11.30-13.30 Debate V – Lem the visionary Prof. Ernest Aleksy Bartnik Prof. Paweł Golik Prof. Andrzej Kisielewicz Prof. Jerzy Marcinkowski Lem’s mind has always aroused respect, which was the result of his impressive knowledge, original thought, and bold hypotheses. Constructing fictional worlds and writing prognostic essays, he effortlessly moved in the realms of: cosmology, astrophysics, astronomy, planetology, biology, mathematics, physics, cybernetics, medicine, chemistry, IT theory, logic, theory of decisions, literary theory and psychology. But how do eminent scientists in these fields look on his escapades?
11 15.30-17.30 Debate VI – Lem the diagnostician Prof. Andrzej Kübler Prof. Zbigniew Mikołejko PhD Prof assistant Paweł Okołowski Prof. Jerzy Vetulani Lem’ s philosophical bent is visible in all his novelistic and essayistic work. He took up trying to solve the riddle of the universe beginning, the imperfection of the world we know and of human nature. He constantly wondered if anything can be improved in them. Was this philosophizing writer a physician who, deep in his heart, wanted to cure the world from evil? 30 November 2016 Journalism and Social Communication Faculty of Wrocław University Western Grand Room, 15, Fryderyka Joliot-Curie St. 9.00-11.00 Debate VII – Lem in Polish literature PhD. Agnieszka Gajewska Prof. Jerzy Jarzębski PhD Maciej Płaza Prof. Małgorzata Szpakowska Literary scholars and critics have always had a problem with Lem, although the number of copies published compete with those by Henryk Sienkiewicz. Was the reason for it the scientific potential invested in them or science-fiction disguise? But the world changes and so does fantasy. What do the connoisseurs of his work say about it nowadays? 11.30-13.30 Debate VIII – Lem the father of Polish fantasy Jacek Dukaj Marek Oramus Wojciech Orliński Maciej Parowski PhD Andrzej Zimniak When a master of a genre leaves, his place – by natural course of events – is taken over by new authors. The latter usually have an ambiguous attitude towards the predecessor, because on the one hand they owe them a lot, but on the other – have to break with their legacy to find their own ways and remain themselves. Now, 10 years after Lem departed, how do they view his work? Literary and Musical Club PROZA, Przejście Garncarskie 2 15.00-17.00 Debate IX – Lem in translation Tatiana Jamnik Wiktor Jaźniewicz Katarzyna Moloniewicz Abel Murcia Prof. Elżbieta Skibińska Poles like to be proud of their compatriots’ successes abroad. Lem’s books have been translated into 45 languages. In which countries was the reception the most resonant? How were they received and commented on? These and other questions will be answered by translators from the USA, Spain, Slovenia, Russia and Belorussia Accompanying program Festival Office IMPART 2016, Theatre Room, 17, Mazowiecka str. 19.00-21.30 Lem Session (jazz concert) Igor Pietraszewski, Wolfgang Reisinger, Józef Skrzek, Joris Tepee, Piotr Wojtasik Jazz concert featuring outstanding, internationally recognized musicians, who will improvise on Lem’s themes (scenes from his novels, key words, quotes) and tell about their encounters with Lem’s prose. Is it possible to translate the uniqueness of his novel’s worlds into the language of music?
www.wroclaw2016.pl/kongres-lemologiczny
12
It’s all on in Wrocław!
European Capital of Culture Wrocław 2016 Calendar Special Projects Start
Literature End
Film
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Lower Silesia
Music Start
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Field
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Wrocław Contemporary Theatre New Horizons Cinema "Gothic Room, Old Monastery, White Stork Synagogue " Concert Hall, Karol Lipiński Academy of Music in Wrocław
paid admission
www.ambientalny.pl/
NFM / Wrocław Congress Centre
paid admission
www.guitarmasters.pl
WROsound
Impart
paid admission
www.impart.art.pl/ofertakulturalna/lista-projektow/3wrosound
wtw://zones_of_contact 2016, Drama Festival
Wrocław Contemporary Theatre Gothic Room, Old Monastery, 1 Purkyniego St. White Stork Synagogue, 7 Pawła Włodkowica St. Stara Piwnica, 15 Krupnicza St. Uff club, 35 Szewska St. Culture Animation Centre, 10 c Jagiellończyka St. Old Mine, Wałbrzych, 29 Wysockiego St.
Photography Never Dies
Central Station Art Gallery, 1st floor
paid admission
www.wroclaw2016.pl/photography-never-dies-event
04-12-2016 06-12-2016
Theatre
Adapter. Cinema without Barriers
New Horizons Cinema
paid admission
www.fundacjakatarynka.pl; www.adapter.pl
04-11-2016 10-11-2016
Film
German Film Week
Summer Rental / Summer Residence
The Four Domes Pavilion Branch of the National Museum in Wrocław Museum of Contemporary Art
„pawilonczterechkopul.pl/pl/ www.wroclaw2016.pl/ summer-rental”
02-12-2016 04-12-2016
Music
paid admission
7th International Ambient Festival
“Screenings of the winners of European Film Award and of the films nominated in 2016”
07-12-2016 11-12-2016
Music
New Horizons Cinema
paid admission
www.kinonh.pl
Visual Arts
Wrocław Europe exhibition
National Museum in Wrocław
paid admission
„www.wroclawskaeuropa.pl www.mnwr.art.pl”
22-09-2016 11-12-2016
Film
Wim Wenders – film retrospective
New Horizons Cinema
paid admission
„www.kinonh.pl„
12-10-2016 12-11-2016
Visual Arts
Where is my paradise? – Shige Fujishiro
free admission
www.europeanglassfestival. com
13-10-2016 10-11-2016
Visual Arts
TIDE.Young Polish Contemporary Art
SiCGallery,9/10T. KościuszkiSquare–opening: 17.10.2016,at19.00 Art Main Station by mia, Central Station
free admission
www.wroclaw2016.pl/ przypływ
14-10-2016 14-11-2016
Film
Shakespeare Lives in Film
New Horizons Cinema
paid admission
www.kinonh.pl
"“exhibition: BWA BWA Wrocław – Contemporary Art Galleries”
exhibition: paid admission, symposium: free admission
www.geppert.art.pl
17-11-2016 08-01-2017
Visual Arts
07-01-2016 01-12-2016
Film
23-08-2016 22-01-2017
06-09-2016 11-12-2016 20-09-2016 31-12-2016
Visual Arts
Film
14-10-2016 11-12-2016
Visual Arts
Eugeniusz Geppert Competition
14-10-2016 13-11-2016
Theatre
Theatre Olympics "The World as a Place of Truth"
15-10-2016 10-11-2016
Visual Arts
Marta Gibiete – Travellers
15-10-2016 10-11-2016
Visual Arts
Still Nature – Anna Gałuszka
15-10-2016 10-11-2016
Visual Arts
Play with Glass – European Glass Festival
15-10-2016 10-11-2016 15-10-2016 15-01-2017
Visual Arts
Theatre
17-10-2016 10-11-2016
Visual Arts
27-10-2016 04-11-2016
Theatre
„kwiecień „grudzień 2016” 2016”
Visual Arts
„kwiecień „grudzień 2016” 2016” „luty „grudzień 2016” 2016” „sierpień „grudzień 2016” 2016” 10-12-2016 03-12-2016
Visual Arts
Visual Arts
Visual Arts Film Literature
20-11-2016
Music
17-11-2016 27-11-2016
Music
27-11-2016
Theatre
14-11-2016 04-11-2016 05-11-2016 19-11-2016
Music
Music
KAPRYSY Gallery, 9 Władysława Łokietka St. – opening: 19.10.2016, at 19.00 " Tętno Gallery 12-13 Jatki St. Wrocław – opening: 18.10.2016, at 20.00"
INSIDE – Magdalena TycWitwicka An exhibition of Jadwiga Mydlarska-Kowal's works
Wrocław Puppet Theatre
Wrocław Central Rail Dr Jekyll and Mrs Hyde –the main Station – Session Room, exhibition of European Glass opening: 17.10.2016, Festival "Play with Glass” at 17.00
European Film Award Gala “Fredro's Pen Prize”for The Best Book of the Year Gala Inter>CAMERATA in European Capital of Culture Jazztopad International Comedy Festival WROCEK – closing gala Culture and Human Rights – Wrocław's comments International Scientific Conference "Music, Fine Arts and Theatre in Arts Education for Children and Young People” One Love Sound Fest 2016
15-11-2016 16-11-2016
Music
16-12-2016 17-12-2016
Music
01-12-2016 06-12-2016
Theatre
03-11-2016 06-11-2016
Music
7th International Choir Conducting Competition "Towards Polyphony" Witness / Action. Świadek / Działanie Wrocław Guitar Festival GUITAR MASTERS 2017
XV Wrocław Industrial Festival
free admission
www.europeanglassfestival. com
free admission
www.europeanglassfestival. com
free admission
www.europeanglassfestival. com
free admission
www.europeanglassfestival. com www.teatrlalek.wroclaw.pl
free admission
www.europeanglassfestival. com
free admission
www.facebook.com/ pracowniaKP45
Correctional Facility Nr 1, 35 Kleczkowska St.
free admission
www.wroclaw2016.pl/ podworze
Mikołaj Kopernik Airport, Wrocław National Forum of Music
free admission
free admission
Concert Hall, Karol Lipiński Academy of Music in Wrocław
free admission
National Forum of Music
paid admission
Impart
paid admission
www.wroclaw2016.pl/ podworze www.wroclaw2016.pl/inwazja
www.nfm.wroclaw.pl/ jazztopad
paid admission
Centennial Hall
paid admission
paid admission
free admission
02-11-2016 07-11-2016
Literature
Euroconference
free admission
28-11-2016 30-11-2016
Literature
LEMological Congress
01-12-2016 04-12-2016
Literature
Wrocław Good Books Fair
grudzień grudzień 18-12-2016 18-12-2016 grudzień
Literature Literature Literature Literature
Barcelona, San Sebastian
industrialart.eu/
free admission
"OLGA TOKARCZUK IN THE WORLD Lower Silesian Public Translations. Voices of the Press. Library Photographs. "
www.wbp.wroc.pl/
free admission
Centennial Hall
free admission
Premiere of the UNESCO World Book Capital's World Book Anthem* (*details to be confirmed) Book premiere: Droga nie ma końca (The Road Has no End) *city game Reading in the Centennial Hall Centennial Hall Exhibition of children's and young people's works: "Make Yourself a Book" European Student Symphonic National Forum of Music Orchestra
paid admission
www.amuz.wroc.pl/
paid admission
www.nfm.wroclaw.pl/ component/nfmcalendar/ event/3573
19-11-2016
Music
04-11-2016
Music
1000 Years of Music in Wrocław
National Forum of Music
01-12-2016 03-12-2016
Music
European Forum of Music Therapists "45 Years of Wrocław Music Therapy"
Karol Lipiński Academy of Music in Wrocław
08-12-2016
Music
1000 Years of Music in Wrocław
paid admission
www.nfm.wroclaw.pl/ component/nfmcalendar/ event/4970
11-12-2016
Music
Bibliotheca Rudolfina
paid admission
www.rudolphina.pl/
www.amuz.wroc.pl/
01-10-2016 30-11-2016
Artistic Residences Program A-i-R Wro
Artist in Residency: Enrico Floriddia
Wrocław
www.airwro.wroclaw2016.pl
17-10-2016 30-11-2016
Artistic Residences Program A-i-R Wro
Artist in Residency: Alessandra Ferrini
Wrocław
www.airwro.wroclaw2016.pl
18-10-2016 17-11-2016
Artistic Residences Program A-i-R Wro
Literary Residencies in The Castle on Water in Wojnowice
Castle on Water in Wojnowice
www.airwro.wroclaw2016.pl
30-10-2016 30-11-2016
Artistic Residences Program A-i-R Wro
Residency in WRO Art Centre: Ronny Szillo
Wrocław
www.airwro.wroclaw2016.pl
10-11-2016 20-11-2016
Artistic Residences Program A-i-R Wro
Residency of Avant Art Foundation within Lille Meets Wrocław
Wrocław, Lille, Kolonia
www.airwro.wroclaw2016.pl
04-11-2016 04-11-2016
Artistic Residences Program A-i-R Wro
"Immigrated Pieces”– how art is Contemporary Museum connected with memory / second Wrocław, at 18:00 meeting with Enrico Floriddia
free admission
www.airwro.wroclaw2016.pl
23-11-2016 23-11-2016
Artistic Residences Program A-i-R Wro
"Immigrated Pieces”– how art is connected with memory / third meeting with Enrico Floriddia
free admission
www.airwro.wroclaw2016.pl
www.amuz.wroc.pl/
www.onelove.pl/
www.strefykontaktu.pl/ festiwal/
Literature
free admission
Karol Lipiński Academy of Music in Wrocław
Zajezdnia History Centre
www.amuz.wroc.pl/
18-10-2016 16-11-2016
Literature
Komuny Paryskiej 45 Workshop
Komuny Paryskiej 45 Workshop
Social Media Day Conference
24-11-2016
paid and free www.theatreolympics2016.pl/ admission nurty/dziady-recykling
Dziady Festival. Recycling
INVASION
Theatre
Polish Drama Showcase
paid and free admission www.theatreolympics2016.pl
TYC ART. Gallery, 46c (passage gate) 46 c Ruska St.– opening: 18.10.2016, at 19.00
Wrocław – Entrance from the Backyard // INTERGENERATIONAL MEETINGS // DAMIAN KALITA Wrocław – Entrance from the Backyard // WITKACY'S GOBS // MAREK TYBUR, ELŻBIETA GOLIŃSKA Wrocław - Entrance from the Backyard KOMUNY PARYSKIEJ 45 WORKSHOP // KAMILA WOLSZCZAK, KRZYSZTOF BRYŁA
05-11-2016
micro GRANTS
Performance
Contemporary Museum Wrocław, at 18:00
SEE WHATS ON AND WHEN IN NOVEMBER AND DECEMBER: www.wroclaw2016.pl
Special Projects
Start
End
Field
18-11-2016 18-11-2016
Artistic Residences Program A-i-R Wro
16-11-2016 22-11-2016
Artistic Residences Program A-i-R Wro
19-11-2016 19-11-2016
Artistic Residences Program A-i-R Wro
Visual Arts
Film
Literature
Architecture
Title
Vernissage of the exhibition of projects created for artistic residences competitions The exhibition of projects created for artistic residences competitions Rounding up of the artistic residence competitions / meeting with the organisers and presentation of chosen projects
Theatre
Place
Tickets
Lower Silesia
Music
Details
Barbara, 8c Świdnicka St. at 18:00
free admission
www.airwro.wroclaw2016.pl
Barbara, 8c Świdnicka St.
free admission
www.airwro.wroclaw2016.pl
Barbara, 8c Świdnicka St. at 13:00-19:00
free admission
www.airwro.wroclaw2016.pl
Opera
Start
Performance
End
13
micro GRANTS
Field
24-11-2016 25-11-2016
Interdisciplinary
29-09-2016 20-11-2016
Architecture
15-12-2016 05-03-2016
Architecture
12-10-2016 12-11-2016
Visual Arts
13-10-2016 10-11-2016
Visual Arts
21-10-2016 11-12-2016
Visual Arts
15-10-2016 10-11-2016
Visual Arts
Title
Church. Beauty and Kitsch
Place
WCC at the Centennial Hall
Lvov, 24 June 1937. City, ArchitecMuseum of Architecture ture, Modernism Wrocław Architecture in 20th Museum of Architecture Century SiC Gallery, 9/10 T. Where is my paradise? – Shige Kościuszki square – Fujishiro opening: 17.10.2016, at 19.00 TIDE. Young Polish Contemporary Art Main Station by mia, Art. Central Railway Station "exhibition: BWA BWA Wrocław – Contemporary Eugeniusz Geppert Competition Art. Galleries " KAPRYSY Gallery, 10 Władysława Łokietka Marta Gibiete – Travellers str. – opening: 19.10.2016, at 19.00 " Tętno Gallery, 12-13 Jatki str. Wrocław Still Nature – Anna Gałuszka opening: 18.10.2016, at 20.00" Play with Glass – European Glass Festival
Tickets
Details
free admission, www.wroclaw2016.pl/ registration kosciol.-piekno-i-kicz necessary paid admission
www.ma.wroc.pl
paid admission
www.ma.wroc.pl
free admission
www.europeanglassfestival. com
free admission
www.wroclaw2016.pl/ przypływ
exhibition: paid admission, symposium: free admission
www.geppert.art.pl
free admission
www.europeanglassfestival.com
free admission
www.europeanglassfestival.com
free admission
www.europeanglassfestival.com
21-11-2016 22-11-2016
Artistic Residences Program A-i-R Wro
"Sleeping with Ghosts”/ Paulina Schulz's Literary Performance
Centennial Hall
free admission
www.airwro.wroclaw2016.pl
28-11-2016 28-11-2016
Artistic Residences Program A-i-R Wro
"Ghetto Relay”– presentation of Alessandra Ferrini's project
Barbara, 8c Świdnicka St. at 17:00
free admission
www.airwro.wroclaw2016.pl
29-11-2016 01-12-2016
Artistic Residences Program A-i-R Wro
Barbara, 8c Świdnicka St. Culture Laboratory in Sokołowsk
for invited guests
www.airwro.wroclaw2016.pl
25-11-2016 09-12-2016
Artistic Residences Program A-i-R Wro
A-i-R Wro Talks / second edition of the international meeting of artistic residences' organisers "Master and Student”– exhibition of Magdalena Soboń and Barbara Mydlak's works
TĘTNO Gallery, 12-13 Jatki St.
free admission
www.airwro.wroclaw2016.pl
16-12-2016 16-12-2016
Artistic Residences Program A-i-R Wro
The opening of Resident Mathilde Pokoyhof Passage, at Lavenne's exhibition 19:00
free admission
www.airwro.wroclaw2016.pl
15-10-2016 10-11-2016
Visual Arts
02-12-2016 02-12-2016
Music
BF Impart, 17 Mazowiecka St.
60 PLN and 50 PLN
http://www.impart.art.pl/ oferta-kulturalna/730-tomaszorganek-koncert
15-10-2016 10-11-2016
Visual Arts
Barbara
free admission
15-10-2016 10-11-2016
Visual Arts
INSIDE – Magdalena TycWitwicka
TYC ART. Gallery, 46c, Ruska str. (passage gate) – the opening of the exhibition: 18.10.2016, at 19.00
free admission
www.europeanglassfestival.com
17-10-2016 10-11-2016
Visual Arts
Dr Jekyll and Mrs Hyde – main exhibition of European Glass Festival "Play with Glass”
Wrocław Central Station – Session Room, opening: 17.10.2016, at17.00
free admission
www.europeanglassfestival. com
"April "December 2016" 2016"
Visual Arts
Komuny Paryskiej 45 Workshop
free admission
www.facebook.com/ pracowniaKP45
"April "December 2016" 2016"
Visual Arts
Correctional Facility Nr 1, 35 Kleczkowska str.
free admission
www.wroclaw2016.pl/ podworze
"paździer"lipiec nik 2016" 2016"
Visual Arts
Brochów
free admission
www.wroclaw2016.pl/ podworze
Komuny Paryskiej 45 Workshop
free admission
www.wroclaw2016.pl/ podworze
Mikołaj Kopernik Airport, Wrocław Kunsthaus Dresden, Rähnitzgasse 8, D – 01097 Dresden
free admission
www.wroclaw2016.pl/inwazja
paid admission
http://www.wroclaw2016.pl/ niemcy-nie-przyszli
ØRGANEK band in concert
microGRANTS ECoC 2016
Dress Me in Words – multimedia spectacle
03-12-2016 04-12-2016
microGRANTS ECoC 2016
Gospel project – workshops and concert
03-11-2016
microGRANTS ECoC 2016
05-11-2016 16-11-2016 30-11-2016
27-11-2016
12-11-2016 20-11-2016
Impart
free admission, registration necessary
Ariss in Salez – workshops in Wrocław Planetarium
Observatory – Wrocław
free admission, registration necessary
microGRANTS ECoC 2016
Ariss in Salez – workshops in Białków
Observatory – Białków
free admission, registration necessary
microGRANTS ECoC 2016
Ariss in Salez – connecting with the astronaut
to be confirmed
free admission, registration The time depends on ISS necessary
HART hostel&art., 25 Ludwika Rydygiera St.
free 12-13Nov. 2016 (at 10-14 and admission, registration 16-20) and 19-20 Nov. 2016 (at necessary 10-14 and 16-20);
microGRANTS ECoC 2016
Wrocław. Time Capsule– play writing workshops
The projections of etudes on the facades of the buildings they refer to (also MT Capitol)
Wrocław. Time Capsule – show
3 buildings in the city - to be confirmed
free admission
microGRANTS ECoC 2016
Vege Veki – culinary workshops
TRATWA Association (65 Legnicka St.)
free admission, registration necessary
01-11-2016 30-11-2016
microGRANTS ECoC 2016
Invite Theatre under Your Roof – performances played at homes
05-11-2016 26-11-2016
microGRANTS ECoC 2016
ScreenGarden in MiserArt – screen printing workshops
14-11-2016 15-11-2016
microGRANTS ECoC 2016
04-11-2016 09-11-2016
microGRANTS ECoC 2016
05-11-2016
microGRANTS ECoC 2016
Karłowice are cooking (and preparing)- table culture
01-11-2016 26-11-2016
microGRANTS ECoC 2016
In Księże, or intergenerational computer workshops
05-11-2016 20-11-2016
microGRANTS ECoC 2016
Four Senses Is Just Enough
09-11-2016
microGRANTS ECoC 2016
WE HAVE JOY – academy of laughter yoga for mums
Open Space (9, Grabiszyńska str.)
free admission, registration last classes necessary
03-11-2016 25-11-2016
microGRANTS ECoC 2016
With a cup of coffee – ceramic workshops
Old Bakery (u310A, Krzywoustego str.)
free admission, registration 3, 10, 18 i 25 November2016 r. necessary
25-11-2016 26-11-2016
microGRANTS ECoC 2016
Breaking Spot – Dancing meeting Centre of Artistic Initiaplace tives (79/81, Tęczowa str.)
28-07-2016 15-11-2016
Music
25-11-2016 27-11-2016
City of the Future / Wrocław Laboratory
30-11-2016
microGRANTS ECoC 2016
05-11-2016 06-11-2016
Grabiszyn-Grabiszynek. In Search of the Spirit of the District – photography workshops You have a message! Come! – architectural-historical and knitting workshops
Wrocław's residents' homes MiserArt – culture zone in the labirynth of exclusion (35A Cybulskiego str.) Centre for Artistic Activities Firlej (56 Grabiszyńska str.)
CK Agora, 5a, Serbska str. Housing cooperative "Na Księżu”(1, Tarnogórska str.) BARBARA Infopoint/ cafe/culture (8c, Świdnicka str.)
"February "December 2016" 2016"
Visual Arts
"styczeń "December 2016" 2016"
Visual Arts
INVASION
free admission, registration necessary
18-11-2016 05-03-2017
Visual Arts
The Germans Did not Come
free admission, registration necessary
19-11-2016 26-02-2017
Visual Arts
Warhol's factory
Henryk Tomaszewski Theatre Museum, Branch of Wrocław City Museum, 7a Wolności Square
paid admission
http://www.wroclaw2016.pl/ factory-andyego-warhola
free admission, registration necessary
21-10-2016 05-12-2016
Visual Arts
Constructivism Is a Problem, not an Aesthetic
Wrocław Contemporary Museum, 2 Strzegomski Square
paid admission
free admission, registration necessary
http://www.wroclaw2016.pl/ konstruktywizm-to-problem-a-nie-estetyka.-zbigniewgeppert19341982
12-09-2016 12-2016
Visual Arts
I Am Myself
Kontury Kultury, 10a Jagiellończyka St.
Visual Arts
Komiksofon
Culture Sanatorium, Przejście Garncarskie 2
free admission
http://www.wroclaw2016.pl/ komiksofon
Visual Arts
Masterpieces of 19th Century Painting from National Gallery in Berlin. Joachim Wagener collection
Wrocław City Museum, Royal Palace
paid admission
http://www.wroclaw2016. pl/arcydziela-malarstwa-zgalerii-narodowej-w-berlinie
Visual Arts
Folds
Barbara, 8c Świdnicka St.
free admission
http://www.wroclaw2016.pl/ kama-sokolnicka
24-06-2016 31-12-2016
Visual Arts
Permanent Exhibition of Polish Contemporary Art in the Pavilion
National Museum, Pavilion of the Four Domes, 1 Wystawowa St.
paid admission
http://www.wroclaw2016.pl/ wystawa-stala-polskiej-sztukiwspolczesnej
01-10-2016 27-12-2016
Visual Arts
Wilde Fields. History of Avantgarde Wrocław
Polish Institute in Budapest
paid admission
10-11 -2016
Visual Arts
International Ceramic Mural
the wall of Przejście Słodowe
free admission
15-10-2016 31-10-2016
Visual Arts
Beginning – Sebastian Kitzberger
Arttrakt Gallery
free admission
http://www.wroclaw2016.pl/ beginning-sebastian-kitzberger-debiut-festiwalu,
17-10-2016 31-10-2016
Visual Arts
Transfer – Antonina Joszczuk
Centre for Applied Arts. Innovation Centre – Academy of Fine Arts
free admission
http://www.wroclaw2016.pl/ transfer-antonina-joszczuk; www.europeanglassfestival.com
15-10-2016 31-10-2016
Visual Arts
Flamingos and Inselbergs – Stefan Sadowski
SOCATO Art. Gallery, 11 Solny Square
free admission
http://www.wroclaw2016. pl/flamingi-i-inselbergistefan-sadowski; www. europeanglassfestival.com
15-10-2016 31-10-2016
Visual Arts
Memory Cards – Małgorzata Mitka
BB Gallery, 3-6 Jatki St.
free admission
http://www.wroclaw2016.pl/ karty-pamieci-malgorzata-mitka; www.europeanglassfestival.com
HOT DOG – Stanisław Jan Borowski
Versus Gallery
free admission
http://www.wroclaw2016. pl/hot-dog-stanislaw-jan-borowski; www.europeanglassfestival.com
2016 WHERE TO?
NFM
paid admission
www.impart.art.pl
free admission
free admission, registration necessary
free admission, registration dancing workshops and battle necessary
http://www.eventim.pl/ festiwal-przyjazni-bilety.html
OCN Friendship Festival
Orbita Hall
16-12-2016 18-12-2016
Opera
"Troubadour" – premiere Wrocław Commenting Choir
Wrocław Opera Capitol
17.11.2016 20.11.2016
Festival
Lille meets Wrocław
Differnet locations
free admission
Centennial Hall
free admission
16 -12-2016 17-12-2016
Performance
Sky
09-11-2016 10-11-2016
Coalition of Citites
Seminary rounding up the project "Coalition of Cities"
25-11-2016 26-11-2016
18-09-2016 15-01-2017
paid admission, limited http://www.wroclaw2016.pl/ number of jestem-soba places
Zajezdnia History Centre
Music
28-11-2016
cały rok
free admission, 5/6 November, 19/20 registration November necessary
25-11-2016
Music
Time to be settled
The premiere of the record "Dialog I" – Rebel Babel "Value of Culture - Culture of Values" of ECoC Social Congress
Wrocław – Entrance from the Backyard // INTERGENERATIONAL MEETINGS // DAMIAN KALITA Wrocław – Entrance from the Backyard // WITKACY'S MUGS // MAREK TYBUR, ELŻBIETA GOLIŃSKA Wrocław - Entrance from the Backyard // ROBERT PLUDRA "RESOURCEFULNESS" Wrocław – Entrance from the Backyard KOMUNY PARYSKIEJ 45 WORKSHOP // KAMILA WOLSZCZAK, KRZYSZTOF BRYŁA
http://www.opera.wroclaw.pl/1/
free admission
www.avantart.pl
www.koalicjamiast.wroclaw2016.pl
City of the Future / Wrocław Laboratory
IDEA OF WROCŁAW. Between Foresight and Strategy
free admission, registration necessary
15-10-2016 10-11-2016
Visual Arts
City of the Future / Wrocław Laboratory
METACULTURE OF TOMORROW. It Will Be Beautiful One Day
free admission, registration necessary
10-11-2016 12-11-2016
Music, theatre
http://www.wroclaw2016.pl/ dzikie-pola.-historia-awangardowego-wroclawia-owroclawiu-za-granica http://www.wroclaw2016. pl/miedzynarodowy-muralceramiczny-spotkajmy-siewroclaw-2016
14
100 TIMES CULTURE, NIEBO OVER WROCŁAW 2016
Niebo in the Centennial Hall, the premiere of Troubadour in the Wroclaw Opera, plus another hundred or so cultural events: exhibitions, concerts, film screenings, culinary events and happenings... 100 events across the whole city designed for kids and adults alike, for students and the elderly, for locals and overseas visitors – this is what the Closing Weekend of the Programme of the European Capital of Culture will look like. The “closing of the programme”, along with the end of the year itself during which the eyes of Europe’s cultural community were focused on Wroclaw, will take place on the 31st of December at midnight, during a very special, Wroclaw-style New Year’s Eve party.
”Niebo”
”Troubadour”
photo. M. Grotowski
at the Centennial Hall
in my Wroclaw
It is also a personal journey, and vivid memory for me, seeing as exactly 20 years ago I won the Franciszka Platówna Vocals Competition in Wroclaw. It will be a challenge and a pleasure to maintain the energy which is generated by this great city..
Verdi’s opera – emotions and thrills
The opening of every artistic season is a special time for all theatres, demanding extra input from the whole company, as well as devotion and sometimes sacrifice. Our reward will be – I do hope – richly deserved applause. Our first premiere, which will also be part of the closing weekend of the European Capital of Culture Wroclaw 2016, is the staging of our Troubadour by Giuseppe Verdi. Much has been written about this work by the renowned Italian composer, in praise of its musical valour and in criticism of its reputedly weak libretto. And yet I assure you that the history of the heroes in this opera is simple and transparent, maintained in the style associated with the thriller genre. In line with 19th century conventions, two young men will battle over the attentions of their beloved. The situation is further complicated by the fact that they come from two different social spheres, which compete politically. The finale will provide many explanations, emerging gradually from the
enchanting scenery. I trust that it will be a fine feast for all our spirits.
Let’s connect capitals of culture
At the outset of this artistic season, we plan to programme many new partnerships with foreign operatic theatres. The staging of Troubadour, directed by the renowned Latvian director Andrejs Žagars, produced in association with the Latvian National Opera, therefore initiates a new stage in the history of the Wroclaw Opera. In this case it is also of importance that Riga was European Capital of Culture in 2014. Our premiere thus becomes a metaphorical link between both capitals of culture: Riga and Wroclaw. In the upcoming season, we will be open to new artistic trends in operatic and balletic arts. We are planning projects with Paris (Theatre ChampsElysées), Ljubljana (Slovensko Narodno Gledallišče) and Frankfurt (Oper Frankfurt). Our Opera will host visits from renowned singers, dancers and conductors, along with great directors, including Irina Brook, Claus Guth and Rocca. It is a great honour for me to be able to invite you to the Wroclaw Opera, in order to celebrate and experience artistic highs which we – as the performers – and you – as the audience – will get a taste of during the upcoming premiere of Troubadour by Giuseppe Verdi on 16, 17, 18 and 20th of December 2016.
It is also the first of the Flow Quartet to take place indoors – even if it is the biggest roof in Wroclaw..
Things began with Mosty...
It might be worth recounting the journey we have been on over the last 18 months... With Mosty (June 2015) many voices from the city shared distinctive, sometimes unsettling, always fascinating, visions, coalescing around the idea that the city’s bridges could become an orchestrated cultural cacophony – offering insights into its past, its desires, its insistence on re-building. Hundreds of young people, many of whom had never considered themselves artists, were inspired to create works which were enjoyed by 25,000 visitors and marathon runners. January Reawakening In January 2016, Awakening focused on the roads and buildings connecting the city like the blood vessels of a living organism, culminating in the building of a new city on its central Square. Choirs on emblematic buildings, waves of humanity on the streets, thousands of performers all
took part in this spectacular event, seen by millions of people around the world. Around 200 thousand people took to the streets to get involved. Wroclaw has a story to tell. A story – or stories? And to whom? To itself? Poland? To Europe? Beyond? Each Spirit was given a title, an open theme, with which to respond. The Spirit of Re-building, Many Faiths, Innovation and Flood; four themes that artists and citizens from Mosty had identified as being key in understanding the nature of this place.
Flow on the Oder
Flow, which took place along the Ebro, encouraged the diasporas from Germany, Israel, Ukraine, Czech Republic and Poland to help build a multilayered and spectacular event about the nature of this place. Yet, like all the work over the year, Flow began with intimate conversations between people for whom Wroclaw is part of their understanding of being a member of a community with a past and a future.
Niebo
Niebo will be performed in Hala Stulecia on December 17th. It combines elements from the first three parts of The Flow Quartet, adding three special new elements. We meet a special
family which, like all families, tells us something about looking back while walking forwards. We meet Hala Stulecia - one of the survivors of the 20th century, as St Paul Cathedral is for London. And we see that, finally, everything is inextricably connected. Making these four projects has been a huge privilege and journey for all of us involved. It has occupied our lives for three years. It has involved citizens and artists from more than ten countries, specialists from many fields of technology and culture. And yet, most importantly, The Flow Quartet has allowed Wroclaw’s citizens to tell the stories associated with this place to itself, to Poland, to Europe and beyond. Chris Baldwin
The author is a British director, teacher and writer. As a performance curator of the ECoC, he prepared the Flow Quartet, four great events in the European Capital of Culture Wroclaw 2016 calendar (Mosty – 20 June 2015, Przebudzenie – Opening Ceremony – 17 January 2016, Flow I and II – 11 June 2016 and Niebo – Closing Ceremony of the ECoC programme – 16/17 December 2016).
NIEBO
The closing ceremony of the ECoC programme at the Centennial Hall, 1 Wystwowa St The fourth part of the Flow Quartet 17.12.2016, at 14:30 and 19:00 As of November, free tickets will be available for collection from various points around Wroclaw. A dress rehearsal, open to the public, is set for the 16th of December at 19.30.
MARCIN NAŁĘCZ-NIESIOŁOWSKI Between 1997 and 2011, he was the Managing and Artistic Director of the Bialystok Philharmonic, and then from 2005 of the Podlaska Opera and Philharmonic. Since September 2016, he has been the director of the Wroclaw Opera. He has received numerous awards and distinctions – including the Ministry of Culture award Ad Astra, the Silver Cross of Valour and the Silver Medal of Culture Gloria Artis.
photo. Marek Maziarz
Wroclaw is a special place for me – even magical, I would say. It is a great pleasure for me to have taken on the role of the director of the Wroclaw Opera during this extraordinary year. A year which will not be forgotten!
Niebo is the final part of The Flow Quartet (Mosty, Awakening, Flow I +II, Niebo) and the point at which a series of stories are woven into a performance to close this unforgettable European year of culture in 2016.
Special Projects
Literature
Film
Visual Arts
Architecture
Theatre
Music
Lower Silesia
Opera
Performance
15
micro GRANTS
Hala z książkami
T
he Wrocław Good Books Fair is incorporated in the program
of European Capital of Culture Wrocław 2016 and takes place on 1-4 December at the Centennial Hall on: Thursday, 10-18; Friday and Saturday, 10-19; Sunday, 10-16. The guests who’ve confirmed their presence include: Janusz Głowacki, Marek Krajewski, Tomasz Zimoch, Aleksander Doba, Wojciech Malajkat, Ewa Błaszczyk.
Stasiuk,
Kuźniak and Magdalena Budzińska, will talk about Zofia Stryjeńska’s journals; Adam Wajrak will promote his new book, Umarły las (The Dead Forest) and Paweł Smoleński will present his Wieje szarkijja. Beduini z pustyni Negew (The Sharqijah Blows. Bedouins from
whiskey and good books Błaszczyk, Głowacki, Krajewski, Malajkat... 25th Wrocław Good Books Fair, but for the first time in European Capital of Culture and the Centennial Hall, it promises to be a unique and record-beating event. WGBF is celebrating it 25th birthday, still expanding and roaming Wrocław in search of an ideal place. It seems that it will find such a spot this year. “Good Books” are moving into the Centennial Hall, a world-class monument and prestigious place, created for fairs and other events. ”When various publishers learnt about our new venue, they said: ‘Finally!’ Although everyone had been afraid earlier, because it’s quite far from the city centre. The stalls will stand on the hall’s main platform: it’s a big surface – 2000 square metres, but we believe we’ll fill it.” says Anna Morawiecka, vice-director of the Wrocław House of Literature, which organizes the event. That we don’t have to be afraid was proven by the last edition in the Congress Centre at the Centennial Hall – the stalls hosted 150 stands, and the fair was attended by 50,000 people. It was an absolute record.
The museum is cool, but the station even cooler
The way that WGBF has come for a quarter of a century shows how much the books market –and the reader have changed over this time. It’s hard to believe that during the first edition in December 1992, on the first floor of the Wrocław Opera house, books were exhibited by twenty publishers. Not many? Not at all, if you take into consideration the objectives of the event: it was supposed to be elite, and publisher
were carefully chosen – they could only come if they had an invitation, because only the ones publishing valuable books were taken into consideration. Those were the days! Those twenty were enough to attract crowds and for the event to anchor in Wrocław for ever, growing year by year. The first edition was also a logistical challenge – without emails, mobiles or fax machines, five workers of Ossolineum promotion department together with PIW publishing house busied themselves with carrying furniture and distributing leaflets; they also set up stalls by themselves and took care of publishers’ and clients’ needs. Wrocław people wanted more and more, so moving became a necessity. The City Hall - which took over the fair for five years - although noble, turned out too small, and so WBGF (a few years ago letter P, for Promotions, was substituted by F, for Fair) found a place for the following 10 years at Wita Stwosza St, in the beautiful Hatzfeld Palace, or the seat of BWA Awangarda Gallery. Here – under the management of Barbara Rymaszewska (the organizer was Lower Silesian Publishing House) – they became better known across the whole of Poland and again needed new accommodation. This time, they found it in the Museum of Architecture with the stylish interiors of a former monastery and Bernardines’ church. After five years, the restored interiors of another wonderful monument, i. e. the Central Railway Station, were used. In the meantime, the definition of a “good book” has changed: it’s turned out that such book is good which a customer will willingly buy. The fair turned out to be not only the celebration of books themselves, but also of great business. The time is fortuitous – the first
Negev Desert); Barbara Gawryluk will talk about Wanda Chotomska’s biography. Other meetings which look promising are: the one with the authors of the book Kresy. Wołyń: historie dzieci ocalonych z
Fredro’s Quill and an exceptional Wrocław reader
For all these years, organizers have managed to maintain the atmosphere of a reading festival, haven’t bent to the widespread commercial tendencies and the entrance has been free. weekend of December. Thus a multitude of Santas, the atmosphere of warmth and communality. But it’s not only owing to Christmas atmosphere, but mostly owing to the efforts of the organizers. The publishers attending all major book fairs in the country are the ones that can appreciate it: they admit that the atmosphere of this fair is unique. Beata Gigiel works at the Wrocław Good Books Fair office: “We do our best to make everyone comfortable. That’s why we’ve accepted volunteers who help publishers and there’s no problem when, for example, an exhibitioner wants to go out for lunch. Then a volunteer can substitute for them. Two years ago, a volunteer who’d cooperated with us for years came to the fair straight from her wedding to pose for a picture in her wedding dress in front of the stalls. Of course, she got plenty of books from publishers as presents.”
pogromu (Easter frontier. Wołyń: Stories of Children Rescued from the
December weather fills publishers with fear every year. Fortunately a reader is a determined customer, and trifles such as blizzards won’t stop them from buying books at attractive prices and obtaining the autograph of a favourite writer - Hanna Krall, Janusz Głowacki, Marek Krajewski, Filip Springer or Małgorzata Musierowicz. Jacek Antczak, the editor of the European capital of Culture Wrocław 2016 Newspaper (you’re holding No. 6 in your hand – editor’s note) has been at all 24 Fairs, making an appearance in many roles: as the author of books, as a journalist and as host of events. He recollects many off-stage incidents: “Katarzyna Grochola having a drink with Janusz Wiśniewski; Hanna Krall with Ewa Skibińska in BWA cubbyhole discussing the Decalogue and Kieślowski; and Stasiuk with Świetlicki ordering whiskey with Martyna Jakubowicz in Gumowa Róża pub – these are only a few from over several dozen moments which can’t be forgotten.” And he warns to plan your shopping well, because temptation awaits at each step and the fact that our cash is counted won’t help much. Publishers are foxes, and they’ve had payment terminals for some time. For the past 25 years, organizers have managed to maintain the atmosphere of a reading festival, haven’t bent to the widespread commercial tendencies and the entrance has been free, unlike at the fairs in Warsaw or Kraków. You don’t have to register for meetings with authors, although the rooms are overflowing at many of them. Last year, Adam Wajrak attracted such crowds that the venue had to changed. The staff know that they always have to prepare the biggest room possible for Andrzej Stasiuk, Olga Tokarczuk and Wojciech Mann. WGBF is ac-
photo. Andrzej Solnica
photo. Andrzej Solnica
Duży Format reporters, Angelika
Pogrom), the one with the reporters Konrad Piskała and Tomasz Potkaj. The fair will be accompanied by artistic workshops for children organized by publishing houses Kocur Bury and Nasza Księgarnia, artistic, literary and communication workshops.
companied by a prestigious competition Fredro’s Quill, in which publishers are awarded for books of exceptional editor value. It’s the only competition in Poland which takes into consideration not only a book’s content but also its artwork. The jury consists of highclass experts, including literary historian Marcin Cieński and artists Paweł Jarodzki, Christos Mandzios, and this year two Barbaras will have their debut: Piegdoń-Adamczyk, the publisher of the magazine Książki (Books) and Marcinik from Radio Three. The shortlisted books include: Witkacy’s Dzieła zebrane (Collected Works) (PIW), Chrisa Niedenthal’s Zawód fotograf (Profession: Photographer) (Marginesy) Karol Modzelewski’s Barbarzyńska Europa (Barbarian Europe) (ISKRY) and Olga Tokarczuk’s Księgi Jakubowe (The Books of Jacob) (Wydawnictwo Literackie). In recent years, the profile of WGBF has risen significantly – it’s become the third biggest books fair in Poland. All the biggest and best publishing houses came to it, including Wydawnictwo Literackie, Czarne, Rebis, Iskry, Zysk, Arkady, Bosz, Świat Książki, but also smaller houses publishing more ambitious literature, like Dom Spotkań z Historią, publishing house Więź or Karakter, publishers of children’s books: Nasza Księgarnia, Wytwórnia, Tako, Format, Zakamarki, Media Rodzina, EneDueRabe... “We are particularly glad that more and more people are coming to our Fair, and participating in meetings with authors. And, according to publishers, Wrocław’s reader is exceptional: discerning, well-oriented, and knows what they want.” Anna Morawiecka says. Joanna Kuciel-Frydryszak The author is a Wrocław journalist, the author of Antoni Słonimski’s biography, and writes for Wysokie Obcasy Ekstra magazine, among others.
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Lviv
everydayness 24 OF JUNE 1937 th
Lviv’s unique character and the places across its map have become an excuse for those behind the exhibition at the Museum of Architecture to stress the modernity of this town in the 20th century – according to Prof. Andrzej Szczerski
United States, where he would move in 1939 to become one of the key scientists working on atomic energy in the US. Numerous apartments and other buildings were being built, in the modernist style, architects planning further developments while the Lviv Polytechnic Architecture Department was finishing its summer semester. In private calendars and diaries many other events must have been recorded, some of even greater importance. It is this Lviv everydayness which has become an excuse for the exhibition curators to stress the uniqueness of Lviv and its place on the map of 20th century modernity.
Lviv in Wroclaw
The exhibition at the Museum of Architecture in Wroclaw is the first such broad presentation of Lviv’s architectural achievements, which will be be shown in the light of other modes of cultural life in the city, thanks to urban maps, architectural models, photographs, works of art, posters, postcards and films. Based on public and private art collections from Poland and Ukraine, it is a unique portrait of a modernist city and stresses the Lviv, 24th of June 1937. role Lviv played as a centre of modernity The city’s chronicles do during the period of the Second Polish not record any sort of Republic. The show is accompanied by special events taking place that day. It a wonderful book (edited by the Profeswas an ordinary moment in the life of sors Bohdan Cherkes and the city. Thousands of Andrzej Szczerski – Ed.), little events must have which contains iconotaken place, important graphic materials as to its residents or not, well as essays written by but it was they which Polish and Ukrainian remade up what one searchers of Lviv’s modwould call everyday ernist movement. This is life. From the perthe first such exhaustive spective of a single work on the subject, and day, it is easy to see in contains materials which Lviv the effects of explore the creativity and various modernising uniqueness of Lviv’s arprojects which were chitectural community an ordinary occur(the so-called Lviv archirence, something actectural school). In the cepted and welbroad social and historicomed. According to cal context, there is dislocal papers, the sun Tadeusz Teodorowicz-Todorowski, the advertisement project of cussion of examples of rose at 03.15am, and the perfume ”Sex-appeal”, 1934, ink and pencil on cardboa rd, modernist architecture, set at 08.01pm. It was from the collection of Museum of Architecture in Wrocław. as well as its poster art, also noted that, apart photography and archifrom the name-days tectural sculpturing. of Jans and Janeczkas’, and the chronicle of accidents, its Great Theatre staged a performance of the Woman in White, Everyday and cultural life in ANDRZEJ SZCZERSKI The curator of this exhibition is a Professor, and cinemas screened a selection of the Second Polish Republic and art critic, lecturer at the films. Radio Lviv broadcast a talk by The period of the Second Polish Repub- historian Institute of History at the Jagiellonian Wilhelm Raort, recommending the lic meant new opportunities for Lviv to University and scientific vice-director at National Museum in Krakow. He has new sport of highland walks, and a develop, and these were utilised in the the curated numerous exhibitions, including reading by Józefa Vogel on innovative building of a modern city which played Modernisations 1918-1939. Future Time at the Museum of Art in Lodz archeological studies in Biskupin, a key role in both Poland and this cor- Completed in 2010. He recently published Four Moderwhich initiated the practice of applied ner of Central and Eastern Europe. nities. Texts about Art and Architecture in archaeology in Poland. As part of the Above all, the framework for the func- 20th century Poland (Kraków 2015). Mathematical Seminar at the University tioning of a city regimen was created, of Lviv, Doctor Stanisław Ulam pre- allowing citizens to go about their daily Exhibition at the sented a report on his science trip to the business, facilitating the functioning of Museum various associations and artists, such as of Architecture the group Artes, which represented the dynamic essence of the life of the city, as s part of the architectural well as local photographers, poster deprogramme of the signers, the founders of the Lviv mathEuropeanCapital of Culture Wroclaw ematics school, university circles and its 2016, we are staging the show Lviv, polytechnic, filmmakers, radio produc24 June 1937. City, Architecture, Modernism. This is another chance to ers and others. In this context, we see experience culture and art from Lviv in the development of modernist archithe capital of Lower Silesia. It is all the tecture in Lviv, whose value and impormore important in that it is devoted to tance are not to be underestimated. The Tadeusz Teodorowiczpeople and phenomena which a few Lviv architectural community set itself Todorowski – Polish years later would have a huge influence ambitious targets in all fields of its exarchitect. (born 25 June on the shape of academic, cultural and pertise: private villas, apartment blocks, 1907 in Lviv, died 25 social thought in post-WWII Wroclaw. public building, the seat of the local raOctober 2001 in Gliwice) dio station and sports amenities.
tral Pavilion with a view Lviv, Eastern Trade Fair, Cen collection. ate priv , Lublin Union, postcard
of the Coppice of the
Tadeusz Teodorowicz-Todorowski, design for a single family house, perspectivist view, 1931, ink, watercolours, card, Wroclaw Museum of Architecture collection
A
Tadeusz Teodorowicz-Todorowski, design for a hospital, student study for the subject Utilitarian Construction, taught by Prof. Władysłaa Derdacki, 1929, ink, watercolours, pencil on card, Wroclaw Museum of Architecture collection
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Lviv, Eastern Trade Fair, Entry Gate, postcard, private
collection
Lviv Polytechnic Library, built 1929-1934, designed by Prof. Tadeusz Obmiński, postcard, private collection
Tuberculosis clinic, Medical Fund of the City of Lviv at 31 Kurkowa St, postcard, private collection
Tadeusz Teodorowicz-Todorowski, design for an ad for the Centra company, 1934, ink, gouache, watercolours, pencil on card, Wroclaw Museum of Architecture collection
Tadeusz Teodorowicz-Todorowski, own house on 45 Pomorska St, Żelazna Woda estate, 22.07.1945, watercolours, pencil on card, Wroclaw Museum of Architecture collection
Tadeusz Teodorowicz-Todorowski, design for a trade stand of Chmielow porcelain producer for the international Easter Trade Fair in Lviv, 1927–1928, gouache, watercolours, pencil on card, Wroclaw Museum of Architecture collection
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On the trail of literature
Bibliopolis. Library-city
B
ibliopolis is a year-round programme run by the
European Capital of Culture and World Book Capital UNESCO Wroclaw 2016, which involves photo. Wojciech Kujawski
introducing books and literature into the city space, in order to
Wroclaw, also being the UNESCO World Book Capital this year, is turning into Bibliopolis – a library-city in which literature is wrapped round every street corner, such as the gate on Zaułek Solny which is covered in poetry, to more permanent features – subtle murals featuring well known writers in the centre of town. In December 2016, we will literally bring books to various forgotten corners of the city – inviting readers to follow the trail of texts from the anthology A Guide to a Minefield.
change Wroclaw into a giant library, where literature is everpresent and read in all sorts of places. The programme includes the following events: Literary Urban Interventions, including: • Literary Canaries – project involving handing out books on public transport in celebration of
Brick on cars. Magnetic stickers designed to attach to vehicles, featuring quotes from famous Polish writers, were seen as far as Canada. In Wroclaw, they were available at the Tajne Komplety bookstore.
World Book Day; • Poetry Street, which has the Zaułek Solny gate wrapped in poems, as well as Literary Fruit (Garages of Culture); • “Brick” on cars, a year-long
photo. Ada Tabisz
A Guide to a Minefield has inspired us to create a map of places which will be incorporated into the existing substance of the city’s architecture, often marked by its rich history, selected from texts in the book. It will be an extraordinary map – an invitation to a range of intellectual games and searches, taking the written word into another dimension. The map will also be a tangible artefact, allowing those wishing to do so to
project which involves handing
travel across town. Texts from the anthology will appear not only as classic murals, but will become a range of different visual implementations woven into the fabric of the city. A text etched into an old wall with a high-pressure washer. Or carved into stone as one of the steps down to the Oder – sometimes covered by its ebb and tide. The sign on the other side of the River Port, and the text on
it visible only using a set of mounted binoculars – the same sort of device one finds on a seaside pier. You are welcome to join this intellectual urban game, to seek out texts which will become an element of our architecture. The project is created jointly by Ośrodek Postaw Twórczych and the literary team at ECoC Wrocław 2016.
out magnetic stickers which can be stuck to cars, featuring quotes from Polish writers (Tymoteusz Karpowicz Foundation for Culture and Education); • painting murals with portraits
Literary Fruits, containing poetry, were hung from trees around the city during the Bruno Schulz Festival in October.
of Wroclaw’s writers (by Filip “Skont” Niziołek) in the windows of various buildings; • Lost Guide to a Minefield – a stroll through Wroclaw following a trail themed around poetry and prose, planned for December 2016
A Guide to a Minefield is an anthology of poetic and prose texts which appeared in the magazine Helikopter between 2011 and 2015. it contains texts by, among others, Andreas Altmann, Gary Snyder, Hubert Klimko-Dobrzaniecki, Tomasz Różycki, Jacek Podsiadło, Krzysztof Siwczyk or Agnieszka Wolny-Hamkało. “The state of surprise is what matters the most to us” - so say the book’s editors. “Surprise at every day things, and so not thinking about the big things, big themes, but immersing yourself in ordinary life, where the surface sometimes cracks or breaks open, making it possible to see more”.
All wrapped up in poetry, Zaułek Solny has been surprising pedestrians during the Silesius International Festival of Poetry in May of this year.
photo. Maks Pflegel
(Ośrodek Postaw Twórczych).
European Capital of Culture for reading Hundreds of cultural events, exhibitions, meetings, a wealth of literary events and artists representing a whole host of disciplines. This year will leave a lasting legacy on the cultural life of Wroclaw, and Poland too, not only by creating impressions and memories, but also through volumes of poetry, novels and art books which will be produced. Here is a sample selection of our titles. Of all the numerous catalogues and albums produced during shows and exhibitions staged as part of European Capital of Culture Wroclaw 2016, Eduardo Chillida. Sounds is particularly worthy of note – an album which presents the work of this renowned Basque sculptor, whose exhibition opened the ECC celebrations in January of this year. This beautifully produced volume will also be part
of the Photography Never Dies show set to open in November. The book contains texts relating to the ideas, history and evolution of photography, illustrated with a rich array of images. There is one more title which ECC Wroclaw 2016 will produce in December – Degree of Dependency. This book both summarises and completes the exhibition of the same name. Being published in three languages (Polish, English and Ukrainian), it will the
T
hese and many other books (produced with assistance from mikroGRANTY and
a set of volumes dedicated to architecture and architects), published by ECC Wroclaw 2016, are available from the Infopoint Barbara on 8c Świdnicka St, and in the online shop www. sklep.bfimpart.nazwa.pl. All the books can also be purchased at the ECC stand during the Wroclaw Good Book Fair, which will take place from the 1st to the 4th of December 2016.
first publication devoted to the collective history of Ukrainian art between 20002016.
Wroclaw traditions in detail
Wroclaw and its residents feature in a number of books published by the organisers of ECC Wroclaw 2016. These include The Wroclaw Cookbook, which is made up of family recipes and culinary tales provided by the residents of the city and its surroundings, thus proving that the idea of “Wroclaw cuisine” not only exists, but is full of flavour and variety. This is an ideal present for all those who share a passion for cooking. We also have Magdalena Palica talking about Wroclaw life in the book Wroclaw 1916. City Fortress Chronicles (Atut), which is due to
premiere in December 2016. The volume is dedicated to the rich cultural and social life in Wroclaw a century ago, showing it from the perspective of many well-known local figures, such as Edyta Stein, and other famous individuals who had been active in the city (William Stern, Hans Poelzig). Music lovers will also cherish Rock in Wroclaw by Bogusław Klimsa – a richly illustrated compendium of knowledge about musicians, records, journalists and rock clubs of Wroclaw. It is also scheduled for publication in December 2016.
Literature in all its forms
Wroclaw in 2016 is a place where we read, all the time and everywhere: in parks, on the Old Town Square, poetry and prose, together aloud and in the silence of our
homes. We are thus publishing some unique literature, such as the first Polish editions of volumes by Basque poets: Someone’s on the Fire Escape by Harkaitz Cano and Cartography by Rikardo Arregi. There is also a selection of poems from Wroclaw and its surrounding areas, selected by Jacek Bierut and titled Illegal Current, in Polish and Ukrainian. In December, we will also be witnessing the biggest publishing undertaking from the ECC team: the anthology The Road Has No End. Poems for children chosen by Wojciech Bonowicz – both classic as well as very much modern – accompanied by fairytale illustrations produced by Karolina Wiśniewska, are published in Polish and in languages of other minority groups in Poland.
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WROCŁAW – ENTER VIA THE COURTYARD WROCŁAW – ENTER VIA THE COURTYARD
Following the trail of backyard projects Following the trail of backyard projects
In working with artists and local residents in the courtyards and backyards of Wroclaw we have delivered numerous temporary and permanent projects over the past two years. We have invited artists to produce works in less obvious, though still interesting places, working together to In working artists and local courtyards and backyards Wroclaw we have delivered numerous temporary and discover the with city and its people. Weresidents invite youin tothe take a walk following the trail ofofongoing projects, including temporary installations in the permanent projects over the past two years. We have invited artists to produce works in less obvious, though still interesting places, heart of Wroclaw.
working together to discover the city and its people. We invite you to take a walk following the trail of ongoing projects, including temporary installations in the heart of Wroclaw.
What does Wroclaw look like when you cannot hear it? How can one mingle in a Roma chalet – set up in the centre of the city, in a cosy cafe? Can Gombrowicz help us make contact with ghosts? These questions do not fit together, but only superficially. They share a connection through art and culture, and everything is brought together by the European Capital of Culture Wroclaw 2016 and its innovative programme of Artistic Residencies A-i-r Wro.
Art, meaning dialogue
The 21st century is constantly in motion, and accompanying it on this journey is art. The artistic residence centres popping up all over the globe are not only an answer to the challenge of contemporary mobility, but also an invitation to artists: “Come out of your studios, schools, cities, countries; try to test your strength in new places and contexts. Let your ideas travel and encounter other artists and other ideas!”. One of the places where this creative dialogue can flourish is the Wroclaw Programme A-i-R Wro. Since 2014, we have used it
to organise a hundred diverse residency programmes – both in Wroclaw and its Silesian district, as well as outside of Polish borders (A-i-R Wro cooperates with similar centres in the Czech Republic, Slovakia, Hungary, Ukraine, Germany, France and Basque Country). We’ve seen projects involving the borderlands of visual arts, performance, theatre, cinema, sound art or literature. Until the end of 2016, A-i-R Wro will host or be working with 78 foreign residencies and 41 artists from Poland.
Cinema according to Aitor
Aitor Gametxo is one of the more interesting artists to have taken part in our programme This young director from the Basque Region has prepared for us a Silent Symphony. According to Gametxo, the most democratic period of cinema history was before the advent of the “talkies” – and so artists had to shoot film so that it served a dual purpose: to show images and
In Barbara, the HQ of the ECoC team, where the Roma built a wooden house.
photo. Klaas Burger
It’s this programme which, for the past three years, has been drawing artists to the capital of Lower Silesia, bringing with them something other than readymade answers – tricky questions, allowing local artists to also take trips abroad.
to suggest sound, hence those hard of hearing could also experience the thrill of cinema. Inspired by cinematic symphonies of decades past, Gametxo’s Silent Symphony presents the life of large cities. But how to create such a symphony in a contemporary context? Perhaps best by involving people who cannot hear well – they became his guides around the city of Wroclaw. But how to live in a city if your social status is essentially marginalised? This is a question posed by Klaas Burger, a Dutch journalist and visual artist, who delivered two projects in Lower Silesia, along with the members of local Roma settlement near Kamieńskiego St: How to try to act as if there was some sort of future? and #YOUAREAROSE. As part of this second project, together with members of the Roma community he built a wooden home (in Barbara, the ECoC info-point, in the heart of Wroclaw), very similar to those you can find in their settlements. It was, for a few weeks, a place where diverse groups could meet and ask about each others’ thoughts, especially when using the word “we”. Mathilde Lavenne, a visual artist from France, went on a trip to encounter a world which cannot be seen using traditional methods. She was drawn to come to Poland by Witold Gombrowicz and his
novels Possessed and Cosmos. Lavenne discovered in his works a unique formula for connecting real and unreal worlds. Inspired by this trail, she decided to collect photographs and films in which she shows her vision of an unreal world in Wroclaw and Lower Silesia (which can then be seen on the 16th of December 2016 during an exhibition in Barbara). A-i-R Wro is trying to spread the idea of artistic mobility not only in Wroclaw itself. We have organised four editions of a com-
More information about A-i-R Wro on the Internet page www.airwro.wroclaw2016.pl. Artistic Residences Program A-i-R Wro is subsidized from the fund of Ministry of Agriculture and National Heritage
Roads Home, a project designed by Karolina Błażejczak.
petition for artistic residencies involving NGOs, community collectives and local cultural institutions. One of the winning projects was Roads home, a tale of forgotten pioneers – those who built roads, in the 1970s and 80s marking new tracks on maps to reach smaller villages in the voivodeship (such as Szklarska Poręba), meanwhile rediscovering them for the world “anew”. Another artist-resident Karolina Błażejczak – together with her mum, who belongs to a building team – set off on a journey marked out by a trail of memories, producing a book-documentary and a series of short films. Though 2016 is drawing to a close, its final months will be busy for the A-i-R Wro team. In November and December a team of international coordinators of international residency programmes will meet for the second time, as part of A-i-R Wro Talks – a meeting where they will share knowledge and experiences in their respected fields. STANISŁAW ABRAMIK
One of the A-i-R Wro coordinators, a team which includes: Berenika Nikodemska, Krzysztof Bielaszka, Anna Bieliz, Justyna Głuszenkow and Barbara Wińska. You can find more info about A-i-R Wro at www.airwro.wroclaw2016.pl. This programme of artistic residencies is funded by the Ministry of Culture and National Heritage.
Aitor Gametxo who produced his Silent Symphony.
photo. Krzysztof Ćwik
ARTISTIC RESIDENCIES A-i-R Wro
Meetings related to the co-operation between minority groups called #YOUAREAROSE organised by Klaas Burger.
photo. Karolina Błażejczak
Art on the road
photo. Krzysztof Ćwik
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Seeing how important the ECoC year has been for Wroclaw and its residents, I feel honoured to have the opening of one of my sculptures become one of the most important events during the final series of celebrations, themed around the idea of “metamorphoses of culture” – changes taking place in the fields of culture, community and the city itself.
The NAVE sculpture will be set upon a remarkably mysterious place. Dahlia Island – the smallest of the dozen or so islands in Wroclaw, is located upon the original route of the Oder, surrounded by rich vegetation and historical buildings. Its shape, referring to the construction of the nearby Market Hall, fits nicely into the historical fabric of the city. Bionics were a powerful source of inspiration when designing the sculpture. This is a science which allows technological advances to follow shapes and models taken from living organisms. Formal studies led me to create a construction made up of interconnected arches, bionic in shape. I was inspired to use this well-known, effective architectural structure by famous artists, designers and engineers: Gaudi and Jean Prouvé, for whom the arc was the main area of research. It was for them the optimal form of modernist construction. My NAVE is an innovative manifesto, utilising the traditional arc form in symbiosis with modern FiDU technologies. The organic arches based on spline curves and bezier were achieved using the process of “sculpting” parametrically. This innovative field, developing in the arts, architecture and engineering, allows computer programs to produce shapes and forms of the desired kind. As a result, we’re able to create beautiful, unique, tightly fitting objects, while also changing their scale easily from XS to XXL.
A magnetic
nave on Dahlia Island
totype on a 1:2.5 scale, utilising FiDU technologies. This shows how modern methods influence contemporary arts and the artist who has now become a “Sculptor 4.0”. The old tools of the trade, such as the hammer and chisel, were swapped for digital equivalents. My sculptures are “carved with information”.
Magical place
A surface of polished steel, which the sculpture will be built of, reflects the surrounding greenery, the nearby river and historical architecture. Depending
OSKAR ZIĘTA
Translating sculpture
In the initial stages of working on NAVE, we had to translate the vision of the sculpture’s steel construction into a digital language, in order to calculate the resistance of individual elements, thereby letting us generate the first 3D models. Further models based on smaller versions allowed us to test the future forms of the finished product. The final model was produced as a pro-
on the weather and the time of day, the sculpture will change its appearance. In addition, thanks to a total revitalisation of the island with the aid of the ISBA project team and landscape architects A+F Firm, which will involve 7500 new plants, special benches, cameras and modernised paths, opening up views across the surrounding buildings, will mean this will become a unique, magical and inspiring place, a sort of magnet attracting tourists and residents, as well as being a point of reference for a rich set of attractions on the cultural map of Wroclaw.
The surface of polished steel, which the sculpture will be built of, reflects the surrounding greenery, the nearby river and historical architecture
The author is an artist, designer, architect and innovator. He has set up the design studio Zięta Prozessdesign. He is the inventor of innovative technologies for deforming metals, called FiDU, which allow the formation of futuristic sculptures, objects and superlight constructions. His works can be seen at the Vitra Schaudepot Museum, Die Pinakotheken, Centre Pompidou, La Triennale Di Milano, Zuiderzee Museum, Holon Design Museum, national museums in Warsaw and Wroclaw, as well as Museo Nazionale Della Scienza E Della Tecnologia Leonardo Da Vinci, Museu de Arte Moderna do Rio de Janeiro and the Museum of Contemporary Art in Wrocław.
22 d You are also taking part in a music residency co-organized with the Artist-in-Residence Programme (A-i-R Wro) Wroclaw 2016.. I.C.: We will work as a trio with Philip Zoubek from Cologne (Germany) on piano and Marcin Witkowski on drums. We will meet three times in our respective cities in November, for a period of residence culminating in a concert in all three places: in Lille during Muzzix & Associates festival [autumn], in Cologne at the Vive le Jazz festival, and in Wroclaw for the Avant Art festival. Seeing as we all improvise, we have decided not to play any individual compositions, but to work on developing shared sound material. The idea is more to conjugate our musical influences rather than to arrange
How did your partnership with the Avant Art Foundation and Wroclaw itself begin? P.O.: Lille and Wroclaw began working together in 2013. We first met Wroclaw’s Avant Art team in 2015 in Lille, during a set of concerts organised at La Malterie, a venue where Muzzix stages lots of events, a kind of laboratory for the local arts community. Seeing as Lille was European Capital of Culture in 2004, and because it is a partner city to Wroclaw, Lille’s cultural animators helped us connect with residents and artists from both cities, which proved to be extremely helpful. M.M: We’ve organised several Avant Art Festival presentations in other
Peter Orins An interview with the French artists and organisers of the Lille Meets Wroclaw Festival: Marie Magneron (main curator LMW, Avant Art Foundation), Peter Orins (director of Muzzix) and Ivann Cruz (musician)
Wroclaw
17–20.11.2016 This project presents the art and artists from Lille, along with FrenchPolish productions prepared for the Festival. In 2013, Wroclaw and Lille signed a partnership agreement, allowing French artists from Lille to perform for the first time in Wroclaw. In 2015, the Avant Art Foundation visited Lille with a short programme of concerts and exhibitions staged as part of Avant Art Festival Pologne/France. This was also a chance to open the Lille Meets Wroclaw talks. Thanks to this initiative, the organisers of the European Capital of Culture Lille 2004 will visit Wroclaw from the 17th to the 20th of November as part of the European Capital of Culture Wroclaw 2016. Lille Meets Wroclaw aims to establish new and maintain existing French-Polish arts initiatives and joint projects. Kostas Georgakopulos, the director of the Lille Meets Wroclaw Festival, says it is perfect for the Avant Art Foundation, seeing as it is essentially interdisciplinary: “Alongside artistic residences, we will present over a dozen projects, exhibitions, involving some 40 Lille artists visiting Wroclaw. We hope that our future partnerships will prove intensely fruitful, and that we will be able to create a lasting foundation for the works created by artists from both cities in the coming years.”
Avant Art invites
2016 just like Lille 3000?
countries: Russia, Turkey and Germany. In 2015, considering the partnership between our two cities and Wroclaw becoming ECoC in 2016, AAF chose to show in France. In October 2015, together with Kostas Georgepoulos – director of Avant Art Festival, in collaboration with La Malterie, I organised three projects (Przepych, Venn Circles, In Between) and one IP Group exhibition. This was a chance to visit different institutions and meet many cultural partners in Lille, which is an exceptionally dynamic city. d Can you tell me more about the Muzzix” project you’ll be presenting at the European Capital of Culture during Lille meets Wroclaw? I.C: I am very honoured to be involved in two different projects being presented at Lille meets Wroclaw. The first project is GAW!, a unique guitar duo with Philippe Lenglet, in which we play in succession rather than simultaneously, alternately tracing each other’s lines and producing a freeform rhapsody, which paradoxically draws its unity from our contrasting styles. We use an interactive device which connects the instruments to music consoles, allowing us to find a form of instability via short circuits, junctions and other choral excesses. In addition, our modus operandi allows us to fill the concert space or performance venue in different ways, questioning it in this unique musical dialogue. The second project is TOC, a trio with Peter Orins on drums, Jérémie Ternoy on a Fender Rhodes and me on guitar. This trio is constantly looking for musical content in which the identity of the instruments disappears. We enjoy playing with the energy and volume of rock music, provoking surprises, shocks or unease. One could say that for some months we have been developing a sound which could be labelled as free-post-progkraut-punk-jazz-core. I hope Wroclaw’s festival audiences will help us to find a more precise term to define our music!
Lille meets Wrocław Festival
Marie Magneron
them together – musical improvisation is probably one of the best ways to achieve this aim. M.M: We can already invite people to come to see the result of your work at Łokietka Infopoint on the 17th of November. From the very beginning, AAF has been focusing on international artistic collaborations. This is why opening up spaces for French and Polish artists to work together seemed obvious. Thanks to A-i-R Wro we will organise not only musical encounters, as mentioned by Ivann, but also video-mapping. We are co-organising this process with Les Rencontres Audiovisuelles from Lille and the British city of Leeds, which is a candidate for the European Capital of Culture 2023. Five Artists will meet and over 10 days create video-mapping to be projected onto sculptures. We are particularly proud of this residency, because it also includes the partnership with CeTA (Audiovisual Technology Center) and ASP (Academy of Fine Arts), which provide technical equipment, spaces and sculptures. We hope everyone will come and see the results at the ASP Gallery. d What other events from Lille meets Wroclaw would you recommend? P.O: We’re of course very close to the artists from La Malterie who will perform in Wroclaw: Julien Boucq, Léonie Young, Qubo Gas and Philémon Varlé. M.M: Lille meets Wroclaw is an interdisciplinary festival: concerts, art, theatre, films... We will be organising many exhibitions in Nadorze and near Ruska St. Peter has already mentioned some names. We are very pleased to be working with Tandori Records, a great company from Lille, on staging our concerts. I am also looking forward to the performance by Theatre du Nord All my life I’ve done things I didn’t make, which has been a great success this year at the Avignon Festival. Come to see Ma Loute, a film by Bruno Dumont. Also, every day a special performance will be staged by New Horizons Cinema.
Ivanne Cruze
d What was the long-term effect of the European Capital of Culture in the case of Lille? How did the cultural life in Lille change after 2004?
The selected program: THURSDAY, 17 NOVEMBER 12:00 and 16:00–22:00 | New Horizons Cinema IInstallation / performance DOMICILE Ben Mills with Caroline Mirailles – opening 16:00–20:00 | 5 Łokietka St, Infopoint Nadodrze Pop-up artconnexion on 5 Łokietka St – presentation artconnexion with Lille (films, publications, posters, postcards) 18:00 | Miejsce Przy Miejscu Gallery Exhibition opening: Leonie Young [FR] as part of project ART Lille/ Wroclaw 18:30 | Gallery MD_S Exhibition opening: Cécile Wesołowski [FR], Julien Boucq [FR] as part of project ART Lille/Wroclaw 18.30 | Gallery Dia Exhibition opening: Janusz Stega [PL] 19:30 | 5 Łokietka St, Infopoint Nadodrze Musical residence presentation – Zoubek [DE] / Cruz [FR] / Witkowski [PL] in concert FRIDAY, 18 NOVEMBER 10:00–13:00 | Academy of Fine Arts Meeting with artists ART Lille/ Wroclaw and students 19:30 | IP Studio Exhibition opening: Qubo Gas [FR] as part of project ART Lille/ Wroclaw 20:30 | Studio BWA Exhibition opening: Kama Sokolnicka [PL], Philémon Vanorlé [FR], Krystian Truth Czaplicki [PL] as part of project ART Lille/Wroclaw, including concert by GAW SATURDAY, 19 NOVEMBER 9:30 and 11:15 | 5 Łokietka St,
P.O: The city invested a lot in „cultural equipment”, things like venues and exhibition halls, which means that since 2004 there has been a lot more artistic programming within the city. Every two years, Lille has also agreed to organise a large event called lille3000, a way of promoting not only great artists, but also local creative sectors. M.M: When we were in Lille in October 2015, Kostas and I had the chance to see a lot of lille3000 events. It’s
Infopoint Nadodrze Workshops for children – Collage & Badge Party 18:30 | E. Geppert Academy of Fine Arts, Wroclaw Video-mapping residence presentation: Thomas Zaderatzky [FR], Monsieur Nuage [FR], Emiko [PL], Adrian Jackowski [PL], William York [UK] 20:00 | Jerzy Grotowski Institute Performance Théâtre du Nord: All my life I’ve been doing things I don’t know how to, dir. Christophe Rauck 21:30 | Club UFF Concerts by TOC [FR], Toys’R’Roise [FR], Vitas Guerulaitis [FR] + DJ set Meki and Kolen [FR] + DJ set CNCTD [FR] SUNDAY, 20 NOVEMBER 16:00 | New Horizons Cinema Short films screening and the film Dead Waters, dir. Bruno Dumont; France, Germany 2016 20:00 | Jerzy Grotowski Institute Performance Théâtre du Nord: All my life I’ve been doing things I don’t know how to The Lille Meets Wroclaw Festival has been organised by the Avant Art Foundation, thanks to help from La Malterie, artconnexion, Muzzix, Rencontres Audiovisuelles, Théâtre du Nord, L’Entorse, Tandori records, A-i-R Wro, BWA Wroclaw and New Horizons Cinema as part of the European Capital of Culture Wroclaw 2016, with support from the City of Wroclaw, City of Lille, The French Institute in Paris, the embassy of France and the French Institute in Warsaw. The patron of the festival is the bank Credit-Agricole. A detailed programme can be found on www.avantart.pl
amazing to see that a former European Capital of Culture is still alive after so many years. We hope that Wroclaw 2016 will follow the example of Lille. But apart from Wroclaw 2016, the main aim of Lille meets Wroclaw is to promote the relationships which already exist between the two cities and creating other cultural connexions which will hopefully last for many years. We are already thinking of repeating this event on an annual basis.
Special Projects
Literature
Film
Does culture need new technologies? Adrian Czyczerski: No, it doesn’t. But if it is to reach a wider audience, your ordinary folks, then it should in some way reflect current trends. We are going to be experiencing many changes in the future, but for the time being culture may be safe. The fact that we are seeing many interactive exhibitions and museums doesn’t mean that culture has to follow all these developments blindly. All we want to do is get people interested enough to drag them away from their TV sets. Technology could be just a tool. d C an you give us an example of a good use of technology in the arts? A.C.: I’ll give you an example from my own experience – the use of beacons. These are small transmitters which send a signal when we get near them. Going to an art gallery and approaching a painting we instantly receive information about who painted it, how, its value. This allows us not only to see the work of art, but also quickly learn far more about it. A lot is currently being said about virtual reality (VR) – it is just a matter of time before we can walk around the Louvre or, say the Wroclaw Pavilion of Four Domes, without leaving our homes. But this doesn’t mean that we will all have to discover art in this way. There is a group of people who would otherwise never go to such places. Using technology, they will be able to explore galleries without too much effort. d Much has recently been sayd about the lack of human interaction and personal alienation. How can technology support communication between a cultural institution and its audience? A.C.: The answer is simple – by talking with each other. When we were discussing the development of ECoC Wroclaw 2016 and our mobile application, one of the main aspects was the ability to gather information about the users. Now, in our app, you can not only rate an event, but also directly comment on it by filling out surveys relating to what is happening. This allows us to draw conclusions and constantly improve our activities, in order to keep our cultural audiences happy. d But does technology have direct influence on relations between a given institution and individual users? A.C.: Of course. We mustn’t forget that new technologies don’t exist in their own bubbles. They emerge – most of the
Visual Arts
Architecture
Theatre
Music
Lower Silesia
Opera
Performance
micro GRANTS
It was 50 years ago that Stanisław Lem predicted the invention of audiobooks and cultural progress – Adrian Czerski from Meeting Application tells us about the app they created for the European Capital of Culture Wroclaw 2016
Strolling with Grotowski,
Snapchat with
culture
23 How to download the ESK Wrocław 2016 app: 1 Scan the code QR and download the app
or go to the Google Play or App Store, enter the key words Europejska Stolica Kultury Wrocław 2016”
and download it.
more easily. It’s not that if we take a virtual walk around a dull place, suddenly the sales of tickets to it will increase. An excellent example of such symbiosis is Wroclaw’s Hydropolis, which shows learning in a very interactive way. Of course, one can read about water on Wikipedia, but it’s far better to see it with your own eyes, how physics influences its behaviour. d And can cultural institutions defend against technological progress? A.C.: They can, but what for? Cultural institutions should strive to increase or at least maintain their presence, their reach. The way people share information is changing. We are writing less, recording our comments digitally and this directly impacts on the needs of audiences and the way we can engage with them. Let’s take the example of Snapchat. In the USA, over 70% of teenagers between 12 and 17 use this app regularly to send vids which last no more than a few seconds. They will soon be the audience cultural institutions will be aiming to reach – now is the time for us to consider how we will be delivering to them various works of art. time – from human needs. If I was to still make use of paper calendars, carry maps around, along with note and guide books, then I would have to buy an extra backpack. Thanks to technology, or more specifically the app European Capital of Culture Wroclaw 2016, we can review the list of events, such as the Theatre Olympics and add them to our own calendar. In effect, we don’t have to remember about them – they will remind us of their date themselves. There are countless events taking place in Wroclaw this year. Collecting them all in one place and allowing people to choose easily was a priority for us. The app is updated every day with new events and cultural hotspots. In addition, thanks to the navigation facility, one can easily find even the most “out of the way” treasures. d Does the app encourage people to take a more active part in the cultural life of Wroclaw? A.C.: Culture should speak for itself. Technology can only help us access it
d What will the dynamic between culture and technology look like then? A.C.: Culture is so strongly bound up with our lives that it will have to keep pace with technological developments. I am assuming that, in a few years, when entering a museum we will find that our guide is a hologram or a robot dressed like Leonardo da Vinci, Adam Mickiewicz or Marilyn Monroe. This will influence reception of content, allowing us to get into the spirit of those times and better understand a given epoch. In his Return from the Stars, Stanisław Lem predicted the existence of e-readers and audiobooks, so what I am saying is not the result of sleepless nights, but realistic analysis of a world changing all around us. We can already take active part in TV series recorded using 360 degree camera technologies. It allows us to have almost direct experience of any given scene. It is a matter of time before we can join the actors in scenes of walking through a jungle, actively take part in sea battles, walk along the streets of Barcelona with Woody Allen or stroll through Wroclaw’s theatre district with Jerzy Grotowski.
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THEATRE OLYMPICS 14.10 - 13.11.2016 The best performances and theatrical artists from around the world in Wroclaw
LEMOLOGICAL CONGRESS 28 - 30.11.2016 Festival based around science and literature devoted to the works of Stanisław Lem
2016 WHERE TO? SHOW BY ZBIGNIEW PREISNER
EUROPEAN FILM AWARDS 10.12.2016 Awards gala, preceded by a screening of films which have been nominated for and awarded prizes (4.11 to 30.12)
10 -12.11.2016
Concert featuring Lisa Gerrard, Anna Szałapak and Jacek Wójcicki. Written by Ewa Lipska
FRIENDSHIP FESTIVAL OCN 15.12.2016 Anniversary concert by OCN and guests incl. Raz, Dwa, Trzy, Happysad and Lech Janerka
PHOTOGRAPHY NEVER DIES 17.11.2016 - 08.01.2017 Exhibition documenting the history of world photography
PROGRAMME CLOSING WEEKEND ECOC WROCŁAW 2016
ONE LOVE SOUND FEST 19.11.2016 The biggest reggae, roots, dub, hip-hop and world music indoor festival in Europe
15 - 18.12.2016
Numerous cultural events across the city, including the multi-show Niebo and the premiere of the opera Troubadour
SET OF GRAPHIC SIGNS
KULTURO / IDEA WROCŁAW 25 - 28.11.2016 For all projectsFUTURO included in the Visual Arts programme of European Capital of Culture Wrocław 2016
NEW YEAR'S EVE IN WROCŁAW 31.12.2016 A great party held on the City Square, featuring specially invited guests
Meeting between artists and scientists about the future of culture, civilisation and Wrocław
Logistics partner: PARTNER LOGISTYCZNY
Nr 6, november-december 2016 All information and calendar of events:
Wszystkie informacje i kalendarium wydarzeń: www.wroclaw2016.pl
www.wroclaw2016.pl
/wroclaw2016 @wro2016 www.radiowroclawkultura.pl youtube.com/Wroclaw2016tv @wroclaw2016
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