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IF Kolekcja
IF Collection. Polish Poster Art
IF Collection. Polish Poster Art

Posters

[Translate to English:] Adam Kilian, Lilla Weneda
Adam Kilian, Lilla Weneda

Adam Kilian [1923–2016], Lilla Weneda, 1966, theatrical spectacle, directed by Henryk Ryl, Arlekin Puppet Theater in Łódź

03 February 2021 | News
Category: Wydział Filozoficzno-Historyczny
[Translate to English:] Treutler, Tropiciel śladów
Jerzy Treutler, The Pathfinder

Jerzy Treutler [1931–2020], The Pathfinder, 1971, the film is a Franco-West German-Austrian-Romanian co-production, 1969, directed by Jean Dréville, Sergiu Nicolaescu

08 November 2020 | News
Category: Wydział Filozoficzno-Historyczny
[Translate to English:] Rafał Kapica, Wolność
Rafał Kapica, Freedom

Rafał Kapica [born 1980], Freedom, 2018, social poster

09 October 2020 | News
Category: Wydział Filozoficzno-Historyczny
[Translate to English:] Hubert Hilscher, Warszawska Jesień
Hubert Hilscher, The Warsaw Autumn

Hubert Hilscher [1924–1999], The Warsaw Autumn Festival, 1972

18 July 2020 | News
Category: Wydział Filozoficzno-Historyczny
[Translate to English:] Śliwka, Ciech
Karol Śliwka, Ciech

Karol Śliwka [1932–2018], CIECH, advertising poster, the ‘70s

02 July 2020 | News
Category: Wydział Filozoficzno-Historyczny
[Translate to English:] Roman Cieślewicz, Złamana strzała
Roman Cieślewicz, Broken Arrow

Roman Cieślewicz [1930–1996], 1957, Broken Arrow, directed by Delmer Daves (USA 1950, Poland 1957)

23 June 2020 | News
Category: Wydział Filozoficzno-Historyczny
[Translate to English:] Musique Contemporaine
Adam Młodzianowski, IIe Festival International de Musique Contemporaine

Adam Młodzianowski [1917–1985], IIe Festival International de Musique Contemporaine, Varsovie 1958

19 June 2020 | News
Category: Wydział Filozoficzno-Historyczny
[Translate to English:] Śliwka, Pollena
Karol Śliwka, Pollena

Karol Śliwka [1932–2018], Pollena, advertising poster, the ‘70s

19 June 2020 | News
Category: Wydział Filozoficzno-Historyczny
See all News

Why a paster?

We collect, exhibit, write, tell stories – in short, we look after art so that it will benefit as much as possible. We cannot break free from the questions: “why such a gallery is run by philosophers”. Here are the most important answers:

  • because we have such a collection,
  • because so often philosophy argues in favour of the experience of art and its benefits that it is not worth resisting these arguments,
  • because there existed the Polish School of  Poster Art and its tradition still lives on, which is an aesthetically, theoretically and historically fascinating phenomenon,
  • because one still needs a poster in life,
  • because there are other arts behind posters, and still other arts behind them; to get to know one poster is often to experience almost everything,
  • because a “bad” poster can be a “very good” one, and therefore it gives food for thought to all who think they know what “good art” is.

WE HAVE A GOAL: Art in public space is a challenge that we should pay attention to and discuss. It would be beneficial for everyone to have this discussion shaped by public sphere. We understand public sphere as a situation of speech (in the form of a speech, written or otherwise recorded) that is articulated publicly and non-anonymously. We want to propagate our own opinions on the values of art in public space and submit these opinions to intersubjective reflection. Our aim is to popularize the art of Polish design and closer acquaint public with it. We want to exchange opinions and ideas about it to everybody in a comprehensive and accessible, yet strictly substantive way. We take into account different interpretations and points of view. The photos themselves are, in our opinion, not enough. The visual sphere itself does not speak clearly enough. Today the more difficult message is no longer competitive. That is why we want to exhibit, write and tell at the same time.

WE HAVE NO STRATEGY! We do not like combative and futurological rhetoric. We regard contact with original work as an irreplaceable auratic value, experiencing it as an undoubted privilege, and knowledge as a support in this pleasure.

Wioletta Kazimierska-Jerzyk

Key information

IF Collection. The Polish Poster Art consists of the following works (given in a chronological order), the active link means that we have already included a description of the work:

  • 1957, Cieślewicz Roman, Złamana Strzała
  • 1958, Młodzianowski Adam, Ile festival international de musique contemporaine
  • 1960, Cieślewicz Roman, Rozstanie
  • 1961, Jaworowski Jerzy, Koniec drogi
  • 1963, Kreütz-Majewski Andrzej, Orfeusz
  • 1965, Świerzy Waldemar, Król Roger
  • 1967, Świerzy Waldemar, Warszawska Jesień
  • 1968, Rumiński Tomasz, Przemysł
  • 1968, Bąkowski Stanisław, Spartakus
  • 1968, Rapnicki Janusz, Zjazd rodzinny
  • 1968, Szancer Jan Marcin, Sprzedana narzeczona
  • 1968, Urbaniec Maciej, Festiwal Folklorystyczny Ziem Nadwiślańskich
  • 1968, Żbikowski Maciej, Hrabina Cosel
  • 1969, Hanna Bodnar, Skąd przychodzisz
  • 1969, Hibner Maciej, Ruchome piaski
  • 1969, Świerzy Waldemar, Warszawska Jesień
  • 1969, Żbikowski Maciej, Kapryśne lato
  • 1970 circa, Janowski Witold (?), Ciech
  • 1970 circa, Śliwka Karol, Ciech
  • 1970 circa, Śliwka Karol, Pollena
  • 1970, Lenica Jan, Polske Surrealister
  • 1970, Treutler Jerzy, Mój pies Wulkan
  • 1970, Zelek Bronisław, Julia i Romeo
  • 1970 circa, Author's name unknown, Ciech
  • 1970 circa, Author's name unknown, Ciech
  • 1971, Andrzejewski Waldemar, Tajemniczy mnich
  • 1971, Dobiecki Iwo, Balety Polskie
  • 1971, Jerzy Treutler, Tropiciel śladów
  • 1971, Młodożeniec Jan, Il Maestro di Cappella
  • 1971, Urbaniec Maciej, Wieczór baletowy: Berlioz, Debussy,  Ravel
  • 1972, Celiński Zbigniew, Straszny dwór
  • 1972, Cieślewicz Roman, Cudowny mandaryn
  • 1972, Dobiecki Iwo, Córka źle strzeżona
  • 1972, Hilscher Hubert, Warszawska Jesień
  • 1972, Świerzy Waldemar, Odprawa posłów greckich
  • 1972, Urbaniec Maciej, Borys Godunow
  • 1973, Dobiecki Iwo, Etiudy baletowe
  • 1973, Dobiecki Iwo, Pożądanie
  • 1973, Dobiecki Iwo, Traviata
  • 1973, Dzikowska-Najder Janina, Opowieści Hoffmanna
  • 1973, Kreütz-Majewski Andrzej, Pietruszka
  • 1973, Pankiewicz Krzysztof, Wesołe kumoszki
  • 1974, Justyna Witold, Łódzkie Spotkania Baletowe
  • 1974, Lenica Jan, Wesele
  • 1974, Młodożeniec Jan, Chłopi
  • 1974, Rumiński Tomasz, Dzień Chemika
  • 1974, Sawka Henryk, Świat na księżycu
  • 1974, Staniewicz Edmund, Epitafium dla Juana
  • 1974, Urbaniec Maciej, Coppelia
  • 1975, Erol Jakub, Wąż
  • 1977, Neugebauer Jacek, Mareczku, podaj mi pióroi
  • 2003, Author's name unknown, Kobro
  • 2003, Shenk Tom, Kamień filozoficzny albo zaczarowana wyspa
  • 2003, Zieliński Chwalisław, Wesoła wdówka
  • 2005, Horowitz Ryszard, Poszaleli
  • 2005, Świerzy Waldemar, Filozofia po góralsku
  • 2005, Tarczyński Marian, Makbet
  • 2006, Nowosławski Paweł, Rozmowy z diabłem. Wielkie kazanie księdza Bernarda
  • 2007, Łabęcki Stanisław, Kolekcja sztuki XX i XXI wieku. Siła formalizmu
  • 2011, Author's name unknown, Małe formy grafiki
  • 2019, Kokoszka Jakub, Rozwieszam za trzech i nie narzekam
  • 2019, Wojciechowska Marika, Rutka
  • 2020, Puchalska Areta, Jak zostałam wiedźmą
  • 2020, Starzyńska Aleksandra, Wędrówka Nabu
  • 2020, Maciej Andrzejewski, Plakat to nie bajka
  • 2021, Waszczeniuk Zbigniew, Rozwijaj się. Wystawa plakatów filozoficznych

Originally the collection consisted of 60 works and we intended to create a description for each of them. We imagined that they would be a complete guide. However, our collection is still growing. We invite you to cooperate with us!
We reserve the right to correct and update texts. We improve and update, first of all, information on historical facts and bibliographical sources.
The authors can constantly improve and supplement the texts. We will inform you when the changes have been made.
We intend to add alternative descriptions to the interpretations already published. The fact that the work already has its description does not mean that it cannot have a different interpretation.

  • PLACE:

The building of the Faculty of Philosophy and History, the University of Lodz, 3/5 Lindleya St., the 3rd floor

  • CONTACT :

Institute of Philosophy
Faculty of Philosophy and History
The University of Lodz
3/5 Lindleya St., 90-131 Lodz
Ph. (42) 635-61-35
Jędrzej Janicki: jedrekjanicki1994@gmail.com
Wioletta Kazimierska-Jerzyk: wioletta.kazimierska@uni.lodz.pl

  • To visit the collection with a guide, please contact us in advance and make an appointment (the lecture rooms are not always available to visit).

 

We are happy to accept as volunteers everyone - in particular primary and secondary school students - interested in what we do. We need support in the following works:

  • archiving and cataloging our texts (remote work)
  • compiling data for indexes and bibliographies (remote work)
  • translating texts into English (remote work)
  • assembly and disassembly of exhibitions (next task awaits us on April)
  • research (we have a lot of puzzles to solve :-), which can end with writing your own text
  • designing folders and posters for our exhibitions

We offer:

  • to see the collection with a guide
  • to view our archive and meet the editors
  • training as a guide to the collection
  • help and guidance on art criticism and how to write about posters

czarno-biała twarz kobiety w okręgu

Wioletta Kazimierska-Jerzyk

  • an aesthetitian & an art historian
  • she worries there are too many prejudices in the art world
  • she prefers single plates from Tułowice or Włocławek to complete services from …
  • she thinks that we are not obliged to rebuild castles from King Casimir the Great period, but we must save what we can
  • she has been looking after posters since he worked at the Institute of Philosophy (1998)
  • a sunday painter, an embroiderer, a seamstress

 

czarnobiałe zdjęcie mężczyzna przysłaniający głowę płytą winylową z twarzą

Jędrzej Janicki

  • a lover of heavy genres of rock and jazz, who usually listens to soulful blues
  • podcaster and a might-have-been guitarist
  • he considers The Brothers Karamazov to be a pinnacle of humanity
  • in his spare time on the bike or at the snooker table
  • an expert on taking bad decisions
  • would love to be like Jeremey Clarkson or at least drive his cars
  • highly appreciates his present studies, while his previous ones only so-so
  • brought up on footballers’ posters which he so passionately put up in his room – now is willing to replace them with Cassandre’s works

 

kobieta w garniturze trzymająca ramę obrazu będąc po drugiej jej stronie czarnobiałe

Jowita Mróz

  • philosophy graduate
  • she looks for unique and curiosities in the region
  • she neglects her spine while working at her desk
  • posters distracted her even during the most interesting lectures
  • she prefers Berg to Webern
  • she appreciates kitschy everyday items
  • she has a soft spot for black and white films by Scandinavian directors
  • she loves only Mediterranean cuisine more than Mediterranean architecture

 

OUR COLLABORATORS:

  • Anita Błażejewska
  • Marta Brewer
  • Aleksandra Brzostowicz
  • Dawid Góras
  • Ewa Gryszkalis
  • Zofia Hałęza
  • Kacper Kaczmarek
  • Miriam Kobierski
  • Jakub Kokoszka
  • Kacper Łażewski
  • Agnieszka Ośkiewicz
  • Janusz Maciaszek
  • Jakub Michalski
  • Piotr Piasek
  • Anna Ostrowska
  • Maria Piotrowska
  • Katarzyna Rozalska
  • Aleksandra Smaczyńska
  • Julia Sokołowska
  • Fryderyk Szymczak
  • Daria Wielgus
  • Aleksander Zakosztowicz

Patron of the collection

Professor Tadeusz Pawłowski was born in Warsaw, but he was educated in Łódź, where he undertook scientific work, among others in under the direction of Janina and Tadeusz Kotarbiński. Initially, he was employed at the Department of Logic, and in 1977 he established the Department of Aesthetics. First, he was interested in the methodology of the natural sciences, then the problems of creating and defining concepts in the humanities. At the beginning of the 1970s, he began to write about art, and over time he built his own aesthetic concept of panesthetism. He constantly referred to personal experience, which makes his the precise scientific apparatus immediately understandable, as if "organic" (which is not typical of aesthetic considerations, because they are often too speculative or exalted).

 

 

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Contact

Contact us:

Institute of Philosophy, Faculty of Philosophy and History of the University of Lodz

St. Lindleya 3/5, 90-131 Łódź

tel./fax: (48) (42) 635-61-35/(29)

FACEBOOK

©

rules for using photos

The poster - although it is usually a large-scale work and serving common, public use - is covered by copyright.
In accordance with the idea of the collection and the function of the portal, photos of the works are an essential component of the published materials. We use the principle of fair use. Our venture is non-commercial. Unless we have the consent of the authors, we publish reproductions that, due to the resolution and additional marking, are not suitable for use for other purposes, but nevertheless serve to popularize the works.

 

Exibitions

Wydział Filozoficzno-Historyczny

ul. Kamińskiego 27a
90-219 Łódź

tel: 42/635 43 50
fax: 42/635 43 31

Funduszepleu
Projekt Multiportalu UŁ współfinansowany z funduszy Unii Europejskiej w ramach konkursu NCBR