1991 spring

BWA gallery in Koszalin

Description of the manifestation:

The manifestation was accompanied by a one-day exhibition of material documents and photographic documentation from previous actions. Only what the artist managed to bring in his personal luggage was on display in the BWA hall. Wheelbarrow of Freedom, on loan from the Koszalin Museum, was also exhibited. Before the manifestation, in the center of the hall, amidst the hanging and arranged documents, a podium was set up, on which the artist placed a handful of green twigs, cups of white and red paint, and brushes.
Action: After viewing the exhibition, the audience gathered at the front of the hall. The artist entered naked, with a noose of rope around his neck. He stood next to the BWA director, who delivered a short welcoming speech and gave the floor to the artist. The artist addressed the audience, stating that exactly 15 years had passed since he held the manifestation entitled Bonfire of Art in this very hall. This manifestation marked the beginning of rather rough attacks by communist-era propaganda against him and his work, which resulted in a long-term ban on exhibitions. He further stated that, although veterans are currently ridiculed, he decided to build a veterans’ monument. But don’t worry, he added, it will be a temporary monument, a living monument. This living monument would be a response to Ignacy Witkiewicz, who sarcastically proclaimed the arrival of an era of senseless art. Reflecting on this ominous prophecy, the artist removed the rope loop from his neck, inserted a twig into it, tightened it, and placed it on the podium. He then stood in front of the podium, turned his back to the audience, and painted a red stripe on his back. Moving to the other side of the podium, facing the audience, he painted a white letter C on his chest. He looped the rope further, inserted another green twig, and tightened the rope. Standing with his back to the audience, he painted a red stripe on his back, then moved to the other side of the podium to paint another white letter. He repeated this sequence of actions for some time. The artist noted that Ignacy Witkiewicz was more honest in his sarcasm than Marcel Duchamp, whom he even called Duchamp’s Sham. Witkiewicz’s statements carried a clear warning. A long green garland already lay on the podium. The artist’s back was covered with red stripes, and on the front of his body was the white inscription CZYSTA TREŚĆ (PURE CONTENT). He went on to say that this did not rule out the possibility that both Marcel Duchamp and Ignacy Witkiewicz were brilliant; their prophecies had come true. The artist then painted his penis red and white, created a wreath from the green garland, placed it on his head, and stepped onto the podium. He announced that the monument was ready. Turning around, he asked those gathered to examine the statue and assess whether it was good or bad. After a moment, he reminded the audience that it was a living monument, removed the green wreath from its head, placed it on the podium, and left the room.