<\/p>\n
Andrzej Partum was the author of manifests, a musician, a Mail Art movement member, a painter, a \u2018clerk\u2019 at the Poetry Office he created himself, and \u2013 last but not least \u2013 a poet who very early noticed the limitations of the language and developed his own unique form of artistic expression referred to as \u2018scathing media fusion\u2019. Such interdisciplinary character of his work resulted from Partum\u2019s belief in cognitive value of unlimited creation. It allowed him to strive for freedom and authentic existence. Setting off from poetry, after having experienced conceptualism, he decided to focus on everyday life context. Jerzy Ludwi\u0144ski would describe this type of output as \u2018absent art\u2019 which is difficult to identify, often being indistinguishable from the private domain, as it tends to melt in everyday reality. Face-to-face interpersonal relations were an important element of art understood in such a way, including long-standing friendship between Partum and Zbigniew Warpechowski \u2013 an artist who was also a poet, a painter, a conceptualist, and the author of his own form of creative expression linked to performance art. Just like Partum, Warpechowski perceives art as an existential practice that allows for authentic existence in the world. For him it is a way of experiencing reality more explicitly. It serves as the foundation for establishing relations not only with participants of is ephemeral works.<\/p>\n
The attempt to present Partum\u2019s and Warpechowski\u2019s art intertwined on many different levels, based on some fragments from archives and works of art, can be commented upon with an excerpt from a poem written by the former:<\/p>\n
cz\u0119stotliwo\u015bci wisielec<\/i><\/p>\n
wahad\u0142em ubija<\/i><\/p>\n
przymiarki odrzut\u00f3w<\/i><\/p>\n
(\u2026) *<\/p>\n
In this case the \u2018hanged man of frequency\u2019 is Roman Dziadkiewicz. During the meeting with Partum and Warpechowski he intuitively adopts more indefinite approach, being an artist, a curator, and an organiser at the same time. He challenges the heritage of the neo-avant-garde doyens, trying to organise the \u2018rejects\u2019 and stressing dramatic points of relations that they bear witness to. At the same time he does not try to conceal his own artistic involvement in the event. He stresses his perspective just like a director present on the stage. He is an equal participant of this symbolic meeting that is being held \u2026<\/p>\n
(\u2026)<\/p>\n
za cyferblatem<\/i><\/p>\n
jeszcze poza dooko\u0142a<\/i><\/p>\n
z j\u0119drnych odleg\u0142o\u015bci<\/i><\/p>\n
wy\u017c\u0119tego przedostania<\/i><\/p>\n
od masy <\/i>*<\/p>\n
*A. Partum, Frekwencje z opisu<\/i>, 1961<\/p>\n
Dominik Kury\u0142ek<\/p>\n
\n
phot. Zygmunt Rytka, 80’s.<\/p>\n
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