Piotr Rypson
Dr Piotr Rypson
Curator, historian of literature and visual culture, museum expert. Since January 2024 Director of the Cultural Heritage Department at the Polish Ministry of Culture and National Heritage.
PhD in literary studies (2002), MA in Nubian Studies (1982). Former Deputy Director and then Acting Director at the National Museum in Warsaw, former Chief Curator at the Jewish Historical Institute in Warsaw and Chair of the International Council of Museums ICOM Poland (2018-2024). Curator of numerous exhibitions of contemporary art, design history, artists’ books and visual literature, etc. Author of 11 books and over 200 articles on art, information architecture, visual communication and literature.
Piotr Rypson has recently curated an exhibition on 100th Anniversary of Poland’s Independence (National Museum), an exhibition on liminal experiences in the Warsaw ghetto and the presentation of the Underground Archive of the Warsaw Ghetto in Germany (Munich Documentation Centre for the History of National Socialism) in 2022, later shown at The Melbourne Holocaust Museum.
Address: Warsaw, Mazowieckie, Poland
Curator, historian of literature and visual culture, museum expert. Since January 2024 Director of the Cultural Heritage Department at the Polish Ministry of Culture and National Heritage.
PhD in literary studies (2002), MA in Nubian Studies (1982). Former Deputy Director and then Acting Director at the National Museum in Warsaw, former Chief Curator at the Jewish Historical Institute in Warsaw and Chair of the International Council of Museums ICOM Poland (2018-2024). Curator of numerous exhibitions of contemporary art, design history, artists’ books and visual literature, etc. Author of 11 books and over 200 articles on art, information architecture, visual communication and literature.
Piotr Rypson has recently curated an exhibition on 100th Anniversary of Poland’s Independence (National Museum), an exhibition on liminal experiences in the Warsaw ghetto and the presentation of the Underground Archive of the Warsaw Ghetto in Germany (Munich Documentation Centre for the History of National Socialism) in 2022, later shown at The Melbourne Holocaust Museum.
Address: Warsaw, Mazowieckie, Poland
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I analyse the graphical form of Sikhes khulin and the circumstances in which the volume came into being. Both of the impulses for the creation of this exceptional work and its subsequent influence are not limited to revolutionary Russia, but extend further and include centres of Jewish culture in Belarus, Poland and Ukraine – as well as in Western Europe and Palestine. In light of its distinctive form and method of execution, Sikhes khulin should be traced to a special transitional moment of the changes which took place in modern Jewish illustration graphics – from the marriage of Art Nouveau with oriental elements to the synthesis of avant-garde stylistics with the artistic language of folk art.
È stato un eccezionale artista grafico polacco. Nato il 19 maggio 1912 a Brdów, studiò tra il 1933 e il 1936 presso la Facoltà di Lettere ell’Università di Poznań. Proseguì poi gli studi all’Accademia di Belle Arti di Cracovia per un anno, prima di trasferirsi a Varsavia, presso lo studio di Mieczysław Kotarbiński all’Accademia di Belle Arti della capitale. Durante
l’occupazione, Mieczysław Wejman lavorò come magazziniere alla fabbrica di vodka e liquori “Jamasch”, vicino al ghetto di Varsavia, partecipando allo stesso tempo alla vita artistica clandestina della capitale. È in questo periodo che l’artista crea una serie di schizzi e stampe dal titolo Danzanti, disegnata segretamente in una delle soffitte di Varsavia, mentre si nascondeva dalla Gestapo. Per anni questa prima serie grafica di Wejman è stata interpretata come una metafora generale del destino umano messo alla prova durante gli orrori della guerra – non a caso, l’artista faceva riferimento alle stampe del maestro spagnolo Francisco Goya. Una lettura contemporanea riconosce in questa serie una rappresentazione della condizione esistenziale di quegli “altri”, gli ebrei del ghetto di Varsavia, in quel tragico periodo.
Jewish avant-garde group Yung Yidish. The text and illustrations in each of the books were hand-colored linocut prints. Each hand-colored copy was a little different. The article is devoted to these three volumes and the context in which they came out.
I analyse the graphical form of Sikhes khulin and the circumstances in which the volume came into being. Both of the impulses for the creation of this exceptional work and its subsequent influence are not limited to revolutionary Russia, but extend further and include centres of Jewish culture in Belarus, Poland and Ukraine – as well as in Western Europe and Palestine. In light of its distinctive form and method of execution, Sikhes khulin should be traced to a special transitional moment of the changes which took place in modern Jewish illustration graphics – from the marriage of Art Nouveau with oriental elements to the synthesis of avant-garde stylistics with the artistic language of folk art.
È stato un eccezionale artista grafico polacco. Nato il 19 maggio 1912 a Brdów, studiò tra il 1933 e il 1936 presso la Facoltà di Lettere ell’Università di Poznań. Proseguì poi gli studi all’Accademia di Belle Arti di Cracovia per un anno, prima di trasferirsi a Varsavia, presso lo studio di Mieczysław Kotarbiński all’Accademia di Belle Arti della capitale. Durante
l’occupazione, Mieczysław Wejman lavorò come magazziniere alla fabbrica di vodka e liquori “Jamasch”, vicino al ghetto di Varsavia, partecipando allo stesso tempo alla vita artistica clandestina della capitale. È in questo periodo che l’artista crea una serie di schizzi e stampe dal titolo Danzanti, disegnata segretamente in una delle soffitte di Varsavia, mentre si nascondeva dalla Gestapo. Per anni questa prima serie grafica di Wejman è stata interpretata come una metafora generale del destino umano messo alla prova durante gli orrori della guerra – non a caso, l’artista faceva riferimento alle stampe del maestro spagnolo Francisco Goya. Una lettura contemporanea riconosce in questa serie una rappresentazione della condizione esistenziale di quegli “altri”, gli ebrei del ghetto di Varsavia, in quel tragico periodo.
Jewish avant-garde group Yung Yidish. The text and illustrations in each of the books were hand-colored linocut prints. Each hand-colored copy was a little different. The article is devoted to these three volumes and the context in which they came out.
Piotr Rypson: Z doświadczenia oraz z bolesnego i widocznego braku. Z doświadczenia o tyle, że wiedziałem od dawna, że rola Tadeusza Peipera dla kultury dwudziestolecia, a dla awangardy polskiej w szczególności była bardzo duża, a obecnie wydaje mi się po prostu kluczowa. Jednocześnie doświadczenie pracy w muzeum pokazało mi dobitnie, że tak się kształtuje pamięć naszej kultury, jak ją dzisiaj układają instytucje wystawiające raczej niż książki. To, co wisi na ścianie istnieje, a to czego nie zobaczysz, nie istnieje lub schodzi do podziemi warstwy tekstowej. Na to się nakłada trzecia przyczyna – historycy sztuki rzadko czytają historię i teorię literatury. I vice versa – historycy literatury nie mają najczęściej pojęcia o historii sztuki, co mogłoby być zawstydzające i śmieszne, lecz, wiadomo, nie starcza czasu na wszystko. .... http://magazynszum.pl/rozmowy/tajemniczy-przybysz-rozmowa-z-piotrem-rypsonem
Z Piotrem Rypsonem, kuratorem niedawno otwartej w warszawskim MN Galerii Malarstwa XX i XXI wieku, rozmawia Jaś Kapela
Przewodnik po wystawie
Shouting: Poland!
Independence 1918
Exhibition Guidebook
The guidebook for the exhibition organized on the 100th anniversary of Poland's independence at the National Museum in Warsaw
"Materializng. Contemporary Art and the Shoah in Poland".
organizad at the NS-Dokumentazion Center in Munich 2023/2024
de noche una musa se le acercó y le dijo: escriba, señor.
Bruno Jasieński
Estos versos recibieron a Tadeusz Peiper en Cracovia de manos
del más conocido de los futuristas cracovianos. O al menos, así lo
recordó el bachiller Jalu Kurek, venidero seguidor del futurismo
y discípulo de Peiper. Si fue así realmente, habría que preguntarle
al ambiente que le rodeaba: ¿quién era aquel misterioso recién
llegado, que entre 1920 y 1921 volvió a Cracovia, tras haber pasado
seis años y medio en el otro extremo de Europa?
i uczeń Peipera. Jeśli rzeczywiście tak było, trzeba spytać, kim dla
lokalnego środowiska był ów tajemniczy przybysz, który na przełomie
1920 i 1921 powrócił do Krakowa, po sześciu i pół roku spędzonych
na przeciwległych kresach Europy?
marchó en tren rumbo a París. El futuro poeta pasó su 23 cumpleaños
en la capital francesa; durante el viaje aún contaba 22 años,
como en el título de su novela (de motivos autobiográficos) que
publicará años más tarde.
No sabemos casi nada sobre su estancia de algunos meses en
esta ciudad: tan solo podemos aventurar suposiciones sobre lo que
hizo, a quién encontró y con qué variantes del mundo soñado se
enfrentó. Una peregrinación típica para los jóvenes de su generación,
al igual que el sueño sobre la capital europea de la cultura