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Jerzy Fedorowicz

Jerzy Fedorowicz was born on September 4, 1928 in Pruszków.

Engineering traditions dominated in the family (great-uncle and cousin were engineers working at the beginning of the 20th century on the construction of the Trans-Andean railway, Jerzy's father - Władysław was a steam engine specialist engineer) in the best   in the modern sense of the word - combined with traditions ecological (grandfather had one of the first before the war "ecological stores" in Warsaw)  i sports (Jerzy's uncle Kazimierz Witas was an athlete, a member of the board of Pruszków Sokol - he was arrested just after the Germans entered Pruszków, he died in Dachau) . Jerzy had been skiing since he was a child, he accompanied his father on mountain expeditions, accompanied his uncle in the activity of Sokół,   observed his father's design and production in factories where his father worked  i dzłówek (Fabryka in Pruszków). He spent his childhood and occupation in Pruszków, Warsaw and Sanok (where his tutor was, among others, Leon Getz, a lecturer at the Academy of Fine Arts in Krakow). He also stayed in Sanok when the front line was shifting during the liberation of the city several times.

In 1945, when Jerzy's father, Władysław Fedorowicz, became the first post-war mayor of Słupsk, the family moved to Słupsk. Youthful passions: skiing, sailing (he participated in training cruises on the General Zaruski seagoing yacht) automotive (motorbikes - competitions in Pomeranian motorcycle competitions, construction of his own car) were to be implemented in the fields of study at the Academy of Orsk in Gdynia, studies at the faculties: mechanical and architecture of the University of Technology Gdańska) Ultimately, however. fascination  Bauhaus   and constructivism made me choose art studies.


Jerzy Fedorowicz He studied at the State Higher School of Fine Arts in Sopot (1949–1951), and then at the Academy of Fine Arts in Kraków (1951–1954), to which he moved just before his dismissal due to the lack of socialist discipline in studying in Sopot. In Krakow, apart from the official trend of studying at the interior design department, he participated, among others, in "artistic tutoring" organized privately by Tadeusz Kantor, who was dismissed from the university, for university students. After defending his diploma, he lived and worked in Koszalin and Warsaw, and also spent several years in Rome. 


From 1954 he moved to Koszalin. Together with his wife, Ludmiła Popiel, he collaborated and was active in the field of the organization of artistic life. Together with Ludmiła Popiel   and other artists (Irena Kozera, Henryk Naruszewicz, Ryszard Siennicki, Ignacy Bogdanowicz, Józef Kempiński), they organized the visual arts community from scratch - in 1955 they founded the Polish Artists' Association in Koszalin. Together with Ludmiła Popiel  and Irena Kozera, they created designs for the first archaeological and ethnographic exhibitions for the Museum in Koszalin, interior designs for historic and sacred objects in Koszalin, Kołobrzeg, Darłowo, Słupsk and numerous interior designs for offices, sanatoriums ._cc781905._cc781905._cc781905._cc781905. -5cde-3194-bb3b-136bad5cf58d_


Above all, however, he was the initiator, organizer and participant of the plein-airs in Osieki (1963–1981).   Without the activity of Jerzy Fedorowicz and Ludmiła Popiel, there would be no "Meetings of artists and art theorists in Osieki" which took place every year in 1963-1981. As initiators (together with M. Bogusz),   and the organizers of the first meetings in Osieki   (1963,64,65) opened at w_cc781905-5cde-136d94-bb3bf-136d94-bb3bf-13694-bb3bf-13694-bb3bf Poland, the "epoch of plein airs" -   subsequent meetings of the Polish avant-garde movement organized throughout Poland (including the 1st Biennale of spatial forms w  Elbląg _65-13694_5bb3b58b-1905bb3b581905bb3b58bw5bb3b581905bb3b581905 , Puławy 66, Wrocław 70).  N did not organize all "Osiek", but it was during the meetings according to their program that breakthrough events took place for art  polska_cc781905-5cde-3194-bb3b-136dbad5c (eg. - the first happenings of T. Kantor and W. Borowski, in 1970 - conceptual art, 1972 and 1973 - art and problems of ecology).

Thanks to the activities of Jerzy Fedorowicz and Ludmiła Popiel in the years 1963-1973, Osieki near Koszalin became for many years, in the words of the poet Julian Przyboś - "the summer capital of Polish art". The legacy of this activity is currently one of the most valuable collections of Polish contemporary art, the Osiecka Collection, located in the Museum in Koszalin.


In less than three decades of active art, the artists were associated with the avant-garde circles of the time.   The meetings in Osieki 1963 initiated the movement of meetings, exhibitions and open-air workshops constituting a forum for the presentation of works and exchange of views on current problems of art and creativity in a group of a relatively permanent, but small group of several dozen Polish artists.

Jerzy Fedorowicz's works from the 1960s are abstract, visual compositions in a geometric order, and "kinetic" paintings. In the 70's and 80's of these actions, texts and actions mostly shared with Ludmila Popiel explored the phenomena of perception,  dependencies between the concept, myth and reality, information transfer (relations between fiction and reality and psychological determinants of perception). ). They raised ecological issues both in the proposed urban solutions (SEN system) and in the postulates of savings  the artistic media (the theory of low activity of Jerzy Fedorowicz developed since 1975, "Psycho-devices" 1971, or other works - conceptual projects "Nić "1971).

In the seventies and eighties, the artist's creative activity was mainly artistic activities carried out in Wrocław (Symposium Wrocław 1970, Opolno-Zdrój 1971, Jagniątków 1975), Osieki (1972, 1973, 1980), Poznań (Galeria Accuatory 1979, symposia by Andrzej Matuszewski and the Gallery OdNowa in Dłusko 1976,1977, Pawłowice  1975 and Jankowice, 1978), Warsaw (Galeria Piwna Andrzeja and Emilia Dłużniewski) as well as mail-art activities within the NET network (as part of Ken Friedman's activities)

From the perspective of 50 years, the topics highlighted at that time, but current today, are particularly clear

- myth and boundaries of cognition / experience

- information transfer and message manipulation areas in the field of perception and context

- the role of art and the relationship between art, culture and civilization

- postawy  artist - authenticity, entanglement

Ecological themes returned both in the development of program assumptions for the plein-airs in Osieki in 1972 and 1973, and in the works: Thread - together with Ludmiła Popiel during the plein-air of Ziemia Zgorzelecka, and the then utopian proposals for program solutions such as SEN (stimulators of extensive habits) aimed at the development of non-invasive towards nature of human lifestyle.

After 1988 - the death of Ludmila Popiel  Jerzy Fedorowicz withdrew during his active artistic life. The exception was the project: “Light from the depths of the earth. A project to commemorate the victims of the WTC in New York ”. In the following thirty years, he spoke about the artistic and historical legacy of the meetings in Osieki in some publications devoted to them , as well as in the form of unpublished projects ("Ecumenical Park", 2006, "Predators of Europe", "POMERANIA TODAY". Outline of the concept of organizing the Polish exhibition - presentation of achievements in the field of material culture and art in relation to historical continuity ", 2013). In 2010, 15 copies of the satirical almanac" Życie jak comics "were produced

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