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UNIVERSAL


1917 Revolution rejected everything that had the bourgeois flavour, or could be associated with the need to create a new art for a new society. The success of Revolution resulted in the victory of constructivism which aimed at the organization of man's life with the use of simple and functional forms. From that time on art values most what is functional, simple and rationalism-based. "The painting which used to be an icon to a bourgeois has died. The artist changed from a reproducer to a designer of the new world of objects." 1918, the Netherlands. A couple of artists, members of a newly established group, announced a manifesto starting with words: "There is old and new awareness of time. The old one aims at the individual, while the new one at the universal. Their goal was to attain pure abstraction, i.e. total rejection of sensual reception of reality. Freedom from the limitations of individualism and randomness became the way to reach the absolute truth. Piet Mondrian wrote: "If modern people have not attained the ultimate goal, i.e. order and harmony, it means that the reason for it is man's individualism and uncontrollable subjectivism that introduces anxiety and tragedy in human existence."

1993, Warsaw. Local self-governments came to an agreement in the matter of the construction of a housing estate at Dudziarska Street designed for socially unadapted families. In order not to establish a ghetto, the town hall came up with the idea to settle 30 percent of policemen families over there. The plan yet did not come out, and in 1995 the housing estate was settled by social misfits. In newly built flats there was no access to hot water or central heating. The blocks of flats constituted the only infrastructure. Three four-storey buildings with 216 flats altogether, were located near the incineration plant, in the close neighbourhood of numerous railway tracks cutting off effectively the Dudziarska inhabitants from the city, in the area surrounded by electricity pylons. The nearest population is the prison for women surrounded by a high wall with barbed wire. The inhabitants of the new housing estate, detached from social relations and made to cover the distance of about 2.5 km to get to the nearest buildings, keep choosing the short-cut way across the railway tracks, which often ends up in a tragedy.

2010 Grzegorz Drozd begins work at the Dudziarska housing estate. His objective is to make the recipients think over and discuss the question of social exclusion. The artist believes that through art he will be able to focus the society's attention on the problem of the Dudziarska housing estate community. At the same time, he tries to analyse the ideas of modernism and contemporary visions of the construction of social order.


This film is co-produced by Capital City of Warsaw

The square on Dudziarska housing estate Piotr Rypson

You people don't know what the fuck it's like here, so don't try to be so fucking smart, you come and bullshit about our housing estate, but the truth is you don't know shit about what it's really like, come round sometime and check it out, we don't need people who've never been here fucking write it up, judging people, don't go judging us if you don't know, because you'll hear all kinds of shit from various people and you'll take what they say seriously, how do you know for sure that's what it's like here, get the fuck outtta here!!!!!!!!!

http://naszlaku1.blox.pl/2007/12/Dudziarska.html


True - what do I know about this housing estate? Writing this, I look out the window onto Wilson Square: the street lamps shine brightly, every second building houses a bank and the neon lights on the corner twinkle twenty-four hours a day. It's late, and I'm not planning on taking a trip out to the Dudziarska estate or anywhere else.

I found this place on a Google map over a year ago - we were supposed to be going on a bicycle trip to the Olszynka industrial estate; in the end nothing came of it, and it was Alicja and Grzegorz who took me to Dudziarska in the early autumn of 2010, just as they were completing their "Universal" project there. The whole thing was described in detail and photographed by the press, so there's no need to go over the image again: three low council flat blocks cut off from the city, on which the artists had placed Malevich style hourglasses on one side and paraphrases of Mondrian paintings on the other. Clear references to a modernist utopia and its failures. No more need be said.

Dudziarska is a ghetto, in the literal sense of the word - simultaneously a place of isolation for a group of citizens and a housing estate for the very poor. Almost the whole of Warsaw is underpinned by history's dramatic accents - but Dudziarska emits a particularly depressing aura. Its buildings were never installed with gas or central heating, and its walls suffer from rising damp. The remains of German concrete bunkers stick out of the waste ground around the blocks, the nearby boggy clay-pit called the Kozia Górka pond is all that's left of the forced labour carried out by Russian prisoners of war. A railway embankment cuts the housing estate off to the east, while the litter-filled allotments, incinerator plant and nearby prison.. built on the rubble, ashes and bones of the Muranów district trucked out here after the war, are on a Dudziarska scale, like amusement parks.

This housing estate was thought up in the first half of the 90's, in the times when Poland's political system was undergoing a necessary, but equally soulless change during the presidency of Stanisław Wyganowski, an activist with Solidarity, the Local Democracy Development Fund and the Society of Polish Urban Planners. Its construction took from 1994 to the beginning of 1996; already back then, Marcinkiewicz, the city's president, admitted in a statement for the TVN television channel that its existence was a "crime". The television channels reported on this "housing estate of poverty", fenced off from the rest of the city by railway tracks, the lack of any public transport and filled with the stench emitted by the nearby refuse incinerator plant. Successive city presidents promised changes but nothing ever came of it.

But what in fact can one change here? The well-informed Warsaw Wikia claims that these blocks "came about for the purpose of solving the problem of families evicted from flats in the City Centre and South Praga districts. In the spring of 1993, these district councils concluded an agreement whereby the blocks on Dudziarska were to be occupied by people who had been handed eviction notices and people needing council housing. The money for the estate's construction came from the Warsaw Centrum district."

The establishment of this ghetto was planned by among others Jan Rutkiewicz, the then mayor of Warsaw's Central District, using it as a place to offload difficult residents evicted from his administrative area. In December 2005 he confirmed the legitimacy of his decisions in the television programme "TVN Attention": "This is an isolated plot of land between railway tracks. This was entirely on purpose. It wasn't meant to be for people who want to settle there, who will have demands concerning what the housing estate is to offer. This was to be rotation housing accommodation, places to move on from as quickly as possible. They were to offer the lowest possible standard, so that people wouldn't want to stay there and so that they wouldn't treat it as another present from the public administration, from society. It's possible that this housing estate is now a ghetto. I believe this was the right decision. Something had to be done with these evicted people".

And so everything went ahead according to plan - The people living there are poor, mostly those who have been unable to pay their rents, and often burdened with various other "social problems". Only the policemen and their families, constituting 30% of the residents and placed there in order to "stabilise" the atmosphere and keep a semblance of peace on the housing estate, have moved on. There remain only those who probably are incapable of escaping Dudziarska by their own means.

There are lots of housing estates like Dudziarska in Poland - one can find them in every town and in dozens of smaller localities. These eyesores, cysts of poverty, became swollen in the years of the country's transformation, though most are located out of sight. There are no simple solutions to cure such city ulcers, despite all the debates, solemn pre-election promises and sociological recipes. They lie below the horizon, taking second place to the disputes raging between the country's political parties, the long list of issues so much more important than some social group left to its own devices. The only thing Grzegorz Drozd could do was point them out in the most forcible way.

Grzegorz Drozd applied a technique similar to that of the architects who fathered the ghetto on Kozia Górka - he objectivised the housing estate. Looking at those three blocks from Dudziarska Street and then at photos of the buildings with black squares painted on their surfaces, one sees something similar to model houses made of blocks, the kind that children place next to the sidings on their train sets, miniature railways. Drozd's actions are closer to works such as Zbigniew Libera's "Lego" arrangements than the integrating designs of Paweł Althamer. There aren't too many places in a ghetto for "integration of residents", launching "discourses"; powdering one's nose means something quite different here. Objectivising this nightmarish municipal project and exposing it to public inspection, accomplishing this during council elections - is the only effective strategy.

Piotr Rypson













Animating the Marginalized in Public Space Patricia Watts

I learned about Grzegorz Drozd's work earlier this year in preparation for my trip to Krakow for the Art Boom Festival. Of all the works proposed for this "modern art" public art program, Drozd's Letters To My Brother stood out to me as the most provocative and poignant action linking the marginalized with the cultured. In the Old Town where international tourists flock to engage in old world aesthetics, touring churches, dining in fine restaurants, and attending performances, Drozd envisioned distributing hundreds of letters, some with drawings, from Polish prisoners which he personally invited to communicate with him. Festival organizers were asked to print the letters in the form of leaflets and then distribute them by aircraft from across the skies over the City Centre. Drozd received over 500 letters, which he submitted to the festival organizers. On the day of the event, however, only a few versions of the letters were duplicated and some with only excerpts, basically editing the original intent of the work. And, to complicate his efforts further, the letters were immediately picked up by city workers off of the pavement like trash after their landing.

As with most public art supported by city or state agencies that have responsibilities or liabilities to political organizations, the artists' freedom of expression is often modified to the comfort level of bureaucrats. Although a version of Drozd's vision was represented at Art Boom, the thoughtful consideration of over 500 handwritten letters was denied because of this alteration. Plans to document each of the letters and drawings in the form of a book are being pursued now by the artist for publication in 2011.

Working with marginalized communities is a difficult task, one that takes time although can be significantly rewarding. In the United states McArthur Genius Award winner and public artist Ned Kahn recently told me that his most meaningful work-and he has completed significant works around the world with very large budgets-was an early public art project where he built a greenhouse with prisoners at the San Francisco County Jail (1). His vision was to create an open frame structure as a counterpoint to the oppressive feeling of the jail cells and to give inmates a place to grow vegetables and flowers, and tree seedlings to be planted on city streets. Working with the prisoners daily over several months took a great amount of patience with trust being built slowly over time. However, it was on the occasions that Kahn was alone with these criminals, mostly drug abusers and drunk drivers, nurturing plants, that he felt a deeply unexpected satisfaction.

Another artist here in the United States who is well known for her social practice work animating the un-empowered in both urban and rural communities is Suzanne Lacy. In 2008-9, she returned to her roots in the agricultural San Joaquin Valley, California with "the intention of creating a town-wide project to combine the aesthetic values of art with the social values of community engagement."(2) Many residents of the unincorporated township of Layton worried that Lacy and her students would turn their community into a "clown town." So she crafted a vision for a series of one-story commercial buildings as sculptural forms, creating essentially a three-dimensional color field painting. Through negotiations with storefront owners they transformed the formerly all beige buildings on Main Street by painting the restaurant green, the local market green and red, and the neighborhood activity center blue. They also activated the town with a movie night projection on the side of the restaurant, and engaged local schoolchildren in the creation of a more traditional colorful community mural.

These two art projects, constructing a greenhouse with prisoners and "painting a town," took at least one to two years to complete. Creative strategies were engaged to develop trust including numerous visits with prisoners and community building events with the citizens of Laton. These activities were considered part of the art and ultimately made it possible for the works to be completed as envisioned. Both projects gave voice to the needs of the marginalized and demonstrated a relational aesthetic for participants.

Upon my return back to America from Poland in June this year for the Art Boom Festival, I learned that Drodz was planning to execute a project at the end of the summer in September at Dudziarska or Goat Hill Estates, northeast of Warsaw. He told me how several units in the three buildings built in 1994 were not wired with electricity and that there were squatters living in them. Upon doing further research I found that the estates are adjacent to a garbage incinerator plant and a prison, and that it has taken years for residents to get transportation lines running to and from neighboring communities allowing them safe access to necessities. Basically, it is a disenfranchised community of residents that are very bitter about being isolated and neglected over a twenty-year period.

When I realized the level of complexity that Drozd was entering into, to paint a series of "murals" on both ends of the three buildings at Dudziarska, it seemed logical to me that his work would be met with resistance. Even with communities who are not neglected, communities that have invited an artist to create a mural will resist change. When an artist proposes an artwork that is beyond the communities understanding or does not meet their individual aesthetic, it is difficult to attain acceptance by even the cultural elite. Resistance is normal in the world of Public Art as artworks will more than likely be permanent.

After two weeks of painting, the artist reported that the first team of painters resigned from their jobs, as they could not withstand the pressure exerted on them by inhabitants of the subdivision. Drodz stated "name-calling, cursing, throwing bottles and other paraphernalia were directed against us." He had hoped for dialogue with the residents by planning an evening with them from the start to discuss the project and to talk about daily life in Dudziarska. Drozd's hopes were quickly met with disappointment as he became afraid for his own safety and for the integrity of the paintings once he was gone. Before arriving at Goat Hill, he brought with him assumptions that the residents were victims of the governments' decision to isolate them. After being met with aggression, however, he realized that the complexity of the situation was beyond his strategic ability to execute the work in a way that the community would engage with him and his vision.

For this project Dordz ultimately chose to paint the ends of the three buildings to the east completely black, a void. And, to the west, white background with a grid of vertical and horizontal black lines and squares of primary colors. The black representing the space that Goat Hill Estates embodies, basically "black holes" in which the residents dwell. Borrowing from De Stijl, the artist also represents a Neoplasticism for the East bound trains, "a vision of a new utopian ideal of spirituality, harmony and order" (3) for this otherwise living hell, a place forgotten by the people and god. The project as a whole is entitled "Universal."

Dordz found the experience at Dudziarska to be emotionally fraught and felt very depressed following the completion of the painting. Although he feels the work, Universal, will have a staggering effect and is personally very pleased with it, his interactions with the residents and the city officials were not easy. The artist also created an accompanying documentation of the subdivision, a film that exaggerates elements of the degrading buildings. "The settlement resembled an act of war," he states, which he captured on camera from what felt like a battlefield. He will present the completed film in October this year at Lab Cinema CAA, Ujazdowski Castle in Warsaw.

Drodz's attraction to making art within marginalized segments of society reflects his desire to animate the interstices of rich and poor, have's and have not's, or educated and commoners. One of the intriguing aspects to me about Drozd is the social maturity he brings to his work. This probably comes from having spent several years in his twenties during the 1990s working to make a living as an airplane mechanic, engineer, and custom interior painter before deciding to attend the Fine Arts Academy, Warsaw in 2002. He understands how things are constructed, conceptually and mechanically, and has employed the field of art, like a tool, to address the broken parts of society. Drozd travels a liminal space where his actions animate the disenfranchised, those who have the greatest potential to benefit from his art.

And, it is in this liminal space, as in the work of Ned Kahn and Suzanne Lacy, that Drodz has also shared agency with the marginalized. In Letter's to My Brother, he implies an alliance with the Polish prisoners by presenting their letters to the public as a single artwork. Although with the Goat Hill project, Universal, he potentially fails to close the distance between conceiving of his murals and the rejection that is demonstrated toward him by the residents. So the larger question is then, can a public painting or mural project succeed over time when the artist has not been successful at creating agency for the community? And if not, can the work then be valued exclusively by the art world regardless of the community's response? Time will tell. And, in the mean time, Drodz new.

Patricia Watts, founder and west coast curator of ecoartspace (USA)


  1. 1.1.Ned Kahn's Greenhouse Project, San Francisco County Jail, San Bruno, California (USA). The project was funded by the San Francisco Arts Commission in 1990. http://nedkahn.com/fire.html#GreenHouseProject and http://www.gardenproject.org

  2. 2.2.Otis Connects: San Joaquin Valley is a collaborative project of the Public Practice Graduate Program and the Integrated Learning Program. It is part of a multidisciplinary art and design project that started in Fall 2008 with residents of Laton, California. https://wikis.otis.edu/sjv/index.php/Welcome!_Bienvenidos!_Bem-vindo! and https://wikis.otis.edu/sjv/index.php/Painting_the_Town

  3. 3.3.Definition of De Stijl on Wikipedia http://en.wikipedia.org/wiki/De_Stijl




 

The collier Ibupron Piotr Sikora

Looking at the huge murals overlapping each other like some colourful tracing papers enveloping the grey apartment blocks on Dudziarska brings to mind the final scene of that story "Two poor Rumanians speaking polish". Towards the end of the drug and alcohol adventures of the title's two protagonists on the roads and wilds of "Poland B", they arrive at a Werter type denouement, followed by a moment that is key to the whole work. The collier Ibupron proudly sails into a snow-covered forest glade. This monumental ship, slowly appearing from behind the stage props of reality, breaks up the whole performance. From a plot balancing on a fine line between the real and the absurd, we are thrown in at the deep end of a surrealistic pool, to be just a moment later smacked in the face with reality.

The juxtaposition of worlds apart, the playing with convention and creation of situations eluding simplification is a characteristic strategy of Grzegorz Drozd. In the UNIVERSAL project, art adopts the role of a tool, with which the artist discloses a new dimension of reality. The constructed chain of events leads us to confrontations between avant-garde artists and the commonplace of a housing estate. The plurality of plots entwined with this chain provokes us to explore successive and ever more engaging levels of a situation played out in a grey backwater of Warsaw, somewhere between a refuse incinerator plant and a railway line, "in Poland, i.e. nowhere".

Strolling the streets of the capital, regardless of whether it's the Old Town, the Wola district or Southern Praga, I'm constantly bombarded by the impression of treading on the ashes of a utopia. Prospects and plans pass beneath my feet and I observe stunted ideas encased by walls and closed in by architectural order. The miscarried completion of a hopeless plan, the chaotic filling of empty spaces with ideas for a society made up of the equal and those more equal than others. Dudziarska is the perfect example of a concept gone wrong, one that no doubt conceals private agendas. Far be it for me to speculate who is responsible for this brilliant plan to create a mini ghetto on Warsaw's outskirts. But it's easy to see that it fully reflects a familiar strategy of shoving problems into the background, sweeping them under a carpet that with time bulges and becomes deformed, emphasizing an existing problem even more.

I see the repetition of simple geometrical forms on the walls of these small blocks with their smashed windows as a perverse test of the avant-garde. Mondrians and Maleviches on the one hand dominate these concrete planes, but on the other hand are completely helpless. Without the history of European painting, without museum walls and their characteristic stale atmosphere, these images shine out like some naked, tragicomic giants put on display to be preyed upon by the natives with their lewd comments. Why then, I wonder, reproduce sequences of colours and shapes reminiscent of the beginning of the 20th century? Why bother to reproduce them on a huge scale, if nobody is delighted by the effect? Why expose high art to such a confrontation risking it being laughed at?

"Great poetry, being great and being poetry, cannot fail to delight us, and so it delights."

And one is tempted to shout at the foul-mouthed residents of the estate: "Malevich was a great painter!". No doubt that would provoke empty laughter sealing the border between our world and theirs.

This project is by all measures one of educational value. And by no means do I intend to educate the Dudziarska residents by familiarizing them with a canon of 20th century painting. Drozd creates an uncomfortable situation, in which like Gombrowicz in the quoted "Ferdydurka", confronts us, we who know this canon, with the question "Why does it delight us?". Why do we treat the avant-garde with such a large dose of apparent acceptance? Don't we perhaps bow to it too fervently, nodding our heads and learning by heart about the greatest revolutions in the history of art? The advance guard of art raised on the walls of these apartment blocks crashes against a wall of incomprehension, providing a pretext for auto-reflection.

This mechanism, as applied by Drozd, of creating a workaday performance of atypical situations, is to be found in the recently completed project "Letters to a brother". At about midday on June 27th, a plane appeared above the sleepy Old Town and let loose thousands of spiralling letters written by male and female prisoners from all over Poland. In the air space above Krakow, filled with visual messages of varied hue, appeared an extremely strong and popular element that grabbed the attention of thousands. It contained the stories of people deprived of any contact with the outside world. This channel of information connected that mute crowd with tourists and the town's residents. The artist took up a position apart from the communication process, granting the prisoners the status of messengers and us the status of the message's recipients. This rain of letters falling, it's worth noting, from a clear cloudless sky, brought to mind the manna of the Bible - an announcement from another world.

"Letters to a brother" was one of the main plots of the FEST? panel about art and impossible communication, which was aimed at creating, within the framework of the Art Boom Tauron Festival, space in which to reflect on the actual presence of art in public spaces. The area of the city in this case was seen as a space for simplified and aggressive visual messages absorbing our attention to a considerable degree. Can a work of art emerging in this plane, attempt to regain this attention, and if so, what language should the artist use when competing with the mass media? The inspiration for undertaking these media science deliberations was Mieczysław Porębski's book "Art and information", in which the author put on a show of amazing erudition, mixing humanistic notions with hard facts in the form of graphs and figures.

Marshall McLuhan characterized a work of art as an incomplete message, one that is not subject to the dictates of functionality, one that avoids the obvious. Art exists at the limits of communication codes and channels. It is not subject to the strict rules of communication, a finish line - a message that stretches the limits of traditional communication. This lack of the obvious very often however equals a lack of interest on the part of the recipient. Ephemeral works in public spaces are for the majority of residents silent objects, noticed by only a small group of fanatics. Where in that case is the, so often emphasized in the case of art in public spaces, general accessibility and lack of barriers between a work and its recipients?

So how should one construct a work that as McLuhan writes, permits the spectator to enter into the communication process? To not only become a part of it, but following the artist's suggestion, fill the gap that is written into it? The "Letters to a brother" project may be read as a somewhat perverse answer to that question. Drozd in this case avoided superfluous deliberation, launching a monumental performance, whose recipients involuntarily became the estate's residents.

It's exceptionally difficult to put on the mental map of a typical Cracovian a point equipped with the description a work of modern art. The for many years traditional structure of a city manifests itself on a scale of 1:1 in the attitudes of residents to this type of initiative (a living sort of Sunday after-church nap). Nostalgic dreams about the power of art winning the attention of the masses became a reality for me when, flying over the city in which I was born and brought up, I observed the falling clouds of letters. Disregarding the fact that the project opened up before the residents a different world hiding behind the words written by the prisoners, this was a performance involving form. It was a surprising and hypnotizing event, following which one could no longer look at the city of Krakow in the same way.

Because it was precisely all about looking. About looking and searching. "The eye looks for something that is further away somewhere" as Maria Poprzęcka writes. But the artist, by building up a specific situation hints about the direction in which we should look. He leads us towards that which is not evident.

The UNIVERSAL project may be for Warsaw residents what for Cracovians was the appearance of an intruder in the sky in the form of an airplane dropping letters. Both in the case of the letter drop over Krakow and the reproduction of classic works of the avant-garde on the apartment blocks, Drozd, using a monumental scale, takes us towards the surreal. The path to the surreal does not lead us by empty games with formal measures, because such means have their limits, which are not foreseen by surrealism in its strictest sense. Nor is this the result of a rejection of realism. For Drozd, reality is neither too tiring nor banal. It's an unending source of inspiration, a puzzle that is only waiting for the artist to spread it out in its original parts and then put it back together again. The missing or shift of any individual element results in this case in a series of changes, small revolutions transforming our perspective for ever.

The dot over the "i" of this project is the film entitled "Substitute label". The well-known voice of Tomasz Knapik leads us around the delicately constructed, standard housing estate on Dudziarska. Drozd paints an unreal image of this place. In order to create it, the artist became a total director, preparing not only the film but also the text and music. The painterly hand of its creator is visible in the production. Carefully selected shots and precisely edited frames in slow motion proceed one after another, mixing with the soundtrack consisting of 10 works. The narrator spins his incomplete quasi-documentary message, sprinkled with the technical terms of the modernists' manifestoes. He plays with the discourses and languages of art history, treating them with an ironical wink of the eye. The extreme composition of these verbose statements and images lends the effect of cracking and the loss of place, emphasized by the action's lack of a specific time and place. The image thus established has no frame. It embraces rather a chain of events and situations, in which leaving the conventionality of canvas, we go out into a space underpinned by irony, beyond the thin line of reality. The film can be read as a foundation, the base on which the painter's execution arose.

Piotr Sikora

Project in public space, Dudziarska street, Warszawa PL 2010

Rok 1918, Holandia. Kilku artystów w ramach założonej grupy, ogłasza manifest zaczynający się słowami ,,Istnieje stara i nowa świadomość czasu. Stara - kieruje się na to, co indywidualne.
Nowa - kieruje się na to co uniwersalne ( powszechne).
Ich celem było osiągniecie pełnej abstrakcji tzn. całkowite odrzucenie zmysłowego odbioru rzeczywistości. Wyzwolenie od obciążeń indywidualizmu i przypadkowości stało się drogą do prawdy absolutnej.
Piet Mondrian - ,,jeżeli życie współczesnych ludzi nie osiągnęło tego, co jest celem ostatecznym: porządku i harmonii - to przeszkodziły temu właśnie indywidualizm ludzki i nieokiełznany subiektywizm, wprowadzając w egzystencje ludzką niepokój i tragizm"

Rok 1993 Warszawa. Porozumienie samorządów dzielnic w sprawie budowy osiedla przy ul. Dudziarskiej. Lokatorami osiedla maja być rodziny społecznie nieprzystosowane. Aby nie doszło do powstania getta miasto planuje zasiedlić 30 procent lokali przez rodziny policjantów.
Plan ten jednak się nie udaje a w 1995 r. bloki zamieszkują jednostki nie ,,przystosowane do życia społecznego".
W nowo wybudowanych blokach brak ciepłej wody i ogrzewania. Na osiedlu, oprócz bloków nie ma podstawowej infrastruktury. Trzy, czteropiętrowe budynki, łącznie 216 lokali, umiejscowiono w otoczeniu linii wysokiego napięcia, niezliczonej ilości równolegle biegnących linii torów kolejowych, skutecznie oddzielających społeczność od miasta oraz w sąsiedztwie spalarni śmieci. Najbliższym skupiskiem ludzkim jest otoczone wysokim murem, zwieńczonym drutem kolczastym wiezienie dla kobiet. Mieszkańcy nowego osiedla zmuszeni do pokonywania dystansu około 2,5 kilometra do najbliższych zabudowań miejskich, wybierają krótszą drogę przez tory, która niejednokrotnie kończy się tragicznie.

 

Rok 2010 Grzegorz Drozd rozpoczyna pracę na osiedlu Dudziarska. Jego celem jest wzbudzenie refleksji jak i dyskusji na temat problemu jakim jest wykluczenie społeczne. Wierzy, że poprzez sztukę zogniskuje uwagę opinii publicznej na problemie osiedla i jego mieszkańców.  Jednocześnie poddaje analizie idee modernizmu oraz współczesne wizje budowy ładu społecznego.


Projekt jest realizowany dzięki finansowaniu ze środków Miasta Stołecznego Warszawy

kolekcja publiczna warszawy / warsaw public collectionhttp://kolekcjapublicznawarszawy.wordpress.com/2010/10/03/universal/http://kolekcjapublicznawarszawy.wordpress.com/2010/10/03/universal/shapeimage_4_link_0
www.artmuseum.plhttp://www.artmuseum.pl/wydarzenie.php?id=nowe_miejsce_2011_Sztuka_publiczna_w_Warszawie_Kalendariumhttp://www.artmuseum.pl/wydarzenie.php?id=nowe_miejsce_2011_Sztuka_publiczna_w_Warszawie_Kalendariumshapeimage_5_link_0

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