The Pitch-in Culture was raised at the ground level. In artistic terms it was a trend based on post-conceptual art. On the one hand it expressed the ending of modernism, and on the other - the beginnings of postmodernism in Polish art. Therefore, it gathered together the most progressive art at that time.
It closed the past of avant-garde art, and at the same time it opened new post-avantgarde perspectives for art. Therefore it was the Pitch-in Culture that caught the continuity of Polish art during the turn of modernism / postmodernism, and the continuity broken in other fields by martial law.
The 80s in Poland are a specific time of interest - of the fall of communism and of economical and political crisis. Martial law was the last stage of that decadent era. However, as it turned out, the oppression of the authorities was not able to overcome the freedom movement of the society, happening during a short period of the so called 'first Solidarity' between August 1980 and December 1981. The freedom movement was also noticeable within the artists' community and more broadly - people associated with art.
The often dramatic hardships and limits, in social and political life in Poland of the 80s directly caused the Pitch-in Culture. Its emergence not only had an artistic dimension, but it gained the status of cultural phenomenon - an expression of the whole era presented in art. From the perspective of time, one can see it as a cultural movement that united artists, but also attracted everyone sympathetic towards art. Therefore, it was also a social movement.
The Pitch-in Culture was also a symptom of the grass roots ability of the artistic community to unite and to self-organise in a social dimension, under martial law (an inspiration for which was also the experience of the so called first Solidarity, common for all participants of the Pitch-in Culture). This ability to create a milieu, despite individual differences, focused the artistic community and contributed to the later process of creating independent artists' movements in the democratic, citizen based society of the 90s (e.g. the Living Gallery). The consequences of that movement are valid today in the form of emerging initiatives that connect various milieus (such as the Polska Biennale). Seen in this perspective, the Pitch-in Culture of the 80s is a phenomenon of unusual importance that had its consequences in art and society in the whole of Poland.
In the symposium there will participate witnesses and artists - the participants of the Pitch-in Culture, as well as scholars.
In the first part of the symposium direct evidence will be collected - the subjective stories on one's own participation in the Pitch-in Culture, and how it was perceived by others.
In the other part, materials will be made available for scholars of various disciplines - art historians, culture and film experts etc. who will develop their research based on them.
A part of the symposium will be a discussion panel with the Pitch-in Culture participants and scholars.
The materials will be published in the Art and Documentation journal (in spring and autumn issues 2012).
Please, send your paper proposals together with their abstracts to the symposium's organizer:
Ryszard W. Kluszczyński: e.mail: email@example.com
With a note: Pitch-in Culture Symposium
Deadline: March 1st, 2012.
list of participants. The list is not complete.
We ask all witnesses of Pitch-in Culture to supplement.
Iwona Lemke /Konart/
Małgosia Kopczyńska /Pynia/
Andrzej Wielogórski /Makary/
Jerzy Gawron /Zygfryd/
Dorota Skaryszewska /Monkiewicz/
Richard Boulez _ Australia / USA
Paul Clark _ W.Brytania
Maya Gordon - Holandia
Guy Schraenen _ Belgia
Zespoły muzyczne: Plusch, Moskwa, Amgualangua, Sesja'80, Awaks
E.K. /Ela Kacprzak/
Darek Kędziora /Bossman/
(Aleks Korecki, Michał Zduniak) Duet 46
Thomas Struks _ Hamburg