Jan Dziaczkowski
untitled [View of the city with the railway station and the Palace of Culture and Science]
from the series Mountains for Warsaw, collage, 2009
untitled [Roman Dmowski Roundabout with Hotel Forum]
from the series Mountains for Warsaw, collage, 2009
untitled [Łazienki Park]
from the series Mountains for Warsaw, collage, 2009
“Góry dla Warszawy” (The “Mountains for Warsaw”) series of works by Janek Dziaczkowski was created as an illustration for the Bęc Zmiana New Culture Foundation’s Ekspektatywa project. The works aimed to foster collaboration between the art and science communities, focusing on forward-looking effects pertaining to the intersection of knowledge and intuition. Grzegorz Piątek, a historian of architecture and cities, was the conceptual originator of the idea of creating mountains in Warsaw, collaborating with Marek Pieniążek from the Faculty of Geography of the University of Warsaw. Janek Dziaczkowski’s collages brought this seemingly fantastic concept to life, offering a contemplative experience in the process.
“Góry dla Warszawy” (“The Mountains for Warsaw”) were envisioned as a grand public project – grand and majestic like pyramids, yet practical like highways and dams. Their purpose is to serve as a barrier, halting urban sprawl and compelling the city to densify within its current boundaries. Currently, the only limitation to sprawl is the ever-retreating horizon, lacking any natural or legal barrier. Perhaps it will be possible to enhance nature’s progress faster than the law?” wrote Grzegorz Piątek. The project and Dziaczkowski’s works were first presented in 2009 at the Avant-Garde Institute in Warsaw.
Jan Dziaczkowski, born in 1983 in Warsaw, graduated from the Faculty of Painting at the Academy of Fine Arts in Warsaw in 2007. He was multitalented, excelling as a painter, photographer, illustrator, and collage artist. Known for his remarkable talent, he quickly gained recognition as one of the most promising young Polish artists. He died in September 2011 while climbing in the Tatra Mountains.
Diuna Art Collection
Rzeźba / Krajobraz / Forma – DIUNA
In Diuna project, we create the landscape as humans, it’s not created by nature, employing tools and quotations throughout the process. The resulting landscape isn’t and won’t be natural, yet it encompasses something more – a fusion of emotions, gestures, and an endeavor in composition that evokes a sense of harmony, even if it presents as an anomaly.
The anomaly evolves into a positive force, forging a new trajectory in shaping space, where materials and textures play a crucial role—initiating a sensory dialogue with human presence in a specific space. An integral element of this exchange is the inclusion of artists’ works within the spaces of the lobbies forming an additional stratum of Diuna’s landscape. Each artist interprets the landscape, lines, and gestures in a distinct manner, crafting fresh meanings that unfold across multiple dimensions.
The pieces from Jan Dziaczkowski’s “Mountains for Warsaw” collection displayed in lobby B is a poignant metaphor for the artist’s profound adoration for the mountains. They encapsulate a fulfilled dream, illustrating the hypothetical scenario of Warsaw nestled within mountainous terrain. Through these works, the artist delves into the cultural metamorphosis that accompanies a shift in landscape, a backdrop that significantly influences us. The juxtaposition of skyscrapers against the mountain backdrop enhances their allure, while the addition of a roller coaster leading to the Royal Castle constructs a vision of utopian tourism, ultimately attaining an iconic status. Janek’s envisioned landscape prompts us to recognize the pivotal role of our surroundings in shaping our emotions and aspirations.
Meanwhile, in Nikodem Szpunar’s showcased works in lobby C, the landscape transforms into a graceful gesture, crafted with a specially designed brush. These abstract yet intimately familiar creations exude tranquillity and harmony, akin to a form of grand calligraphy or meditation. They establish a seamless connection between us and the environment, fostering a sense of flow and unity.
A strikingly different piece, “The Bow” by Hannah Sophie Dunkelberg adds a touch of pop culture to lobby D, intriguing us with its unconventional form. While the bow may initially exude an air of sweetness and innocence, the material comprising it is sharp, angular, and weighty, imparting an aura of complexity and inaccessibility. Delving beneath the surface, the object challenges established norms and social expectations, offering a poignant commentary on the inherent difficulties that accompany notions of nicety and beauty. Yet, when viewed through the lens of space as compositions in a more organic light, the tribulationof conforming to conventions fade into insignificance.
The art collection is enriched by the presence of “The Pink Mermaid” in lobby A, a neon created by Maurycy Gomulicki in 2013. This piece seamlessly integrates with the theatrical ambiance of the lobby, combining distinct elements of expression that the artist passionately emphasizes in his work—neon pink hues and an admiration for the Warsaw mermaid, depicted here in an exquisitely feminine and even seductive form.
The resulting lobby landscapes A, B, C, and D form a subtle extension of the new outdoor patio space. The sculptures by Łoskiewicz Studio harmonize with the concept of intertwining our thoughts with nature, creating a space rich in complex details and textures, where emotions find tangible form. The ensemble evokes a contemporary temple, serving as a space where we seek dynamic harmony and balance, if only for a fleeting moment.
„Don’t try to understand it. Feel it.” – Tenet
