Przemysław Strożek
Biographic Data
| ID | 6556595 |
|---|---|
| NAME | Przemysław Strożek |
| GIVEN NAMES | Przemysław |
| FAMILY NAME | Strożek |
| SIGNATURE | STROŻEK P |
| AFFILIATIONS | Institute of Art |
| ORCID | 0000-0001-6473-7894 |
| VERIFIED | Yes |
| TOTAL WORKS | 5 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 5 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2015 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 0 |
Poland – The Land of Winter Sports
The Olympic Art Competition, which opened in the Los Angeles Museum of History, Science and Art in 1932, featured artists from 31 countries and a total of 1,155 artworks. The Polish section was modest, comprising 39 paintings, sculptures, and graphic arts. Nine artworks, nearly one-fourth of the Polish section, tackled the subject of winter sports. The winter sport-related works shown in Los Angeles consisted of posters designed by Stefan Osiecki…
Envisioning the Eastern Bloc
This essay explores the presence of Eastern Bloc artists at the Olympiad of Art in Seoul (1988) at a time when there were no diplomatic relations between South Korea and the socialist/communist states in Europe. In the wider geopolitical context, the promotion of Eastern European arts was in line with Nordpolitik (Northern Policy): the South Korean government brought Eastern Europe to its side and isolated North Korea from its allies. The essay d…
Abdelkader Lagtaâ and His Conceptual Exercises in Poland, 1972–74
This article focuses on conceptual practices by Moroccan artist Abdelkader Lagtaâ, whose early 1970s work, created as a part of Polish conceptual milieus in Łódź and Warsaw, remains undocumented in art-historical scholarship. The author rediscovers Lagtaâ’s practices as part of conceptual strategies in Eastern Europe and discusses his work in relation to Okwui Enwezor’s article “Where, What, Who, When: A Few Notes on ‘African’ Conceptualism.” The…
Worker Sport and Art for Proletarian Masses
The aim of this article is to connect the history of Red Sport International (RSI) with the history of Constructivist Art in Russia and Czechoslovakia in the years of 1921–1928. It investigates the various ways in which avant-garde artists were engaged in promoting worker sports. It shows then how it differed from traditional sport-themed artworks as Constructivists intended to reject museums and galleries in favour of creating art for proletaria…
Off-field spectacle
This essay examines the relationships between football and art in Poland since the launch of the first 1921 Polish Football Championship until 2012, when the European Cup was held in Poland and Ukraine, testifying to a veritable craze for the national game, and cementing football’s place in cultural discourse. From pre-war painterly references to football, through Neo-avant-garde tendencies in the 1970s, to young Polish art, football has signifie…
No prominent works on this page.
Off-field spectacle
This essay examines the relationships between football and art in Poland since the launch of the first 1921 Polish Football Championship until 2012, when the European Cup was held in Poland and Ukraine, testifying to a veritable craze for the national game, and cementing football’s place in cultural discourse. From pre-war painterly references to football, through Neo-avant-garde tendencies in the 1970s, to young Polish art, football has signifie…
Worker Sport and Art for Proletarian Masses
The aim of this article is to connect the history of Red Sport International (RSI) with the history of Constructivist Art in Russia and Czechoslovakia in the years of 1921–1928. It investigates the various ways in which avant-garde artists were engaged in promoting worker sports. It shows then how it differed from traditional sport-themed artworks as Constructivists intended to reject museums and galleries in favour of creating art for proletaria…
Abdelkader Lagtaâ and His Conceptual Exercises in Poland, 1972–74
This article focuses on conceptual practices by Moroccan artist Abdelkader Lagtaâ, whose early 1970s work, created as a part of Polish conceptual milieus in Łódź and Warsaw, remains undocumented in art-historical scholarship. The author rediscovers Lagtaâ’s practices as part of conceptual strategies in Eastern Europe and discusses his work in relation to Okwui Enwezor’s article “Where, What, Who, When: A Few Notes on ‘African’ Conceptualism.” The…
Envisioning the Eastern Bloc
This essay explores the presence of Eastern Bloc artists at the Olympiad of Art in Seoul (1988) at a time when there were no diplomatic relations between South Korea and the socialist/communist states in Europe. In the wider geopolitical context, the promotion of Eastern European arts was in line with Nordpolitik (Northern Policy): the South Korean government brought Eastern Europe to its side and isolated North Korea from its allies. The essay d…
Poland – The Land of Winter Sports
The Olympic Art Competition, which opened in the Los Angeles Museum of History, Science and Art in 1932, featured artists from 31 countries and a total of 1,155 artworks. The Polish section was modest, comprising 39 paintings, sculptures, and graphic arts. Nine artworks, nearly one-fourth of the Polish section, tackled the subject of winter sports. The winter sport-related works shown in Los Angeles consisted of posters designed by Stefan Osiecki…
Law (4 works) · Law (4 works) · Political science (4 works) · Politics (4 works) · Sociology (3 works) · Sports, Gender, and Society (3 works) · Art (2 works) · Communism (2 works) · Field (mathematics (2 works) · History (2 works)