f13 foreign correspondents Lukasz Gorczyca

Foreign Correspondent: Lukasz Gorczyca + Additional materials about history and the state of journalism.

In 2003 an art critic Lukasz Gorczyca published on his blog an article about Polish sculptor Wladyslaw Hasior (1928 – 1999) and public sculptures located in Elblag, a city in northern Poland. Below there is a part of this article and I only add that many of the artworks mentioned there are (unfortunately) still falling into decay.

Lukasz Gorczyca is a curator, a writer and a co-owner of the Raster Gallery.
Blog [PL] Gallery [PL/EN]

Hasior – an extraordinary sculptor
Wladyslaw Hasior, who had died few years ago, was both an artist and a person fascinated by the provincial, church fete material culture. He belongs to a group of artists who had been abandoned by Polish culture about two decades ago. The value of his works has been called into question when some pointed at Hasior’s sculptures in which the legend of people’s power lived on. Perceived as an artist from the “ancien regime”, a star peculiar to the art of Polish People’s Republic. He slid (was put in fact) into the shade on the Polish art scene. That simple, or rather simplistic, histo-cultural mechanism had worked perfectly for yet another time, causing a factual harm. As Hasior, and his, to some point insane, works deserve to be treated absolutely seriously nowadays. The label of a dusty museum relic is somewhat too trivial while referring to works that have had shaped the Polish landscape (both mental as well as physical) with verve and imagination. Apart from numerous, though not necessarily displayed, works in museums (we recommend Zakopane and Wroclaw) Hasior left a number of works in public space, primarily monuments. Ranging from plain stone works (like the monument of the Tatry Mountain Rescue Team in Zakopane), to impressive sculptures incorporating water and wind (monuments in Kuznice and Czorsztyn), to experimental forms like Monument of the Shot Hostages in Wroclaw – cast in concrete in moulds dug directly in the ground and then set on fire. Fire was also the favorite element used by the artist in his “processions” and other, ephemeral, projects in public space. It was also fire that had appeared in Szczcin in 1975, when on the slopes surrounding the castle Hasior “unveiled” his new work “Firebirds”. This impressive and prodigious installation made of iron and sheet metal remained in Szczecin for good. After a few moves in the 90’s it eventually landed in Kasprowicz park on the outskirts of city center. That was the moment when its slow but gradual degeneration began.

Elblag – the untapped potential
Modern sculptures, monumental metal forms placed in city space or in parks park are, just like electricity poles, a perfect target for the junk collectors. A few years ago in Elblag those people looted a large part of the famous piece by Henryk Morel, which overlooks the city from a nearby hill. It is one of a few dozen of works made within the framework of the Biennial of Spatial Forms, held in Elblag in the 60’s. In many ways this event was pioneering on a global scale, what is more, it all resembled a utopia that came true. The Biennial was realized under the patronage of ZAMECH, the local industrial plant, and artists had worked along with plant workers building their works from scrap material. In the center of Elblag one can still see numerous modern sculptures by leading Polish artists of the 60’s. Their condition is fairly good – obviously they are being repainted every now and then. Yet for the time being, not only junk-collectors but Elblag officials as well, may call this situation “the untapped potential”. While this unique collection could be easily turned into both tourist and artistic attraction. And the effort is nominal: to prepare a comprehensive catalogue (each year, about a hundred young people graduate in Art History in Poland), print leaflets and town maps including itinerary, and conserve the sculptures. One could organize a special art project and invite contemporary artists to dust the beautiful, modernist Elblag utopia.


The Foreign Correspondents project is probably going to be a melange of points of view. Let me present two of them: one by the ancient historian Polybius and another one by Gay Talese, an American journalist.

NOW IN EARLIER times the world’s history had consisted, so to speak, of a series of unrelated episodes, the origins and results of each being as widely separated as their localities, but from this point onwards history becomes an organic whole: the affairs of Italy and Africa are connected with those of Asia and of Greece, and all events bear a relationship and contribute to a single end.
Polybius (died 118 BC), on the rise of Rome (translated by Ian Scott-Kilvert)

D. Shankbone: What do you think is the reason there is this collective idea to give Americans a certain view of a place or a people that is not necessarily accurate? I think Iran is another good example, where we are consistently fed images and notions about a people and a culture that aren’t really accurate.
G. Talese: Or fair minded.
DS: Or fair minded. But the reality is far more interesting than the same stories we
are consistently fed.
GT: Well it involves more work. I think most journalists are pretty lazy, number one. A little lazy and also they’re spoon-fed information, such as the weapons of mass destruction back in 2003. It’s easy. There are all these lobbyist groups, these special interest groups. Each of them has a position with regard to Taiwan, for example. The anti-China lobby is very strong. Whether it’s the gun lobby or the Israeli lobby or the Taiwan lobby, whatever the hell it is, you have these people who create a package of news, develop it as a story line, a scenario, and they fi nd, as Mailer once said about the press, that they’re like a donkey. You have to feed the donkey. The donkey every day has to eat. So these people throw information at this damn animal that eats everything. Tin cans, garbage.
Gay Talese on the state of journalism, Iraq and his life. David Shankbone’s interview with Gay Talese. October 27, 2007


Top row: Public sculptures in Elblag, Poland.
Middle row Wladyslaw Hasior’s monuments, all in Poland: “To those who die setting up a people’s democracy in the Podhale region”, Czorsztyn, 1966 | “To those who fought for the Polish character and freedom of the Pomerania region”, Koszalin, 1980 | “To those who fought during WWII for freedom of the Podhale region”, Zakopane
Bottom row: Henryk Morel, sculpture in Elblag, 1967 | Wladyslaw Hasior, Unveiling of the Firebirds sculpture, Szczecin, 1975 | The Firebirds sculpture in 2008, Szczecin


f13 foreign correspondents

Foreign Correspondents


F13 is starting a new project called Foreign Correspondents

Right now I am looking for artworks (or just works) which can be in a form of correspondence. If you are outside of UK and would like to send me a mail or an e-mail related to specific topic or issue please do so. There is no deadline, the topic could be anything you want to share your knowledge about.

The corridor will be transform into an editorial space and all materials will be published here, on this blog and maybe in future as a printed material, who knows…

Yours, Waldemar

E-mail contact: czas [at] | Mail address may be obtained by e-mail.

Please note:
– This project is not a ‘mail art’ type. By sending your materials you allow for possibilities of some editorial work. There will be no deleting in your material but it the can be retype, scan, scale or put in a certain frame of design.

Who is a correspondent?

A correspondent or on-the-scene reporter is a journalist or commentator who contributes reports to a newspaper, or radio or television news, from a remote, often distant, location. A foreign correspondent is stationed in a foreign country. The term correspondent refers to the original practice of filing news reports via postal letter.

Reporter vs. correspondent

A correspondent generally includes some of his/her own perspective on the news. For example, a correspondent is expected to provide considerable context to the events being chronicled. A reporter, on the other hand, offers largely fact-based reporting.

f13 pakolska

Pakolska – Miasto Taa’Meer Karna


The fourth project at F13 presents stencils by Pakolska, the group interested in art, design and graffiti. The members of the group are Sabahat Nawaz, Fatima Hussain and Waldemar Pranckiewicz.

Pakolska – Miasto Taa’Meer Karna
16 November  – 14 December 2008
Concept: Waldemar Pranckiewicz

Miasto Taa’Meer Karna : City Konstrukt : Shehar the Construct

Winter is here and it’s too cold to go outside. This is the reason why the paper forms of stencils went on the walls the F13. They are just simple statements. And probably this presentation doesn’t talk too much about the city, and how it is under construction. Not because we don’t try, it’s just that those works- stencils, drawings or photographs ‘about us here’ are still in a process of emergence. In this sense all this presentation is just a form of test. To see how they look together and where they can be taken next. Maybe the better title for this show would be Stencil the Construct. This presentation is about the stencils as objects. They are three dimensional forms, full of marks and layers. And I think we can approach the city in a very similar way- city as a stencil. Inhabitants can be seen as the particles of colours. We saturate urban shapes, we transform them, and we mark the space.




.: Pakolska :.



The second project at F13
20 August 2008 – 20 September 2008

I was watching a telly with a programme for kids about Picasso. The presenter said: ‘Father of Picasso, an art teacher, saw once his son drawing a pigeon and was so impressed that he quite art. That’s how he was proud.’

I can imagine the game of characters where you have to fill the gap and it goes like “I’m most likely to be a ….. father”.
I could say for example: “I’m most likely to be a proud father”.
But I can think about a few more qualities. I can be a crazy father, I can be a paranoid father, and I can be a relaxed father. I can be a father with 1001 faces.

The Fathers project in F13 will be in progress. The concept of being a father and relations towards him are in a constant change.


Waldemar Pranckiewicz Keyword, A4, digital print, 2008.


Jeremy Akerman, Dad, graphite and print on paper.


Fathers, F13.


Waldemar Pranckiewicz Double Dad, paint on the newspaper advert, 2008.


Pilar de la Fuente Burying and unburying my father, two C-prints.


Jeremy Akerman, Dad, graphite and print on paper.


Fathers, F13, Bromley-by-Bow, London, 2008.


4 Rooms | 4 pictures






4 Rooms at F13

4 Rooms
18 June 2008 – 9 July 2008
The first exhibition at F13 brings together artworks of four residents of the flat nr 13 in Bromley-by-Bow.
Gosia, Fabrizio, Kiko and Waldemar invite you to have a tea or drink and see an interesting stuff on the walls.

left: Fab Invitation
right: Waldemar Pranckiewicz, “My sweetie”, a little bag for drugs, 2008.

Francisco Jose Magallon Barreiro, “London 2008”, 4 posters A3 size, 2008.

left: Francisco Jose Magallon Barreiro, “From the manufacturer”, collage, A3 size, 2008.
right: Waldemar Pranckiewicz, “Necklet”, 2008.

Waldemar Pranckiewicz, “Mon cherrie Cabron”, Polaroid print, 2008.





F13 = Flat 13 | Bromley-by-Bow | London | UK