Promotional presentation of “Alina Żemojdzin's new line of cosmetics aLine” planned in Łaźnia Centre of Contemporary Art in Gdansk was cancelled. Cosmetics made from human fat were announced “controversial”in the local edition of Gazeta Wyborcza, and Łaźnia director Jadwiga Charzyńska refused to “discuss the project on the embarrassing level” and cancelled the event. The question is: who is going to discuss projects? And how to present art in the country where journalists label artistic projects, directors cancel them and the right-winged politicians take artists to court?

Dorota Jarecka in Gazeta Wyborcza reminds of a long tradition concerning products made from human bodies: Joanna Rajkowska (cans with beverages labelled “ made from the artist's body secretions”), Gianni Motti (soap allegedly produced from Berlusconi's fat after liposuction) and many others. Jarecka has headed her article “How we prevented the debate”, indicating that labelling a work “controversial” before it is actually presented (sic!) is a controversial decision in itself. On the other hand, one may easily detect an ironic tone of the article and its heading.

Meanwhile Izabela Kowalczyk in her article “Cosmetics form human fat and other cannibal practises” lays the sole blame for withdrawal of Alina Żemojdzin's project on Jadwiga Charzyńska, Łaźnia Director. But are we to blame personally the Director or the Polish system of presentation and reception of art?

Each time Łaźnia exhibits works of young female artists who deal with the following subjects: body, repression and destruction, Gdansk media label them “controversial” before the actual presentation. This indicates the media aim to scandalise the artistic projects and evoke negative reactions instead of carrying out their social mission, which is informing objectively about current events.

Łaźnia Director Jadwiga Charzyńska depends financially on Gdansk City Council, which results in a strategy of immediate decisions to cancel events (as in the case of pseudo-terrorist activities of “Krecha' group or Daniel Muzyczuk's lectures). It seems her reaction concerning Żemojdzin's work is again of preventional nature. On the other hand, Łaźnia is described in the local media as a “gallery presenting scandalous works” by journalists who consider a naked woman in a gallery controversial.

Another problem is Alina Żemojdzin's attitude towards the whole case. A fresh graduate of the Academy of Fine Arts, who did her diploma under the supervision of a famous Polish artist, is totally unprepared to face the recipients of her work. She admits humbly: “I don't understand this” (similarly as Dorota Nieznalska in the case of accusations concerning her work “Passion”). We live in the country in which “an artist doesn't have to understand”. A sad thing is, however, that artists are not able or willing to defend their work and beliefs when they enter the world of people with a negative attitude towards contemporary art. Therefore one can pose a question whether students of fine arts academies and colleges should not be educated in their civil rights. Is it necessary for brave artistic projects to end with the artists' depression and personal tragedies? To prevent such situations Alina Żemojdzin should stand up for herself with the Academy's support. Meanwhile the artist hides her head in the sand, and the Academy, where she did her diploma, fails to back her up.

Indeks 73 Initiative comment:
In the atmosphere of witch-hunting and complex relationships involved in Alina Żemojdzin's project it is easy to refuse to discuss it on the embarassing level, as Jadwiga Charzyńska did when she cancelled Żemojdzin's presentation. However, the Director's reaction does not contribute to the expansion of artistic freedom guaranteed in Article 73 of the Polish Constitution. There are many ways in which one may react to the accusations in the local media, yet cancelling the event is not the best solution: it limits freedom of artistic expression and indicates that the main priority is to avoid controversies instead of supporting the artist's freedom, art development and a public debate on the issues tackled in the artist's work.

Read more (in Polish):

Artykuł Izy Kowalczyk na blogu „Straszna sztuka”

Artykuł Doroty Jareckiej w GW

Artykuł z GW zapowiadający wystawę

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