4-21 October 2018
As this year marks the 100th anniversary of independence in many Central and Eastern European countries, and next year marks the 30th anniversary of the fall of the Berlin Wall, it seems like now is a good time to reflect on what the inhabitants of these countries have (or not) in common in terms of their identities.
We often talk about their communist past and the difficulties of the transformation period, but underlying this is a more complex reality with multiple identities (national, religious, social, community) that are also undergoing a transformation process of their own.
The region therefore seems more like a mosaic in search of identity(ies) than a uniform block and it is this quest that the exhibition's curator, Violetta Łuba, suggests us to undertake through a study of seven photographic projects from Eastern Europe and Luxembourg.
The projects of the participating artists Reinis Hofmanis (LV), Juris Justs (LV), Miklos Deri (HU), Jan Langer (CZ), Miroslav Predojevic (RS), Patrick Galbats (LU/HU) and Gregory Michenaud (FR/PL) reflect upon, among others, the following themes: emigration, minorities, relics of communism, importance of community and religion, populism & nationalism, traditional and new values & lifestyles.
Curator: Violetta Łuba
Coordination: Radek Lipka
Organised by CinEast in collaboration and with the support of and
The vernissage of the 'Identities' exhibition will take place in Neimënster on Thursday 4 October at 17.30.
Polish Film Posters: Kliś Kubica Urbańczyk
Ancien Cinéma Vianden
4-20 October 2018
Polish cinema (like any other good cinema) provides inspiration to create poster responses. All the posters presented at this exhibition are artistic responses to some of the classic Polish movies. They were designed specifically for the exhibition by artists Łukasz Kliś, Sebastian Kubica and Marcin Urbańczyk, therefore it is their premiere. Each of the authors used a proper set of formal means and techniques of printing; Kubica's posters are drawn, making them even more unique. A universal language of visual communication combined with the Polish inclination towards metaphors, association games, and sometimes striking literalness (as seen in the famous Polish School of Posters), are features found in all of these poster sets. Printing techniques: inkjet printing on coated paper, and low-quantity printing (from 1 to 4 prints).
Born in 1975 in Bielsko-Biała, Kliś is a graduate of the Faculty of Industrial Forms at the Academy of Fine Arts in Krakow. He is a graphic designer, specializing in posters, signage and publishing graphics. He is a university lecturer and the director of the Institute of Art in Cieszyn at the University of Silesia in Katowice. He lives in Wroclaw.
Born in 1975 in Żywiec, Kubica is a graduate of the Graphic Department in Katowice SP in Krakow. He is a graphic designer, poster artist and illustrator. He works as a lecturer at the Art Institute in Cieszyn, University of Silesia in Katowice.
Born in 1981 in Tychy, Urbanczyk is a graphic designer, specializing in web graphics and posters. He works as a lecturer at the Art Institute in Cieszyn, University of Silesia in Katowice. He is the vice-director of the Art Institute in Cieszyn at the University of Silesia in Katowice.
Organised by Ancien Cinéma Vianden
Art_Desire_Freedom Czech Film Posters
Czech Embassy in Luxembourg
Vernissage on 10 October at 7 pm with the screening of The Joke
Open to visitors on Thursdays between 3 and 5 pm (until 18 October).
The golden era of the Czech film poster dates back to the brief period between 1964 and 1968. Posters of that time resonate with the artistic conquests of the Czech New Wave, and its courage regarding thought and stylistic diversity is reflected in this fine art.
The socialist state ordered that posters be elevated to the “most accessible of all art forms”, motivating the inception of the Czechoslovak “poster wonder”. Efforts to improve the quality of film advertising led to involving painters and graphic designers from the middle-aged and younger generations. Under state censorship these designers could not engage in their own free art-making, but the applied arts offered them livelihoods as well as unexpected opportunities for self-realization. Film posters designed in such a form and scope as they were in Czechoslovakia can only be found in two other (also socialist) countries, Poland and Cuba.
The exhibition presents a selection of posters by some of the key names of the Czech film poster (Jiří Balcar, Milan Grygar, Zdeněk Palcr, Zdeněk Ziegler and others) and also includes posters for films that were banned by communist censorship after 1970 and then reappeared in cinemas only after 1989 - posters for Funeral Ceremonies (Smuteční slavnost), All Good Countrymen (Všichni dobří rodáci), The Joke (Žert) and The Ear (Ucho).
Organised in collaboration with the Czech Centre in Brussels