European Capitals of CultureΠοιειν Και Πραττειν - create and do

WRO Center

WRO Center

There are several categories to be covered in this field, but special to Wroclaw are the following:




Tuesday 18.1.2011

A meeting with directors of film and multi media with Adam Chwielewski who has an interest to find out what they would propose as part of the official program for Wroclaw 2016. They wanted to know at first if there is to be given any money for offering their ideas. It seemed all over again a matter of deciding what is the precondition for not talking about the condition faced generally by every artist or film director, but what can mean support for the concept of Wroclaw to become European Capital of Culture in 2016 and what opportunities there would be brought about by such a designation.

A reflection of such a discussion means to work out something in terms of practical needs. Thus something needs to be worked out before they can see how it is possible to contribute without thereby exploiting themselves.That part of the debate should be called mediation between concept and realisation possibilities within a still to be defined framework.

Definitely any group coming together to deliberate with the director that Adam Chwielewski represents is at a definite disadvantage to any single manager who goes to the office to secure contracts for his company. As a group they wish to enter together first of all a deliberation process and thereby risk for the sake of democractic practice a debate with uncertain outcome. Thus they talk about the general relationship to the organisation of Wroclaw 2016 in order to see what agreement over various stages will allow for their particular involvements. These possibilities being discussed remain mainly an imaginary process in the first stage. However, discussions like these can only give shape to ideas, especially if they go outside the restricted sense of doing something only for money. That remains, however, a major stumbling bloc.

At the Berlin conference organised by 'Soul for Europe' in December 2010, Wim Wender spoke about two things: one, a positive use of propaganda as Europe needs images by which it can sell itself abroad, and two, children and young people need to be protected against the influx of the media. At that time of the conference, only one MEP from Poland stood up and said that Europe had enough of propaganda. Thus it is always refreshing to come to Poland precisely for this reason, namely to encounter sometimes unexpectedly that source of criticism, namely memories kept alive or some important things not forgotten to make all the difference in how things are appraised in the present. When I reaccounted to the group what Wim Wender had said, it was Zbiniew Rybczynski who expressed surprise. For he recalled how Wim Wender had criticized in the seventies the Japanese for their new technology which they were introducing into the world of the cinema. "You will kill the arts". Five years later, Wim Wender had embraced the new technology. Along that line it comes therefore as no surprise that he will bring out soon his film about Pina Bausch. It will be in 3 dimensional format but already critics will say the bodies of the dancers do not come across very well but what does are soap bubbles floating off into the air. As practical wisdom goes, the choice of the means depends what story needs to be told and then one can see if this new medium adds to the story or not.

Making sense

When the curves of confusion

carry the sceptics out of bounds,

then return the memories one by one

for Zbiniew Rybczynski remembers

the time when Wim Wenders

had still the position and opinion

that modern technology would kill the arts

while today he embraces fully this image producing machine

which spits fire like a mechanical dragon

in order to come to a positive sense of propaganda using images to sell Europe abroad.

But Europe includes the rolling hills of Ireland

which under the weight of its economic burden no longer laughs

for sadness has become

the tone of the economy

ordered to produce more fake fires.


Among those present at the meeting, the above in the photo have to be identified. But there were present as well Rafal Bubnicki from the ODRA film production and the director Robert Gawlowski from WFF film studio.

Dorota Zglobicka, Zbiniew Rybczynski and Piotr Krajewski (chief curator of WRO center)

Dorota Zglobicka

As she has strong roots in Greece where she stayed for six years and only back to Poland in 2009, that is nearly 2 years ago, no wonder that she made a short film in Greek language while there. See intro ,

The film 'love and shadow’ is a wonderful blending in and out of reality. While looking sometimes over the shoulder over the camera man, the director turns actress, part of the set and an avid listeners when the actors are relaxing in between shots. Jokes are included as they play pranks on each other. Symbolic for the film are the images which are conjured up like soap bubbles coming out of the bathtub. They are produced by a man submerged. In between all laughter and acting out some film strips as if on the sunny side of the street, there is blended in some very good music. To the tune of such music she coaxes her camera man into position and like the musical score steps and shooting angles are repeated within the form of slight variations. And then listening to the Greek being spoken in between sets, is like acting and at the same time stepping out into the reality she lived and enjoyed while in Greece. Often the film returns to home base, that is to the sober level of just directing. It leaves faces being captured by the camera always within the director’s compass. Indeed some things can go a long way especially when there is aside from artificial natural light.

Zbigniew Rybczyński (born January 27, 1949) is a Polish filmmaker who has won numerous prestigious industry awards both in the United States and internationally. He was also a teacher of cinematography, and digital cinematography. Currently he is a researcher of blue and greenscreen compositing technology at Ultimatte Corporation.

Rybczyński was born in Łódź, Poland. He was studying cinematography in the then world-famous Łódź Film School (PWSFTviT). He began his professional career working as a cinematographer for young directors of his generation. His films from that period include: The Talk (Rozmowa- TV) and Gropingly (Po Omacku) by Piotr Andrejew, Videocassette (Wideokaseta) by Filip Bajon, Wanda Gościmińska włókniarka by Wojciech Wiszniewski and a feature movie by Grzegorz Królikiewicz Dancing Hawk (Tańczący Jastrząb).

Rybczyński was also active in an avant-garde group "Warsztat Formy Filmowej", and had cooperated with "Se-Ma-For" Studios in Łódź, where his author movies were set, including: Plamuz 1973, Zupa 1974, Nowa książka 1975 and Tango 1980. Tango was his big success, winning the Oscar Award for Best Animated Short in 1983.[1]

He is a recognized pioneer in HDTV technology. In 1990, he produced the HDTV program The Orchestra for the Japanese market. This program won numerous awards (the Emmy Award for "Outstanding Achievement in Special Visual Effects"). The program, created in HDTV, was broadcast in standard resolution by PBS as part of their Great Performances series in the U.S., as HDTV was not widely available to viewers until a decade later. Segments of this program are regularly featured on the Classic Arts Showcase channel in the U.S.

Rybczynski has created many music videos for artists such as Art of Noise, Mick Jagger, Simple Minds, Pet Shop Boys, Chuck Mangione, The Alan Parsons Project, Yoko Ono, Lou Reed, Supertramp, Rush, Propaganda, Lady Pank and also for John Lennon's Imagine.


Ewa Lyczkowska, Wroclaw 2016 communications

Adam Chmielewski speaking at the meeting in the WRO Center


Łukasz Medeksza

20 stycznia 2011 o 21:13

Subject: Wroclaw / Info Society


I'm the guy who sat next to You two days ago at the meeting in the WRO Art Center. I'm not from the University of Wroclaw. Since October I work for the regional government of Lower Silesia, as its plenipotentiary for the development of the information society in our region (previously I've worked for the local media).

I have to admit that I'm impressed by the application written by Prof. Chmielewski. It is very much in the spirit of what I try to advise my superiors in the field of info society - which I understand as a new form of citizen society.

I think You made a good point by underlining the value of debating as a process (and not as a means of producing some sort of a ready concept, which could then be shown to the public). That's exactly what info society is about (in my opinion): debating, interacting, participating.

I've got the impression that prof. Chmielewski's application - by emphasizing the values of participating, debating etc. - is in fact a sort of a new metapolitical program for Wroclaw. But that's another story.

Best Regards
Lukasz Medeksza



On exhibition during the visit:

Playing Chopin



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