Marta Kowalewska, PL

The Work of Antoni Starczewski

Antoni Starczewski
© Central Museum of Textiles in Lodz

Composition, 1966, tapestry, 250x150 cm, Central Museum of Textiles Lin Lodz
Composition, 1970, tapestry, 288x192 cm, Central Museum of Textiles Lin Lodz
Recitatives, 1981 – 1983, tapestry, 120x90 cm, private collection
© Central Museum of Textiles in Lodz

For Antoni Starczewski (1924–2000), the idea was paramount. His varied interests consistently focused on the idea of the linear inscription. He boldly explored the visual arts, music, and language, expanding their definitions, investigating the possibilities for their interaction. Starczewski treated different artistic disciplines as distinct forms of expression as well as sources of inspiration and experience. He treated art in an interdisciplinary fashion, transferring experiments in one field into others. He was fascinated by the notion of transposing mediums. He sought ways of turning shapes into sound, he made monumental ceramic compositions, as translations of the language of musical forms; he dove deep in the art of textiles to make creative use of its material nature. His textiles pieces are an interesting example of this approach as they feature motifs previously used by Starczewski in his artistic practice. He expressed novel ideas through classical tapestries and the technique of double weave. He cherished noble materials that have been used for ages: wool, silk, and linen. While experimental textile pieces were scoring triumphs in Poland and artists were at the forefront of a revolution in textile art amid great enthusiasm for audacious texturing, Starczewski’s pieces surprise with their conceptual approach and immaculate traditional craftsmanship.

Starczewski built sign systems he called alphabets; linear sequences of gestures sealed in dynamic ceramic forms; sound compositions transposed into visual forms. These were complex compositions also founded on a clear idea, where every component had a precise function. He based all of these projects on ideas which were his gateway to solutions going beyond artistic or aesthetic categories.

In his every field we see clearly that Starczewski’s path was marked only by his own thoughts, that current trends in art were of secondary value to him. Carefully tracking the goings-on in the art of his time, he made sure to remain an individual artist.

photo: Anna Noë Bovin

Marta Kowalewska, PL

Marta Kowalewska is an art historian and critic, chief curator at the Central Museum of Textiles in Łódź (CMWŁ).

She curated the 16th and 17th International Triennial of Tapestry (2019, 2022), exhibitions including: Metamorphism. Magdalena Abakanowicz (2017-2018), Rebellion of Matter (2017), One hundred flags for the Centenary of Women's Suffrage (with the 100 FLAG collective, 2019), Antoni Starczewski. The Idea of Linear Notation (with Grzegorz Musial, 2022), THREADS OF A NEW SPIRITUALITY - Kosmos Project (with Elisabetta Mero, Milan 2022), We are Textile Culture Net! (with Sjouk Hoitsma, Alessandra Tempesti, Eugenia Low, Mizuki Takahashi, Hong Kong 2022). She edited books: Magdalena Abakanowicz. Metamorphism (CMWŁ, 2018), was a co-editor of the catalogue of the exhibition Splendor of Textiles (with Michał Jachuła, Zachęta, 2013), Weave Ideas (with Ewa Latkowska-Żychska, ASP in Łódź, 2016), Antoni Starczewski. The Idea of Linear Notation (with Grzegorz Musiał, CMWŁ 2022). She co-authored the book From Tapestry to Fiber Art: The Lausanne Biennials 1962-1995 (Toms Pauli Foundation, Skira Editions, 2017). M. Kowalewska wrote more than 70 articles, critical texts, interviews published in the professional journals, exhibition catalogues, as well as Polish and foreign publications (e.g. for Zacheta and TATE Modern). She has been on the jury of international confrontations of textile art. She has been a co-founder of the Textile Culture Net project, sits on the Board of ETN and chairs the Marta Magdalena Abakanowicz-Kosmowska and Jan Kosmowski Foundation Advisory Board.

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