Metamorphoses of Death, Memory and Presence- Translated by Anda MacBride
Edited By Katarzyna Fazan, Anna R. Burzynska and Marta Brys
Lech Stangret – The Role of Drawing in the Creation of Tadeusz Kantor’s Self-mythology
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The Role of Drawing in the Creation of Tadeusz Kantor’s Self-mythology
In Tadeusz Kantor’s art we come across every textbook definition of a drawing.1 Of course, not all follow the alternative formula. The rigorous division into a drawing as an autonomous genre, a pre-figuration of another work or a form of notation is often disposed with. Individual modules are blended together, creating qualitatively new forms.
When analysing Kantor’s art by following the trail of drawings, we enter a labyrinth in which questions multiply. The artist is playing with us, whether using dates, forms or themes. He evades and obfuscates, he makes pretend, he provides new significance. Simultaneously, a drawing carries an imprint of his life and artistic search. Sketches which existed at the interface of theatre and painting function as envoys of Kantor’s art and his intimate diaries.2
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