Plenery w Osiekach i Granice Nowoczesnego Obrazu
Plein Air Events in Osieki and Limits of Modern Painting

Summary/Abstract: The article reflects on the early plein air events in Osieki, organised from 1963 by Jerzy Fedorowicz and Marian Bogusz. The events have been interpreted as an expansion of the project of a modern art collection initiated by Bogusz in Warsaw’s Galeria Krzywe Koło (Crooked Circle Gallery). The meetings in Osieki began after providing the Museum in Koszalin with a part of the collection that simultaneously created the possibility of rethinking diverse artistic conventions from the period of thaw. The subsequent gatherings, which displayed the works in the natural environment, determined the process of questioning the modernist form by exhibiting spatial forms and artistic actions and artworks.The plein air events fit the general outline of the cultural policy of the Polish People’s Republic of Poland towards the so-called Recovered Territories; they influenced deep changes in modern art, providing cogitations on a painting that connects itself with the location and time of its action, annexing and displaying fragments of reality, reinterpreting the category of “realism”. Such practice became a direct impulse for conceptual artistic activity at the turn of the decade, as well as an element of a further transformation of a modern work of art into the complex avant-garde structure of an installation – a work viewed together with its surroundings.

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