{"id":28216,"date":"2014-01-12T08:55:24","date_gmt":"2014-01-12T07:55:24","guid":{"rendered":"https:\/\/ggm.gda.pl\/?p=28216"},"modified":"2024-08-12T09:43:15","modified_gmt":"2024-08-12T07:43:15","slug":"po-prawdze-to-piekny-sztatek-bel-war-aijentlich-ain-scheenes-schiff-2","status":"publish","type":"post","link":"https:\/\/ggm.gda.pl\/en\/28216\/po-prawdze-to-piekny-sztatek-bel-war-aijentlich-ain-scheenes-schiff-2\/","title":{"rendered":"Po prawd\u017ce to pi\u0119kny sztatek be\u0142 | War aijentlich ain scheenes Schiff"},"content":{"rendered":"\t\t
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Opening:<\/strong> 24th January 2014 | 7.30 pm <\/span><\/p>\n

Exhibition:<\/strong> 25.01- 31.03.2014<\/span><\/p>\n

Curators:<\/strong> Martin Schibli, Iwona Bigos<\/span><\/p>\n

Venue:<\/strong> G\u00fcnter Grass Gallery in Gdansk <\/span><\/p>\n

* the title of the exhibition was inspired by a quotation from Guneter Grass’s book Crabwalk<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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In the exhibition Po prawd\u017ce to pi\u0119kny sztatek be\u0142 | War aijentlich ain scheenes Schiff<\/em> contemporary artists from Germany, Poland, Russia and Sweden present their reflections on probably the deadliest event in the history of the Baltic Sea, which took place during the months preceding the end of the World War II, when German refugees from East Prussian ports like Memel (Klaipeda), K\u00f6nigsberg (Kaliningrad) and Gotenhafen (Gdynia) were evacuated and transported west. This action was named \u201coperation Hannibal\u201d. Several of those refugee boats never made it. It is estimated that 40\u00a0000 people \u2013 mostly civilians, children and women, died during the months when the ships were air-raided or torpedoed and sunken.<\/p>\n

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One point of departure for this exhibition is the novel by G\u00fcnter Grass, Im Krebsgang<\/em>, which is based on the sinking of the ship called Wilhelm Gustloff, which was torpedoed by a Soviet Submarine at the end of the World War II (on 30th<\/sup> January, 1945), a couple of hours after leaving Gotenhafen (Gdynia). Approximately 9000 people died, most of them civilians, women and children, after the captain of the submarine S-13, Alexander Marinesko, had given the order to fire the torpedoes. The catastrophe of the Wilhelm Gustloff is the deadliest sea tragedy known in history. In his novel, Grass gives a German context to the sinking, and marks its place in German collective memory. Several other ships were torpedoed during the same period, among them: the Steuben (torpedoed on 10th<\/sup> Feb, 1945, 3-4000 dead), the Goya (torpedoed on 16th<\/sup> April 1945, approximately 7000 dead), and the Cap Arcona (air-raided on 3rd<\/sup> May, 1945, approximately 5000 dead).<\/p>\n

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The actual events around the Wilhelm Gustloff were in many ways made known and documented, not only in G\u00fcnter Grass\u2019s novel, but also in other books and documentaries. The story has also been made into a film. Nevertheless, some historical facts and circumstances are still unclear. Today, despite the high number of casualties, the Wilhelm Gustloff and other similar shipwrecks lie quietly at the bottom of the Baltic Sea, to some degree forgotten, but at the same time being both physical and symbolic reminders of the most fatal period in the history of the Baltic Sea.<\/p>\n

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Too a large extent, these ship catastrophes are still not very well-known to the world, or even to the countries around the Baltic Sea. This is probably connected with the complex historical background that builds the symbolic meaning of the shipwrecks. Despite the fact that it will soon be sixty years since the ships were sunk, the subject is still quite complicated to discuss. One of the reasons why it is not too much elaborated on, might be connected with the period when the ships were sunken \u2013 meaning the end of the World War II, when millions of people had already lost their lives, while the causalities on board the ship were mostly of German nationality, and, obviously, in the clear cut war propaganda Germans could not be defined as victims.<\/p>\n

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In Sweden for example, especially among younger generations, very few have heard of those ships. One of the reasons why the problem is neglected, could be that the ships remind the Swedes too much about their position during the World War II, a position that is still today subject to a collective amnesia. Whereas, in Poland, one way is interpret the Wilhelm Gustloff catastrophe as an outside event, with which Poland had nothing to do. However, on the other hand, it is no secret that a lot of Polish people supported the ethnic cleansing of Germans in East Prussia at that time. In Kaliningrad \/ Russia, there is a huge memorial to honor Captain Alexander Marinesko (died in 1963), who, in addition, was officially proclaimed a Hero of the Soviet Union as late as in 1990. To state that he was responsible for the decision that led to the death of thousands of civilians, including children, is still very controversial.<\/p>\n

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The sinking of the Wilhelm Gustloff and the other ships has different meanings and implications in countries like Germany, Poland, Russia and Sweden, which to a large extend are not possible to combine. \u00a0Perhaps it would be better to leave the wrecks under the sea surface, instead of bringing them out, and thus reminding the world about the war events. \u00a0On the other hand, the wrecks will linger there, just like myths in the collective memory of the past, as a hidden huge historical memento mori<\/em>. The question is, if we do not create the possibility to discuss with our neighbors the historical events in which 40\u00a0000 people lost their lives, how can we proceed to form a peaceful future? In fact, these wrecks, demand to be discussed, in order to be set free from the historical burden.<\/p>\n

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For the exhibition Po prawd\u017ce to pi\u0119kny sztatek be\u0142 | War aijentlich ain scheenes Schiff<\/em> we invited artists from Poland, Germany, Russia and Sweden, who have been working with the topic of the Wilhelm Gustloff. Their works give some reflections from an artistic point of view on the events and the symbolic meanings of the Wilhelm Gustloff. This theme, being the starting point of the exhibition, could be viewed as very narrow and specified. However, in a broader context, the exhibition elaborates on one of the most significant periods in the history of the Baltic Sea, and therefore opens the new perspectives for the common future.<\/p>\n

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Martin Schibli<\/p>\n

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Accompanying events:<\/strong><\/p>\n

24.01.2014<\/strong><\/p>\n

16:00<\/u>\u00a0meeting with artists participating in the exhibition, devoted to the collective memory in art, moderated by the exhibition curator \u2013 Martin Schibli (meeting will be held in English)<\/p>\n

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18:00<\/u>\u00a0bus trip to the opening of the exhibition\u00a0Trans-Russian Art Project \u201e9000 km\u201d<\/em>\u00a0\u00a0in Centre for Art Education Laznia 2 in Nowy Port<\/p>\n

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TRANS-RUSSIAN ART PROJECT 9000 km<\/strong><\/p>\n

Gda\u0144sk: 25th January \u2013 16th March 2014 |\u00a0 Centrum Edukacji Artystycznej \u0141a\u017ania 2, ul. Strajku Doker\u00f3w 5<\/p>\n

Opening: 24th January 2014, 6 pm<\/p>\n

Curator: Evgeny Umansky | Coordinators: Agnieszka Wo\u0142od\u017ako, Ignas Kazakevicius<\/p>\n

Financial support of the project:<\/p>\n

European Union, Lithuania-Poland-Russia ENPI Cross-border Cooperation Programme 2007-2013<\/p>\n

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19:30<\/u>\u00a0opening of the exhibition in 4G, with the performance by Anna Steller \u201cUnrelenting beauty of disaster\u201d to the live music by Olo Walicki. This performance was first shown at the opening of the international exhibition \u201cTelling the Baltic\u201d in the Blekinge County Museum in Karlskrona (Sweden).<\/p>\n

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25.01.2014<\/strong><\/p>\n

17.00<\/u>\u00a0„The human story of the Wilhelm Gustloff” – meeting with\u00a0Claes-G\u00f6ran Wetterholm, a Swedish expert specializing in shipwrecks at the bottom of the Baltic Sea<\/p>\n

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26.01.2014<\/strong><\/p>\n

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18:00 MEETINGS AND MICROUTOPIAS \/ EDITION I\u00a0 <\/strong>| \u0141a\u017ania CCA, ul. Jask\u00f3\u0142cza 1<\/p>\n

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\u201cLadonia\u201d | Lars Vilks, Martin Schibli\u00a0 | Curator: Agnieszka Wo\u0142od\u017ako

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Meetings and Microutopias <\/em>is a new artistic and research project conducted by \u0141a\u017ania CCA which is based on research on participation art in Scandinavian countries between 1990 and 2010.<\/p>\n

The first edition of the project is dedicated to Ladonia, which is the name of a microstate proclaimed in 1996 by a notoriously unapologetic Swedish artist Lars Vilkas. During the meeting, Ladonia will be described by the artist Lars Vilks, who currently serves as the microstate\u2019s Secretary of State and the Swedish curator Martin Schibli, the Minister of Curators, Semaphores and Swiss Army Methods of Ladonia.

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31.03.2014 <\/strong><\/p>\n

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19:30<\/u>\u00a0closing of the exhibition<\/strong><\/p>\n

\u2013\u00a0a theatre performance based on the motifs from\u00a0G\u00fcnter Grass\u2019s book \u201cCrabwalk\u201d adapted by Pawe\u0142 Huelle, played by the actors from the Witold Gombrowicz City Theatre in Gdynia: Szymon S\u0119drowski as Dawid, Maciej Wizner as Konrad<\/p>\n

\u2013\u00a0presentation of the exhibition catalogue<\/p>\n

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Artists:<\/u><\/p>\n

Magnus Petersson (SE), Jonas Dahm (SE), J\u00f6rg Herold (DE), G\u00fcnter Grass (DE), Evgieni Umanski (RU), Anna Steller (PL), Olo Walicki (PL), Huber Czerepok (PL)<\/p>\n

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Partners ot the exhibition:<\/u><\/p>\n

National Maritime Museum in Gda\u0144sk, G\u00fcnter Grass Haus in L\u00fcbeck, Teatr Miejski im. Witolda Gombrowicza w Gdyni, Staatliches Museum Schwerin, Medienarchiv G\u00fcnter Grass Stiftung Bremen.<\/p>\n

Media patrons and partners of promotion of the exhibition:<\/u><\/p>\n

AMS, o.pl, histmag.org, Gazeta Wyborcza Tr\u00f3jmiasto, trojmiasto.pl, Radio Gda\u0144sk, in your pocket, Karta do Kultury.<\/p>\n

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\u00a0<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

Opening: 24th January 2014 | 7.30 pm Exhibition: 25.01- 31.03.2014 Curators: Martin Schibli, Iwona Bigos Venue: G\u00fcnter Grass Gallery in Gdansk * the title of the exhibition was inspired by a quotation from Guneter Grass’s book Crabwalk In the exhibition Po prawd\u017ce to pi\u0119kny sztatek…<\/p>","protected":false},"author":2,"featured_media":28252,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"inline_featured_image":false,"footnotes":"","_wp_rev_ctl_limit":""},"categories":[111],"tags":[97],"class_list":["post-28216","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-4g-en","tag-single-photo"],"acf":{"data_rozpoczecia":"20140124","data_zakonczenia":"20140331","miejsce":"4G"},"_links":{"self":[{"href":"https:\/\/ggm.gda.pl\/en\/wp-json\/wp\/v2\/posts\/28216","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/ggm.gda.pl\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/ggm.gda.pl\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/ggm.gda.pl\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/ggm.gda.pl\/en\/wp-json\/wp\/v2\/comments?post=28216"}],"version-history":[{"count":5,"href":"https:\/\/ggm.gda.pl\/en\/wp-json\/wp\/v2\/posts\/28216\/revisions"}],"predecessor-version":[{"id":28256,"href":"https:\/\/ggm.gda.pl\/en\/wp-json\/wp\/v2\/posts\/28216\/revisions\/28256"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/ggm.gda.pl\/en\/wp-json\/wp\/v2\/media\/28252"}],"wp:attachment":[{"href":"https:\/\/ggm.gda.pl\/en\/wp-json\/wp\/v2\/media?parent=28216"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/ggm.gda.pl\/en\/wp-json\/wp\/v2\/categories?post=28216"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/ggm.gda.pl\/en\/wp-json\/wp\/v2\/tags?post=28216"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}