A residence at the Maison Flottante in October 2023
Malgorzata Grygielewicz, philosopher, philologist and translator. Professor at the École Européenne Supérieure de l’Image in Angoulême, member of the FLEPES scientific council and teaching college. Involved in “Hybrid training with religious actors”. Doctor of Philosophy, after studying Classics in Warsaw and Philosophy at Paris VIII, she holds a doctoral thesis entitled “la rencontre philosophique dans le jardin grec” (philosophical encounters in the Greek garden).
Selected publications: « Jardin révolutionnaire de Zarathoustra. Réflexions sur les jardins de couleurs ou des fleurs », IDEA, the book: “Le jardin grec, la rencontre philosophique”, Paris, L’Harmattan, 2017; “Au jardin d’Academos, Une rencontre philosophique et artistique”, Rue Descartes, 2020/ 1, “L'École de demain (Entretien avec Bernard Stiegler)”, Rue Descartes, 2020/1, “Le jardin mystérieux de Pascal Quignard”, in: Pascal Quignard, l’écriture et sa spéculation”, Limoges, Lambert Lucas, 2020, “Socrate contre Sarah Kofman, Ecart /tracE” in: “Sarah Kofman, Philosopher autrement”, Hermann, 2021. Works on the migration issue at the Polish-Belarussian border, “Des bison et des hommes” Esprit magazine, September 2022, “La civilisation signifie l’aide? De la crise migratoire aux frontières de la Pologne”, in “Ici et ailleurs”, September 2022, “La civilisation signifie l’aide”, in “Ici et ailleurs”, September 2022. “Non les chiens ne suffit plus, il faut au moins des bisons”. Revue Palm, Jeu de Paume, October 2022. She is currently working with Franck Jedrzejewski on an anthology of Polish futurists, to be published in 2024 by the Dutch publishing house Brill.
Residency in October 2023
During her stay at the cneai= floating house, she worked on finalizing the book “Polish Futurism”, the first international attempt to present the Polish Futurist movement and place it in the history of world art and literature.
As the Italian and Russian Futurists occupy a central place in the history of the avant-garde, it is important to define the place of the Polish Futurists. The book will be based on archival documents, poems, diaries, manifestos and their French translations, as well as paintings, photos and films by Polish Futurists. The book, a bilingual Polish-French anthology, will be published in 2024 in the prestigious Avant-Garde Critical Studies series by the Dutch publisher Brill. The book will cover the years 1918 - 1929, i.e. from Alexander Wat and Anatol Stern’s pamphlet “Oui” (discovered only in 2019) to Stefan & Franciszka Themerson’s film, based on Anatol Stern’s text “Europa”. The uniqueness of Polish Futurism lies essentially in the publication of manifestos in the form of journals. Paintings by Witkacy, Chwistek, Pronaszko and graphic works by Berlewi and Żarnower will also feature in the book. Polish Futurism is unknown in Europe and should be included in the history of the world avant-garde. From today’s perspective, i.e. 100 years after their work, the Futurists’ world still retains its original character. The Polish Futurists opposed Marinetti and his fascist tendencies. Polish Futurism emerged when Poland regained its sovereignty after 123 years of partition.
It’s a testament to political, cultural and social renewal. The language radically cut itself off from the past and created new horizons. Polish Futurism is characterized by great innovation in language. It is part of the cultural heritage of European literature. Without knowledge of the artistic context, it is difficult to understand how Polish Futurism defines itself in relation to global creativity, expressionist and above all formalist trends. It is also difficult to shed light on the links Polish Futurists established with Russian “egofuturism”. The conflict between the artistic theories of Witkacy (pure form) and Chwistek (multiplicity of realities) also requires artistic illustration. The book will attempt to shed light on this context by translating the corpus of poems, manifestos and plays, totalling 1500 pages.