There were three of us; Witkiewicz, Bruno Schulz, and myself--the three muskateers of the Polish avant-garde between the wars. Only Witkiewicz remains to be discovered.
Witold GombrowiczRead
To me, art almost always speaks more forcefully when it appears in an imperfect, accidental, and fragmentary way, somehow just signaling its presence, allowing one to feel it through the ineptitude of the interpretation. I prefer the Chopin that reaches me in the street from an open window to the Chopin served in great style from the concert stage.
Interpretation
Art is often more impactful when it is raw and unrefined, revealing its essence rather than a polished performance.
Witold Gombrowicz suggests that the true essence of art is sometimes best captured in its imperfect and spontaneous forms. He values the authentic experience of art, such as hearing Chopin from a distance, over the formal presentation in a concert setting, highlighting the emotional connection one can have to art when it feels more genuine and less contrived.
In practice
During a gallery talk, one might say, 'As Gombrowicz noted, art is often more impactful in its raw and accidental forms.'
There were three of us; Witkiewicz, Bruno Schulz, and myself--the three muskateers of the Polish avant-garde between the wars. Only Witkiewicz remains to be discovered.
Against the background of general freakishness the case of my particular freakishness was lost.
It is in the prime of youth that man sinks into empty phrases and grimaces. It's in this smithy that our maturity is forged.
I became bold because I had absolutely nothing to lose: neither honors, nor earnings, nor friends. I had to find myself anew and rely only on myself, because I could rely on no one else. My form is my solitude.
You are ugly when you love her, you are beautiful and fresh, vital and free, modern and poetic when you don't... you are more beautiful as an orphan than as your mother's son.
We are not moving towards some kind of goal. We are at the goal, and it is changing with us. If art has any purpose, it is to open our eyes to that fact.
I write entirely to find out what I'm thinking, what I'm looking at, what I see and what it means. What I want and what I fear.
To sing opera, one needs two things: the voice and the passion - and above all, the passion.
Each writer is born with a repertory company in his head. Shakespeare has perhaps 20 players. ... I have 10 or so, and thats a lot. As you get older, you become more skillful at casting them.
I think all the great studio filmmakers are dead or no longer working. I don't put myself, my friends, and other contemporary filmmakers in their category. I just see us doing some work.
When I create a collection, I approach it with a cinematic point of view-I am not designing clothes, I'm creating a world.
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