A Spatial History of Independent Art Spaces in Krakow from the 1970s to 2019

Abstract

Independent art spaces not only play an important role in exploring frontiers in the visual arts but are often also pioneers discovering new artistic territories within cities. Due to their subordinate position in the field of art, they often occupy marginal spaces in terms of their location within the urban structure and/or in terms of their physical visibility within the built environment. Their location outside the established artistic cores reflects, at the same time, their weaker economic standing and wish to distinguish themselves from previous generations of cultural producers. Post-socialist cities offer the opportunity to study the spatial history of independent art spaces under different political and economic systems. In this paper, I have used a detailed database of private art galleries in the period from the 1970s to 2019 and content analysis of press and internet texts about them to uncover the stages of development of independent art venues in Krakow, Poland, an example of a post-socialist city with a rich cultural heritage. They included periods of dispersion within the wider inner-city followed by cycles of concentration in rather neglected quarters that were emerging as epicentres of alternative artistic life only to dissipate due to unfavourable economic conditions and the appearance of the next generations of artists who wanted to mark their distinctive presence both in the art world and in the urban space. I also discuss how independent art spaces were using their usually marginal, temporary and fluid sites in their artistic practices and the accumulation of symbolic capital in the field of art.

Evolution of the territorial field of art in a post-socialist city. Distribution patterns of private contemporary art galleries in Krakow, Poland, between 1989 and 2019

“…They are often short-lived, although some of them gain wider acceptance and transform into more institutionalized and market-oriented establishments. Commercial and non-profit galleries may differ in terms of their predilection for the aesthetics of their interiors: white cube prevailing among the former, while site-specific design is more common among the latter (Bystryn, 1978;Debroux, 2017;Działek, 2021;Molho, 2014;Molho & Sagot-Duvauroux, 2017;Molotch & Treskon, 2009;Moureau & Sagot-Duvauroux, 2016;Phillips, 2014;Marguin, 2015;Polyák, 2015;Uboldi, 2020).…”

“…It groups non-profit, artist-run, experimental spaces that are oriented towards the local artistic scene. They usually distance themselves spatially from established market-oriented clusters by occupying locations in degraded, peri-central or marginal districts, often stigmatised in urban discourse, and very often temporarily adapting and using affordable premises that are awaiting refurbishment (Standl & Krupickaite, 2004;Halle & Tiso, 2009;Moulin, 2009;Rius-Ulldemolins, 2012Phillips, 2014;Molho & Sagot-Duvauroux, 2017;Uboldi, 2020;Działek, 2021;Valli, 2021). Their founders may be attracted by the 'look and feel' (Heebels, van Aalst, 2010) of old buildings, that offer 'authentic' interiors different from the traditional white walls of commercial galleries (Debroux, 2017;Kim, 2007).…”

“…They may, however, risk adopting pioneer strategies and explore parts of the city not yet associated with the artistic life. That way they may start building their artistic and spatial identity by going against the hegemony of previous generations of art dealers (Działek, 2021; Rius-Ulldemolins, 2012, Source: Own elaboration of the author.…”

“…Central locations were also preferred by and made available to galleries managed by artistic associations authorized to operate at that time. A few independent non-profit art spaces, of semi-legal of illegal character, were located at the edges of the city centre (Działek, 2021;see Marguin, 2015).…”

“…Locations of prestigious public and private cultural institutions reflect urban centralities and their shifts through the centuries (Boichot, 2011;Paül i Agustí et al, 2017;Phillips, 2014;Wedd et al, 2001). At the same time, clusters of independent, alternative venues are considered as initiators or at least signs of ongoing transformations of degraded, marginal, peri-central districts (Działek, 2021;Molotch & Treskon, 2009;Phillips, 2014;Pixová, 2013;Rius-Ulldemolins, 2012;Schuetz, 2013;Vivant & Charmes, 2008). Hierarchies and oppositions within art worlds are often reflected in their distinct locations within the urban space (Lizé, 2010; quarters) is limited to either a single point in time (e.g.…”