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Izabela Kowalczyk
Feminist grassroots activism

woman in glasses smiling - conversation graphic
Izabela Kowalczyk, photo Grzegorz Dembiński
Izabela Kowalczyk
Feminist grassroots activism

Your book "Ciało i władza" ("Body and Power") was probably the first Polish book on critical art I read, and it influenced my art significantly.

Really? I'm genuinely surprised. I'm no longer as connected to it as I once was. When I wrote it, discussing critical art and its social transformations felt essential. However, my perspective on the artistic phenomena I described has since evolved. The artists themselves have also changed. Alicja Żebrowska, once known for her radical "Narodziny Barbie" ("The Birth of Barbie"), is now a right-wing artist.

Interestingly, as we speak in July 2024, many of these iconic works you analyse are once again exhibited at the Zachęta gallery. Each new generation, and sometimes even our own, views them differently, reflecting changes in both ourselves and the world.

This shows that this art still resonates - perhaps in different ways than before, but it resonates nevertheless. In the 1990s, critical art was a unique phenomenon, a breath of fresh air after the stagnation of the 1980s when Polish art failed to provoke. Suddenly, works emerged that not only shook the artistic community but society as a whole. Mainstream media extensively covered many of the works on display at Zachęta. They debated the works of Katarzyna Kozyra, Zbigniew Libera, Artur Żmijewski, and Alicja Żebrowska. And although many of the media critics were themselves associated with the artistic community, they harshly criticised such works as not being art.

Today these pieces are again under critical examination. Paulina Reiter, editor of Wysokie Obcasy, recently commented on Facebook that Zbigniew Libera's Obrzędy Intymne (Intimate Rituals), a video documenting his care for his dying grandmother, is unbearable to watch. "All I see is a woman exposed during her most intimate moments, without her consent", she remarked.

This illustrates shifts in people's perceptions, including towards art. Back then, Libera's piece was seen as a powerful gut punch at silence about dying, coinciding with Zygmunt Bauman's book "Śmierć i nieśmiertelność" ("Death and Immortality"), which exposed society's inability to discuss illness, dying, and death openly. People want to remove death from their sight. Libera's work challenged the idealised images of beauty and consumerism in advertisements and commercials that were flooding Poland at that time.

When did you first become interested in art?

In Comprehensive High School 6, where my outstanding history teacher, Eliza Liberkowska, bravely brought up topics that couldn't yet be openly discussed. She also introduced us to art, which quickly caught my interest and led me to participate in art knowledge competitions. I saw art as a field that intricately intertwined historical, social, and cultural threads, particularly in contemporary and modern art.

And that's how you found yourself at the Institute of Art History at AMU[1], isn't it?

Indeed. One of my professors there was Prof. Piotr Piotrowski, a true legend. He inspired me to pursue my interests and write my master's thesis on feminist art in Poland. Interestingly, when I first arrived at the institute, I was warned that art history classes were mostly attended by women from affluent families looking to marry well. Today, as it was back then, most professors are male, while the majority of the students are female. I was fortunate to join Prof. Piotrowski's class where I could freely explore feminist art and feminist art history.

The Institute is now deeply divided with a strong conservative faction.

It's quite fascinating because many of the professors who are now right-wing and who were then doctors, used to be regular participants in international conferences and scholarships, and showed great interest in new ideas, including feminism. It is hard to believe that today.

And what drew you to feminism at such a young age?

My upbringing at home where I was raised by two women. My mum, granny, and I lived in the heart of the city, at the Old Market Square, in a tenement house later known as the Market Square squat. We had a stunning view of the town hall, and everything was within walking distance. My mum and granny instilled feminist values in me, although they didn't label themselves as feminists. My mum was also active in the Solidarity movement, so protests and evading riot police were part of our life.

Any wild romances in the eighties?

Just one, really. At sixteen, during a sailing camp, I met Darek, who is now my husband. We used to party, hike in the Tatras, stay active, and have a great time back then.

So it was a mix of sailing and mountain hiking on the one hand, and diving into art history on the other?

Yes, I tried to combine it all by becoming a tour guide for foreign tourists. I even completed a course and went on my first tour, but the constantly complaining holidaymakers quickly drove me to quit. I also considered working in an art gallery and pursuing research. Eventually, I opted for the latter path and started my doctoral studies at AMU.

Did you know any queer people then?

Absolutely, like Paweł Leszkowicz, who was in the same class and now teaches queer art at the Institute of Art History. Darek and I also frequented Caffé 2000 on ul. Nowowiejskiego, a very cool spot known for its large LGBTQ+ clientele. It was an underground world of nuances and secrets, where certain things were only revealed to those who needed to know.

Why did you start teaching at the Nicolaus Copernicus University of Toruń after your doctoral studies?

Because I fell behind in my studies due to having two young children. I struggled to get maternity leave approved but was unsuccessful. The university didn't accommodate female staff with children in its career planning. After I missed out on job openings at the institute due to the delay, Professor Tadeusz Żuchowski invited me over to Toruń. I never fully relocated there and commuted for classes, which was obviously exhausting, and so after a few years I transferred to the College of Humanities and Journalism [now Collegium Da Vinci] in Poznań, and finally, a decade ago, landed at the Faculty of Artistic Education and Curation of the University of Fine Arts. I'm delighted with this choice as I work with amazing colleagues and have fantastic students who constantly energise me and make me proud.

Is each successive generation becoming more queer?

For sure. I've learned inclusive language from them, which for them is just everyday language. This is also reflected in the exhibitions they curate. This year, the thesis exhibitions of three of my graduate students focused on queer ecology and, quite interestingly, textiles which are a particularly popular artistic medium among transmen such as my graduate student Leonard Dutkiewicz, whose works have recently been exhibited in Poznań.

What would you say to people who complain that everything has to be queer these days?

Were you at the Venice Biennale this year?

Certainly, it was highly post-colonial and queer.

We debated this question in Venice among a small group. Some argued that queer themes are disproportionately represented. True, we're witnessing a shift in art, traditionally dominated by normativity, but I embrace this queer turn and consider it necessary.

Julian Czurko, an animation student at the Poznań University of Fine Arts, shared that when he requested that the university use his new name and pronouns due to his transition, the university responded positively.

I'm glad to hear this, though it hasn't always been easy. I know someone who left the university a few years ago due to being misgendered. Justyna Ryczek, the rector's representative for equal treatment, deserves credit here. She intervened whenever students reported issues, and now we're starting to see results.

Did your socio-political engagement start with feminism?

Yes, in the late nineties. Beata Kozak from the eFKa foundation in Kraków initiated an e-mail discussion list on gender-related topics. Through this, I met a girl from Poznań whom I later found to be my neighbour. I asked her if she would like to get involved in real life. She did and this led to the founding of the Konsola Women's Association, which organised meetings, exhibitions, performances, and feminist conferences at the Zamek Cultural Centre. We hosted fantastic speakers such as Olga Tokarczuk, Kazia Szczuka, and Agnieszka Graff. As a doctoral student, I taught a course called "Reading Feminism", attended by Błażej Warkocki and Jowita Wycisk, among others. This was feminist grassroots activism for us.

And political activism too.

Konsola paved my way to join the Greens, who nominated me for the European Parliament elections. Although I didn't become an MEP, I achieved something else: organising the 1st Equality March in 2004 through a joint effort of the Greens and Konsola. We aimed to mark the UN's International Day for Equality and Tolerance with a march in Poznań and a conference on minority at the Castle. Unfortunately, the march didn't get very far. We only got to cross ul. Św. Marcin where we were obstructed by hooligans and right-wingers linked to the church, throwing eggs and stones. The police had our march disbanded, citing inability to protect us. That's why we called it "a hundred meters of democracy".

Was the following year any better?

The march, unlawfully banned by Mayor Ryszard Grobelny, stood challenged. We appealed to the regional governor, who upheld the original decision. Some felt we should comply with the ban, while others disagreed. I firmly believed cancelling the march wasn't an option. So, we convened at the Old Brewery and mapped out a route down ul. Półwiejska. As you know, we faced another setback. The police broke up the Equality March, encircling us, identifying participants, and making arrests. Over sixty people were detained. Not me, although Darek had advised me to bring a toothbrush, just in case. Naturally, we challenged Grobelny's decision in the Provincial Administrative Court and won. The court deemed the ban illegal, affirming the legality of the march - a verdict later upheld by the Constitutional Tribunal. Paradoxically, the banned march turned out to be a success.

Did you attend subsequent ones?

You might be surprised, but no. It all wore me down - I couldn't sleep and started feeling depressed. I only made it to the 3rd Equality March, almost out of habit, then took a long break. I returned to the marches last year and saw how far we've come in Poznań - from a small, fiercely opposed group to a large, colourful parade. And not in November, but in June.

I bet when you helped organise the first equality marches, you never imagined having a queer child yourself twenty years later?

Recently, my dentist asked about my sons. I corrected her, "Not sons, a son and a daughter". She nodded, "Oh yes, she was always so delicate". Zosia came out as transgender to us three years ago at the Pol'and'Rock Festival. Honestly, I wasn't surprised. But, like most parents of transgender children, I was immediately terrified - worried about others hurting my child and anxious about her future how she would cope and be received.

How did the family react to Zosia?

Darek, my husband, was surprised but took it in stride. Our son Kuba is still adjusting. Interestingly, in our Poznań support group for parents of transgender children, we've noticed that siblings generally take a bit longer. Piotr Jacoń, who wrote another book on the experience of a parent of a transgender child, titled "Wiktoria. Transpłciowość to nie wszystko" ("Wiktoria, Transgender is Not Everything"), shares this observation. But overall things are good - Zosia has been accepted in the family, which is crucial.

Is she undergoing transition?

Yes, she's been diagnosed and is on hormones, which has brought calm to her life and ours. Zosia has a wonderful girlfriend, Laura. They're a great couple and live together. Working at Lokum also helps. I think she's happy.

A happy Poznań girl?

Absolutely, and she's not alone. I see it in my queer students who often choose Poznań to study for its welcoming atmosphere. I recently met a gay married couple through Zosia. One is Belgian, the other Polish but not from Poznań. After traveling the world, they decided to settle down. Their search for the most gay-friendly city in Poland led them to Poznań and they made an informed decision to settle here.

You started fighting for this a long time ago.

Paweł Ziemba, whom I met at the 2nd Equality March, and I, sometimes joke that we fought for a better world for our children, never imagining they'd be queer. Twenty years ago, we were young parents, and now he has a trans son, and I have a trans daughter.

[1] Adam Mickiewicz University of Poznań

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