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Tekst kuratorski - zobacz

H.B. [Helena Blumówna], „Krakowska Kronika Plastyczna,” Tygodnik Powszechny 16/1952 - zobacz

ZPAP i LK przygotowują wystawę «Kobiety o kobietach» na Międzynarodowy Dzień Kobiet. Wystawa ta zobrazuje osiągnięcia kobiet w walce o pokój,” Echo Krakowskie 46 (1952)

Hanna Mortkowicz-Olczakowa, „Zmiany w krajobrazie,” Nowa Kultura 28 (1952)

Uroczysty przebieg dnia kobiet: Wystawa w Pałacu Sztuki, Dziennik Polski 60(1952) - zobacz

The only nation-wide all-women exhibition organised in that period was Kobieta w walce o pokój [Woman Fighting for Peace], organised in 1952, noteworthy, on the International Women’s Day, by Women's League[1]. Shortly after the war, the League received the status of an official organisation and absorbed other women's associations from the interwar period. It was directly dependent on the Women's Division of PZPR (Polish United Workers' Party) and depended on the governing party to a large degree[2]. Its goals did not reflect real women's needs, but rather assumptions of the party. Although the above-mentioned exhibition had a large scope, it also implicated people in close relations with the authorities. The idea of "fighting for peace" did not correspond with women's priorities at that time, it was not related to the topics women were interested in, and it had an ideological message resulting from a turbulent international situation. The peace campaign was tied to party goals, including industrialization, collectivization and the Six-Year Plan[3] in particular, success which was seen as also dependent on women’s commitment to work. The necessity of fulfilling these objectives was underlined at the First All-Polish League of Women Congress in 1951[4], and notably it was also emphasized in the curatorial text accompanying the show.[5] Moreover, the organizers of the exhibition arranged field visits to the workplaces, State Agricultural Enterprises and Production Cooperatives to enable women artists to establish relationships with work leaders [przodownice], who exceeded production norms and with rationalizers [racjonalizatorki] who were engaged in production improvements. Women's League wanted women artists to became involved in achieving the party leaders’ goals and was acting as state agent rather than on behalf of women artists, not commiting itself to change in their current position in the field of art.

Luiza Kempińska, “Kobieta w walce o pokój”, w: Wystawy sztuki kobiet w Polsce,

http://wystawykobiet.amu.edu.pl/wystawa/kobieta-w-walce-o-pokoj,47.html