Paint the Way You Live
Claude Monet, "In the Woods at Giverny, Blanche Hoschedé at Her Easel with Suzanne Hoschedé Reading", 1887 , Los Angeles County Museum of Art/Rawpixel (public domain)

Paint the Way You Live

The Value of Art Therapy
Aleksandra Woźniak-Marchewka
time 11 minutes

In childhood, we are artists. We draw, dance, make things out of plasticine, without thinking about whether someone likes it or not. With age, however, we lose this joy of creation. How can we learn it anew?

The American psychiatrist and psychotherapist Alexander Lowen was convinced that everyone who creates resembles a child. Creativity results from the need for self-expression and the desire for pleasure. We all have it within us. Małgorzata Karkosz, an art therapist who runs Vedic Art workshops, agrees with this completely: “I believe that we are born with full potential. We are like a lush tree, which over time becomes trimmed according to bonsai standards. It is a paradox: on the one hand, we are under pressure to be creative, and on the other, education and socialization block our creativity.” Art therapy is there to help us.

Follow Your Intuition

“Art therapy is showing ourselves and the world what is within us,” says Karkosz. “Art in the context of art therapy is the voice of the unconscious. Just like dreams, which we also cannot control and which would be pointless to judge.” Participants in her Vedic Art


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We Are the Future!
Aleksandra Ekster, “Carnival in Venice”, circa 1930 (public domain)

We Are the Future!

The Russian Futurists
Maciej Świetlik

When Filippo Tommaso Marinetti’s Manifesto of Futurism was published in 1909, the Russians welcomed it like an epiphany. However, a mere five years later it had become clear that while the avant-garde movement in the East was hurtling along just as fast as the Italian movement led by the pioneers of modernity, it was headed in a very different direction.

The atmosphere was tense before Marinetti’s first reading in the auditorium of the Kalashnikov Stock Exchange in St. Petersburg. A day earlier, Nikolai Kulbin had gathered an informal welcoming committee of local Futurists at his home. The host – a popularizer and theoretician of new art who was older than the rest of the attendees and held prestigious positions as state councillor and doctor of the General Staff of the Russian Army – tried to coerce everyone into giving the Italian Futurist a friendly welcome. He was afraid of an embarrassing scene, remembering an interview that had appeared in a Moscow newspaper a few days before Marinetti’s arrival in Russia. In the interview, Mikhail Larionov – a co-founder of Rayonism, the second-most radical branch of the Russian avant-garde movement (after Suprematism) – argued that the Italian guest should be greeted with rotten eggs for betraying his previously proclaimed views.

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