Sala Neoplastyczna: od kobiety ornamentu do kobiety instrumentu

The objective of this article is to conduct a revision of the meanings attributed in Polish art history to a piece of work regarded as an ‘iconic’ Polish museum piece by Władysław Strzemiński, a leading representative of constructivism, titled Sala Neoplastyczna. The text proposes considering afresh the tangle of evidence relating to the rise of this work, such as the time its creation required, the title its author chose to give it (“Oeuvre néoplastique”) and that artist’s works in the field of theory and practice in the designing of spatial forms. The main axis of the here-contained analysis of Sala Neoplastyczna is above all else the work itself (or rather this design’s reconstruction), and in particular an arrangement in its range of works by the artist’s wife, Katarzyna Kobro, the eminent sculptress.