‘God, Honour, Fatherland’ has been printed in all Polish passports since 2018, the military motto has been inscribed into Polish identity despite its arguably patriarchal and non-inclusive nature. In the context of this study, it is important to acknowledge the existence of such enforcements and consider the significance of these authoritative actions in relation to art. The motto connects Polish patriotism to religiosity and according to the Polish spokesman for civil rights Adam Bodnar “violates the freedom of conscience and religion” (2018). Bodnar explains that “this motto is located in the outline of the photo’s hologram, which may lead to the identification of a person’s image with a specific worldview” (2018).
From the standpoint of being female, Polish, Catholic and an artist, I will explore the boundaries of art, faith, and identity. Through this lens, I will investigate to what extent contemporary art is determined by religious censorship and raise my concern that Catholicism is being used as a political and psychological ‘weapon’ to censor art, which is “the most common violation of artistic freedom” (Artland, 2021). I am particularly curious in exploring the meanings of being a ‘good artist’, a ‘good Pole’ and a ‘good Catholic’. An analysis of the Church’s role in art and culture between 1945 and the current times will be explored through the: ‘church boom’ of communist Poland, the Polish Cabaret, Solidarnosc and two recent cases of art censorship in Poland. The investigation is presented in chronicle order to help build an understanding of some historical context, essential in discussing the current cases of art censorship.
*Part of the 2021-2022 Fine Art cohort
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