“Bruno Schulz: The Iron Capital of the Spirit”
              Ewa Borysiewicz
              In 1942, the Jewish-Polish artist and writer Bruno Schulz was murdered in the street by a Nazi officer. Though his weird and immersive short stories—many of which are set in his hometown Drohobych and in a dreamscape rendered after it—have lasted, most of his art perished with him. The small fragment of his visual oeuvre which survived the war has often been sensationalized, reduced to mere embodiments of the artist’s masochistic and fetishistic fantasies. Thankfully, here curator Jan Owczarek proposes a more nuanced take, setting Schulz’s work alongside that of contemporary artists who share his interest in forging personal, ambivalent mythologies. The title of the show is sourced from an interview with the artist in which he suggests that artists tend to explore a limited number of subjects across their creative lives. The exhibition charts the handful of visual themes towards which Schulz leaned—genre scenes against a city background, or conversations set in tiny rooms—but his overarching subject, returned to obsessively, was the depiction of gendered power dynamics. The opening work—a 1919 self-portrait in pencil on paper—serves as a good example. Here, we see the artist, his gaze fixed on the beholder, leaning in front of a drawing board. The …

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