Władysław Hasior - Impudent Artist
An artificer defying classification or categorization, trend-wise, in world art. One of the world's most outstanding impudent artists Władysław Hasior departed on a warm July night. Forever...
I met him fifteen year ago, on the eve of his moving from the "Kenerowka" villa to the new imposing gallery. His old lair was called a villa only for show. The tottering highlander's hut was a terribly junked-up abode. There was no separation here of living and workshop areas. In the middle of the so called large room reigned a plush-cover couch of huge proportion. It was here that the artist use to sit his guests, with whom he was unusually candid and open. It was to have been a routine interview. Instead, in the company of a bottle of his beloved red wine, we talked till dawn. We talked about life and art. About his banners and numerous romantic affairs. He didn't hold back anything. The following morning came the famous move to the new gallery, so long in building. There were crowds. Radio, TV, journalists with his friend the editor Bialy in the vanguard. The youth of Zakopane formed a procession bearing his banners, his other works, the little altars, and so too the iconoclastic tatters of human existence. It was moving and sublime. Hasior was then really happy, for it was his mystrium. In the new gallery he singled me out to show me, as the first, the secret passage and spy hole through which he could watch unobserved the gallery and its visitors. It was a great experience. The fluttering banners against the panorama of Polish mountains, the songs and the highland band. Happiness and emotion. Unrepeatable.
The critics and the public taunted him often that he toadied to the communists. That to their glory he created his fire birds. But he extolled life. The war burdened him enormously, so on the piles of scrap iron he placed the tatters of humanity. He liked to show scarred reality. He was difficult and impudent. It was not easy or pleasant. But no one was indifferent to his work. For Hasior constantly provoked, overpowered, compelled reflection. He was interested in everything that took place around him. He skillfully combined Polish culture, its traditions with pagan ways. There were thus holy Christian images and pagan idols. He collected on overgrown paths and roads the oddest "wonders." He search junk-piles for old, deformed, useless items. And he created from them a different, a little magical and a little twisted world. His monstrous banners assembled within them the beauty and esthetic of his art. It was these that symbolized the greatness and pride of the artist in his art and motherland. He always looked upon them with emotion and personal pride. Hasior's oeuvre is a portrait of his innermost , the conditions of his mind and soul. Creations that were uneasy and not always beautiful. But great and unique. He frequently would say of himself: I am but a ordinary tinkerer, I like to putt around and create something from nothing. The Academy of Fine Arts gave me just a diploma. And what I make and create comes from my hands and mind. I am a tinkerer-craftsman. That he was great, his life attested, even in its humility. He attached no importance to the accolades of this world. His needs were satisfied by a denim suit and a bottle of red wine. He parted unwillingly with his creations. But he had to sell them, to survive.
He followed his own path
He was resistant to trends and fashions. He didn't surrender to rules in his work or his life. He was a nonconformist in life and his work. He sought the truth. He opened himself up and shut himself. He was able to skillfully combine beauty and ugliness. The subjects of his work were human dramas, lameness and deviations. He created by provoking. He annoyed, but as if unknowingly, He was simply impudent. And the world frequently would label him a scandalizer. In 1990 they would not permit him to organize an exhibition in Warsaw's Zacheta gallery. A that for the artist became his life's greatest artistic and personal setback. He lived among people but felt lonely. After his heart attack, part of his friends distanced themselves from him. He was happy when visitors came to the gallery. He watched them through the spy hole, then he would come out and chat for hours.
The illness was pitiless in its effects on him. On the ward of the Krakow hospital he found peace, help and consolation. He departed during a warm July night. The urn with the great artist's ashes returned to the gallery enveloped in white lilies and blue morning glories. There his friends and admirers of his art bid him farewell. He rests in an old Zakopane cemetery besides the great and the outstanding. And near Czorsztyn on the day of his funeral his controversial and now much corroded firebirds blazed once more.
— info-poland
Władysław Hasior Banners
For his diploma project at the Academy of Fine Arts in Warsaw, Hasior created a set of ceramic Stations of the Cross destined for St. Casimir's Church in Nowy Sacz. Subsequently he also participated in exhibitions of sacral art. Around 1965 Hasior created his first Banners. These resembled church feretories in form and combined dignified, high-toned inspirations with everyday reality and its banal aesthetics.
In 1973, Hasior took things a step further: during the Festival of the Blossoming Apple Tree in Lacko, a village in the Tatra foothills, he organized a happening, a procession along the hills surrounding the village. Leading the procession dressed in a fireman's helmet and uniform, he was followed by four detachments of volunteer fireman carrying his banners, and by a band that played music. For some form took precedence over substance: the happening led the communist authorities to impute the artist with religiosity...
— info-poland
Hasior - an extraordinary sculptor
Wladyslaw Hasior, who had died few years ago, was both an artist and a person fascinated by the provincial, church fete material culture. He belongs to a group of artists who had been abandoned by Polish culture about two decades ago. The value of his works has been called into question when some pointed at Hasior's sculptures in which the legend of people's power lived on. Perceived as an artist from the "ancien regime", a star peculiar to the art of Polish People's Republic. He slid (was put in fact) into the shade on the Polish art scene. That simple, or rather simplistic, histo-cultural mechanism had worked perfectly for yet another time, causing a factual harm. As Hasior, and his, to some point insane, works deserve to be treated absolutely seriously nowadays. The label of a dusty museum relic is somewhat too trivial while referring to works that have had shaped the Polish landscape (both mental as well as physical) with verve and imagination. Apart from numerous, though not necessarily displayed, works in museums (we recommend Zakopane and Wroclaw) Hasior left a number of works in public space, primarily monuments. Ranging from plain stone works (like the monument of the Tatry Mountain Rescue Team in Zakopane), to impressive sculptures incorporating water and wind (monuments in Kuznice and Czorsztyn), to experimental forms like Monument of the Shot Hostages in Wroclaw - cast in concrete in moulds dug directly in the ground and then set on fire. Fire was also the favorite element used by the artist in his "processions" and other, ephemeral, projects in public space. It was also fire that had appeared in Szczcin in 1975, when on the slopes surrounding the castle Hasior "unveiled" his new work "Firebirds". This impressive and prodigious installation made of iron and sheet metal remained in Szczecin for good. After a few moves in the 90's it eventually landed in Kasprowicz park on the outskirts of city center. That was the moment when its slow but gradual degeneration began.
— www.raster.art.pl
Władysław Hasior sculptures: The Firebirds
Hasior's 1975 Firebirds sculpture was first located on the slopes of Szczecin's Castle. Later development of a limited access highway necssitated its relocation and, after a number of moves, the sculpture is now located in Szczecin's Kasprowicz Park. At the unveiling of the sculpture, Hasior used fire. The undated photograph showing him moving rapidly down a slope from a blazing set of firebirds is likely to be from that occasion. In the years after its relocation to the Kasprowicz Park, the sculpture suffered from neglect, so much so that admirers of Hasior's work from Wroclaw found pieces of the sculpture lying loose in the mud. Appalled, they took possession of those pieces, transported them to Wroclaw, restored them and placed them on public display. The whole thing became a scandal, on one hand the authorities in Szczecin calling the removal a theft, the individuals in Wroclaw agreeing to return the pieces provided there is an undertaking by the Szczecin authorities to safeguard the sculpture from further neglect. The travails of the Firebirds mirror in a wider sense the regard and reputation accorded to Hasior and his art. Though he never became a member of the communist part that governed Poland in the years 1945-89, he accepted the regime's patronage and this was, at one time, held against him and his art. Times have changed and, judged him on his own merits, he is said to enjoy
"a unique position in Polish contemporary art. A sculptor, creator of spatial forms, action artist, scenery designer, and educator, he is considered to have been among the originators of Polish Pop Art. " , and
"In Poland, Hasior's works can be seen in museums in Krakow, Warsaw, Lodz, Poznan, Szczecin, Wroclaw, Bydgoszcz, Lublin, Nowy Sacz and Zakopane; abroad, his works are on display in museums in Helsinki, Paris, Stockholm, Oslo, S‹o Paulo, Rome, Milan, Edinburgh, Bochum, Duisburg and Amsterdam. There are a large number of Hasior's works in private collections as well."
Hasior used fire both for its artistic, symbolic values as as an emotional element with many of his sculptures, particularly at such occasions as unveilings. Once he said that with fire he hoped to pierce the heavens, a notion easier to countance in the Polish language where the same word, niebo, refers to both heaven and sky. Another unveiling where he used fire was that of the Iron Organs at Czorsztyn (the sculpture is the subject of a separate webpage). On that occasion, the communist dignitaries present questioned whether the fire was essential, to which Hasior is said to have replied firmly: "Yes!"
Other works than should be mentioned in this context are Golgotha a monument with live fire which he created in 1972 in Montevideo, Uruguay, the Pieta on Fire he created that same year in Copenhagen, and the Chariot of the Sun (solspann) in Sodertalje, a town 30 km south of Stockholm. The latter sculpture is located on a hill overlooking the canal that transects the town. Interestingly, a local custom has arisen where, annually, on a night in August artists and other gather on the hill and illuminate the sculpture with fire.
It is of interest that Hesior had his students analyze the elements of fire by setting hay bales blazing . A 1991 photograph shows him involved in a 1991 happening staged under the title Ecological Alarm. In the photograph he is show equipping a tree with the hands of mannequins, with the tree being subsequently set on fire.
— info-poland
L'artista comunista
Tutti i problemi dell'arte contemporanea nella Polonia odierna nascono dal fatto che la sua cultura troppo a lungo è stata colonizzata dalla storia, dalla politica, dalla religione e dalle ideologie. Già nel romanticismo all'arte fu assegnato un ruolo particolare ed improprio: essere l'unico territorio possibile del dissenso politico e morale. L'artista fu riconosciuto bardo delle libertà universali e portatore delle verità assolute. L'unione fra arte e messianismo si è consolidata a causa delle vicende storiche che per quasi 150 anni hanno costretto i polacchi a battersi per l'indipendenza del proprio paese diviso dalle grandi potenze europee. Il vero artista polacco doveva abbracciare la sacra causa patriottica che lo esimeva dal misurarsi con l'arte straniera e gli riservava una posizione di prestigio e l'ammirazione acritica dell'intera nazione. (È interessante osservare come questo metodo di strumentalizzare l'arte e la cultura venne riciclato ed assimilato da tutti i regimi del XX secolo. Il nazifascismo si è servito dell'arte per i suoi scopi propagandistici e lo stesso ha fatto il comunismo, investendo generosamente nel realismo socialista rilevanti fondi statali.)
Il messianismo dell'arte polacca si risvegliò agli inizi degli anni '60, quando ebbe finalmente termine l'ibernazione del realsocialismo. Gli artisti sono stati fra i primi a chiedere la libertà di espressione e di attività culturale. Si opponevano alla macchina repressiva che attraverso la censura e la burocrazia s'intrometteva nel loro lavoro e nella loro vita personale, auspicavano un libero mercato dell'arte con circuiti e finanziatori privati, e lamentavano a gran voce la dolorosa mancanza del benessere e del lusso "occidentali", sogno di tutta la nazione. Il paradosso storico ha voluto che, proprio nello stesso periodo, l'arte ad Ovest della cortina di ferro cominciasse a contestare il capitalismo e la mercificazione della cultura. Metabolizzata la Pop Art, l'Occidente sperimentava nuovi stili e linguaggi, mentre in Polonia Andy Warhol veniva considerato un cartellonista ed artisti come Rauschenberg e Jasper Johns dei semplici grafici. Dopo la via obbligata del realismo socialista, si tornava a una pittura profondamente radicata nella tradizione. Regnavano il figurativo, l'astratto e il costruttivismo, che fu la vera avanguardia storica polacca fra le due guerre. Per contro performance, happening ed azionismo non furono mai accettati dalla politica del regime, la quale li classificava come pure dimostrazioni politiche. La cortina di ferro di fatto produceva una costante mancanza di punti di riferimento, ma non era solo questa la causa del ritardo culturale in Polonia. In realtà l'ambiente artistico non era particolarmente interessato a quanto succedeva fuori, e questo scarso interesse storico e critico nasceva in gran parte dal peccato originale degli artisti ed intellettuali polacchi: il tradizionalismo conservatore. Ed anche dal fatto che il ruolo sociale dell'arte e i privilegi dell'artista, mai messi in discussione, erano pur sempre collegati all'estetica ufficiale, per la quale l'opera d'arte, spesso sul versante del sacro, non aveva bisogno di scavalcare un certo paradigma formale.
All'inizio degli anni '70, con il "socialismo reale" si verificò un rapido processo di assimilazione delle nuove avanguardie storiche occidentali. Il modello socioeconomico a quell'epoca era un ibrido davvero singolare: un consumismo senza mercato e senza consumo. Nei negozi erano entrati i prodotti stranieri, ma la gente non aveva i soldi per acquistarli. Nella politica culturale del regime si avvertì una volontà di "occidentalizzazione", che poi si tradusse nell'apertura a correnti straniere già storicizzate e in una maggiore permissività nei confronti degli artisti polacchi, mentre l'arte fu esonerata dall'obbligo di servire e rappresentare ufficialmente lo stato comunista. Così nel lessico ordinario entrò a pieno titolo l'aggettivo "popartowski" per definire la vera creatività artistica, che peraltro con la Pop non aveva, né poteva avere niente a che fare. Il processo di assorbimento dei termini avveniva prima della relativa analisi. Vennero qualificati pop-artisti polacchi Wladyslaw Hasior, Alina Szapocznikowa, Andrzej Wròblewski, Tadeusz Kantor - i primi ad introdurre nell'arte l'oggetto riciclato. Ma invece del readymade post-duchampiano, si parlava di "sacralizzazione", "desacralizzazione" e "consacrazione" dell'oggetto. L'happening fu connotato con le attività artistiche di Kantor e con la rinascita del teatro d'avanguardia, reso poi famoso da Grotowski. Ma mentre in Occidente le azioni si svolgevano per la strada, fra la gente e lontano dai circuiti commerciali, in Polonia l'happening entrava in teatri e musei diventando una celebrazione paraliturgica. D'altra parte la teatralizzazione delle nuove avanguardie era un fatto naturale in un paese in cui la letteratura e la poesia sono sempre state considerate preminenti e prioritarie rispetto alle arti visive. Perciò fu ben accolta l'arte concettuale. Del resto in Polonia mancava la tecnologia occidentale, ma la sfera teorica era molto avanzata.
Negli anni '70 matura anche il concetto di arte "non politicizzata". Gli artisti occidentali prendevano posizioni politiche e quelli polacchi le distanze da tutto ciò che fosse ideologico, rivolgendosi unicamente ai valori "universali". In quel periodo l'unica posizione non compromettente era tenersi lontano dall'unica politica possibile, il comunismo di regime. In Occidente la contestazione si sposava con la filosofia di sinistra, ma sulle rive della Vistola questa visione sarebbe stata ovviamente un controsenso.[...]
Agnieszka Zakrzewicz
Traduzione Sergio Rispoli
— www.undo.net
Arte contemporáneo
El establecimiento del comunismo convirtió a los artistas en empleados del Estado, es decir, que dependían en gran medida del mecenazgo del Ministerio de Cultura, una situación que se prolongó hasta los años ochenta. El pintor del grupo Autodidacta Andrzej Wróblewski (1927-1957) puso su método “neo barbaryczna” al servicio de la construcción del socialismo. Lo mismo hizo Maria Jarema (1908-1958), cofundadora del grupo de Cracovia junto a Henryk Wiciński (1908-1943), que al poco se orientó hacia la abstracción, para después colaborar con Kantor. Bronisław Wojciech Linke (1906-1962), miembro del grupo Bonnet Phrygien, añadió la sátira al surrealismo. El ZPAP, la Unión de Artistas Polacos, reunida en Katowice, decidió en junio de 1949 adoptar el realismo social, que se dio por terminado en 1955. El final del estilo internacionalista soviético estuvo marcado por la aparición de numerosas corrientes como el grupo 55, que expuso “sus metáforas visuales” en la galería Krzywe Koło (Círculo Torcido) de Varsovia, o el Grupa Krakowska II de Tadeusz Brzozowski (1918-1988), hostil al culto de la estética. Los años sesenta se presentaron como un período de diversidad que asimilaba todas las corrientes occidentales del modernismo. “Artista total”, según su propia definición, Tadeusz Kantor (1915-1990), miembro del Grupa Krakowska, comenzó su período informal organizando, en 1948, una exposición de arte vanguardista en torno a sus Metamorfosis. Su primer medio de expresión, la pintura, supuso una experiencia decisiva que finalmente le condujo a rechazar la figura humana y el cuadro y a constatar que las bellas artes tomaban prestadas las formas de la acción. Así llegó a las performances y los happenings cricotage (nombre de su teatro Cricot 2), el primero se celebró en 1965 en la galería Foksal de Varsovia, fundada por el artista Włodzimierz Borowski (1930).
En sus comienzos, Magdalena Abakanowicz (1930) fue una notable creadora de tapices modernos para convertirse, posteriormente, en uno de los artistas mejor representados en los grandes museos del mundo gracias a sus esculturas monumentales al aire libre.
Entre otros artistas destacados cabe citar a Jonasz Stern (1904-1988), dedicado a la “pintura de la materia”, y que integró en sus cuadros restos orgánicos, y a Władysław Hasior (1928-1999), formado en Zakopane, y sus sorprendentes montajes poéticos. No hay que olvidar los experimentos técnicos de Alina Szapocznikow (1926-1973) en torno al cuerpo humano, o las pinturas de iglesias del ortodoxo Jerzy Nowosielski (1923), o los lienzos característicos de la “expresión salvaje” de León Tarasewicz (1957), sin dejar atrás las obras de los conceptualistas Ryszard Winiarski (1936) o Roman Opałka (1931). Zdzisław Beksiński, Józef Szajna, Edward Dwurnik, Kazimierz Mikulski, Jerzy Beres, Jan Lebestein, Zbigniew Makowski, Krzysztof Wodiczko y Jarosław Kozłowski son otros de los nombres que se incluyen en el panorama artístico polaco del s. XX. Por último, en el terreno del arte popular, no hay que dejar de citar a los pintores Eugeniusz Mucha (1927) y Nikifor (1895-1968), un autodidacta que se suele comparar al “Aduanero Rousseau”.
— cultura polonia
Fotografie Władysława Hasiora
Władysław Hasior znany jest głównie jako rzeźbiarz – twórca oryginalnych pomników, „sztandarów”, obiektów i instalacji, asamblaży, kolaży, akcji plenerowych. Niewiele mówi się o jego zainteresowaniach i czynnym uprawianiu fotografii. A jednak była to dziedzina, która towarzyszyła mu nieustannie przez całe twórcze życie i była dla niego bardzo istotna. Swoje slajdy porządkował, układał w cykle tematyczne i nieustannie nad nimi pracował: analizował, zestawiał, przekomponowywał zestawy – ze względu na temat, wybrany aspekt rzeczywistości bądź jakiś łączący je element.
Równie istotne jak fotografowanie było dla Władysława Hasiora dzielenie się własnymi spostrzeżeniami i refleksjami towarzyszącymi powstawaniu zdjęć. W swoim mieszkaniu urządzał tak zwane „kino” (zwane też przez niego żartobliwie „Świetlicą Powiatową”) – pokazy slajdów z autorskim komentarzem. Prezentował je swoim znajomym i przyjaciołom, a także zapraszał uczniów szkół plastycznych i pasjonatów sztuki.
Posługując się zdjęciami, snuł opowieści nie tylko o swojej twórczości i jej inspiracjach, ale także o dawnej i współczesnej sztuce polskiej i europejskiej, zjawiskach artystycznych noszących w sobie zalążki sztuki, wreszcie o rozmaitych ciekawych – jego zdaniem – przejawach rzeczywistości.
Liczący ponad 20 tysięcy zbiór slajdów Hasiora wiele mówi o artyście. Jawi się on nam jako wrażliwy esteta, zapalony kulturoznawca i historyk sztuki o ogromnej zdolności kojarzenia zjawisk, a także człowiek z pasją popularyzatorską, mający potrzebę dzielenia się wiedzą, przemyśleniami i przeżyciami.
— sztuka.pl
WŁADYSŁAW HASIOR
Death of an Artist
25 July 1999
One of Poland's leading lights has passed away, but his in sights into modern culture remain.
Fotografie Władysława Hasiora
Władysław Hasior, one of this century's greatest Polish artists, died at the age of 71 in Cracow's Neurosurgical Clinic on Wednesday, July 13. His final months were spent between his studio in Zakopane and Cracow hospitals.
I met with Hasior in February at his studio-cum-gallery/apartment in Zakopane. Thanks to an earlier phone conversation, I was aware that he was not in the best of health. He spoke slowly, almost in a whisper, asking me to phone back later. Two days later he agreed to meet. "You can come," he whispered slowly and almost inaudibly. Overjoyed, I asked when. "What do you mean when? At this moment!" Those working at Hasior's gallery did not believe that he had agreed to meet with anyone. I was allowed to enter only after a further intercom confirmation: "Sir, a man has arrived saying that he has arranged to meet with you. Should I send him up?"
His personality shocked me, his penetrating gaze was paralyzing. From the gallery came the sound of unnerving psychedelic music. He did not say a word, shuffling very slowly into the kitchen. Chaos reigned throughout the fairly substantial living space, although it seemed as if every object was in its rightful place. On the walls was a collection of dozens of unexhibited works, new and old. Under the windows were rows of small shelves, carefully lit for the display of hundreds of framed slides.
Five minutes later he arrived with cold tea, half of which was already in the saucer. At this point I asked my first question. I was interested in how he viewed the future of art and culture in the computer age. Hasior laughed, "Come over here," he whispered, walking toward a pyramid of slides. He showed me them without a word, smiling the whole time. The pictures were old. I figured they were his work. Many pictures had been pasted together from two different photographs-creating a contrast between two seemingly distinct images. The photographs were an accumulation of disorderly placed objects, geometric concrete forms, landscapes and propaganda slogans clashing with the actual appearance of cities, roads and buildings.
I did not expect it to be so difficult to understand Hasior. It was hard to talk to him. His replies to questions were long, whispered and seemed to wander from the point. For an hour he moved around the whole studio, showing me many of his new comparative works. "Look at this," he whispered, offering two illustrations. One was an advert for a water pump-a scantily clad woman with conspicuous bosom; behind her an angel was rising in flight. The second picture, a reproduction of a Renaissance work, showed a woman in an identical pose. "This is dishonest," he said, distinctly irritated. "They are not allowed to do this to us." At the end of the meeting I realized he had finally answered my original question.
He didn't allow me to photograph him. As I took photos of his studio, he left, looking tired. I decided to leave. He left with the words, "Please come and visit me again sometime when you are in Zakopane-next time privately." A few weeks later, he left his studio for the hospital in Cracow, never to return.
Dominik Skurzak
— warsaw voice
Bibliografía
Władysław Hasior
por Władysław Hasior
Libro
Idioma: Idiomas múltiples
Władyslaw Hasior
por Władysław Hasior; Moderna Museet (Stockholm);
Libro
Idioma: Sueco
Editorial: Stockholm : Moderna Museet, 1968.
Hasior w zbiorach Miejskiego Ośrodka Sztuki w Gorzowie Wielkopolskim
por Gustaw Nawrocki
Libro : Biografía : Publicación gubernamental local
Idioma: Polaco
Editorial: Gorzów Wielkopolski : Wojewódzka i Miejska Biblioteka Publiczna, 2007.
Władyslaw Hasior. [Ausstellg.] 31. 10-5. 12. 1971
por Władysław Hasior; Peter Leo; Peter Spielmann, Dr.; Museum Bochum.
Libro
Idioma: Alemán
Editorial: Bochum, Museum (1971).
Władyslaw Hasior : Museum Bochum, 31.10. - 5.12. 1971.
por Władysław Hasior; Museum (Bochum);
Libro
Idioma: Alemán
Editorial: Bochum : [s.n.], 1971.
Władyslaw Hasior : Konsthallen Göteborg, 9 Okt.-28 Nov., 1976.
por Władysław Hasior; Göteborgs konstmuseum.
Libro
Idioma: Sueco
Editorial: Göteborg : Tryck Bergendahls, 1976.
Władyslaw Hasior
por Władysław Hasior; Amos Andersonin Taidemuseo.
Libro : Publicación de conferencia
Idioma: Finlandés
Editorial: Helsinki : Amos Andersonin Taidemuseo, 1978.
Władyslaw Hasior : Konsthallen Göteborg, 9.10. - 28.11.1976.
por Władysław Hasior;
Libro
Idioma: Sueco
Editorial: Konsthallen Göteborg, 9.10. - 28.11.1976.
Władyslaw Hasior
por Władysław Hasior
Libro
Idioma: Alemán
Editorial: Museum Bochum, 31.X. - 5.XII,1971,
Władyslaw Hasior : sculptures, banners, and assemblages : Royal Festival Hall, London, 28 July - 20 August, 1977
por Władysław Hasior; Jasia Reichardt; Royal Festival Hall (London, England)
Libro
Idioma: Inglés
Editorial: [London : Polish Cultural Institute], 1977.
Wladyslaw Hasior : Konsthallen Göteborg, 9 okt - 28 nov 1976
por Władysław Hasior; Adam Łowczycki; Konsthallen.
Libro : Publicación de conferencia
Idioma: Sueco
Editorial: Göteborg : Konsthallen, 1976.
Wladyslaw Hasior : Nordjyllands Kunstmuseum, (Aalborg, 15.12.1973 - 27.1.1974).
por Władysław Hasior;
Libro
Idioma: Danés
Editorial: Aalborg : Nordjyllands Bogtrykkeri, 1973.
Władysław Hasior
por Teresa Jabłońska
Libro : Biografía
Idioma: Polaco
Editorial: Olszanica : Bosz, 2004.
Wladyslaw Hasior : XXXV Biennale di Venise ; Section Polonaise /
por Władysław Hasior;
Libro
Idioma: Francés
Editorial: Warsaw : Bureau Central des Expositions d'art, 1970.
Upadły anioł : rzecz o Władysławie Hasiorze
por Ryszard Dąbrowiecki
Libro
Idioma: Polaco
Editorial: Katowice : "Śląsk", 2004.
Wladyslaw Hasior : Moderna Museet Stockholm, [9. 11.-15. 12. 1968
por Władysław Hasior; Carlo Derkert; Moderna museet (Stockholm, Sweden)
Libro
Idioma: Sueco
Editorial: [Stockholm : Det Museet, 1968]
Władysław Hasior 1928 - 1999 : [attends the Exhibition Hasior, National Museum in Warsaw, 30 June - 21 August 2005]
por Anna Żakiewicz; Muzeum Narodowe.
Libro
Idioma: Inglés
Editorial: Warszawa : Muzeum Narodowe, 2005.
Wladyslaw Hasior : Objektkunst aus Zakopane; Kabinett der Galerie Junge Kunst, Frankfurt (Oder) 1.9. - 16.10.1988
por Władysław Hasior; Waldemar Haase; Galerie Junge Kunst.
Libro : Publicación de conferencia
Idioma: Alemán
Editorial: Frankfurt (Oder) : Galerie Junge Kunst, 1988.
Władysław Hasior, Camiel van Breedam : 22/12/1989-25/2/1990
por Władysław Hasior; Camiel van Breedam; Kunsthalle Darmstadt.
Libro
Idioma: Holandés
Editorial: Brussels : Atelier 340, ©1989.
Władysław Hasior, 1928-1999
por Anna Żakiewicz; Muzeum Narodowe w Warszawie
Libro : Publicación gubernamental nacional
Idioma: Polaco
Editorial: Warszawa : Muzeum Narodowe w Warszawie, 2005.
Polônia a XI bienal de São Paulo 1971 : [Jan Dobkowski, Wladyslaw Hasior, Wojciech Sadley, Janusz Przybylski]
por Jan Dobkowski; Władysław Hasior; Janusz Przybylski; Wojciech Sadley; Andrzej Jan Wróblewski; Bienal Internacional de São Paulo. <11, 1971, São Paulo>.
Libro : Publicación de conferencia
Idioma: Portugués
Editorial: Varsóvia : Bureau Central de Exposições Artísticas, 1971.
Fotoalbum
por Władysław Hasior
Libro
Idioma: Polaco
Editorial: Warszawa : Wydawn. Skorpion, 1996.
Władysław Hasior, Skulpturen, Flaggen, Objekte : Künstlerhaus Wien, 3. März-27. März 1978.
por Władysław Hasior; Gesellschaft Bildender Künstler Österreichs.; Künstlerhaus Wien.; Austria. Bundesministerium für Unterricht und Kunst.
Libro
Idioma: Alemán
Editorial: Wien : Gesellschaft Bildender Künstler Österreichs, [1978]
Hasior : opowieść na dwa głosy
por Hanna Kirchner; Władysław Hasior
Libro
Idioma: Polaco
Editorial: Warszawa : Rosner & Wspólnicy, 2005.
Myśli o sztuce
por Władysław Hasior; Zdzisława Zegadłówna
Libro
Idioma: Polaco
Editorial: Nowy Sącz : Oficyna Wydawnicza Związku Podhalan, 1987.
Władysław Hasior : XXXV Biennale de Venise 1970, Section Polonaise.
por Władysław Hasior; Aleksander Wojciechowski
Libro
Idioma: Francés
Editorial: [Varsovie] : Publié par le Bureau Central des Expositions d'Art à Varsovie, [1970]
Władysław Hasior : wystawa rzeźby, Poznań, styczeń 1967.
por Władysław Hasior; Zdzisław Kępiński; Galeria BWA "Arsenał" w Poznaniu.
Libro
Idioma: Polaco
Editorial: Poznań : Biuro Wystaw Artystycznych Poznań, Stary Rynek "Arsenał", [1967]
Władysław Hasior, Camiel VanBreedam : 22/12/1989 - 25/2/1990, Atelier 340; [musées qui accueilleront cette exposition: Kunsthalle Darmstadt 18/3/1990 - 24/4/1990 ... Tow. Przyj. Sztuk Pięknych Kraków, Kraków, 1991]
por Władysław Hasior; Marc Renwart; Atelier Trois Cent Quarante.
Libro
Idioma: Holandés
Editorial: Bruxelles, 1989.
Wladislaw Hasior. Moderna Museet. Stockholm 9.11-15.12 1968.
por Władysław Hasior; Carlo Derkert; Moderna museet (Stockholm, Sweden)
Libro
Idioma: Sueco
Editorial: Stockholm, Moderna museet 1968.
Hasior : Malmö Konsthall.
por Władysław Hasior; Eje Högestätt; Malmö konsthall.
Libro
Idioma: Sueco
Editorial: Malmö, Sweden : Malmö Konsthall, [1976]
Władysław Hasior
por Władysław Hasior; Jerzy Treutler
Libro
Idioma: Francés
Editorial: [Varsovie : Le Bureau Central des Expositions d'art, 1970]
Władysław Hasior, Camiel Van Breedam.
por Władysław Hasior; Camiel Van Breedam
Libro
Idioma: Francés
Editorial: Brussel : Atelier 340, ©1988.
Fotoalbum
por Władysław Hasior; Stanisław Zawiśliński
Libro
Idioma: Inglés
Editorial: Warszawa : Wydawn. Skorpion, 1997.
Dziennik podróży motocyklem do Francji i Włoch : 1 października 1959 - 23 kwietnia 1960
por Władysław Hasior; Zdzisława Zegadłówna
Libro
Idioma: Polaco
Editorial: Nowy Sącz : Sądecka Oficyna Wydawnicza, 1987.
Władysław Hasior.
por Anna Micińska; Władysław Hasior
Libro
Editorial: Warszawa : Arkady, 1983.
— Galeria Władysława Hasiora
— Władysław Hasior
— Władysław Hasior
