The exhibition “Warsaw 1945-1949: Rising from Rubble” took place this year at the Museum of Warsaw, exploring the postwar reconstruction and rebuilding process that took place after the war. After the Second World War, Warsaw’s entire urban fabric, architecture, and social and economic status had to be rebuilt from the ground up. Curated by Adam Przywara, the exhibition “offered a new perspective on the myth of the postwar reconstruction of the Polish capital city and one of the most interesting pages in its history.”
The exhibition displayed the distinctive essence of this city’s rebuilding through a collective effort. It tells the story of the transformation of the city from ruins and rubble into building materials that constructed Warsaw as we know it today. The narrative of the exhibition began during the initial postwar period, displaying the efforts dedicated to clearing away debris and pulling down the ruins. As the city became more stable, bricks and iron were recovered, and breeze blocks were created from recovered concrete and rubble.
The display showcased fragments of sculptures, architecture, stove tiles, and ceramics used in the reconstruction efforts. It also presented photographs, graphic art, paintings, film newsreels, and oral video recordings of that historical time period. This work was shown in sequence with more contemporary art produced for the exhibition, providing the modern context of the city. Works by Diana Lelonek and Monika Sosnowska were created to provide a contemporary understanding of the effects of the reconstruction process.
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One Year of War in Ukraine: Humanitarian and Cultural Initiatives to Help a Country in CrisisAfter the war, Warsaw was left with 22 million cubic meters of rubble, covering almost the entire city. Initially considered a waste material, rubble transformed into a raw material that could potentially produce new buildings. Eventually, the material became a status symbol, showcasing collective labor efforts and the city’s ticket to complete reconstruction.
History of the reappraisal of rubble may serve as a direct reference to the contemporary debate on sustainable construction at the time of climate crisis, based on the recovery and recycling of materials. The 3R principle – namely reduce, reuse, recycle – was applied on a huge scale in postwar Warsaw. -- Adam Przywara, the exhibition curator.
The exhibition narrative allowed the visitor to experience the initial four years of the city’s reconstruction. Depictions of Warsaw’s ruins symbolized the experiences of those who returned to the war-ravaged capital. Through many different mediums, such as paintings, drawings, and photographs, the curation emphasized the preliminary feeling of destruction all around the urban fabric. Afterward, the narrative continued to depict the next phase of the postwar era. It showcased people going about their daily routines while cleanup and demolition was taking place. In fact, the display showcased the significant labor effort undertaken by women during this time period. As bricks became valuable commodities, the attempts to utilize them became more evident.
Concrete and rubber breeze blocks were employed in constructing landmarks, such as the Kolo II housing estate and the current Ministry of Development and Technology at Trzech Krzyży Square. The exhibition concluded by offering a broader perspective on the now-transformed cityscape. The Warsaw Rising Mound, as well as the Moczydłowska and Szczęśliwicka Hills – all constructed from rubble – have become integral parts of the city, yet their development continues to spark debates.
In addition to the original rubble and materials used in the city's reconstruction, the exhibition also featured artworks by renowned artists such as Zofia Chomętowska, Jan Bułhak, Alfred Funkiewicz, Wojciech Fangor, Antoni Suchanek, as well as contemporary artists like Monika Sosnowska, Tymek Borowski, and Diana Lelonek. Archival documents, maps, fragments of historical film footage, and memoirs complement these artworks.
As the world navigates what reconstruction means today, the example of Poland’s capital is essential. The current Ukraine crisis is sparking conversations about the aftereffects of the war specific to the country’s collective memory, heritage, and architecture. In fact, U-RE-HERIT recently launched an initiative to protect Ukraine’s built environment, aiming to address heritage as a resource for social, environmental, and economic recovery. Additionally, in this year’s La Biennale di Venezia 2023, the Pavilion of Ukraine showcased “Before the Future.” The exhibition explored the possibilities of building a future from a collapsing present.
