About seven years ago, I witnessed a concert of Fryderyk Chopin’s music on the apron of Okęcie Airport, shortly after it had been named after the great composer. I was quite convinced that the airport would remain the most special space to have been selected for a presentation of his works. This is no longer the case, as we have the Chopinomania cycle ahead, whose programme encompasses such unorthodox sites as the Astronomical Observatory, a Baltic Sea pier, and the middle of a concrete jungle. I find the last especially intriguing. Not as much through the contrast between the music of the intimate confessions and the reinforced concrete surrounding, but rather through the capturing of what has for some time taken place in contemporary visual arts. Artists have entered the city space, changed its appearance, and bestowed it with new meanings, as did Joanna Rajkowska when giving Aleje Jerozolimskie avenue her palm tree. The artists perform from the position of the public interest. Solipsism in art is over. Classical music, obviously, has its rights. It is hard to compare this project with the social and political actions of “the visualists”, yet a concert amidst blocks of flats is an interesting dialogue with an important current in another of the arts.
Anna S. Dębowska, Beethoven Magazine No. 9