The Eye and the Ear. Dada Adventure (2)

Stefan Themerson and Franciszka in his lens. Collage by Olga Szulc. 

The partnership of Franciszka and Stefan Themerson remains one of most intriguing artistic collaborations of the 20th century. Their work traversed the boundaries of literature, visual art, and experimental film, altering the landscape of avant‑garde expression. Born in Poland and during World War II finding a home in London, they combined their individual talents to create films that were both intellectually challenging and aesthetically innovative. Their filmography began with early experimental works such as Apteka (The Pharmacy, 1930), followed by Europa (1931–1932), Drobiazg melodyjny (Musical Moment, 1933), Zwarcie (Short Circuit, 1935), and Przygoda człowieka poczciwego (The Adventures of a Good Citizen, 1937). These pioneering projects paved the way for later masterpieces like Oko i ucho (The Eye and the Ear, 1944–1945). Each film reflected the Themersons’ commitment to pushing the limits of cinematic form and narrative structure and blended Dada-inspired ethos with their distinct, personal vision.

Oko i ucho stands out as a striking example of how the Themersons translated Dada principles into the realm of cinema. Created during the turbulent years of World War II, the film transforms the experience of listening into a visual journey. As one of their early board texts declares, "This short film is an experiment designed to use the medium of the screen to create for the eye an impression comparable to that experienced by the ear." This statement encapsulates the Themersons’ radical ambition: rather than adhering to a conventional storyline, the film unfolds as a series of seemingly disjointed images that correspond to the rhythms and textures of music.

Drawing inspiration from Karol Szymanowski’s music and Julian Tuwim’s poems, the Themersons constructed Oko i ucho exploring a rich interplay between sound and image. Four songs from Szymanowski’s “Słowopiewnie,” provide the aural backbone of the film. The intricate layers and emotional intensity of music lent depth to the visual collage and invite us to experience sound and vision as a unified, multisensory phenomenon.

Employing innovative techniques such as montage and manipulation of photograms, Oko i ucho presents a visual collage reminiscent of the spontaneous, chance-based compositions typical of Dada art. The visuals do not merely serve as illustrations for the accompanying music. They reinterpret the act of hearing itself, encouraging the audience to engage with the film on a deeper, more intuitive level. The sensory experiences of stirring music and imaginative poetry blur the boundaries between seeing and listening—a hallmark of the Themersons' experimental style.

The spirit of Dada is palpable. The film’s fragmented structure and unexpected juxtapositions serve as a commentary on the absurdity of the world. But the film is also a declaration that art should challenge and upend established norms.  It offers no easy answers or linear narratives. Instead, it asks viewers to embrace ambiguity and to seek meaning in the interplay between sound and image. This radical departure from traditional cinematic form embodies the rebellious energy of Dada and continues to inspire experimental filmmakers and artists around the world.

Today, the legacy of Franciszka and Stefan Themerson is celebrated through restored movies screenings, museum exhibitions, and dedicated archival projects. Institutions like the British Film Institute and Tate Modern have showcased their work, ensuring that new generations can experience the innovative vision behind films such as Oko i ucho. Their films, books, illustrations, philosophical writings, and other materials are carefully preserved and studied, thanks in large part to the efforts of Jasia Reichardt, Franciszka’s niece and the curator. In 2015, the Themerson Archive was transferred from London to the National Library of Poland in Warsaw.

The Themersons invite us to reconsider how we perceive art. By dismantling conventional storytelling and merging the senses, they created a cinematic language that continues to challenge and delight. Their work stands as a testament to the enduring power of experimental art and reminds us that sometimes the most profound experiences arise when we allow ourselves to be immersed in ambiguity and remain open to unexpected forms of expression.

Collages of stills from Oko i ucho; composed by Olga Szulc, 2025.

The link to the movie: OKO I UCHO / THE EYE AND THE EAR 

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Franciszka Themerson (1907–1988) – born in Warsaw, Franciszka was an artist, illustrator, and set designer. She studied at the Academy of Fine Arts in Warsaw, where she developed her unique visual style. Since the beginning of her career, she collaborated with her husband, Stefan, at first illustrating children’s books and later on, co-creating experimental films. Her bold, graphic illustrations and bi-abstract paintings were widely recognized. In London, she co-founded Gaberbocchus Press, designing and illustrating many of its publications. She also worked in theatres, notably creating sets and costumes for avant-garde productions such as Ubu Roi.

Stefan Themerson (1910–1988) - born in Płock, Poland, Stefan was a writer, poet, philosopher, and filmmaker. Matriculated at the Warsaw University, he initially studied physics and architecture, quickly, however, he gravitated to writing and filmmaking. His early works included children’s literature, but he became best known for his philosophical novels and the invention of "semantic poetry," which sought to strip words of their subjective connotations. After moving to London during World War II, he co-founded Gaberbocchus Press, where he published his own works alongside those of avant-garde thinkers such as Bertrand Russell, Alfred Jarry, and Raymond Queneau.

Franciszka and Stefan Themerson died in 1988 in London. Franciszka passed away first — on June 29, Stefan just a couple of months later, on September 6. Their deaths marked the end of a creative, intellectual, and artistic partnership that had lasted for more than five decades. They are buried together at Highgate Cemetery in London, the resting place of many notable figures from the worlds of art and science.