Ernestyna Orlowska. Murmur

Murmur

Artist: Ernestyna Orlowska
In collaboration with: Aaa Biczysko, Stefan Gosiewski, Filipka Rutowska, Kamil Wesołowski
Co-choreography: Tyra Wigg
Music: Magda Drozd

10.11.–4.12.2022

Galeria Studio
Plac Defilad 1 PKiN
Warsaw

Photo: Sisi Kreft

The exhibition in its entirety is a place for contemplation of the possibility of a post-anthropocentric worldview—where human and environment are one.

Performers, objects, human and nonhuman materials meet on the abstract level of chemical elements. What do we touch when we touch ourselves and each other? Do we touch subjects or the non-human material (water, carbon, gas) that we humans are made of?

The group of performers develops its own language and logic of encounter, which emerges from the costumes and objects. The performers are in a somatic state, sensing and sensual in their bodies. The exhibition is a place of contemplation, where our human existence can be experienced as a “living through of forces,” and where human and non-human actors meet and become one. These forces are a cosmic murmur, from whence the title for the exhibition comes. The performers are wearing altered active wear, aerodynamically designed clothing, in order to evoke an aura of vitality, energy and strength.

The gallery space will be filled with smoke and hot wind, which are choreographic elements like the bodies, and in fact, they are encounter each other on an equal level.

The performers have a set of scores that allow them to improvise with fixed elements, creating and dissolving dream-like associative images.

Exhibition brochure available here.

Supported by: Swiss Arts Council Pro Helvetia, City of Bern, Canton of Bern

Patronage Swiss Embassy in Poland

Linguistic support: Rada Języka Neutralnego / zaimki.pl

 

 

The Future Should Always Be Better

The Future Should Always Be Better

Artist: Sharon Lockhart

30.06.–31.08.2022

Façade of the Palace of Culture
Plac Defilad 1
Warsaw

Photo: Sisi Kreft

„The Future Should Always Be Better” (2021) is a work by American artist Sharon Lockhart (b. 1964). Created during the lockdown caused by the COVID-19 virus pandemic, it was a response to a situation of isolation and confinement and the inability to participate in social and cultural life.
The neon was hung on the facade of the Kestner Gesellschaft, art institution in Hanover. In this way, residents strolling through the city centre were able to perceive art while staying in an accessible space.
After the lockdown was lifted and the cultural institution reopened, the idea arose to present the neon sign in other relevant cities around the world. After Hanover, the neon hung at the Middelheim Museum in Antwerp. In the summer, it will visit Warsaw.
In Sharon Lockhart’s work, Poland and its capital city are important points of reference. In 2017, the artist represented Poland at the Venice Biennale with her project ‚Small Review’. The project referred to the pedagogical thought of Janusz Korczak and was the result of Lockhart’s long-term collaboration with the charges of the Youth Sociotherapy Centre in Rudzienko. In 2013, the artist held a solo exhibition at the Centre for Contemporary Art Ujazdowski Castle. Her work is also in the collection of the Museum of Art in Łódź.
When the work was realised at the beginning of the pandemic the neon slogan: „The Future Should Always Be Better” could be read as words of encouragement and support at a difficult time.
On further reflection, however, the maxim takes on a not so optimistic tone. Is our future definitely going to be better? Can we be sure of that? Especially as we face a climate crisis that is drastically changing the image of our planet.
Two years after the first presentation, Sharon Lockhart’s slogan takes on another meaning, added by history itself. Looking at current political events and the war in Ukraine, what will our future hold? Do better times await us? Or has the best already happened?
Spreading into the city space, Lockhart’s slogan will provoke reflection, both in the context of individual stories as well as collective social and political narratives.

The presentation on the façade of the Palace of Culture, on the side of the Studio Theatre, is conceived as a temporary artistic intervention, constituting the keynote of the summer programme of the ‚Plac Defilad’ project.

Decolonizations

Decolonizations

Artists: Art WorkersCoalition, Przemysław Branas, Sam Goodman, Wolfgang Frankenstein, Astrid Klein, Grzegorz Kowalski, Jarosław Kozłowski, Piotr Kunce, Yayoi Kusama, Jean-Jacques Lebel, Alfred Lenica, Boris Lurie, Leandro Mbomio Nsue, Ulrike Ottinger , Grupa SAB, Nancy Spero, Andrzej Strumiłło, Jerzy Ryszard „Jurry” Zieliński, Wolf Vostell, György Kemény, Emilio Vedova, Frémez, Alfredo Juan Rostgaard Gonzáles, Phan Thông, Pham Háo, Borys Reszetnikow

Exhibition curators: Dorota Jarecka, Paulina Olszewska

14.05-24.07.2022

Galeria Studio
Plac Defilad 1, PKiN
Warsaw

Photo: Anna Zagrodzka

Collaboration: Boris Lurie Art Foundation, New York, Wolf Vostell Estate

Artworks loaned from: Boris Lurie Art Foundation, New York, The Wolf Vostell Estate, Ulrike Ottinger, Sprüth Magers, Galerie Lelong  & Co, Kunstsammlung Pankow, Berlin, Grzegorz Król, Grzegorz Kowalski, Jarosław Kozłowski, Pola Magnetyczne Gallery, Muzeum Plakatu – Oddział Muzeum Narodowego w Warszawie, Muzeum Sztuki w Łodzi.  

The American invasion of Vietnam in 1964 sparked the world-wide protests. The culture of dissent that emerged in the Western liberal democracies in the aftermath of the event, and which led to the revolt of May 1968, has been a subject of a broad research. However the impact of the Vietnam War and the global decolonization process on the artistic circles in socialist countries is not widely known. Since 1945, the conflict in Indochina was closely observed in the Eastern Bloc. In Poland, the official line of the anti-colonial policy was manifested at the Wrocław Peace Congress in 1948. This policy was based on a binary differences between East and West, socialism and imperialism (often equated with fascism). In our show we will turn the attention to the 1960s, and 1970s when artists in Poland started to look for a common platform with their Western counterparts. When confronting the theme of decolonization they used Pop-Art and Conceptual Art as a medium of communication. Avoiding the official propaganda language they tended to express their protest and dissent, stressing however strongly their left wing positions.

In our show we will present the artworks by German, French, Cuban, and American artists along with the art created in Poland. The works by Wolf Vostell (Olympiade 1-4, 1972), by Ulrike Ottinger (Journée d’un G.I., 1967), and the Astrid Klein’s installation (Untitled, 1993) will be presented along with the works by Boris Lurie, Nancy Spero, Yayoi Kusama, Jean-Jacques Lebel, Sam Goodman, Jarosław Kozłowski, Andrzej Strumiłło, Alfred Lenica, and the SAB group.

Exhibition brochure available here.

Exhibition catalogue available here.

 

Materia(l)nie. Alicja Bielawska Barbara Falender

Materia(l)nie. Alicja Bielawska Barbara Falender

Artists: Alicja Bielawska & Barbara Falender 

7.02-17.04.2022

Galeria Studio
Plac Defilad 1, PKiN
Warsaw

Photo: Anna Zagrodzka

The starting point for the exhibition MATERIA(L)NIE [(IM)MATERIAL] is Barbara Falender’s 1973 sculpture series Erotic Pillows from the Galeria Studio Collection. The sculptures, made from Carrara marble, entered the collection in 1985. Two years later they were shown at Galeria Studio, causing a stir due to their bold erotic overtones. Paulina Olszewska, curator of the current exhibition, has invited artist Alicja Bielawska to enter into a dialogue with Falender’s sculptures. Bielawska will prepare a textile installation that will engage with the space of Galeria Studio, creating an intimate atmosphere for the presentation of the sculptures. For the first time, drawings on paper for Erotic Pillows, also from 1973, will be presented at the exhibition. Working with materials and their properties has been crucial for both Falender’s and Bielawska’s art. In transforming the physical, the actual, the artists move into the sphere of the sensual and impressionistic. The tension between the two qualities, materiality and sensuality, is the main axis of the exhibition. The exhibition will present one of the most important aspects of Erotic Pillows—female pleasure and delight derived from sexuality.

Barbara Falender (b. 1947) studied in the Faculty of Sculpture at the Academy of Fine Arts in Warsaw under Prof. Jerzy Jarnuszkiewicz. She creates sculpture, drawings and photography, works in stone, bronze, epoxy, porcelain and glass, combining various materials in her works. She was recipient of an Italian Government scholarship from Laboratorio dei marmi Carlo Nicoli in Carrara, and one from the Tadeusz Kościuszko Foundation in New York (1998). Her works have been presented in numerous solo exhibitions, including Opera Gallery in Warsaw (2020), the Centre for Polish Sculpture in Oronsko (2007), Kordegarda Gallery, Warsaw, (1995), and Athenaeum Gallery in Copenhagen (1975).

Alicja Bielawska (b. 1980), graduated from Art History at the University of Warsaw (2005), and Fine Arts at the Gerrit Rietveld Academie in Amsterdam (2009). She is a PhD student in Interdepartmental Environmental Doctoral Studies at the Academy of Fine Arts in Gdansk. She creates drawings and sculptures using fabric, metal, wood and ceramics. In her work, the artist focuses on the material sphere of everyday life and relationships between objects, interiors and memory. She touches upon the issue of relativity in our perception. She also introduces elements of choreography and performance into her work.

Exhibition Partner: DEKOMA

Exhibition brochure available here.

Jakub Ciężki. Triumph of Abstraction

  • Jakub Ciężki. Triumph of Abstraction, Lubomirski Palace, Lublin, September 2021

Jakub Ciężki. Triumph of Abstraction

Artist: Jakub Ciężki

3 – 26.09.2021

Muzeum Ziem Wschodnich Dawnej Rzeczypospolitej
Oddział Muzeum Narodowego w Lublinie
plac Litewski 3, Lublin

Photo: Natalia Wierzbicka

The Triumph of Abstraction is a solo exhibition by Jakub Ciężki, presenting works made during the last three years. It is also a personal manifestation of his departure from representational painting and turn to abstraction, where he seeks new formal and compositional solutions.

Ciężki’s decision seems the obvious next step for his practice. It is also a part of a broader trend of a return to abstraction currently visible in international art.

„Abstract art was never dead”, begins curator Friedhelm Hütte’s text for the exhibition Ways of Seeing Abstraction, at PalaisPopulaire in Berlin (2021). For several years now, one has been able to observe that, parallel to figurative painting, a return to the tradition of abstraction and its origins in the 20th century is strongly present. This language has started to be used anew, filtered through one’s surroundings and personal and artistic experiences. It is as if abstract art has completed a loop, not returning to the same point but crossing over in a completely different, new place. This interest in abstraction can be seen in the local art scene: be it in the discovery and reinterpretation within the context of 20th century art (Stefan Gierowski, Stanisław Fijałkowski, Aleksandra Jachtoma, Janina Węgrzynowska), or in the conscious turn of later artists, both established (Agata Bogacka), and those recently making their debut (Marcin Jasik and Dorota Goczał).

Undoubtedly, Jakub Ciężki’s pictures can be placed within this trend and examined from the angle of dialogue with this painting tradition. What is most characteristic of the artist is the constant return to the fundamentals of thinking about pictures, but also a reinterpretation of the avantgarde, revealing the constant relevance of its language.

[fragment of the exhibition text, translation: Daniel Malone]

The exhibition is accompanied by a catalogue available here 

Exhibition partner: ArtSaas

Kudlicka / Golkowska (Wrocław)

  • Wanda Gołkowska, Open System, 1967, wood, wire, plastic, courtesy of the Centre of Polish Sculpture in Orońsko. Photo by Małgorzata Kujda, © Wrocław Contemporary Museum, 2021

KUDLICKA / GOŁKOWSKA

Artists: Wanda Gołkowska, Marlena Kudlicka

Muzeum Współczesne Wrocław 

Photo: Małgorzata Kujda, courtesy: Muzeum Współczesne Wrocław

Kudlicka / Gołkowska is the second instalment of an exhibition that was presented for the first time at the Studio Gallery in Warsaw in autumn 2020.

The curatorial concept is based on the juxtaposition of works by Wanda Gołkowska (1925–2013) and Marlena Kudlicka (b. 1973), who didn’t previously have an opportunity to come into direct contact as artists. Looking at their works created in different times and environments, points of contact can be found that initiate an artistic dialogue between both of them. The joint exhibition opens up new possibilities of interpretation, showing the sources of Kudlicka’s practice as well as the constant topicality of Gołkowska’s oeuvre.

Wrocław Contemporary Museum has become the next link between Gołkowska and Kudlicka, prompting an analysis of the artists’ presence in the history and collection of the institution and a closer look at their artistic practice.

Gołkowska’s Triple Disapprover from 1971 is part of the Jerzy Ludwiński Archive, a permanent exhibition designed to show the significance of Ludwiński’s theoretical activity in shaping the art scene of Wrocław and Poland at the turn of the 1960s and 1970s. Based on the idea of establishing an international database of artistic information resembling a patent office, the work refers to the joint reflection of the artist and the theorist on the problem of artistic overproduction.

In 2016, MWW was the venue for Marlena Kudlicka’s exhibition Quality Control and Standard Verification (19 February–14 May 2016). Works from the following cycles were shown: made of iron and celluloid (2012), unprotected 0 (2014/2015), Lecture as a contour of A. The beginning of shape (2015) and a divided dot (2015). The exhibition analysed the way in which the artist examines the typographic shape of language and the very way of transmitting and forming meaning. Kudlicka is interested in the processes of mechanical reproduction and the inevitable margin of error and correction they allow. She applies this uncertainty and the calibration factor to the language of communication and the contours of sculptures. The exhibition was dedicated to Stanisław Dróżdż, an artist from Wrocław, drawing attention to a thinking about language that was close to both artists.

One of the principles of the Wrocław Contemporary Museum collection, which has been developed since 2011, is to create a narrative based on the rich history and achievements of the Wrocław conceptual scene, extended and supplemented with contemporary international practices.
The concept of the museum and its collection stems from Jerzy Ludwiński’s idea of the Museum of Current Art. The artistic and theoretical connections between Ludwiński and Gołkowska permeate the latter’s activity and determine the language of her conceptual art. Gołkowska’s works in the MWW collection address questions such as the aforementioned overproduction of art (Monument to Art, 1974), the applicability of mathematical rules (Double Figure from the series Fi, 2000), the creation of systems (Collection – Catalogue, 1976), the study of language (The “Earth” Collection, 1972) or the inclusion of mechanically produced elements in the compositions of works (Architecture of Image No. 12, 2000).

In 2015, Marlena Kudlicka’s work Protocol of errors on.e (N) (2014) was added to the collection. In this context, and in particular in the context of Gołkowska’s works included therein, the piece can be viewed as an attempt at entering into a dialogue with the Wrocław scene of the 1960s and 1970s. Kudlicka’s practice is rooted in the avant-garde abandonment of the image as an interpretation in favour of a transition towards sculptural forms, in which space is an integral constituent of the work. The very language of Kudlicka’s work was shaped on the practice of the doyens of conceptualism, in this case Jarosław Kozłowski and Jerzy Kałucki. She extends it to include concepts from the world of mathematics and human life – error or uncertainty. Taking as her starting point the study of contradictions – whether in cognitive processes or physical actions – the artist looks for a point of balance. She shows the tensions between contradictions through the language of materials, colours and dispositions of forms.

The exhibition of Marlena Kudlicka’s works in Wrocław features a series of sculptures called Apostrophe, Catastrophe and Participle from 2020, previously shown in Warsaw. The presented works by Wanda Gołkowska come from the MWW collection, other public and private collections, as well as from the artist’s heirs.

The design of the Kudlicka / Gołkowska exhibition in Wrocław takes into account the uniqueness of the museum space. Due to the very nature and importance of the venue for both artists’ work, new contexts will emerge that could not materialise in Warsaw.

*

Marlena Kudlicka (b. 1973) studied at the Academy of Fine Arts in Poznań under Jarosław Kozłowski. She is associated with Berlin. Her activities are rooted in conceptual art.

Wanda Gołkowska (1925–2013) was one of the first students of the State Higher School of Fine Arts in Wrocław; she lived and worked in this city. After graduation, she began to move away from traditional painting towards spatial forms and conceptual art, but she never completely abandoned painting and drawing. Instead, she treated them as a field of experimentation.

The Galeria Studio Collection in Warsaw

THE GALERIA STUDIO COLLECTION IN WARSAW

05.02 – 18.04.2021

Galeria Studio, Warsaw 

Curators: Natalia Andrzejewska, Dorota Jarecka, Paulina Olszewska

Exhibition Design: Magdalena Bałycz

Book Design: Jan Diehl-Michałowski (Deal Studio)

Photographs of works from the Galeria Studio Collection: Błażej Pindor

Photo: Błażej Pindor

When Józef Szajna became director of Teatr Studio in 1972, he established an art gallery there and acquired the first works for the collection. Today the Galeria Studio collection comprises around a thousand works by Polish and international artists. It is evidence of the unusual artistic policy of the place and its innovative thinking about cultural institutions.

Galeria Studio, thanks to a special grant from the City of Warsaw, has been undergoing major redevelopment since 2018. In the initial stage the art collection was reorganised, conservation work was done, new storage spaces were rented, and conservation equipment was purchased. In the next stage we will digitise the collection and scientifically systematise both the collection and the archives. This exhibition is a summary of the first stage of the collection care programme.

In the lower space of the gallery, we present a collection of paintings. The method of display refers to the space of a museum storeroom. There are, among others, works by Tomasz Ciecierski, Edward Dwurnik, Wojciech Fangor, Koji Kamoji, Łukasz Korolkiewicz, Alfred Lenica, Jadwiga Maziarska, Erna Rosenstein and Henryk Stażewski. The upper gallery space tells the story of Galeria Studio. We present works on paper, materials from the archive, and photographic documentation of exhibitions by artists such as Mario Merz, Sol LeWitt, Krystyna Piotrowska, Ryszard Winiarski, Zdzisław Sosnowski and Grupa Od Nowa. Moreover, Roman Signer has agreed to make films from his solo exhibition at the gallery in 1981 available, and provided us with a special recording of his memories on the Warsaw show. Historical posters show the richness and dynamic multi-directionality of the programme then. The exhibition is accompanied by the major publication 48: The Galeria Studio Collection in Warsaw

 

Kudlicka / Gołkowska

KUDLICKA / GOŁKOWSKA

Artists: Marlena Kudlicka & Wanda Gołkowska 

16.09 – 15.11.2020

Galeria Studio, Warsaw 

Photo: Błażej Pindor

The Kudlicka / Gołkowska exhibition is the first such comprehensive presentation of works by Wanda Gołkowska and Marlena Kudlicka in Warsaw. It is a kind of staged dialogue, in which Marlena Kudlicka refers to Wanda Gołkowska’s art by creating new works and offering an innovative perspective on the art of the Wrocław artist. Kudlicka and Gołkowska did not have the opportunity to get to know each other, but there are points of contact in their art. Presented together their works lead to the kind of discussion, even game, that is so important to both of them in their practices.

Marlena Kudlicka (born 1973) studied at the Academy of Fine Arts in Poznań in Jarosław Kozłowski’s studio. She lives and works in Berlin. In her work she explores the relationship between meaning and space within a language conceived of as a structure or system. Her activities are rooted in an avant-garde break with the image as a representation, as well as in concrete poetry and conceptual art. Kudlicka’s works take the form of spatial installations, coexisting with the place where they are presented.

Wanda Gołkowska (1925-2013) was a graduate of the Higher School of Fine Arts in Wrocław, where she lived and worked all her life. She was one of the most important figures and an active animator of the Wrocław art scene. In her work she moved from painting to spatial forms, creating structures that could be altered and reflecting on the concept of art. Word and language were an important point of reference for her. She used mathematical rules in her works, especially those relating to natural phenomena (e.g. the Fibonacci sequence).

For the purposes of this exhibition Marlena Kudlicka will prepare an installation which includes selected works by Wanda Gołkowska. Thus, building on her own practice, Kudlicka will create new conditions for the reception of Gołkowska’s work, drawing attention to lesser known threads and emphasizing their topicality. At the same time Kudlicka’s works will retain an autonomous character and continue explorations previously developed by the artist. Giving her own works the poetic title: “Apostrophe, Catastrophe and Participle”, Kudlicka will also refer to the Galeria Studio space, located inside the Palace of Culture. As such the works by Kudlicka, and indirectly Gołkowska, will enter into a dialogue with the site and its architecture.

 

&I<3U2

&I<3U2

Artists: Indrani Ashe, Agata Bogacka, Sophie Calle, Teresa Gierzyńska, Christa Joo Hyun D’Angelo, Jolanta Marcolla, Natasza Niedziółka, Ania Nowak, Ewa Partum, Fabiana Sala, Kama Sokolnicka, Maria Stangret, Ewa Surowiec, Allison L. Wade

14.02 – 3.05.2020

GALERIA STUDIO WARSAW 

Photo: Remi Urant

Exhibition design: Krzysztof Skoczylas

 

The six characters that make up the title, abstract signs it would seem, can be read as a sentence in English: “And I love you too.” Modern-day communication is becoming more and more condensed and straightforward, and the use of emojis brings to mind a return to pictograms and the beginnings of writing. All you need to express your feelings or share a deeply personal message is to tap on a few symbols on smartphone.
This development is the starting point of the exhibition. Foregrounding one perspective – the female one –  &I<3U2 explores how women artists speak about love, feelings, their own bodies, their sensuality and other private experiences.

&I<3U2 relates several generations of artists: beginning with Maria Stangret (born in 1929), we then move on to artists born in the 1940s and 50s, concluding with women who launched their artistic careers in the age of the Internet and social media.

The exhibition presents works from the 1970s (Jolanta Marcolla, Teresa Gierzyńska, Ewa Partum). Due to their unusual character and themes, some of them were rarely presented to the public, or they were placed in contexts that foreclosed any possibility of them being read in their full complexity. We also include brand new works (Indrani Ashe, Fabiana Sala, Christa Joo Hyun D’Angelo) marked by openness and a readiness to transgress taboos through straightforward messages.

This exhibition celebrates the artist as a person and her attitude as a woman who actively and uncompromisingly analyses her experiences, rejecting her traditionally passive role. At the same time the exhibition questions the boundary between the private and the public, between what is intimate and what is social. The taboo of feminine modesty is broken. For these women artists, the search for a language to express their most private experiences entails not only questions about identity but also about the social meaning of desire, sex and love relationships, as well as of loneliness and separation.

Partner: Goethe-Institut, Warsaw
Funded by Berlin Senate Department for Culture and Europe

Exhibition brochure available here

Let’s Talk About Modernity – 24H Extended

Let’s Talk About Modernity – 24H Extended

 

Artists: Anna Baumgart, Yura Biley, Jenny Brockmann, Luke Jaszcz, Karol Komorowski, Karina Marusińska, Jos McKain, Open Group, Oleg Perkovsky, Yurij Savter, Maya Schweizer and Clemens von Wedemeyer, Kama Sokolnicka, Elena Subach and Viacheslav Poliakov

30.10 – 10.11.2019

JAM FACTORY LVIV 

Co-curated with Antoni Burzyński

Photos: Andrij Tschizov, Irina Seredi

The exhibition Let’s Talk About Modernity – 24H Extended is the event from the series „24 H“. This series has started three years ago, in 2017 and until now has taken place in various cities such as: Warsaw, Wrocław, Gdańsk, Nürnberg, Lublin and Poznań.

The primary idea of the series concentrate on a short artistic action, which are organized in venues not necessary suited to present art. Many of them were in process before transition, another were just after it, starting a new chapter in their life.

In all the exhibitions the focus was put on going out from traditional and classical exhibition rooms: from museums or galleries, and confront the artworks with new surrounding, which often became an unusual background for the works, opening them for a new way of interpretation.

Another important aspect of all the 24H events was a connection between two cities: between this, in which the exhibition was organized and another, foreign one. Because of its international and vibrant art scene, Berlin has been chosen as a partner city. It was an opportunity for artists to show their works often for the first time in a totally new context of the city they didn’t know well and artists they have just met.

The artists invited come from Lviv but also from three other cities: Berlin, Warsaw and Wroclaw. Apart of the Lviv artists of course, for many others it will be the first time to show their work in this city and even first time in Ukraine.

The exhibition relates, as it has been already mentioned in the title – Let’s Talk About Modernity – to the Avantgarde and idea of Modernism in Europe, and its first beginning in the 20th century. The history of Lviv’s Avantgarde gives exhibition an interesting background and brings more attention to this part of the European story, which usually stays unmentioned.

All of the artists invited to the exhibition explore different aspects of the Modernist heritage. Taking it as a departure point and common background, their works represent different routes taken by different aspects of the modernist art – it’s subjects, language, modes of operating. The common heritage is also an occasion to reflect on contemporary conditions, as seen from different perspectives.

Works by Polish, Ukrainian and Berlin-based artists, presented in this project, are showing two main aspects of how we see ideas of Avantgarde and Modernism today. First reflects of how those ideas are taken and reinterpreted by young and middle generation of creators. In the exhibition two various positions will meet and get into an artistic dialogue. There are art works, which refer directly to the heritage, or to its myth. Others uses Modernism and Avantgarde as general conceptual approach and an attitude to see and interpret our reality.

The exhibition opening will take place on October, 30, at 6 PM, at the Jam Factory Infopoint (1, Mekhanichna Str., Lviv, Ukraine). It will include performance by Jos McKain (USA-Germany). Artists and curators will take part in the opening of the project and tell more about the conception of the project. Exposition includes installations and movies.

 

The project is financed by the Ministry of Culture and National Heritage as part of the Multiannual Programme NIEPODLEGŁA 2017-2022 within the framework of the Adam Mickiewicz Institute subsidy programme “Cultural Bridges”.

With the financial support of the Harald Binder Culture Enterprises.

Partners of the project: Ministry of Culture and National Heritage of the Republic of Poland, Adam Mickiewicz Institute’ program Niepodległa, Institut für Auslandsbeziehungen (ifa), Fundacja im. Tadeusza Kantora / Tadeusz Kantor Foundation, Krupa Gallery.