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From Historic Inventory to Contemporary Display: the Collections of the Zachęta — National Gallery of Art in Warsaw
682 G. Świtek УДК: 7.036(4) ББК: 79.1 А43 DOI: 10.18688/aa200-5-65 G. Świtek From Historic Inventory to Contemporary Display: The Collections of the Zachęta — National Gallery of Art in Warsaw Introduction In 2009 the Zachęta — National Gallery of Art in Warsaw opened an exhibition of its post- war collection of Polish artists, titled To Pee in a Bun: Works from the Collection of Zachęta — National Gallery of Art [12] (Fig. 1). The title was a quotation from one of the classics of Polish conceptual art, Edward Krasiński (1925–2004), renowned for his spatial interventions with the blue scotch. Krasiński’s short, scatological poem “Wouldn’t it be fun to pee in a bun” was included in his 1997 exhibition catalogue [3]1. In 2009 the gallery invited Karol Radziszewski, a young Polish artist (at that time 29-year-old) to curate the exhibition of the works from the Zachęta’s collection. It was the artist-curator who suggested the title, made a subjective selec- tion of artworks and presented an unusual exhibition concept and design. Radziszewski included the installation by Krasiński which was made for his aforementioned one-man show held at the Zachęta in 19972. Nowadays, this project is part of the Zachęta’s col- lection of Polish contemporary art (Fig. 2). Krasiński’s installation features full-scale photo- graphic replicas of many paintings which were found in the Zachęta’s collection before World War I and II, such as Jan Matejko’s Battle of Grunwald (Battle of Tannenberg, 1878) — the icon of Polish historicist painting of the late 19th century. -
2012Wolfgang Tillmans Zachęta Ermutigung
Zachęta — National Gallery of Art ANNUAL REPORT Wolfgang Tillmans Zachęta Ermutigung — Hypertext. 10 Years of Centrala (Kordegarda Project) 2012— Goshka Macuga. Untitled — No, No, I Hardly Ever Miss a Show — Warsaw ENcourages (Art Gallery at the Warsaw Chopin Airport) — Karolina Freino. Erase Boards (Kordegarda Project) — Rafał Milach. 7 Rooms — Doubly Regained Territories. Bogdan Łopieński, Andrzej Tobis, Krzysztof Żwirblis — New Sculpture? — On a Journey (Art Gallery at the Warsaw Chopin Airport) — Emotikon. Robert Rumas & Piotr Wyrzykowski — Małgorzata Jabłońska, Piotr Szewczyk. Dzikie ∫ Wild (ZPR) — Art Everywhere. The Academy of Fine Arts in Warsaw 1904–1944 — Konrad Maciejewicz. Transform Me (ZPR) — Jaśmina Wójcik. Hiding People among People without Contact with Nature Leads to Perversions (ZPR) — Making the walls quake as if they were dilating with the secret knowledge of great powers (13th International Architecture Exhibition, Polish Pavilion, Venice) — Beyond Corrupted Eye. Akumulatory 2 Gallery, 1972–1990 — HOOLS — Marlene Dumas. Love Hasn’t Got Anything to Do with It — Katarzyna Kozyra. Master of Puppets (Schmela Haus — Kunstsammlung Nordrhein- Westfalen, Düsseldorf) — Izabella Jagiełło. A Beast (ZPR) — Anna Molska. The Sixth Continent — Piotr Uklański. Czterdzieści i cztery — Marek Konieczny. Think Crazy — Jarosław Jeschke. Hamlet Lavastida. Jose Eduardo Yaque Llorente. Fragmentos (ZPR) Zachęta — National Gallery of Art ANNUAL REPORT 2012 Warsaw 2013 ZACHĘTA GALLERY Renovation of the space of the new library 2 ANNUAL REPORT 2012 Photo by Sebastian Madejski by Photo CONTENTS Changes, changes, changes . 5 HANNA WRÓBLEWSKA AND THE ZACHĘTA TEAM GALLERY STRUCTURE 8 Directors and the Staff of the Zachęta in 2012 EXHIBITIONS 10 VISITOR NUMBERS 83 OTHER EVENTS 84 REVIEWS 88 ACTIVITY 98 Education Collection Documentation and Library Promotion Open Zachęta Editing Department Art Bookshop Development ACHIEVEMENTS OF THE ZACHĘTA TEAM 110 INCOME 115 PARTNERS AND SPONSORS 118 4 ANNUAL REPORT 2012 Changes, changes, changes . -
Annual Report 2011
Zachęta National Gallery of Art ANNUAL REPORT Ferit Kuyas. City of Ambition (Kordegarda Project) — Katarzyna Kozyra. Casting 2011— Anna Senkara. Szlachcic — Ryszard Kapuściński. From Imperium. Photographs — Ania Witkowska, Adam Witkowski. Housemates (Kordegarda Project) — Three Women. Maria Pinińska-Bereś, Natalia Lach-Lachowicz, Ewa Partum — Hanna i Gabriel Rechowiczowie. Pictures in Architecture (Kordegarda Project) — Neo Rauch. Begleiter. The Myth of Realism — Stories of the Ear — Spectrum. From the Zachęta Video Collection. Screenings in the Ursula Blickle Videolounge (Kunsthalle Wien, Vienna) — Close to Home — Bartosz Mucha, Ania and Adam Witkowscy (Galerie Lukas Feichtner, Vienna) — Bartosz Mucha. 52 Lazy Weeks. Paraarchitecture (Kordegarda Project) — Opening the Door? Belarusian Art Today — Field of Play / Le Terrain de jeu — Yael Bartana. Assasination — Yael Bartana . and Europe will be stunned (54th International Art Exhibition in Venice) — Bodily Choreography — Kama Sokolnicka. Gloom With a View (Kordegarda Project) — Agata Bogacka. Diaries — Generation in Transition. New Art from India — Views 2011 — Deutsche Bank Foundation Award, 5th edition — Sarai. City as Studio (Kordegarda Project) — Wolfgang Tillmans Zachęta Ermutigung — Hypertext. 10 Years of Centrala (Kordegarda Project) — Goshka Macuga. Untitled — No, No, I Hardly Ever Miss a Show Zachęta National Gallery of Art ANNUAL REPORT 2011 Warsaw 2012 , outdoor advertising campaign. Photo by Zofia Koźniewska Zofia by campaign. Photo advertising , outdoor Wolfgang Tillmans -
Katarzyna Kozyra by Karol Sienkiewicz, March 2016
Katarzyna Kozyra below Katarzyna Kozyra, by Karol Sienkiewicz, courtesy of Zacheta National Gallery March 2016 Katarzyna Kozyra is a Polish sculptor, installation and video artist who rose to prominence in the 1990s as a leading figure of the ‘critical art’ movement in Poland, creating works that confront social taboos (such as death, disease and nakedness), usually related to issues of the sick, old or marginalised. Katarzyna Kozyra was born on February 1, 1963, in Warsaw. She studied German at the University of Warsaw from 1985 to 1988, then sculpture at Warsaw’s Academy of Fine Arts. In 1993 she completed her studies in Professor Grzegorz Kowalski’s studio, known as the «Kowalnia», and befriended Jerzy Stajuda, her drawing professor. After her studies she abandoned sculpture in favour of photography, video installations and performance art. In 1997 she was awarded the Passport of the weekly «Polityka» as the most promising artist in Poland, and she won an honourable mention while representing Poland at the 48th Venice Biennial in 1999. She lives and works in Berlin and Warsaw. Controversial thesis project Ever since Kozyra’s Animal Pyramid, 1993) – her format photographs entitled Blood Ties, depicting thesis project – gained notoriety in the media, she nude female figures against a background of has been known as the most scandalous artist in religious symbols – the cross and the half moon. Poland. Inspired by the «Travelling Musicians» of The piece was censored at the time, but two of the the Brothers Grimm, she created a sculpture out photographs were later reproduced on a billboard of four dead stuffed animals standing one upon as part of the AMS Gallery project in 1999.