Agnieszka Taborska's CV
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Postmemory, Post-Dependence, Post-Trauma: Negotiating Jewish Identity in Post-Communist Poland
Postmemory, Post-dependence, Post- trauma: Negotiating Jewish Identity 9 in Post-Communist Poland Aleksandra Szczepan In studies concerning identity practices in contemporary, post-communist Poland, three issues seem to be crucial: the memory strategies they involve, the previous state of dependency towards which they define themselves, and their relationship with the historical traumas they have to overcome. These are labeled by three catchy terms: postmemory, post-dependence, and post-trauma; these perspectives – similar to other “posts”, e.g. postmodernism or postsecularism – are characterized by several common features: specific belatedness, temporal shift, the practice of quoting and mediation, defining the present always in relation to a troubling past, oscillating between continuity and rupture. Secondly, all of them are a sort of loan-notion from Western memory, trauma and Holocaust studies, hastily adapted to Polish realities. Even post-dependence discourse – which is to be understood as a set of signifying and identity practices that have been undertaken after the situation of dependence came to an end – was introduced to the vocabulary of Polish humanities as a specific remedy and substitute for the postcolonial perspective, which turned out to be quite resistant to being convincingly applied to the Polish cultural situation. As I will try to show, adapting categories from the Western theoretical vocabulary or creating new ones in order to examine Polish culture and identity strategies may be fully legitimate only if we discern the basic differences this local perspective engages, and recognize the entanglement of several factors it always results in. To prove my point, I will examine a phenomenon in which these three perspectives – postmemory, post-trauma and post-dependence – creatively intertwine: the identity strategies of representatives of the second generation of Holocaust survivors; that is, Polish writers who started rendering their Jewish 9 This project was funded by the National Science Centre on the grounds of decision no. -
Marcin Gizycki's CV
Marcin Giżycki • Art and Film Historian, Critic, Filmmaker, Curator. • Recipient of the Award for the Outstanding Contribution to Animation Studies at Animafest, the World Festival of Animated Film in Zagreb, Croatia, 2016 Education 2008 Postdoctoral degree, Film Studies, Jagiellonian University, Krakow, Poland 1995 Ph.D., Art History, University of Warsaw, Poland 1976 M.A., Art History, University of Warsaw, Poland Professional Experience 2015-present Associate Professor, Polish-Japanese Academy of Information Technology, Warszawa, PL 2007-present Artistic Director, International Animated Film Festival “Animator,” Poznan, PL 2005-present Expert, Polish Film Institute, Warsaw, PL 1988-present Senior Lecturer, Rhode Island School of Design, Providence, RI, USA 2012-2015 Associate Professor, Katowice School of Technology, Katowice, PL 1987-1988 Assistant Director, "Akademia Ruchu" Theater Center, Warsaw, PL 1984-1987 Researcher, Institute of Art, Warsaw, PL 1979-1983 Editor, "Projekt" Art Magazine, Warsaw, PL 1979-1981 Editor-in-Chief, "Animafilm" Magazine, Warsaw, PL 1979-1982 Columnist, Art Critic, "Literatura" Weekly, Warsaw, PL 1976-1978 Free Lance Art & Film Critic, PL 1974-1975 Assistant Curator, Contemporary Print Department, National Museum, Warsaw, PL 1969-1970 Archivist, Central Film Archive, Warsaw, PL Guest Lecturer 2014 Polish-Japanese Academy of Information Technology, Warsaw, Poland 2013 University College West, Trollhättan, Sweden 2013 Moholy-Nagy University, Budapest, Hungary 2012 Yale University, New Haven, CT. US 2009 -
Franciszka Themerson Lines and Thoughts Paintings, Drawings, Calligrammes
! 44a Charlotte Road, London, EC2A 3PD Franciszka Themerson Lines and Thoughts paintings, drawings, calligrammes 4 November - 16 December 2016 ____________________ Private View: 3 November 6.30 - 8.30 pm Calligramme XXIII (‘fossil’),1961 (?), Black, gold and red paint on paper, 52 x 63.5cm, © Themerson Estate, courtesy of l’étrangère. " It seemed to me that the interrelation between these two sides: order in nature on the one side, and the human condition on the other, was the undefinable drama to be grasped, dealt with and communicated by me. - Franciszka Themerson, Bi-abstract Pictures, 1957 l’étrangère is delighted to present a solo exhibition of paintings, drawings and calligrammes by Franciszka Themerson - a seminal figure in the Polish pre-war avant-garde. She developed her unique pictorial language during the shifting years of pre- and post-war Europe, having settled in Britain in 1943. Together with her husband, writer, poet and filmmaker, Stefan Themerson, she was involved with experimental film and avant-garde publishing. Her personal domain, however, focused on painting, drawing, theatre sets and costume design. This exhibition brings together Franciszka’s three paintings completed in 1972 and a selection of drawings, dated from 1955 to 1986, which demonstrate the breadth of her work. ! The paintings: Piétons Apocalypse, A Person I Know and Coil Totem, act as anchors in the exhibition, while the drawings demonstrate the variety of motifs recurring throughout her work. The act of drawing and the key role of the line remain a constant throughout her practice. The images are characterised by a fluidity of line, rhythmic composition and the humorous depiction of everyday life. -
1 THEMERSONOWIE [Ath T]
THEMERSONOWIE [ATh T] A Festiwal of Contemporary Art., Music, Poetry & Exhibitions; Brington May 8111 - June 17 Program; Stefan Themerson - 17 maja Almansi Guido Introduction / Guido Almansi Maszynopis dwustronny, s. 1 – 7 Themerson Franciszka Weinles Katalogi, zaproszenia na wystawy, ect. a) Franciszka Themerson; [Paintings]; September lllh - October 8lh 1951: Watergate Theatre Club, London: Catalogue exhibition. - Arkusz 25x35 cm, druk jednostronny b) Recent paintings by Franciszka Themerson at Gallery One, lsl-20lh February 1957, London. - Arkusz 28x37 cm, druk jednostronny c) Paintings by Franciszka Themerson: Gallery One, 12lh May - 7lh June 1959, London. - Arkusz 23x39 cm d) A Retrospective exhibition (1943-1963) of paintings and drawings by Franciszka Themerson: September 10th - October 7lh 1963 at The Drian Galleries, London. - 40 s., il.; 17x23 cm e) Franciszka Themerson: Drawings: 8lh-28ltl April 1965: Marjore Parr Gallery, Chelsea. - Karton 12x30 cm f) Franciszka Themerson: Drawings: Gardner Centre, University of Sussex, lsl-28lh October 1992. - Karton 21x29 cm g) Franciszka Themerson: Drawings: Gardner Centre, University of Sussex, 6th October 1992. - Zaproszenie, karton 10x21 cm h) Lines from life: The art of Franciszka Themerson: 27th September 1993, 5.30 - 7 pm, wine: Foyer Galleries, Royal Festival Hall, London. - karton 21x30 cm Lines from life: The art of Franciszka Themerson: 28lh September - 7th November 1993: Foyer Galleries, Royal Festival Hall, London. - karton 21x30 cm i) j. - Franciszka Themerson: Unposted Letters 1940-42: 15lh February - 8lh April 1996: Imperial War Museum. - 30x83 cm k. - Franciszka Themerson (1907-1988): Why is the mind in the head?: 13lh Jan. - 1 llh Febr. 1999: Art First, London. - karton 21x45 cm 1 Themerson Franciszka Weinles Kung Ubu: Marionetteatem, Stckholm, Premiar lordagen den 17 Oktober 1964 / Figurek och dekor Franciszka Themerson Plakat dwustronny Themerson Stefan Apollinaire’s Lyrical Ideograms / Stefan Themerson. -
Prunella-Clough-Cv.-2021.Pdf
Annely Juda Fine Art 23 Dering Street London W1S 1AW T +44 (0) 20 7629 7578 F +44 (0) 20 7491 2139 www.annelyjudafineart.co.uk [email protected] Prunella Clough ( 1919-1999 ) Forthcoming Exhibitions 2021 Prunella Clough & Alan Reynolds, Annely Juda Fine Art, London Solo Exhibitions 2019-20 Prunella Clough: A Centenary, Pallant House Gallery, Chichester, UK 2019 Prunella Clough: Blast, P.P.O.W, New York, USA 2017 Annely Juda Fine Art, London 2016 Prunella Clough: Unknown Countries, Jerwood Gallery, Hastings 2015 Prunella Clough, Unconsidered Wasteland:Osborne Samuel, London 2012 Austin Desmond Fine Art, London Annely Juda Fine Art, London 2011 Annely Juda Fine Art, London 2008 Annely Juda Fine Art, London 2007-08 Tate Britain, London: touring to Norwich Castle Museum & Art Gallery, Norwich; Abbot Hall Art Gallery, Kendal 2003 Annely Juda Fine Art, London 2000 Annely Juda Fine Art, London 1999-2001 University of Essex, Colchester. Arts Council exhibition touring to Peter Muni Arts Centre, Pontypridd; Glynn Vivien Art Gallery, Swansea; Peter Scott Gallery, Lancaster; Ropewalk Contemporary Art and Craft Centre, Barton upon Humber; Plymouth City Museum and Art Gallery, Plymouth; Ruthin Gallery, Buckley Library Gallery and Heritage Centre, Buckley; Denbigh Museum and Art Gallery, Denbigh; Gainsborough's House, Sudbury Annely Juda Fine Art 23 Dering Street London W1S 1AW T +44 (0) 20 7629 7578 F +44 (0) 20 7491 2139 www.annelyjudafineart.co.uk [email protected] 1999 Kettle's Yard, Cambridge: travelling to Graves Art Gallery, -
Slovo a Smysl 29
Between Documentary and Provocation. New Tendencies (not only) in Contemporary OPEN ACCESS Polish Holocaust Literature Hans-Christian Trepte Institut für Slavistik, Universität Leipzig [email protected] RÉSUMÉ Between Documentary and Provocation. New Tendencies (not only) in Contemporary Polish Holocaust Literature The Holocaust can be seen as a transnational crime, and a collective trauma of universal extension. Therefore national approaches could be seen only as an example out of many others. The year 2000 was the starting point of a new area, since the transformation of Holocaust memory went global. A sensitive subject is the problem of poetization and aestheticization of the Holocaust between fact and fiction. In the meantime the generation of the grandchildren and great-grandchildren has taken over the responsibility in memorizing the Holocaust. New literary approaches are made in different artistic forms and expressions, expressing the Holocaust in forms of the satire, humor, irony, and grotesque, and we may state a remarkable ‘visual turn’, too. Giving evidence is still very important to prevent collective amnesia, also reacting on forms of Holocaust fatigue. In my paper I am concen- trating mainly on Polish literature after two turning points (1989 and 2000). Representatives of the younger generations want to find out more about the former lives of their relatives, searching for traces and lost places. Another important issue is the massacre of Polish Jews in 1941 in Jedwabne as well as the literary anticipation of the Holocaust. Joseph Conrad’s writing deeply affected Arendt’s analysis of imperialism as an element of totalitarianism and the banality of evil. -
Anatol Stern and Stefan Themerson. on Europa And
Anatol Stern and Stefan Themerson and Stefan Anatol Stern Janusz Lachowski ANATOL STERN AND STEFAN THEMERSON. ON EUROPA AND THE FRIENDSHIP BETWEEN THE TWO AVANT-GARDE ARTISTS ON THE BASIS OF THEIR MUTUAL CORRESPONDENCE FROM THE YEARS 1959–1968 Anatol Stern (1899–1968) was a poet, one of the founders of Polish futur- ism, a prose and drama writer, literary critic, essayist and author of memo- rial sketches1 as well as a prolific scriptwriter and film journalist of the Pol- ish interwar period. His wife Alicja (1905–1993) was a translator of Russian literature, theatre critic, and columnist, also participating in film script writing. Towards the end of her life, she wrote a children’s book. Following her husband’s death, she took care of his manuscript collection, preparing previously unedited texts2 for publication and making their home archive available to literary researchers interested in Stern’s writing. Stefan Themerson (1910–1988) was a novelist, poet, essayist, philoso- pher, author of children’s literature, and composer; together with his wife Franciszka (1907–1988), he made experimental short films in interwar 4 Vol. 2016 Libraries Polish 1 Cf. i.a. A. Stern, Legendy naszych dni [The Legends of Our Days], Kraków 1969; idem, Poezja zbuntowana. Szkice i wspomnienia [Rebellious Poetry. Essays and Memories], revised and expanded edition, Warszawa 1970; idem, Głód jednoznaczności i inne szkice [The Craving for Unambiguity and Other Essays], Warszawa 1972. 2 Cf. A. Stern, Dom Appolinaire’a. Rzecz o polskości i rodzinie poety [Appolinaire’s Home. On the Poet’s Polishness and His Family], prepared for printing by A. -
Franciszka Themerson Lines and Thoughts Paintings, Drawings, Calligrammes
! 44a Charlotte Road, London, EC2A 3PD Franciszka Themerson Lines and Thoughts paintings, drawings, calligrammes 4 November - 16 December 2016 ____________________ Private View: 3 November 6.30 - 8.30 pm Calligramme XXIII (‘fossil’),1961 (?), Black, gold and red paint on paper, 52 x 63.5cm" It seemed to me that the interrelation between these two sides: order in nature on the one side, and the human condition on the other, was the undefinable drama to be grasped, dealt with and communicated by me. - Franciszka Themerson, Bi-abstract Pictures, 1957 l’étrangère is delighted to present a solo exhibition of paintings, drawings and calligrammes by Franciszka Themerson - a seminal figure in the Polish pre-war avant-garde. She developed her unique pictorial language during the shifting years of pre- and post-war Europe, having settled in Britain in 1943. Together with her husband, writer, poet and filmmaker, Stefan Themerson, she was involved with experimental film and avant-garde publishing. Her personal domain, however, focused on painting, drawing, theatre sets and costume design. This exhibition brings together Franciszka’s three paintings completed in 1972 and a selection of drawings, dated from 1955 to 1986, which demonstrate the breadth of her work. ! The paintings: Pietons Apocalypse, A Person I Know and Coil Totem, act as anchors in the exhibition, while the drawings demonstrate the variety of motifs recurring throughout her work. The act of drawing and the key role of the line remain a constant throughout her practice. The images are characterised by a fluidity of line, rhythmic composition and the humorous depiction of everyday life. -
Stefan Themerson
Stefan Themerson A Few Letters from the 1950s A FEW LETTERS FROM THE 19505 Copyright 2009 by Estate of Stefan Themerson. All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photo-copy, recording or any information storage and retrieval system, without permission in writing from the copyright holder, except for quotes in reviews. The cover photograph, a self-portrait by Stefan Themerson, circa 1950, is used with permission of Jasia Reichardt. Jasia also provided invaluable guidance and assistance in the preparation of this publication. First Edition OBSCURE PUBLICATIONS Paul Rosheim, Series Editor 307 River Street, Apt. 18 Black River Falls, Wisconsin 54615 "Watch Out for Obscure Publications" Stefan Themer50n A FEW LETTERS FROM THE 19505: Selected Correspondence with Lars Gustav Hellstrom and Bertrand Russell Obscure Publications - 2009 Stefan Themerson on Semantic Poetry correspondence with Lars Gustav Hellstrom References to pages which appear throughout the correspondence are those to the first edition of Bayamus published by Poetry London in 1949 On the 4th July 1950 Franciszka wrote to Stefan who was staying with friends in Cheshire: 'Hugo Manning telephoned a minute ago. That Swedish critic that he once told us about, is in London. [i.e. Lars Gustav Hellstrom] He has a copy of Bayamus and has read it, and he very much wants to meet you. It seems that he wants to write about you, or to translate Bayamus into Swedish. Anyway, he is not a phoney, as Manning says, and he absolutely must see you. -
Electronic Superhighway (2016-1966) 29 Jan - 15 May 2016 Large Print Labels and Interpretation Gallery 8
Electronic Superhighway (2016-1966) 29 Jan - 15 May 2016 Large print labels and interpretation Gallery 8 1 From left, clockwise Front Room Rafael Lozano-Hemmer (b. 1967, Mexico City, Mexico) Surface Tension 1992 Plasma screen, computerised surveillance system, custom- made software Courtesy the artist and Carroll/Fletcher, London 2 Nam June Paik (b. 1932, Seoul, Korea; d. 2006, Miami, USA) Internet Dream 1994 Video sculpture Courtesy ZKM Center for Art and Media Karlsruhe. Dubbed the ‘Father of Video Art’, Paik created videos, sculptures, installations, performances and television productions and was part of the experimental group Fluxus along with composer John Cage and artist George Maciunas, among others. Internet Dream consists of a video-wall of 52 monitors that form a large unified shifting collage of electronically processed images, originally commissioned by the German television broadcaster RTL for its Cologne headquarters. Paik believed that the medium of television could elicit viewer participation, as well as foster intercultural understanding. The work’s title demonstrates Paik’s interest in what was then the relatively new medium of the Internet and the possibilities it offered. The title of this exhibition, Electronic Superhighway, is borrowed from a term Paik coined in relation to the potential of telecommunication systems in 1974. 3 Jill Magid (b. 1973, Bridgeport, CT, USA) Surveillance Shoe 2000 Video 6 mins. Courtesy the artist and Galerie Untilthen Paris 4 Continuing on this journey back in time, the potential of networked technology is explored in one of the first ever major interactive art installations, Lorna (1979–82) by Lynn Hershman Leeson. Here the artist presents a fictional female character that stays indoors all day watching TV, anticipating the mediated culture of virtual avatars. -
Kampert, Magdalena Anna (2018) Self-Translation in 20Th-Century Italian and Polish Literature: the Cases of Luigi Pirandello, Maria Kuncewiczowa and Janusz Głowacki
Kampert, Magdalena Anna (2018) Self-translation in 20th-century Italian and Polish literature: the cases of Luigi Pirandello, Maria Kuncewiczowa and Janusz Głowacki. PhD thesis. https://theses.gla.ac.uk/71946/ Copyright and moral rights for this work are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This work cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Enlighten: Theses https://theses.gla.ac.uk/ [email protected] Self-translation in 20th-century Italian and Polish literature: the cases of Luigi Pirandello, Maria Kuncewiczowa and Janusz Głowacki Magdalena Anna Kampert Submitted in fulfilment of the requirements for the Degree of PhD School of Modern Languages and Cultures College of Arts University of Glasgow September 2018 3 Abstract This thesis examines the phenomenon of self-translation in two different cultural contexts: the Italian context of self-translation within national borders and the Polish context of self-translation in displacement. It focuses on four case studies: Luigi Pirandello’s self-translations of ’A birritta cu ’i ciancianeddi (1916) and Tutto per bene (1920), Maria Kuncewiczowa’s self-translation of Thank you for the Rose (1950-1960) and Janusz Głowacki’s assisted self-translation of Antygona w Nowym Jorku (1992). -
{PDF} the Good Citizens Alphabet Ebook, Epub
THE GOOD CITIZENS ALPHABET PDF, EPUB, EBOOK Bertrand Russell | 112 pages | 17 Apr 2018 | TATE PUBLISHING | 9781849765305 | English | London, United Kingdom The Good Citizens Alphabet PDF Book Social Studies - History , Civics. Parker rated it it was amazing May 15, Bestselling custom prints. Enlarge cover. Pages are double with top edge uncut. Even when he collapses while rebuilding the windmill, his first thoughts are not of himself but of the work: "It is my lung … It does not matter. I guess hubris and human folly remain timeless and universal. Themerson, Franciszka illustrator. My kids have loved talking about being good citizens and how they can become better citizens. Friend Reviews. Attributes of being a good citizen are provided in picture supported sentences. Trivia About The Good Citizen' Traces of Living. Sort order. Valentine's Day. Condition: Very Good; Hardcover. Best Selling in Nonfiction See all. The content of the Themersons' own books were often experiments with language and visual effects. Even when he is being led to his death at the knacker's, Boxer needs to be told of his terrible fate by Benjamin and Clover. Internet Activities. Condition: Fine. Average rating 4. Earth Day. An Asiatic Romance. Original Polish version published in Warsaw, Nice in price-clipped, slightly rubbed dustwrapper with small hole on spine. Students can work in a small group to read the sentences and sort, or this activity can be done whole group. Trivia About The Good Citizen' Resource Type. Website by Country Fried Creative. Most Recent. Prose with drawings by Herbert Jones. God chose to create the world, humankind, and everything everywhere.