This is the first comprehensive Polish publication about Viennese Actionism. The catalogue consists of a number of sections. It presents reproductions of works by Günter Brus, Otto Muehl, Hermann Nitsch and Rudolf Schwarzkogler as well as a sizeable selection of their writings, such as manifestos and accounts of actions. It also contains critical essays by Actionism specialists.
The project EU Textiles was created during the artist’s residential stay at the Factory of Art and Design in Copenhagen (September – November 2011). Taking on board the cultural differentiation across Europe with the simultaneous blurring of borders on the European continent, Markiewicz posed the question whether it is at all possible to design a universal outfit for the inhabitants of the Union.
Anna Okrasko (born 1981): in 2004 graduated from the Academy of Fine Arts in Warsaw. In July 2011 – got an MA at the Piet Zwart Institute in Rotterdam. In 2011, awarded a grant at the competition of the Swiss Vordemberge-Gildewart Foundation.
‘Sculpt-couture’ is not only the title of one of the series of works by Halina Mrożek presented at the exhibition, but is also a perfect fit as a generic description of the artist’s works.
The Foundation was created in 1981 on the initiative of Ilse Engeline Vordemberge-Leda, who wished to fulfil the last wish of her late husband Friedrich Vordemberge-Gildewart. The Swiss Foundation promotes young artists aged under 36. To that end, since 1983, annually, in selected European country, it organises an award competition.
The catalogue presents a selection of the MOCAK Collection
In March 2010 Maria Anna Potocka conducted an interview with Wilhelm Brasse. The outcome is the book with edited tales of the prisoner-cum-chief-photographer of Auschwitz, together with a film with fragments of the interview. There is an introduction by the historian Teresa Wontor-Cichy from the Auschwitz-Birkenau State Museum, the academic editor. The book is generously illustrated with photographs from Wilhelm Brasse’s own archives, as well as the Photographic Archives of the Auschwitz-Birkenau Museum and Yad Vashem.
The catalogue is in two parts. The first consists of essays written by researchers of various humanist disciplines. The second has reproductions of works from the exhibition with the artists’s comments.