In the catalogue which accompanied the exhibition we tried to explain from various perspectives the phenomenon that is EVA & ADELE while being aware that art which is simultaneously life invites broader reflections, not only from the point of view of art history (the essays by Maria Anna Potocka, Angela Janhsen and Paweł Leszkowicz), of a private individual (texts by Ulrich Krempl and Delfina Piekarska’s interview with the artists), but also literary (the essay by Ingia Iwasiów), sociological (the essay by Jacek Kochanowski) or, last but not least, political (the text by Anna Grodzka).
The catalogue contains texts by the artist and the curator and 16 reproductions of the works from the Bibliophilia series.
The exhibition of Lynn Hershman Leeson, an icon of American feminist art, is accompanied by a catalogue. The exhibition presents her photographs from the series Breitmore. They form a documentation of the project which involved the artist taking on the persona of a thirty-something woman, Roberta Breitmore. Not only did Leeson alter her appearance, but also her personality, turning into a character who was treated by those around her as a real person.
The publication contains an introduction by Jerzy T. Petrus, the Deputy Director of the Wawel Royal Castle, an interview with the artist, conducted by Delfina Piekarska, the co-ordinator of the exhibition, an essay by Maria Poprzęcka on the topic of what Matejko’s and Dwurnik’s Battle of Grunwald have in common and finally a text by Maria Anna Potocka, the curator of the exhibition, which describes the artist’s attitude to the issue of history. The texts are illustrated with reproductions of Dwurnik’s two paintings (The Battle of Grunwald and The Prussian Homage) and twenty drawings presented at the exhibition at Wawel.
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