New on #viennacontemporaryMag: a monthly overview of the most interesting exhibitions accross Eastern Europe, handpicked by Tina Kaplar, editor in chief of Art Guide East.
artists: Peter Bartoš and guests, Peter Andráši, Petra Feriancová, Květoslava Fulierová, Július Koller, Ludmila Rampáková
The exhibition introduced the concept of the extramural settlement of Bratislava, Bartoš’ spiral, but also his zoological garden project.The guests of the exhibition are co-authors of some of Bartoš’ works, or they were directly invited to collaborate with him. Bartoš used almost all of the space of the gallery: the walls in the corridor and in the kitchen were covered with drawings mostly created in situ. Many times they surpassed their given surface (paper, canvas or xerox). Bartoš worked with his own older references; photocopying them into his perceived concept, but also his originals – drawings and paintings, which he later post-produced into new situations. He defined and re-drawn them. Bartoš constructed his large-scale installation by means of a systematic eruption. His work growed from the entrance hall and the kitchen into the “real” exhibition space, where he held back and called the other artists to participate.
Curatorial impulse: Anca Verona Mihuleţ
Response: Diana Marincu
Artists selected by Diana Marincu: Michele Bressan (RO), Andreea Ciobîcă (RO), Norbert Costin (RO/SE), Cătălin Ilie (RO/DE), Alex Mirutziu (RO) + Pär Andersson (SE), Esra Oezen (DE), Cristian Rusu (RO)
The curatorial method employed in devising “The White Dot and The Black Cube” as an exhibition in six parts takes its starting point from the investigation of three essential display formulas: two group exhibitions, two duo-shows and two personal exhibitions. Each of these formulas is enhanced by the dialogue between the two curators and by their exchanges with the artists and the museum as an institution. The group exhibitions were conceived following a theoretical impulse that one of the curators transmits to the other; the dual ones by the curators assuming one of the two conflicting theoretical positions; and the personal ones through a triangular dialogue.
Curators: Delfina Jałowik, Monika Kozioł
Artists: Marta Antoniak, Tomek Baran, Monika Chlebek, Dawid Czycz, Viola Głowacka, Justyna Górowska, Mateusz Hajdo, Kornel Janczy, Ewa Juszkiewicz, Irena Kalicka, Emilia Kina, Kamil Kukla, Agata Kus, Mikołaj Małek, Agnieszka Piksa, Tomasz Prymon, Grzegorz Siembida, Michał Stonawski, Łukasz Stokłosa, Mateusz Szczypiński, Jakub Woynarowski, Michał Zawada, Jakub Julian Ziółkowski
MOCAK is embarking on a series of exhibitions showing the oeuvres of artists who live and work in Krakow. These presentations will encompass a variety of media. The series is inaugurated with a show of artists born between 1980 and 1990. The exhibition aims to demonstrate the leading trends on the Krakow contemporary art scene, it transpired that painting would be the dominant genre. Besides painting, sculpture, video, photography, drawing and installation makes a prominent appearance and is also an attempt to take on board the artistic legend of the city, since the mid-19th century dominated by artistic giants. In the world of art, Krakow has been famous as the site of many ‘firsts’.
Artists: Ian Berry, Denis Beaubois, Jota Castro, Libia Castro & Ólafur Ólafsson, Jiří Georg Dokoupil, Thomas Hirschhorn, Alfredo Jaar, Richard Jones, José María Cano, Daniel Knorr, Lisa Kristine, František Kupka, Benny Lam, Thomas Locher, Ján Macko, Fernando Moleres, Orta Levi + Núria Güell, Robert Palúch, Paolo Patrizi, Vojtěch Pavlíček, Dan Perjovschi, Nina Pohl, Marek Schovánek, The Krasnals, Michael Wolf, Matthias Ziegler
THE SOUL OF MONEY multimedia exhibition project focuses on money as a phenomenon everybody is – willingly or unwillingly – part of. Through artworks and projects by numerous foreign and Czech artists, the project aims to explore some of the implications of the grand colonization of today‘s world through the current economic model.
Artists: Marcell Esterházy, Péter Forgács, and Gábor Gerhes
Curator: Emese Mucsi
The idea of the immanent intellectual community of the three artists was conceived by Péter Forgács after seeing the solo exhibitions of the other two artists in 2013: the compare (cf.) by Marcell Esterházy and the Neue Ordnung (New Order) by Gábor Gerhes. This hypothetic community constitutes the starting point of the present exhibition titled MEANING.
The exhibitions of Esterházy, Forgács, and Gerhes interact like three books in a box set – not just because text-based works appear in every exhibit and all three artists import or evoke technical and literary texts in some ways, but also due to the manner in which they relate to each other. One needs that kind of enduring attention to interpret the exhibitions either separately or as a whole, opening up the layers of meaning and connecting them, that is needed for text reading as well.
Artists: Jan Berdyszak, Marcin Berdyszak, Irma Blank, Hanne Darboven, Katarzyna Giełżyńska, Krzysztof Gliszczyński, Şakir Gökçebağ, Małgorzata Dawidek, Jakub Jasiukiewicz, Sasaguchi Kazz, Leszek Knaflewski, Brigitte Kowanz, Andrzej Leśnik, Navid Nuur, Franciszek Orłowski, Michał Martychowiec, Ireneusz Pierzgalski, Sophia Pompéry, Ketty La Rocca, Antoni Starczewski, Tamás St. Auby, Andrzej Szewczyk, Jan Tarasin, Endre Tót, Marian Warzecha, Marek Wasilewski
Curated by: dr hab. Marta Smolińska, Professor at the University of Fine Arts in Poznań
The exhibition aims to present an array of varied forms in which such illegibility functions. Therefore, selected works feature different kinds of notations that refer to script, alphabet and punctuation marks, but in fact they reveal the loss and blurring of the word, instead of the expected legibility. Another important field consists of examples of inaccessible books and scrolls that cannot be pored over in order to examine their contents (Krzysztof Gliszczyński, Jakub Jasiukiewicz). Paradoxically enough, exaggerated legibility – represented for instance by magnified punctuation marks – also leads to illegibility (Sophia Pompéry, Ketty La Rocca). Artists may also create their own alphabets (Antoni Starczewski) or non-alphabets (Marcin Berdyszak). Yet another type of illegibility occurs when the artist uses paper that is already covered with writing or print, thus piling up layers of notes, tearing apart or blurring the script (Marian Warzecha, Jan Berdyszak).
Artists: Jelena Blagović and Ana Opalić
Double exhibition, entitled Domestic Stories, showcases works of two distinctive and acclaimed contemporary photographers from Croatia, Jelena Blagović and Ana Opalić, who are individually exhibiting in Slovenia for the first time. Artistic practice of both is characterised by profound exploration of intimate stories that recount personal experiences of ordinary people within the wider socio-political context.
At the exhibition Blagović showcases two series of photographs from the trilogy, entitled Unprotected Archves (2007-2013), Before Me (2007) and Family Silver (2010), which focus on personal episodes of her family’s and thus her own history. On the other hand Opalić presents the Home (2010-2013) series of photographs which puts forward the victims of various abuses during the civil war in Croatia in the 1990s.
Artists: C.T. Jasper & Joanna Malinowska
Curator: Magdalena Moskalewicz
168 years after its premiere, in Vilnius, the Polish opera Halka returns to the city—albeit in a very particular form.
A collaboration between Polish opera singers and Haitian dancers and musicians, this unusual performance was documented on film, and is now shown in Vilnius as a large-scale projected panorama. The project was originally created for the Polish Pavilion at the 2015 Venice Biennale, where it was presented as an inquiry into the power of traditional artistic forms in constructing national identities—especially in a complex postcolonial context.
Bringing Halka/Haiti back to Vilnius adds a post-imperialist element to the story, further complicating the image of the national identity that the opera was supposed to represent. Considered a fiasco after its 1848 Vilnius premiere, Halka only achieved critical acclaim in Warsaw, a decade later. Now, the Polish national opera returns to Lithuania via Haiti—a rather unexpected twist in the complex, interwoven histories of the two neighboring countries.
Artists: Goran Dragaš, Vladimir Frelih, Branislav Nikolić, Ana Petrović, Jovana Popić, Selman Trtovac and Dragan Vojvodić
All exhibitors are closely related to the topic of migration as they used to live (or are currently living) outside of their home country. This exhibition, however, is not all about migration in a physical sense. Moreover, migration of these artists, in addition to the physical nature of migration, includes cultural changes and spreads their artistic experience of the world. Artists point out that their migration is above all an “inner migration”. No changes that somebody experiences while “on the way”, while searching, can leave a permanent trace without finding a firm anchorage inside of that person. A fundamental migration results in a deep change of human identity, which can be expressed more or less intense, but it confirms the universality of human being, and cultural dependence on the environment in which it resides. Within this joint exhibition the artists want to show how deep they are affected by the circumstances of “migrations” in their lives. They explore the relationship between the inner and the external (physical) migration and want to show how important and necessary the migration experience is in order to deal with art, but also to live.
Artists: Yevgenia Belorusets, Daniil Galkin,, Mykola Karabinovych, Alina Kleitman, Daria Koltsova Kinder Album, Sergii Melnychenko, Roman Mykhailov, Sergiy Petlyuk, Mykola Ridnyi, Ivan Svitlychnyi, Sergiy Yakimenko, Katerina Yermolaeva Anna Zvyagintseva and groups: Melnychuk-Burlaka Group (Oleksandr Burlaka and Ivan Melnychuk), Open Group (Yuri Bieliey, Pavlo Kovach, Anton Varga)
The Lviv based artistic collective Open Group was announced as the Main Prize Winner of the fourth edition of the PinchukArtCentre Prize 2015. The award ended a stirring year for the group who participated at 56th Venice Biennale and at the School of Kyiv – Kyiv Biennial 2015 among other things. The first Special Prize was awarded to Anna Zvyagintseva who also received the Public Choice Prize. The winner of the second Special Prize was Alina Kleitman.
Head to Art Guide East for more info about exhibitions in CEE
- Bartos and Petra Feriancova , Homeland- installation, image courtesy: amt_projection view
- Cătălin Ilie, I talked to the wall and the wall was impressed (Studies for a better understanding), 2015-2016, desen și instalație de sunet, mixed-media.
- Irena Kalicka, untitled, from the series What’s Done Cannot Be Undone, 2013/2014, photograph: MOCAK
- Jota Castro, Enter the Dragon 2012 Helium filled foil ballons, wrapping ribbons, metal plates, 100-Yuan notes Dimension variable
- Gerhes Gábor, Emese Mucsi, Marcell Eszterházy and Péter Forgách, photo: Capa Centre
- Franciszek Orłowski “Bible (NT) – Enigmatic Translation”, 2005-06, art book: paper, asphalt, 43 x 31 x 8 cm, Grażyna Kulczyk Collection
- Ana Opalić: Dom / Home 2010-2013, courtesy: Photon
- C.T. Jasper & Joanna Malinowska, Halka/Haiti. 18°48’05”N 72°23’01”W, 2015. Still from a multichannel video projection. Photography by Barbara Kaja Kaniewska and Mateusz Golis. Courtesy of the artists and Zachęta – National Gallery of Art.
- Jovana Popić “Take a Place”
- Open Group, Exclusively for Internal Use, 2015, multimedia installation: action, c-print, print run of books, video