Fun With The Number 11

Bernatka

very interesting text, written by Eve Overseas-Przyłuskiej, appeared on the site podgorze.pl . One of the latest investment in Krakow is the construction of footbridges Bernatka, leading from the Old Casimir Podgorze. On the one hand bridge is very popular in good weather, crowds of walkers follow her, reviving and filling to capacity with lovely quiet corners in the past and on the other side of the river (the owners of the local pubs can not complain.) If the museum building will start again Kantor, then Cricoteka will reap the benefits.

the footbridge, there is even a lock in love - I wonder if this is not a clever marketing exercise.

On the other hand, the investment raises many questions. The footbridge is located very close to the bridge Pilsudski. Is not it better so it was to build the first pass through the river walks around Krakow's old somewhere, where would be more imparted, for example, between the Wawel Castle and the Center for Arts and Culture Japanese Manngha? For Mannghi is not easy to reach and build a case for some transition in that area has been discussed for a long time.

More important, however, is something else: the question of the difference between a successful project implementation. That's what you can read for podgorze.pl . The difference is fundamental and to the detriment of what has been accomplished. The footbridge was to have a light and an openwork design resembling a leaf. That which was, by no means resembles a leaf, only przyciężkawy engineering skeleton, the dominant open countryside and to make matters worse, obscure historic bridge Pilsudski - the most beautiful bridge of Cracow.
remember how to describe the outcome of the contest announcements, the bridge will penetrate the hitherto harmonious cultural landscape. Does not penetrate.

This is because the designer did not take into account the requirements of the protection of the Vistula. It was necessary to change the form of arcs, in winter, salty water can not flow down the river straight into ... Read for yourselves. The question arises whether they should look just like contests. Known, a margin of change should be permitted in relation to the winning projects. At what stage should however be reviewed in terms of implementing projects? Who is supposed to do, to avoid situations that competitions are a sham, and projects are worse and much different from those that have chosen? After all, permitted to another and a lesser degree of interference in the urban landscape than what eventually came to fruition.

Similarly, in the case of previous municipal investments, including obśmiany been called by local media. "Crystal" - a fountain on the Main Market, reminiscent of a more vent lavatories. Also, quite a successful project for a new device to the Ghetto Heroes Square. The square is filled with metal chairs, but lighting has not yet started.

wonder how in this respect will look next projects, revitalization of the city squares of Kazimierz, which is held competitions. As much as I am afraid to think, especially since the projects are demanding. Surface Wolnica Square to be covered with exotic wood. Am I to understand that suddenly turns out that require their maintenance requirements are here to put wood-product?

I hope they do not.

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After the election

second round of presidential elections in Krakow seems to indicate the behavior of existing systems, and also in culture. Events and speeches last week provoked me to some reflections.

I feel that fear is everywhere, which is strange, because we live in a democracy and city authorities certainly do not wish to see their fear, but rather contrary to the public telling the truth would indicate a healthy democracy, and healthy relationships in the city. I hope that the mechanisms of cooperation with the democratically selected local authority will do their own and will not be able to experience more events that I am a voice embodies the environment in the face of his fear of exposure to the city authorities and their supporters, just - laziness.

why none of the journalists and none of the critics are not caught up institutionally - as I am - this does not even stuttered? The "it", ie the situation of culture in Krakow, which all have much to say in casual conversations. None of the leading city institutions did not protest publicly against drastic cuts.

Why do we, people of culture, we can not utter a word about himself or how pathetic is the situation of culture in Krakow in 2010, in an election year, when the budget for this year's municipal institutions was already truncate the beginning of the year by 30% and the city's budget for culture is handed out according to vague criteria, save one: the emphasis on festivals and the everyday culture of disrespect and disregard for the needs of the many cultural centers in Krakow, not well off in these districts, which, with its capital of culture is associated .

In addition, in light of recent events bothers me question what are the limits of embarrassment, lack of professionalism and self-denial in public positions in the culture, someone finally authorized and opinion-reacted? And if the museum might be called a museum because he wants the mayor? Or rather, how much is expected to last for the creation of the museum, allowing for evasive action provisions of the Act on museums?

What I would like to pass this entry, then adding the courage to people of culture in our city. If we let ourselves be convinced bureaucratic indolence and just disregard our - citizens - opinion under the guise of a legally valid (ślimaczych, because dependent on the president) decisions on key issues, ie staffing mode, a culture in Krakow will be reliant on the mercy of festiwalowiczów and will simply be the result of will power and the particular suggestions. What, moreover, for 4 years, so it would be a little pull back.

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Workshop

The Maze Gallery in Lublin, run workshops on the art of writing lyrics.

blog was created just shop Bilart . Feel free to read and comment!

Cream Kitchens With Black Worktops

art criticism Art, not a movie

Oronsko, sculpture Teresa Murak

Oronsko, sculpture Krzysztof Bednarski

once again coming back to visit the Centre of Polish Sculpture. Always arrive there is an extraordinary experience. Park is a place unique, very beautiful, full of old trees and very good energy (there is a legend of orońskich chakras). For this, however, there is a real and unique collection of contemporary sculpture Polish. Sculpture is really a lot, in fact, common opinion is that too much. Often included in the parade itself, interfere with each other, how on the lawn of Brandt's manor, where he appeared in blue stick furiously Krzysztof Bednarski, overgrown with swarms of smaller chicks (as in the stories, which he threatens the children), which spoils the context for the excellent work of Norwegian artist Marit Arnekleiv, with wooden stairs, on which all like to sit, pose for photos, warm in the sun, look at the surroundings.

But just this extraordinary accumulation of sculptures, this almost geological exhibition showing concrete examples of sculpture in the history of Poland, I consider it unique. As I recently reported an, are willing to change this. In my opinion, pointless desire to organize an open-air exposure. Would become one of the many thematic exhibitions in the world, captured by a single project. Just as the interiors of dwellings, of which I appreciate much more, those whose equipment is growing as life events capita than those achieved with an iron, designed by interior designer (of course, a friend and of course in cooperation with the owners of accommodation). Meanwhile, it is the spontaneous growth of the collection reflects the history of the Sculpture Center and the fluctuations not only carving styles, but the writing on the sculpture, its interpretation. Exhibition shows the styles and ways of thinking about space for sculptors.

this year's Polish-Norwegian plein air "Inside Out / Outside In," there appeared several papers which raise problems of general nature. The first is the performance of Tatiana Czekalska and Leszek Golec. The major question mark concerns the question whether this is still a performance. In my opinion no, but never mind. Artists invited all participants in the Polish-Norwegian project on the party, during which the treated to vegan food. This event had the objective of promoting meatless and vegan food. Pleasant and friendly share, for the purpose of having last but not least bring together different people together. An excellent example of the use of relational aesthetics, but I'm sure that comparison is not the most important element in the interpretation of the work. As for her message and to whom it is addressed: action takes place in the theoretical framework of the seminar. Invites her to a narrow group of closely calculated. Elite group. They are artists, participants in the event. So Czekalska and Golcowi actually depends on the popularization of vegetarianism? Not at any price, as is clear from the action. It shows that they depend more on promoting the idea among the selected people who are opinion-making and could bear the idea further. Elitism. which is easily forgotten.

Ela Jablonska had a great idea that has not had a chance to incorporation into reality. Well, the Centre of Polish Sculpture is located in the center of Polish, near Radom, Polish unnamed patronizing the name "Poland B", but being small domain However, towns, and - of poverty, not necessarily just the same people, but poverty just the infrastructure of the state. People in the miejscowościacj, not only villages and towns, but the larger cities, in poorer districts tend to buy goods on credit - in the modest shops, basic things to survive: bread, flour, etc. She has planned to the amount of work for the implementation of spent on repaying debts zeszytowych in several stores in the area and Orońska. It would be this great, visible project, the artist as an "invisible hand" is not aired, the post a few customers would live a shock coming to the store and learn that no longer have the debt. As in the film.

But it was supposed to be art, not a movie. Failed. Requirements for the settlement of the project resulted in the need to place work within the gallery. But the intentions of the curators of the project were the opposite! Declared because they are interested in intervention stocks, go beyond the gallery, the search for a new audience, and custom presentation process. It turned out that the real social work goes beyond the capacity of tolerance of the institution. In return, Elizabeth is to always be in a museum shelf, where they found the food basic necessities (flour, pasta, olive oil - just like the Ladybug). They can take the subject to enroll in the special notebook. Thus, the original project is not saved anything. There is no solidarity with the needy and casual support for them. This is too trivial, in fact, a work that stimulates the cynicism of a certain group of customers. You can make a documentary about the art allegedly involved, and how Eli Jablonska bookcase adds kitchen resources (another thing that poorly paid) workers Sculpture Center Polish. Here arises the question of the responsibility of the shape of the proposed works. I am convinced that CRP itself Oronsko would prefer to have work in its original form, which is undoubtedly an institution would record in the annals of art history in Poland. Are you sure you used all the means to enable its implementation? "You can not" - it's too easy importunate, and the chorus of Polish institutions.

Murak Teresa has created a new job in place of sun rises from the earth. Eulalia Domanowska in his discussion of the Polish-Norwegian project writes that we should discuss the issue of responsibility for the fate of the artist's own work within the institution. I think it is very important. The work contained in the institution, having their place in the history of modern art, which is available to the public, not private property of the artist, even if the contract is different. He can not just come for exhibition, to destroy a piece without consulting with anyone and do another involving a powerful means, which requests reimbursement from the institution. Even if his decisions would be the most reasonable changes in his work, he is not right to destroy something that has become a common good. This is proof of arrogance resulting from focusing solely on his own work. He has the right to do so but an institution can not accompany him in this. Regardless of the type of contract, which signed the institution the author works, the work becomes something more than just a piece of the author. In the case of an eminent artist Teresa Murak come into play in the best of an open space, which was destroyed, because she wanted to fill the position after the new work. This new job, although this value is lower than the previous one. The question is whether artists can actually dispose of their works, even if they are in the collections of public institutions and are committed to public use, such as a park in Orońsko? I find it hard to understand how a Polish Sculpture Centre could not agree to such a change ...

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Hospitality

Jaworki, Black Water, October 2010


"If he will not bite, I'll shoot you." Amazing. To the extent we are afraid?

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embarrassing

Tatiana Czekalska, Leszek Golec, the exhibition "The fifth activity," Art Museum in Lodz, 1996 (cat avatar and pin)


recently heard that some cite the authors are embarrassing . Strangely coinciding in time with reading my interview with Agnieszka Brzeżańska in which she confesses: texts on art I am no longer able to read, they weary me terribly, are collections of ribbons that do not generate any knowledge or information are usually sterile text ("Notes for 6 weeks ", No. 62, July-August 2010) . sighed with relief that I have a companion for distress, a sense of emptiness and sucking in the stomach with me very often when interacting with the texts on art. I read them less and less, because the little that is for me intellectual adventure, a Polish criticism is bland and dull, and for good measure extremely predictable. It is better to deal with literature, and - in my case even kryminałami.

Criticism produces neat and useless articles, descriptions of the most solemn - Polish critic omówieniami stands! - kind of ritual gesture: "I support this, and you're rooting for then." There is no discovery, no glamorous heroics, hardly what or who gives food for thought and discovering new lands. He quotes the same thing over and over again, reference is still the same name. If the controversy, according to court dance scheme or a testosterone infusion cocks, which shows that the struggle to being opinion leaders. I agree in this view, with James Banasiakiem, who had just said goodbye to the criticism. Burned out quickly, I must admit. I disagreed with his tendency to idle disputes and abuse of words, but I definitely agree: the need for more life, personal risk, more energy and emotion put into the criticism.

why I believe that rely on obscure authors, the risk that the author is not the intellectual top, it should provide a rather good than to be a source of criticism obciachu sense. Embarrassing - which is in general a criterion? Personals, outside considerations, negative, receiving the courage and ability to conduct research on their own. Who said that Polish art world are individualists? On the contrary: it is very a uniformity.

*

view on obciachu has been cited by Adam Mazur, when he discussed the work of Leszek Golec during a seminar at the Center of Polish Sculpture. Leszek Golec and cooperating with him Tatiana Czekalska are artists working in the margins of Polish artistic life. Marginalization in their case, thus means only that participate in it on her own terms, from time to time, consistently relying on its own worldview. Probably not they want the media popularity. Their activity, posture dramatically antyantropocentryczna, their views are of the order that their art is becoming increasingly tribune to promote the idea of \u200b\u200bvegetarianism, silent life, meditation, getting rid of aggression, a new spirituality.

If anything Thus artists are marginalized, it is their own choice. But not me see their situation in this way, repeatedly written about them, remember them today, actors active art scene - the organizers of exhibitions, etc. However, I understand that it is more about a certain helplessness criticism in the interpretation of this activity. Criticism of the art emergency and the manifest Zmijewski does not know what to do with Czekalska and heads. Criticism reinterprets them and does not invest in any location on the map of artistic events. They are somewhere on the side of a very exotic way of supplement.

Meanwhile, their activities can be recognized in the context of the new concept of spirituality, Steiner and Agamben to bow, not just the other day, Heidegger invoked by Mark Goździewskiego, relational aesthetics cries out for application. Well, and I had the audacity to call in the context of Golec and Czekalska - the name of Anthony De Mello. This is according to Adam's proof of my courage or bezrefleksyjności in the confrontation with the embarrassing. Intellectual probably. I'll wait until Adam publish the text and then can write a long controversy. But now I want to say that De Mello, a Jesuit, extremely well educated Indian, gained popularity in Poland in the 90s, as the author combines the tradition of the spirituality of the West and the East. His letters, written in more colloquial language and przystępniejsze than Thomas Merton, played a similar role to the writings of American Trapisty, such as Erich Fromm and DTSuzuki. Reasonable and adequate penetration is the intellectual background of the time when the data are discussed works of authors, and not ahistorical recourse fashionable in our time of authors (which after all did not deny the value). About Agambenie or relational aesthetics in Poland in the 90s not heard (the latter was founded after 2000). However, publications such as Empty Cloud, Santorski or profit, and the Company (and many others) seemed essential items from the canon of fascination with Eastern spiritual and philosophical systems. I do not think Agamben's writings współkształtowały Czekalska Golec and attitude. One is the background was important, even if not directly influenced by.

So, therefore, caution with this embarrassing - it could be a sign of ignorance.

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New contest for the position of director of the Bunker of Art - and what provokes reflections Empty

Blogger Since I am now able to view the statistics, I see that the state interest in my entries for the contest for the position Bunker Art Gallery director. I am very happy. I think it is very important to critically accompany the officials of having a real impact on the shape of the emerging culture, to exercise civil control (although they do not like much and they do anything to not have to be observed and evaluated.) Culture, high culture, creating the things that can be misunderstood, shocking, which for some reason do not conform to popular tastes determining the existence of cultural institutions and most public officials, should be taken under protection. Not only to be reminded, but the high, ambitious culture is simply indispensable for the development of society. It recalls the values \u200b\u200btaught to think critically, can not freeze in the rut of thinking, teaches tolerance and many other very valuable things. Institutions that support, more - play a key role in the production of culture, should be treated with special care - and by people involved in their activities, the organizers and the audience. Because they offer a vaccine against belief that "this is about to be," can not be otherwise. Teaches art criticism, independence of thought, occupy its own position. He teaches sensitivity and - despite the current growing market - the belief that counts more, selflessness.

In Poland, public cultural institutions did not survive the global governance reform after 1989. In addition to legal and financial oversight of incorporation of one instance does not exercise control over them, so many of them became the test bed of losing kolesiowskiej of corruption, conflicts of interest related to the systems of power. The form, profile, management of our institutions of art - all this gives to the reform and great change. I do not always, and not just the responsibility of the directors, who often move through a minefield, between a rock and a hard place, but also do not want to relieve them of responsibility. Never - would be wrong my memory - I have not seen the director of cultural institutions protesting against the opening of the founding body. How many wish to keep the stool, and how much responsibility for the institution? I do not want at this time judge, but the institutions necessary to be opened in this - they make management more transparent. Waste of human energy, an ability that takes place there, is simply extraordinary and reprehensible. As a serial

employee as a "curator / coordinator" in Contemporary Art, I can not give up at the same time as the main critic of the institutions in Poland. That's my dilemma also shows the problem of Polish critics. The roles of servant and critic of the mechanisms involved in the operation of public institutions particularly disagree with each other. So when I read the biting remarks - most recently James Banasiak - about Polish criticism that this should be accompanied by visions and breakthroughs (or perhaps simply to create them), then - yes - I agree with them, but I see a greater need and greater gaps. Today, especially today!, A year after the Congress of Culture, which was followed by several community initiatives, consisting of artists and cultural managers, having to create a grassroots współkształtującego changes within the institutional framework of the Polish culture, it is time for the entrenchment. It's time that these movements have created a technique wydoroślały and more efficient operations (because the officials do not of themselves will be more manageable). Extremely

we lack the institutional criticism. Critical description of the manner in which they operate, how they are profiled, we have a vision of how to invest in their site of action, how they see their roles as those roles are played. Conversations with critics working in the mainstream press and journalists dealing with culture, indicate that it is not selling well and popular topic.

Please report to me willing, I will try to find ways to pay for a person able to make a critical analysis of the Polish institutions today.

recall only: http://www.rewolucjakulturalna.pl/. What happens next with the demands?

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so erudite essay

Far from you, part of the archival

Far from you, the monument


Anetta Mona Chisa and Lucia made Tkacova Lida Clementisovą heroine of their own work, because her fate did not give them peace. Upon learning of his wife accidentally prominent Slovak Communist, Vladimir Clementis, who after the war he was Minister of Foreign Affairs of Czechoslovakia, and was later convicted in a show trial Slansky'ego to death in 1952, began with the growing attention to gather information. Lida Clementisova is an important figure not because of myself, my own accomplishments, ideas and works. The official versions of recent history the Czech Republic and Slovakia, if at all there is to mention it is because of her husband. There is no Clementis, is devoted to him, with conviction and for life. The fate of Lida, inextricably intertwined with the fate of her husband, were marked by tragic moments. Like stills from the movie memorable, and you can not get rid of them.

bank manager and daughter of opera singer became fascinated by a young lawyer, committed communist activist. The fascination was mutual. Fortunately, before the war did not last long, he was imprisoned dementis and interned, lived in exile, she rode behind him, for example, to England, where he had to cope without a good knowledge and funds. After the war Clementis for a short time found himself at the height of his power, being one of the authors of the coup, and contributing to the government CSRL. But already in 1950, has been accused. Imprisoned for two years, were subjected to torture, his wife also. Occasionally exchanged lists. He did not know that she is trapped, it was not possible to tell with that. He did not know that she knows that he has been sentenced to death. Before the execution was allowed to meet Lida with him. She was exhausted. Are being monstrous masquerade: it dressed up to look like a healthy and living in freedom. Were given injections of arsenic, which meant that had full cheeks. The last meeting of the spouses took several minutes, during which they could not betray the feelings and knowledge about their own situation. Lida through the night scrubbing the floor in his cell. After the death sentence on Clementisie, was released. Commemorating the rest of his life devoted husband. She has published, among others their list, in two books.

Form Clementisovej artists has become a challenge. Wanted to pay tribute to her perseverance and suffering, sacrifice. The path we chose Clementisova, led to the destination, which has traditionally been the outstanding participation of women partners, women in general, and - what can I say - is questioned not only by the avant-garde circles, is sometimes regarded as mortification than merit. The attitude assumed Clementisovej omission of their own needs, plans and ambitions, they melt in the plans and ambitions of her husband. The removal of the shade, being useful, waiting, expectancy, nursing the memory of a hero. Clementisova is transparent, it shows its hero. It is like glass.

Anetta Mona Chisa and Lucia Tkacova not analyze this phenomenon. Do not criticize the more Lida Clementisovej, do not make critical vivisection of collective memory. Their intention was to commemorate a particular woman on the basis of what is known about it from things existing in the collective consciousness of the Slovak and Czech. The exhibition focuses on a particular public image of women. With his absence, and for some debris, which had penetrated into the collective memory, the artists create their own tribute, but more appropriate would be the word "hutch", "weave", "make" (like a puzzle) - the absence, insinuations, debris, flashes in the background, spectral presence. Since

Lida form is vague and does not have a clear outline, the artist did not try to catch it in a cohesive network, finishing the story, do not try to dopowiadać, fill gaps and dorysowywać lines where they run out. At the exhibition "Far from you" in Karlin Studios, Prague, there is a modest and simple arrangement: strips of printed paper stuck to windows, not enough visible projection ... A bit of a photocopy of musical notation and a schematic portrait of women, flowers in pots, slide show, a sketch on the wall and the projection that runs from time to time. Well, the rug on the floor. That's how it roughly looks like.

I asked for a response to the exhibition, a discussion, a hotter reaction. Nothing like this has happened. There is probably demonstrate more clearly confirmed, that Lida Clementisova the shadows are still not married. In a similar vein reacted Wikipedia. The resulting password - English and Slovak. After a while, someone raised an objection to the merits of putting information in the form of a separate article devoted to this form. There is no independent account of his achievements. What is not true, because for example has released several books. Wikipedia should indeed make sense to rely on the fact that it brings awareness of lesser-known characters, I just discovered, those which would not have chance to own password in a printed encyclopedia. English, however, the password has been erased. Slovakian remained intact.



*** empty space - from the exhibition starts. So we have sentences cut from books, wherever found herself Clementisovej mention. The action spills to the outside world. In libraries, where they come from the book were like negatives of action. Quotes have been illegally cut from the books that the holes have been returned to the place of loan. The planned as part of the exhibition were also cited archival list of marriage - and again brought to this book, which were arranged on a single card. The few published photos Clementisovej were treated cruelly: cut her face. Operation easy, even infantile, brings to mind the reality of operations to enchant, cast a curse on someone. It is also a gesture autodestrukcyjny niepogodzonych women about their physical appearance, which grab the scissors to remove yourself from sight, using censorship as absolute as the political. A piece of documentary film with the statement Clementisovej is displayed on the glass, which a woman takes on the appearance of the spectrum.

Everything, therefore, underlines the invisibility of Lida, it is irrelevant to her husband's biographers and historians. Slurred presence in the background, somewhere on the side or behind.

In the remainder of the exhibition we are dealing with something that at first glance resembles miscellaneous bunch. We have things without much of a load, even with a grossly short-term-life, as well as the trivial from the perspective of recognized value systems. As soon as one reaches the edge of the output dropped carelessly on the ground. It was on the grass and impressed geometric structure. Well, was impressed plan mapped cell. Anyone can enter the picture and feel for yourself how tight was the cell in which the heroine spent the month of the exhibition. Moreover, the picture was in fact aimed at the real location of the prison room Clementisovej.

movie displays on the wall depicted an empty school children reciting the last letter to his wife Clementis. Letter full of tension and the fake peace, not to bother his wife, is in the mouth of students as school reading, children poszturchują to jąkają, transgress from foot to foot and take the show on camera. Video shows how tragic story gradually watering down and actually do it is not in popular communication.

Mona Chisa and Tkacova also devised a way to use sound. The last letter to his wife was transcribed on the sound system Solresol. Notation was to be taken by everyone concerned. The tragic history could be made an instrument, sing, play. Lida Clementisova was, after an opera singer. You could also put yourself in Lida. The artists have prepared a diagram of makeup, which applied in exile in London, where it came from her picture. Make-up anyone can do. Thus, my face can change a little in the face of Lida.

What were they doing in Karlin Studios klematisami pots? They could take it. The artists have applied again model „zrób to sam”. Model majsterkowicza królował w naszych krajach za komuny, kiedy niedostatki w zaopatrzeniu w dobra materialne uzupełnialiśmy zaradnością i sprytem. Model ten powraca, trochę na fali ekologii, antykonsumpcjonizmu i poszukiwania możliwości wyrażenia swoistości naszego doświadczenia historycznego.

Artystki postanowiły, że nie będą budować pomnika dla Lidy. Wykorzystały pomniki już istniejące. Sfotografowały wszystkie monumenty w Pradze i pokazały jak można wykorzystać kwiaty, by kultywować pamięć o kimś. Nazwa „clematis” odnosi się do nazwiska małżonków. If you would like to commemorate a brave woman, you need to plant clematis in the memorial of their choice. Clematis oplecie him green shoots, blossom and transform into a memorial statue to pleniącej lush nature and oblivion. From the plant will not see the statue. The hero becomes a stand for flowers. This idea seems to be a great and unavoidable. How else to commemorate this woman? It is impossible to put a monument.

***

exhibition moved me very much, although it troubled me quite a creativity of artists. One gets the impression that they multiply the concepts of one nature and one another.

Despite these objections, I think "Far From You" as a very ambitious attempt to refer to history and memory of women residents of post-communist countries. How to pay tribute to the power of survival? How to erect a statue of silent heroism, which by this force is expressed? How can we talk about love in times of Stalin's purges? Although it sounds łzawo, if not affection, fate, Lida would have been different.

She might have his own life, after all, was an opera singer - a woman who had a voice, although it gave up.



Far from you

Dark Area Around Genitils

I read that the contest for the Director of the CSW in Warsaw won Fabbio Cavalucci, who presented the erudite essay on the types of cultural institutions today. When he was asked a question about legal solutions, the candidate replied conscious that it intends to hire a lawyer. Hope dawned on me that not everything is lost, however, in Poland. But not in Krakow, where the chance of winning the competition without a formal, certified by a certificate of employment, therefore, experience in any executive position, there is. On the basis of erudite essays, and being just a great specialist charismatic personality and a great overview of the culture, can at best have my own satisfaction, not win competitions director of the Bunker Art. Every child knows that competitions are won by something else, which attest to comment on my blog. In Krakow, the competition is in fact much more ... demanding: you need to wkuwać Act, in particular the right of conducting cultural activities, the law on voluntary service, the Labour Code, Law on public finance - the greatest attention you gave loopholes.

The explanation is simple: when there is no idea the city gallery, then attention is focused on the laws. All indications are, therefore, that urban decision-makers will be such that the bunker was a peace of mind. I wrote already that next year will be in our gallery even worse.

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Krásný ztráty (Beautiful losers) - that is the curator of the Polish Art Bunker

photo Gabriella Csoszo


Curatorial Residences in Prague came to an end. I envied artists that have a much easier - the possibilities of travel in disguise and that there are so few similar opportunities for curators. It's a little change. Interview with Alberto di Stefano from Gallery Futura, I was the guy, helped me to understand why this happens. Alberto believes that, it pays to call a guardian of both parties - and the one that invited guests will explore a local environment, and that which he represents. Cause I do not go just as an individual, a lone figure, a curator is surrounded by a group of people, develop projects, can make more connections between the communities than the artist can build bridges.

According to Mariusz Szczygiel Prague to visit in the fall or the spring, but I was in peak season tourism. The city flooded by crowds of people - but not so hard to live, as one would expect. Certainly a good drift problems of living in a summer town, helped to location - outside the center, but close, in the Žižkov district, which - as stated is one of the people who wrote in Polish about Prague - is considered by guides for Prague Prag, something like " go there if you want to discover the true taste of Prague. " Indeed, the district is currently undergoing a period of recovery, with the impoverished working class, also inhabited by the Roma, is a lively place hitherto where residents mingle with newcomers, there are foreigners, many colonies were founded, there are those Russians, many - artists. Bořivojova street, as everyone repeats, contains the most pubs per m2 in Prague. The news does not necessarily impress me, but it looks real. On the occasion of Žižkov he became so elegant and Residence of the place, as the neighboring Vinohrady. I lived at the television tower, adorned with black thing that moves vertically, like a giant fly, baby David Černý sculpture. (The general way to the Prague public art has become set in her surprising and more flashy than impressive sculptures.) TV tower stood in the old Jewish cemetery, which survived only a part, as seen in its immediate neighborhood.

There is much more multicultural than any city in Polish. I was struck not already well-known American in Prague, but a significant number of Russians and Ukrainians, who have tied their lives and careers with the capital of the Czech Republic. One of my callers made me realize that the five nominations for the awards Jindřicha Chalupecký'ego, the largest prize for young artists in the Czech Republic (and seven artists, which included these nominations), among others, found three Russians, one Ukrainian and one Czech artist.

characteristic feature of life here is the dominance of private art initiatives. As I explained, this is due to lack of interest in state support for contemporary art. At first glance it looks rather the maintenance by the state does not do what you need, because pompous institutions such as National Galleries of huge kubaturowo division dedicated to the art of modern and contemporary, which is Veletrzni Palace. It is widely criticized and defeated the incumbent because since the Velvet Revolution General National Gallery Director Milan Knižaka. Biennale of Young Art Gallery also presented Hlavního Mesta Prahy, but not the level it was getting to the shows at private institutions. Because the three major institutions from prague contemporary art: Futura, Dox and Meetfactory, launched a private, but receive support from the city and the ministry. For these institutions, about the ambitions of a contemporary art center (each of which is profiled to the contrary: Futura as an ambitious contemporary art center, probing especially art from the Czech and Eastern Europe, Dox as a place more popular, showing the stars, doing spectacular, impressive exhibition, with an emphasis on the popularization and Meetfactory as a place to create art, created by artists for artists, multidisciplinary).

and art ... the top is similar, also in consideration of the damned problems, among which are the most important issue of freedom, and memory. There are a lot of acute political art. This statement caused strong opposition from the Czech interviewees who consider that such art, however, is more in Poland, because I work here, Peter Fuss, Zbigniew Libera, Artur Zmijewski and Joanna Rajkowska, while the mark of Czech art are rather neutral considerations postconceptual. But in the Czech Republic operates Guar Gum, and Milan Mikulaštik also works as a curator. Bold action Roxy NoD Gallery, for example, competition for land use Hradcany, which has attracted much attention, as well - it's share of guar gum - making a false show Knižaka Milan ("Milan Knižak - Podivný Kelt, Vernon Fine Art, January 2008), the counterfeiting of its work and resume, as well as equipment sales, is very strong and courageous gestures criticism, to which nobody in Poland would not dare. Knižak, a former dissident Fluksusowiec and which, through indomitable awangardysty ethos and the opponent communism, has taken the position of Director-General of the National Gallery. Now, however, the former dissident is widely hated for the stifling of freedom of artistic expression and using their positions for personal benefit. I think that in the same 2008 years Guar Gum was an exhibition jointly with Zbigniew Libera (Gallery Futura). I know, I recall only one group activity, but it generates an activity centered around the environment.

Despite this, indeed, but unless the political art is the specialty of anarchistic communities. Visits to exhibitions, shows that there is more participatory projects, social, in the sense that engaging, using and describing the small communities. Artists generally follow the footsteps of Katarina Sedy, but seeking their own solutions, such as whether the duo Barbora Alexey Klimov Klyuykov & Vasil Artamonov, however, Polish art has a greater burden of existential. Indeed bears the burden on the shoulders of a sense of destiny, which in the Czech Republic does not even exist. But I admit that I have no opinion on the issue - I can not judge whether this is good or bad. I yearn for art other than the grim in Poland, on the other hand, I can not get from her free.

...

The best exhibitions that I saw in Prague - in the next post.

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Prague - a contest

Dear readers of this blog:)

decided to make public the facts about the competition, the director of the Bunker of Art, because I participated in it and it was not I reported that to date the elements of the competition, which has known, have been blessed with a classification.

In Poland since 2001, the law on access to public information, but if you're not a national expert in various legal kruczkach and you have your own lawyer, it is certainly not wywalczysz right to be informed about the progress of such contests for the directors of cultural institutions.

Anyway, I want to write about what concerns me in terms of competition for the director of the Bunker Art. From what I know, the selection board is prohibited from talking about the same competition.

So many people were surprised, therefore, the conclusion of the organizer among the requirements for a future Director of the burden of proving the 3-year experience at a senior level. As the candidate waited for a clear interpretation of the organizers of the competition - what I really mean those 3 years.

digression here I'll just add that by cooperating with me lawyer, the notice of competition was worded as if the City of Krakow - the organizer of the Bunker Art - sought expert legal kruczkach administrator, not a manager, an expert in the management of cultural institutions.

wrote with Martha Deskur letter to the Department of Culture in Krakow with the request for interpretation of explicit requirements in the notice of contest director. We had in mind primarily these unfortunate three years in a management position (which, incidentally, in the previous contest, whose prize was Maria Anna Potocka, it was not), and similarly dangerous and vague wording as fluent in any foreign language (it could therefore be checked by a professional English translator, but also by the employee checked the Russian Department of Culture).

The Committee received a letter that Mr. Turlejski response, Deputy Director of the Department of Culture and National Heritage, Office of the City of Krakow. In his letter, Mr Turlejska stated that three years in a managerial capacity and experience as a curator of exhibitions and other cultural events.

Unfortunately in the same competition, it turned out that the City of Krakow did not want to have as a director of the Bunker person who is a practitioner in the art world: he wants to have someone approve the city attorney. That lawyer just sat over the papers of candidates by assessing what is suitable. The lawyer withdrew my papers, because for many years I was a volunteer carrying out the duties of the Head of Art in the Literary Quarterly "Borderlands" and - as it turned out - according to the law of 2003 (a volunteer) is not a benefit, therefore, have a formal pracy.Tak write certificate of employment - as a manager just anything - is essential. Thus it is sitting on motions and city attorney has all the nuances in the nose. A lawyer needs to get the document, otherwise the candidate drops out and Mr. Filip Berkowicz, Chairman The Competition Commission, it is confirmed.

Hence, therefore, my conclusion: action in favor of valuing the work of curators. I wrote about this many times and it is indeed a pressing need. I would add only that as a citizen who pays taxes to the Municipality of Krakow, so therefore also on the culture, pay for anything - because the interpretations are indeed a lawyer, in practice, not worth much.

In addition, after my application was rejected (and I had prepared a comprehensive vision of the gallery Art Bunker - about which no one asked me), we found that in general the whole contest was unresolved and will probably be announced again, unless the President Majchrowski chooses not to nominate its own candidate. I wonder who.

probably will not start a new contest, I prefer to spend their energy on creating their own projects and not on:

first Mr. Stanislaw Tabisz convincing that the Bunker of Art will exhibit the Cracow ZPAP
second fight with the city attorney Krakow, the curatorial and management experience since 1993, and found no corresponding entry in the certificate of employment, counts
third participate in attempts to prove that I do not know the legal kruczkach if they decided whether someone is suitable for the director or not.

But saddest of all is the organizer dezynwoltura Bunker of Art, Municipality of Krakow, in the treatment of this institution. With every day life in abeyance, without the director, the situation of the gallery, where I have the pleasure to work with - and be the author of many high-profile events in her realized - is deteriorating. I am writing about it caused the organization and responsibility for decision-making concerned about congestion, which reigns around her. Already at this moment is in a deplorable state in many respects. Every day of waiting the new competition, the situation worsens. Let me remind you that the City announced a very fast Announcement of a competition, after the departure of Mary Anne Potocka to built the museum, which gave the name Mocak - in February this year. From the unrealized promises of one town was not accounted for, and the Gallery of okrojonym zipi barely 30% compared to the previous one, does it not very abundant in the city grant, the year. Not being able to plan a long-distance moves, including a comprehensive fundraising.

Do we have therefore opportunity to contest and choose a competent professional sound - with a vision of reform of the institution and make it a live center of new art? (A longer Today you can see that next year will be lost for the Bunker). I would like to believe that, yes, but alas, my faith is not supported in reality.

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July 1, 2010

Eatables route back

I. .. once again treats

again treats

Playing the "mill"

Treats

Cell Science

Lunch

On podchodach Wojtek was the most active explorer

Rest in Marezie, grandmother of one of the participants

1 July 2010, held bike ride participants to the Green Schools

in Brachlewie. We left at 9.00. Brachlewie were in at 11.00. After a short rest took up stalking. Pupils were divided into a group of fleeing, which left the job and fleeing, which solves the riddle. Later

at 13.00 we had a delicious dinner accompanied by fine dessert. Then the competitors learn organic song "In the container in the trash." Learning the guitar led song Zbigniew Rybarczyk, the parent of one of the participants and events Korzeniewski artist. At the end you gave each director of the Green Schools students lunch on the way back. Students were delighted with meals during the event. Every now and then shouted: "Our school supports Danone!" About 14.00 we left Brachlewa. In Korzeniewo were at 16.00.

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"Curse of imagination" in Contemporary Art

view of the sculpture of Tom Smith and Dorota Jurczak Lamp, photo by Raphael Sosin



exhibition "Curses imagination" can be viewed in Contemporary Art Gallery until 22 August.

It is our joint work with Caroline Bujnowicz.

The exhibit features: Hans Bellmer, Barry Fudakowski, Piotr Janas, Dorota Jurczak, Tomasz Kowalski, Goshka Macuga, Edmund Monsiel, Jakub Julian Ziolkowski.

interior space is the author of Anna Mokrzycka.


When you create a lot of exhibitions czytałyśmy Lesmian and Leirisa (and some Bataille).
is a return to the imagination and mainstream, "surrealizującym" in the latest art.

Welcome!

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Art Fair in Bielsko-Biala

Feel free to read relationship with the Art Fair Returns in Bielsko-Biala. To Bielsko always worth coming!

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24 June 2010

the classes of organic

Soon we head further

Resting in the park

24 June 2010 raid took place Bike participants
our project on Miłosna to Kwidzyń.
There the students participated in the classes of organic
about healthy food.

My Middle Finger Goes Numb And White

17 June 2010

17 June 2010, the event was held integration with invited guests. Was presented to thank everyone involved in the project.
Program:

• performance of students in Class IV - The staging of the poem "On the stall."
• Eco-Art Exhibition. Over the course of organizing the exhibition and watched students from class V and VI.
• dance performance by the SP in Korzeniewo (2 dances, students in classes I to VI). Duration of the event about 1.5 hours. Students from Class IV, V and VI received a single yogurt.

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Cup Tournament Sołtys

11 June 2010 was held in our school Sports Tournament for the Cup Sołtys Class IV, V and VI "Students vs. Teachers."
And the competition - a game of table tennis (teachers chose a representative of the player, the students also.
II competition-bounce volley ball at the top (the students chose 9 representatives, teachers chose three representatives).
III competition - throwing a basketball into the trash (teachers chose three representatives, the students chose 9 representatives).
STUDENTS Winners! throughout the tournament received diplomas and prizes, CUP SOŁTYS Korzeniewa, Bogdan Szaciłło, who founded the trophy ceremony, and honored us with their presence.
Students in Class IV, V and VI received a single yogurt.

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I care about the environment

education classes were held simultaneously green in class IV, V and VI, the students were familiar with the glossary of terms organic. Theme solving puzzles and riddles. At the end of the class teachers held a quiz - "The School of Forestry. 364 questions and answers. "Divided for this purpose the class into 3 groups. The group that won, received a small prize. Duration of the course of 45 minutes. Students from Class IV, V and VI received a single yogurt.

Why Are Campervans So Expensive

21 May 2010

May 21 (Friday) was the roll call, the during which presented eco-art. Summarizes the competition results were announced and prizes were awarded. Students from Class IV, V and VI received a half bun.

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20 May 2010, Sandwich

May 20 (Thursday) held classes for class IV, V and VI under the heading "Śmieciosztuka. Children bring unnecessary things, garbage (material scraps, buttons, thread, wool, cans, bottles, jars, paper, newspaper, etc.) and adhesives, and create something from nothing, or modern art. Showed his work to each other. Highlights "work" has been rewarded. Duration of the course of 45 minutes. Students from Class IV, V and VI received a single yogurt.

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What is it?

Adam Mazur wrote Salary provided for the future director of the CCA. I agree that 18 000 zł is astronomically much from each other I'll add that even immoral if one considers the disparity in the relative wages of curators for Poland, this "kultprotelariatu. And nothing will change until they change it, what Adam wrote: directors are active today - and very well, but lobbying on issues important for themselves and not in matters of increasing the status of the profession of curator in Poland. As for the serial curators, they prefer to gossip in the corner and did not jump anyone, afraid that, inconvenient ago and that other one (laughter takes, where it appears someone really) and lose possible opportunity to earn pennies here and there. Because if you criticize, then this will stop liking me, that I do not recommend that other one - and what will it be? Well, what is it?

Nothing will change in the wages of curators, if they do not believe in the value of their work. If they are not captured, they are not individual players, but a professional environment that is able to establish their own - that I will use outmoded word - work ethos, which include set of rules governing it, and consequently - to compete for their own interest. Curators, if they want to they were better, they must wake up and start to demand fair pay for work requiring high qualifications. I defend against denial of the value of their profession, before depreciation sometimes expressed by the prominent form of artistic life.

missing union trustees. Association, which would take up the profession to determine the status of a guardian for the cultural institutions. This relationship would define the minimum rates for work superintendent, would allow the preferential insurance premiums, which emboldened the phenomenon of freelancers in our country. It is necessary to write down the responsibilities trustee, guardian of the labor code - because the creative treatment of the competition in the Polish cultural institutions hit bottom. Wages equal pay cleaners since 1989, but responsibilities at niemiara, and it was from Sasa to riddle, which is the settlement of insurance by ordering the exhibition picture frames, and arranging transportation. For this example, conversations with the customs authorities in Switzerland, as someone responsible for it does not speak English. And so on.

institutions do not realize that if they want good, innovative, shocking, thought-provoking events, the trustees should be accountable to work in the library or laboratories. Not to mention the custom strewn subsidize trips, training or even buying books. Printing hand over protocols and agreements for artists by the curator does not translate into high quality exhibitions.

Therefore, in addition to demand transparency in cultural policy, 1% for culture, rights for artists in the clash with the authorities insist on measurable respect for the work of curators. Will pay it all.