Biały Kamień Contemporary Showroom

Julita Malinowska. New Artworks. 10.01.2012-10.02.2012

2012-01-09T06:21:00.000-08:00

pre Christmas Shopping event

2011-12-15T16:32:00.000-08:00

Enklawa. CSW 5.12.2011

2011-12-06T02:12:00.001-08:00

Artyści: Danil Akimov, Karolina Breguła, Dimitri Bulatov, Alexey Chebykin, Ryszard Górecki, Mikołaj Grospierre, Dominik Lejman, Mariusz Libel, Artur Malewski, Nezhniye Baby (Sasha Artamonova & Zhenya Lapteva), Aleksander Podoprigorow, Maciej Stępiński, Katja Shadkovska, Evgeny Umansky, Anna i Adam Witkowscy, Yury Vassiliev, ZOR (Grzegorz Drozd & Alicja Łukasiak)

Otwarcie wystawy: 5 grudnia 2011, godz. 19.00
Wystawa czynna do 29/01/2012

Towarzysząca wystawie konferencja „Nie zobaczę więcej”:
5 grudnia, 17-19
6 grudnia, 17-20

Kuratorzy: Ewa Gorządek, Stach Szabłowski, Irina Tchesnokova, Evgeny Umansky
Współpraca: Zuzanna M. Koszuta
Galeria 1

Tematem, bohaterem i symboliczną przestrzenią projektu „Enklawa” jest odległe od Warszawy o niecałe 300 km miasto Kaliningrad – stolica obwodu specjalnego Federacji Rosyjskiej, terytorium o statusie graniczącej z Polską i Litwą eksklawy rosyjskiej.

Kaliningrad to historycznie niemieckie miasto, położone na polsko-litewskim pograniczu, które dziś jest miastem rosyjskim. To miasto kryjące w sobie ducha innego, nieistniejącego miasta. Współczesny rosyjski Kaliningrad zbudowany jest na gruzach Koenigsbergu – Królewca, doszczętnie zniszczonego podczas II Wojny Światowej i w latach powojennych

Ideą projektu Enklawa jest artystyczne rozpoznanie złożonej geograficznie, politycznie, historycznie, kulturowo, ale także emocjonalnie, psychologicznie i egzystencjalnie rzeczywistości Kaliningradu. Kluczowymi pojęciami dla tego projektu są figury terytorium, pamięci, wielokulturowości, tożsamości, izolacji, odosobnienia i samotności.

Projekt Enklawa polega na „czytaniu” miasta za pomocą przedsięwzięć artystycznych – wystawy, filmów, fotografii, tekstów i publikacji. Realizację poprzedziła seria wizyt studyjnych polskich twórców w mieście: w ramach Enklawy powstały zarówno prace galeryjne, jak i działania w przestrzeniach publicznych miasta. Od 25 / 10 do 13/11/2011 projekt Enklawa prezentowany był w Kaliningradzie. Na projekt składała się konstelacja różnorodnych projektów artystycznych: od wystawy w Kaliningradzkiej Miejskiej Galerii Sztuki, przez literacki performance Extracurricular reading, po interwencje w stałe ekspozycje Muzeum Bursztynu, Muzeum Blindaż oraz regionalnego Muzeum Historii i Sztuki Kaliningradu.

5 grudnia „Enklawa” otwiera się w Warszawie. Na wystawę składają się projekty polskich i rosyjskich artystów: eseje fotograficzne, filmy, instalacje dźwiękowe i dokumentacje działań w przestrzeni publicznej. Zapraszamy na wernisaż oraz poświęconą wystawie konferencję „Nie zobaczę więcej”. Jej pierwsza część odbędzie się w poniedziałek 5 grudnia, w godzinach 17-19, druga część we wtorek 17-20.

Uwieńczeniem i podsumowaniem przedsięwzięcia będzie publikacja książki pt. Enklawa w styczniu 2012 r.

Organizatorzy: Centrum Sztuki Współczesnej Zamek Ujazdowski, Fundacja Sztuka i Współczesność, Narodowe Centrum Sztuki Współczesnej – Oddział w Kaliningradzie,
Projekt jest zrealizowany dzięki dofinansowaniu ze środków Miasta Stołecznego Warszawa

Projekt zrealizowany dzięki wsparciu: Kaliningradzka Miejska Galeria Sztuki, VH-Druck

Patronat medialny: Gazeta Wyborcza, Aktivist, Exklusiv, Stolica, Elle Decoration

Coming OuT 2011! Best ASP diplomas 25.11.2011

2011-11-26T16:23:00.001-08:00

The Others. Photoreport.

2011-11-12T15:36:00.001-08:00

We are exhibiting on Stand B10, The Others, 4-6.11.2011 Turin, Italy

2011-10-27T10:04:00.000-07:00

Presenting: Kasia Januszko, Grażyna Bartnik, Gagarin

New gallery page officially released

2011-10-25T10:00:00.000-07:00

www.bkcontemporary.com

Saved by Droog. Exhibition opening 17.10.2011 CSW

2011-10-18T08:07:00.000-07:00

saved by droog
wystawa

w ramach Laboratorium Przyszłości Akt 4 REGRESS PROGRESS

Kurator: Renny Ramakers
Kurator ze strony CSW: Milada Ślizińska

Wernisaż: 17.10.2011, g. 18:00
Wystawa potrwa do 15.01.2012

Wykłady towarzyszące wystawie saved by droog:
- Renny Ramakers “What is design today?”
18 października 2011, godz. 18.00, Budynek Laboratorium CSW

- Lidewij Edelkoort, szczegółowe informacje wkrótce

Droog Design
Holenderską grupę Droog Design charakteryzuje konceptualne podejście do designu. Grupa koncentruje się na samym zagadnieniu istoty przedmiotu użytkowego, czyli na ciągłym napięciu między jego funkcją a stroną estetyczną. Idea „zrób-to-sam” w połączeniu z ekologiczną wrażliwością realizuje się w szeroko dyskutowanych akcjach grupy, takich jak „reinkarnacja odzyskanych przedmiotów” poprzez dekonstrukcję pierwotnego kształtu „niechcianego” obiektu i formowanie nowych przedmiotów z pozornie nie pasujących do siebie elementów.
Droog Design nie są zainteresowani wyłącznie projektowaniem przedmiotów. Grupa proponuje myślenie o designie w kategoriach nowych modeli współpracy i komunikacji oraz nowych rozwiązań biznesowych. Ich działania, które zacierają granice między sztuką a designem, są zawsze rodzajem aktualnego komentarza polityczno – społecznego i prowokują do szerszej dyskusji na temat roli i miejsca „zaangażowanego” designu we współczesnym świecie.

Co miesiąc w Holandii bankrutuje około 500 firm. Dokąd trafiają wytwarzane przez nie produkty? Przez ostatnich kilka miesięcy na wyprzedażach upadłościowych licytowaliśmy szereg przedmiotów: od chusteczek do nosa po kosze dla psów. Nabyliśmy w ten sposób 5135 przedmiotów – 1 chłodziarkę do wody, 1 stół do jadalni, 2 stołki barowe, 4 metalowe tacki, 6 tacek drewnianych, 8 luster, 10 zestawów miseczek, 11 filiżanek, 14 koszy dla psów, 20 ścierek kuchennych, 40 szklanych waz, 50 kamizelek bezpieczeństwa, 60 zestawów sztućców, 80 składanych krzeseł, 90 doniczek, 100 koszy ze słodyczami, 102 drewniane łyżki, 168 szklanych talerzy, 200 solniczek, 448 portfeli, 500 pudełek zapałek, 720 szklanek na colę i 2500 chusteczek do nosa.
Zgromadzone przedmioty pokazaliśmy 14 zaproszonym do współpracy projektantom proponując, by potraktowali je jako surowiec do twórczej reinterpretacji. Rezultatem jest nowa kolekcja 19 produktów, od składanych krzeseł pomalowanych przez specjalistki od zdobienia paznokci, przez chusteczki do nosa, które można traktować jak codzienną prasę, po łyżki, które sprawiają, że aż ślinka cieknie. Pragmatyczny punkt wyjścia daje zaskakujący wynik. Recykling odpadków staje się pełnoprawną metodą w projektowaniu i opracowywaniu nowych produktów. Wszystkie produkty zostały udostępnione do sprzedaży.
Zaproszeni projektanci: Atelier Remy & Veenhuizen, Atelier Ted Noten, Ed Annink, Eric Klarenbeek, Erna Einarsdóttir, Luc d’Hanis & Sofie Lachaert, Maison Martin Margiela, Marian Bantjes, Marije Vogelzang, Mieke Gerritzen, Minale–Maeda, Roelof Mulder, Stefan Sagmeister, Studio Makkink & Bey.

Tekst: Droog Design

Projekt zrealizowany dzięki wsparciu finansowemu Ministerstwa Kultury i Dziedzictwa Narodowego

Partnerzy: Mondriaan Foundation, Ambasada Holandii

Partner kulinarny: Qchnia Artystyczna

Patroni medialni: Gazeta Wyborcza, Bęc Zmiana, Aktivist, Exklusiv, Elle Decoration

VIII Samsung Art Master

2011-10-15T03:41:00.000-07:00

8. edycja konkursu sztuk wizualnych Samsung Art Master

Wystawa finalistówOtwarcie: 14.10.2011 (piątek), g. 18Wystawa potrwa do 20.11.2011Galeria 1Kurator: Stach SzabłowskiWspółpraca kuratorska: Zuzanna M. KoszutaArtyści: Sylwia Czubała, Jaś Domicz, Piotr Grabowski, Zofia Nierodzińska, Dominika Olszowy, Alexander Pawlik, Urszula Pieregończuk, Wojtek Pustoła, Mateusz Sadowski, Jan SzewczykTo jest wyjątkowa odsłona konkursu Samsung Art Master. Nie tylko dlatego, że zmieniła się dramaturgia projektu i od tej edycji Art Master, jest konkursem dwuetapowym, z dwukrotnie wyższą pulą nagród i plebiscytem publiczności. Wyjątkowość tegorocznej edycji wynika z indywidualności dziesięciorga finalistów, artystów nominowanych do nagrody głównej. Od 6 lat Samsung Art Master (SAM) jest wspólnym projektem firmy Samsung Electornics Polska i Centrum Sztuki Współczesnej Zamek Ujazdowski. Zasadą, którą kierowali się organizatorzy przy rozwijaniu tego przedsięwzięcia była możliwie największa otwartość: na wszystkie media, które są dziś używane do tworzenia wypowiedzi artystycznych, na bezkompromisowe i oryginalne postawy twórcze i na indywidualności autorów. Jak najmniej reguł i ograniczeń, jak najwięcej przestrzeni dla eksperymentu – oto kierunek, w którym ten projekt starał się zawsze zmierzać. Konkurs artystyczny jest mechanizmem niedoskonałym. Sztuka to nie sport, wskazywanie na jej polu zwycięzców, wyłanianie „najlepszych artystów” jest zawsze dyskusyjne. Jest to jednak mechanizm, przy wszystkich swoich niedoskonałościach, zdolny wyprodukować dla młodych twórców interesującą sytuację. Co roku na open call konkursu Samsung Art Master odpowiada kilkuset artystów. Ten fakt jest najlepszym uzasadnieniem istnienia projektu. W ósmej edycji SAM ze zgłoszonymi na konkurs propozycjami zapoznało się jury w składzie: krytyczka sztuki i niezależna kuratorka Kamila Wielebska, artysta i laureat 3 edycji SAM Karol Radziszewski, krytyk sztuki i dziennikarz POLITYKI Piotr Sarzyński, oraz krytyk i kurator CSW Zamek Ujazdowski, Stach Szabłowski. Jury wybrało dziesięcioro artystów. Sylwia Czubała, Jaś Domicz, Piotr Grabowski, Zofia Nierodzińska, Dominika Olszowy, Alexander Pawlik, Urszula Pieregończuk, Wojtek Pustoła, Mateusz Sadowski, Jan Szewczyk to finaliści 8. edycji Samsung Art Master, uczestnicy wystawy konkursowej w CSW Zamek Ujazdowski i, last but not least, twórcy nominowani do nagród. 14 listopada jury w składzie: Dobrila Denergi, kuratorka i dyrektor programowa CSW Znaki Czasu w Toruniu, Wojciech Kozłowski, dyrektor BWA w Zielonej Górze oraz Norman Leto, filmowiec i artysta wizualny przyzna wyróżnienia Samsung Art Master – Nagrodę Główną w wysokości 25 000 złotych, Nagrodę Drugą – 10 000 złotych, oraz dwie równorzędne Nagrody Trzecie, po 7000 złotych każda. 14 listopada zostanie również rozstrzygnięty plebiscyt publiczności – i przyznana Nagroda Widowni w wysokości 10 000 złotych.Wystawa konkursowa jest niczym surrealistyczny „wyborny trup”. To sekwencja niespodziewanych spotkań, zestawienie narracji rozwijanych w różnych konwencjach i w różnych artystycznych językach. Jej siła tkwi w ciągłej zmianie perspektyw i poetyk; na małej przestrzeni współistnieje ze sobą dziesięcioro autorów – dziesięć osobnych artystycznych rzeczywistości. Wystawa finalistów 8. edycji SAM jest więc kolekcją rzeczywistości równoległych. Dom rodzinny sąsiaduje na tej wystawie z polem bitwy, codzienność z fenomenami wyobraźni, wnikliwe obserwacje i analizy osobistych doświadczeń wspomagane są przez podpowiedzi dochodzące od strony podświadomości. To wystawa konkursowa; ktoś ją oczywiście wygra. Tymczasem my, odbiorcy prac finalistów już jesteśmy zwycięzcami mając przed sobą 10 dobrych prac i 10 nietuzinkowych artystycznych indywidualności. Stach Szabłowski www.csw.art.plwww.samsungartmaster.org.plFB: www.facebook.com/pages/Samsung-Art-Master/105769296125558ceremonia rozdania nagród:14 listopada 2011,Centrum Sztuki Współczesnej Zamek UjazdowskiOrganizatorzy:SamsungCentrum Sztuki Współczesnej Zamek UjazdowskiPatronat honorowy:Ministerstwo Kultury i Dziedzictwa NarodowegoPatroni medialni wystawy: Polskie Radio Program Czwarty, Artluk, Arteon, Polityka, Viva!, Digital Camera Polska Patroni medialni CSW: Gazeta Wyborcza, Aktivist, Exklusiv, Elle Decoration

BK Photoreport:

2011-10-13T09:03:00.000-07:00

Pop up showroom including: Gagarin, Gosia Kosiec, Kasia Januszko, Kasia Domańska, Oleg Burdzenia Julita Malinowska

Göteborg International Biennial for Contemporary Art

2011-10-07T13:27:00.000-07:00

Göteborg International Biennial for Contemporary Art of 2011 is held September 10 – November 13, 2011.

Göteborg International Biennial for Contemporary Art has been arranged every second year since its start in 2001. Since 2006, the Biennial is hosted by Röda Sten – Center for Contemporary Art and Culture.

Official web page: http://goteborg.biennal.org

PREVIEW
Welcome to the preview of the Göteborg International Biennial for Contemporary Art 2011! On Friday, September 9, the Biennial offers a preview of the exhibition. The curator, Professor Sarat Maharaj and his team of Co-Curators, Professor Gertrud Sandqvist and the Curators Dorothee Albrecht and Stina Edblom, will present their ideas behind the biennial. Several of the participating artists are also on site.

We’ll go by bus to the four venues and refreshments are offered during the day. Pandemonium – Art in a Time of Creativity Fever, is inspired by John Milton’s epicParadise Lost (1671). Pandemonium is the castle built by Lucifer and his band after they had been booted out of heaven. It is the base camp from which they plot against the ‘old order’. But it is also a platform from which they seek to launch the project of another creation, a new kind of world albeit a ‘devilish’ one.

Wary of ‘paradises lost’, of utopias that have turned sour or gone of the rails, the Göteborg International Biennial for Contemporary Art sounds today’s turbulent world for new possibilities and perspectives, alternative forms of life and living that are brewing up. What form of creativity, art and thoughts are emerging in the aftermath of the radical social changes taking place today?

This year’s biennial has taken the form of a process, with space for in-depth reflection and knowledge production. The performance program City Excavations initiated the biennial in June and served as a platform for artistic explorations of the city of Göteborg and its history. A number of Summer Academies on the Biennial theme have been established in collaboration with the School of Photography and the School of Design, to further engage in the ideas and research connected to the biennial theme.

Göteborg International Biennial for Contemporary Art and Röda Sten Art Center will receive a new permanent piece by the Norwegian artist, Olav Chrisopher Jenssen, the sculpture Lingaphone. It will be installed and inaugurated during the biennial period.

Göteborg International Biennial for Contemporary Art is organised by Röda Sten Art Centre, and is financed mainly by the City of Göteborg’s Cultural Affairs committee, Region Västra Götaland and The Swedish Arts Council.

This is the 6th biennial since the start in 2001, and it will be held 10 September – 13 November, 2011.

PREVIEW 9 SEPTEMBER
09.00 – 9.30 Register at Röda Sten Art Centre

09.30 – 11.00 Introduction by the curatorial team, Röda Sten Art Centre

11.30 – 13.00 The Gothenburg Museum of Art and Göteborgs Konsthall

13.00 – 14.00 Lunch at the Restaurant of Göteborg City Theatre

14.00 – 15.00 Bus trip to Uddevalla

15.00 – 16.30 Uddevalla, Konsthallen – Bohusläns museum

16.30 – 17.30 Bus trip back to Göteborg

BK Contemporary Photoreport:

Starter Gallery. Abstract Forms. Emerging Artists. 29.09.2011

2011-10-03T01:03:00.000-07:00

Zuzanna Soińska. Abstrakcje. Wernisaz wystawy prac na drewnie. 30.09.2011

2011-09-29T12:24:00.000-07:00

Wernisaż/Opening: 30.09.2011, 20.00

Wystawa/Exhibition: 1.10.2011 - 1.11.2011

Twórczość Zuzanny Soińskiej to malarstwo pełne inwencji i wrażliwości, którego oryginalna formuła abstrakcji zrodziła się z obserwacji pejzażu pozbawionego ludzkiej obecności. Dla artystki ważne są dla przede wszystkim wartości czysto malarskie - kolor, faktura, światło. Prezentowane obrazy przemieniają bierną materię plastyczną w pulsujący życiem organizm. Jest w tym coś z pierwotnego procesu rozniecania ognia, kiedy z dwu zimnych, martwych polan drzewa zaczyna tryskać iskra, powstawał żywioł.. Malarstwo Zuzanny Soińskiej wpisuje się w światowy poziom sztuki współczesnej. Jest ciekawe dla kolekcjonerów oraz tych, którzy ze sztuką spotykają się po raz pierwszy.
Kurator: Tatiana Rasała

Zuzanna Soińska graduated with honors from the Department of Conservation and Restoration of Paintings and Polychrome Sculpture at the Academy of Fine Arts in Warsaw. Thanks to the experience she gathered during her studies, internships and from the conferences worldwide from Australia to U.S.A. her work has the exceptional taste of multicultural breeze. After graduating, she was an intern at the Hamilton Kerr Institute, (University of Cambridge, UK) which is one of the world's leading centers for teaching and research in the conservation of easel paintings. She also gained her experience among other places in Hochschule fur Bildende Kunste in Dresden, Getty's Conservation Institute in L.A. and National Museum in Warsaw. Zuzanna is a paintings conservator, painter, gilder and copyist. Being a conservator and painter at the same time gives her a unique perspective on the subject of creation. Thanks to the years spent on analyzing the old Masters techniques and technologies, she is fully aware of the significance of the dedication that every work of art requires during creation and combines it with fresh expression and light form. In her work she merges the oil painting with gilding techniques acquiring either ephemeral and fragile forms dancing on the gilded areas or dynamic and powerful shapes seizing the space formed on the painting. The balance of light and shadow on the half glossy half mat surface provide the viewer with additional depth to look into, feel and interprate.

While working as an art conservator Zuzanna is often in very close relations with the works of some of the most known artists. This experience is constantly inspiring her to improve her own style and search for new ways to express herself. She spent some time at Hochschule fur Bildende Kunste in Dresden in Germany. After graduating, she was an intern at the Hamilton Kerr Institute, University of Cambridge in Great Britain, which is one of the world's leading centers for teaching and research in the conservation of easel paintings. She also practiced in many conservation departments, for example at the Jasna Góra Monastery in Częstochowa or Memory Place Museum in Auschwitz-Birkenau. She took clasess from techniques and technology of painting, by copying the Paintings of the Masters in National Museum in Warsaw. She has significant experience in conservation and many completed works including ‘Apollo (or Hymen) crowning a Poet and giving him a Spouse’ by Jacopo Tintoretto among her accomplishment.

All her experience as an art conservator helped her to create her own painting technique, combined of gilding and oil painting. In her abstract forms she express the essence of her message at the same time leaving wide field for viewers own interpretation.

- https://www.facebook.com/pages/Zuzanna-Soi%C5%84ska/190666861005094

- http://bkcontemporary.blogspot.com/p/magorzata-malinowska.html

Grażyna Bartnik. Conceptual Graphics. Exhibition opening 26.09.2011, 18.30

2011-09-26T04:43:00.000-07:00

Opening/Wernisaż: 26.09.2011, 18.30
Exhibition/Wystawa: 27.09.2011 - 26.11.2011

Mikael Malton solo trumpet performance: 19.30
Business card lotteries: 20.00

Grazyna Bartnik works with clear geometric forms maintaining an exquisiteness of minimalistic compositions. Her abstract artworks are conceived as a logical extension of her Recycling art projects.
Creating her artworks she invents her own instruments and discover new ways of using convention tools. This is the concept of creativity leading to the discovery of opportunities of Eco art. Giving a wide range of senses to her conception, she investigates meanings of layering and searches for new structures in objects in a plane.

There is a delicate existans of Mark Rotkos conseption in her artworks. They contact with audience using a pacifying harmony of color expression and composition. Grazyna Bartnik creates capabilities of subtle interaction of artworks with the audience using combinations of colors and structures that traded directly to subliminal consciousness. A reflex perception of dark shades gives a intuitive interaction disclosure precision structures. Primary structures of her works are refined, delicate lines or subtle patterns - it’s a way of centering a space. In fact her art fells like a very strong and manly conception. Her abstract work look like mathematical formulas, it’s a kind of accurately calculated fractals.
Exploring an objectivism of minimalistic art, Grazuna Bartnik draws the viewer into the system of reflective relations with an art-object.

Grazyna Bartnik is a recycling artist with well-developed concepts of art. She is investigating an enchantment of materials from a real life such as cardboard boxes, developing her own creative method by making delicate connections of environmental art and post pop art.
Curator: Katerina Bela

http://bkcontemporary.blogspot.com/

Gosia Kosiec. Digital Portraits. First Preview. 23.09.2011 18.30

2011-09-20T01:32:00.000-07:00

Gosia Kosiec.
Digital Portraits.

New artist in BK Contemporary.
First Preview.
Collectors Cocktail.

Gosia Kosiec, was born in 1975 in Lodz. She earned BA from Tadeusz Makowski Art College in 1995 and MA from Wladyslaw Strzeminski Academy of Fine Arts in Lodz in 2000.
Gosia Kosiec paintings are mostly based on typography. She uses letters, digits and symbols to constract multy-layered works that are either figurative or abstract. These works are a metaphor of a contemporary Babel tower, mixed up languages and cultures; excessive, chaotic information and distorted communication.

This variety of well developed interpretations gives a wide range of reactions and communicative methods for these paintigs. Communicability of Gosia Kosiec artworks had already created a strict provenance position for all her adeptness. Text: Katerina Bela.

Individual exhibitions:

2011 TYPORTRAITS Miva Gallery, Malmo, Sweden
2007 UNCOUNTABLE Bizarre Gallery, Warsaw, Poland
2007 TV BABEL Opus Gallery, Lodz, Poland,
Exhibition included in 6th Festival of Dialogue of Four Cultures
2007 FACE SALE Tamka Gallery, Warsaw, Poland
2005 WWW.HUMAN.COM Gallery Ars Nova, Lodz, Poland
2005 CLOSE UP Agency for Architecture Gallery, Denver, USA
2005 Galeria Balucka, The Municipal Art Gallery, Lodz, Poland
2005 Kunstsalon, Dusseldorf, Germany
2003 Nowa Gdynia Gallery in Lodz, Poland
Two-persons shows:
2008 FRAGMENTED FORMS with CT Nelson, Sellars Project Space, Denver, USA
2005 A.Bator, M.Kosiec, University of Lodz, Poland
Group shows:
2010 IDENTITY OF THE PLACE, I Biennial, Gunter Grass Gallery, Gdansk, Poland
2009 II International Biennale of Painting QUADRO ART, Lodz, Poland
2008 SAINTS AND SINNERS, St Martin Lane Hotel/Gallery Artrepublic, London,UK
2007 I International Biennale of Painting QUADRO ART, Lodz, Poland
2006 Artists for Habitat of Humanity, Loveland Museum, CO, USA
2003 Open Studios Artbook Museum in Lodz, Poland
2002 Artlink 2002 Sotheby’s, Amsterdam, Netherlands
2002 Artlink 2002 Elizabeth Foundation for Arts, New York, USA
2002 Artlink 2002 Sotheby’s, Tel Aviv, Israel
2001 Diploma 2000 Central Museum of Textile in Lodz, Poland
1999 4th Review of Young Graphic Design, Katowice, Poland
Awards, scholarships:
2002 Finalist of International Young Art - Artlink 2002, Sotheby’s
1997 Scholarship from Polish Ministry of Culture
Art Fairs:
2008 CAMBRIDGESHIRE ART FAIRS, Cambridge, UK
2008 FORM LONDON, London, UK
2005 ST’ART Art Fairs in Strasburg 10th edition, France
2005 ST’ART Art Fairs in Strasburg 9th edition, France
2004 6thPOLISH ART&ANTIQUES FAIRS Bunkier Sztuki, Krakow, Poland
23.09.2011, 18.30Biały Kamień Contemporary
Biały Kamień 2 str.
RSVP for event:
+48 792 284 090 bkcontemporary@gmail.com

Visiting Kasia Domanska workshop

2011-09-18T01:48:00.001-07:00

Katerina Bela & Kasia Domańska

KASIA DOMANSKA | Malarstwo. Letni cud pozostaje w słodkich wspomnieniach.

2011-09-06T10:25:00.000-07:00

Wernisaż | Opening 15.09.2011, 19.30 - 23.00
Wystawa | Exhibition 16.09.2011 - 08.10.2011

Zapraszamy na wernisaż wystawy Kasi Domańskiej.
We invite you to the opening of the solo show of Kasia Domanska.

Patronat wystawy objęli: Prezydent miasta Poznań, BK Contemporary Gallery, Hotel Andersia, Deutsche Bank, Mitsubishi, Harmonia Spa//

Partners of the exhibition include: President of Poznan, City Council, IBB Anderia,BK Contemporary Gallery, Deutsche Bank, Mitsubishi, Harmonia Spa.

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Różnym formom natury zawsze towarzyszą różnego rodzaju iluzje. I w tym samym czasie są zawsze ściśle związane z rzeczywistością. Fantazja i iluzja zapoczątkowują wizualny obraz, który jest odroczony w umyśle przyjemnymi okolicznościami. Sztuka pełna świecącego słońca, błękitnej wody i magicznie beztroskiego relaksu jest także pełna fantomów wietrzności. Fotorealistyczne malarstwo
koncentruje się na wyświetlaniu wspólnych wizualnie symboli. Malarze fotorealiści tworzą bardzo iluzjonistyczne obrazy, które nie odnoszą się do natury, ale do reprodukcji obrazu.

Kasia Domańska pracuje ze słonecznymi obrazami idyllicznego szczęścia, które można zobaczyć na kolorowych stronach gazet i pozostawić w ludzkiej świadomości jako trwały model dobrobytu.
Bawi się refleksją i prostymi skojarzeniami w niepowtarzalny sposób. W swoich pracach zamieszcza filozofię czystego piękna, rozumianego ontologicznie i obiektywne.

Projekt "Basen" pokazuje piękno atmosfery oraz wspaniałą grę światła i koloru. Deklaruje, że głównym składnikiem piękna jest zgodność. Postrzeganie piękna i wielu filozoficznych kategorii związanych z nim, takich jak błogosławieństwo i harmonia, jest specyficznym stylem życia.

Inspiracja pochodzi z prostych rzeczy jak kontemplacja i poczucie szczęścia. Dlatego Kasia Domańska spektakuluje kolory i stara się pokazać pełną głębokość odcieni w swoich pracach. Projekt "Basen"
pokazuje pełną gamę z niebieskim. Jest to stopniowe dochodzenie do różnych warstw i znaczeń w tej delikatnej kombinacji kolorów i odcieni. Słońce jest nie widoczne, ale zrównoważona jego obecność
ociepla kryształową wodę odczuwalnie wypełniając każdy obraz. Jasność kolorów tworzy odpowiedni nastrój jej dzieł. Czysta woda wygląda bardzo realistycznie i celowo kontrastuje ze schematycznie
przedstawianymi ludźmi. Jest to sposób na odseparowanie fotorealistycznych dzieł sztuki od malarstwa akademickiego. Tym samym daje to możliwość włączenia się i uruchomienia wyobraźni,
aby zdać sobie sprawę, że to tylko abstrakcyjna fantazja.

Kurator: Katerina Bela

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Different forms of Art are always accompanied by different kind of illusions. And at the same time they are always closely connected to reality. Fantasy and illusion begin with a visual image, which is postponed in the mind in pleasant circumstances. The art full of shining sun, magically blue water and careless relaxation is also full of phantom breeziness.

In general, photorealistic painting is focused on displaying common visual symbols. Photo-realist painters created highly illusionistic images that referred not to nature but to the reproduced image.
Kasia Domanska works with sunny images of idyllic happiness, which can be seen on colorful pages of magazines and stay in a human consciousness as a sustainable model of prosperity. She plays with reflection and simple associations in her own unique manner. It is a philosophy of a pure beauty implicated in her artworks. The beauty can be understood as something ontological and objective here. A project called «The swimming pool» shows the beauty of an atmosphere and a magnificent game of light and color. It declares that the main consistent of beauty is accordance.

A perception of beauty and a wide range of philosophical categories connected with it, such as blessing and harmony is a specific lifestyle.

An inspiration comes from simple things like contemplation and a sense of happiness. That’s why Kasia Domanska tends to spectral colors and tries to show a full depth or shades in her artworks. «The Swimming pool» shows a full variety of blue colors. There is a sequential investigation of different layers and meanings in this delicate combination of colors and shades. The sun can’t be seen, but a sustainable attendance of sun warming crystal water can be filled in every picture. Brightness of colors creates a proper temper of her artworks. Clear water looks very realistic and it deliberately contrasts with a schematic depicting of people. This is a way of separating photorealistic artworks from an academic painting. It also gives an opportunity to turn on an imagination and to realize, that it’s just an abstract fantasy.

Curator: Katerina Bela

Pokolenie przemiany. Nowa sztuka z Indii. Exhibition opening, Zacheta Gallery 02.09.2011.

2011-09-02T15:48:00.001-07:00

Wystawa Pokolenie przemiany prezentuje dzieła młodych artystów mieszkających i pracujących w Indiach, ale też należących do indyjskiej diaspory w Stanach Zjednoczonych czy Europie. To pierwszy w ostatnim czasie tak obszerny pokaz sztuki współczesnej tego regionu w Europie Środkowej. Od niemal dwudziestu lat Indie przeżywają ogromny rozwój gospodarczy i technologiczny, co w znaczący sposób wpływa na struktury społeczne. Ta przemiana, ze swoimi dobrymi i złymi stronami, często znajduje odbicie w pracach współczesnych twórców, szczególnie tych najmłodszych, którzy wzrastali w tym ciekawym momencie przejścia.

Tytuł wystawy został zapożyczony od tytułu serii fotografii Anaya Manna, który sportretował swoje pokolenie – przedstawicieli miejskiej generacji próbującej zdefiniować się na nowo, znaleźć dla siebie miejsce pomiędzy przywiązaniem do rodzimej tradycji, historią i coraz bardziej zglobalizowaną i stechnicyzowaną rzeczywistością.

W ciągu ostatnich dziesięciu lat współczesna sztuka z Indii stała się bardzo popularna. W Europie, Ameryce i Chinach odbyło się wiele pokazów zbiorowych artystów z tego regionu. Galerie prywatne – przeważnie z Delhi, Bombaju i Bangalore – przyczyniły się do powstania lokalnego rynku sztuki, stając się jednocześnie ważnymi graczami na międzynarodowej scenie artystycznej. Organizacje niekomercyjne, takie jak KHOJ czy SARAI Centre for the Study of Developing Societies in Delhi, 1 Shanti Road w Bangalore, podobnie jak szkoły artystyczne otwierają się na niezależne idee i projekty.

Wystawa koncentruje się na młodych artystach, usiłując uchwycić stan ducha i umysłu tej generacji. Znajdą się na niej nie tylko gotowe prace, lecz również projekty stworzone specjalnie z myślą o niej.
Pokaz prezentuje mnogość twórców, problemów i sposobów artystycznej ekspresji. Zostały one ujęte w kilku wątkach tematycznych: tradycja/rytuał/kostium; portret; miasto/zmiana/architektura, społeczeństwo; nauka i technologia w sztuce; polityka/tożsamość/aktywizm społeczny; polsko-indyjskie związki kulturalne. Współczesne idee wyrażane są za pomocą tradycyjnych i nowoczesnych mediów – fotografii, filmu, instalacji wideo, rzeźby, rysunku, malarstwa oraz animacji.

Artyści zaproszeni do udziału w wystawie: Jaishri Abichandani, Prayas Abhinav, Ravi Agarwal, Ashish Avikunthak, Sarnath Banerjee, Devendra Banhart, Ansuman Biswas & Jem Finer, Nikhil Chopra, Baptist Coelho, Shezad Dawood, Rohini Devasher, Gauri Gill, Shilpa Gupta, Tushar Joag, Vishwas Kulkarni, Swati Khurana, Anay Mann, Rakhi Peswani, Prajakta Potnis, Prasad Raghavan, Gitanjali Rao, Akshay Raj Singh Rathore, Malik Sajad, Sharmila Samant, Mithu Sen, Charmi Gada Shah, Tejal Shah, Bharat Sikka, Janek Simon, Praneet Soi, Kiran Subbaiah, Anup Mathew Thomas, Navin Thomas, Nandini Valli Muthiah

kurator: Magda Kardasz
współpraca: Anna Tomczak, Magdalena Komornicka, Sebastian Gawłowski
projekt ekspozycji: Daniel Malone
realizacja wystawy: Anna Muszyńska i Zespół

fot. Nandini Valli Muthiah, Ikoniczny poeta z ojcem, 2008, z serii Przebrania, dzięki uprzejmości artystki

Early Lech Bator's Deers just arrived to BK terrace wall

2011-08-30T10:02:00.001-07:00

Reynold Reynolds (USA), presentation and meeting with artist, CSW Kino.LAB 18.08.2011

2011-08-18T15:54:00.000-07:00

Reynold Reynolds (USA)
presentation and meeting with artist
18.08.2011, 6.30 pm
KINO.LAB
free entrance

*meeting in English with Polish translation

Reynold Reynolds (born in 1966 in Central Alaska, USA) – current resident in A-I-R Laboratory at the CCA Ujazdowski Castle. In 1995 he finished an M.F.A. in New York City at the School of Visual Arts. Pracuje głównie na taśmie filmowej 16 lub 8 milimetrowej. He was awarded the John Simone Guggenheim Memorial Foundation Fellowship. 2004 he was invited to The American Academy in Berlin with a studio at Künstlerhaus Bethanien for one year. 2007 he received the German Kunst-fonds support to develop two projects in Berlin in 2008. In 2010 he had a eight month residency at Akademie Schloss Solitude.

Presented artworks:

1. Seven Days Til Sunday, 1998, 10 min.
Super 8mm

A succession of image sequences shows the human figure falling through the cityscape towards violent annihilation by the natural forces of fire and water.

2. Burn, 2002, 10 Min.
16mm

A house burns from the inside while its occupants focus on the emotional issues of their lives.

3. Six Apartments, 2007, 12 Min.
16mm

Six isolated people live in their apartments, side by side, oblivious to each other and the violent process of deterioration happening to the earth, to them, and their apartments.

4. The Secrects Trilogy

The Secrets Trilogy is a three-part cycle exploring the imperceptible conditions that frame life and is preceded by Secret Life (won the 2008 EMAF Festival Award at the European Media Art Festival Osnabrueck, Germany) and Secret Machine(3rd Moscow Biennale of Contemporary Art 2009, Russia).
The work is based on the book Six Easy Pieces: Essentials of physics explained by its most brilliant teacher by Richard P. Feynman.

-Secret Life, 2008, 10 min.
16mm and stills

A woman is trapped in an apartment that becomes alive. Her thoughts escape from her and come to life growing like plants out into the space around her, living, searching, overtaking her apartment, wild threatening her.

-Secret Machine, 2009, 14 min.
16mm and stills

The same protagonist from Secret Life encounters an antagonist that is studying her, measuring her body and comparing her to units of space and time.

-Six Easy Pieces, 2010, 10 min.
16mm and stills

5. Last Day of the Republik, 2009, 8 min.
16mm

The Palast der Republik (Palace of the Republic) opened in 1976 as a meeting place for the East German people and an emblem of the future. The unique modern building made of distinctive golden-mirrored windows was home to not just the East German Parliament but also auditoriums, art galleries, five restaurants, concert halls, and even a bowling alley.

Directed by Reynold Reynolds
Cinematography by Carlos Vasquez
With a poem by Gerhard Falkner
Composer Giuseppe Iacono

TOTAL time: 74 min.

Reynold Reynolds
Residency stay: June – August 2011
www.reynold-reynolds.com

Graphyphoto Exhibition opening . Milanovo 13.08.2011

2011-08-16T17:25:00.000-07:00

photographer: Oleg Burdzenia

Agata Bogacka PAMIĘTNIKI / DIARIES, 12.08.2011 19.00 Zachęta Gallery

2011-08-12T14:24:00.000-07:00

Exhibition opening
Friday 12th August 2011 at 7 p.m
The exhibition Diaries presents Agata Bogacka’s newest paintings, a part of which were made under the influence of family histories either remembered or rediscovered after many years, and an interest on the artist’s part in her own genealogy. The artist’s references to autobiographical elements are just a pretext for a more universal reflection on the theme of human memory. The artist is interested in the ways in which we record, and then recreate from memory certain images and the distortions that result from this process.

One of the key inspirations is a document found in her family archive: a notebook belonging to Paulina Żuławska, the artist’s grandmother, from the time of the Warsaw Uprising. The description of a route that the author had to take contained in the diary became the entry point for a work in which Bogacka tries to reconstruct that route. She has also painted similar “painting-maps” on the basis of the diary of Jonas Mekas, as well as the war-time recollections of Thomas Buergenthal.

In the painting compositions Exhibition 1 and Exhibition 2, meanwhile, the artist in symbolic mode attempts to piece back together the fragments of a broken sculpture made by her aunt, the sculptor Hanna Żuławska, on the basis of preserved photographs of her exhibitions. The nostalgic activity of putting in order old family photographs becomes for the painter an inspiration for creating a collage that resembles a genealogical tree. Composed of photographs only of women, the collage forms a declaration of feminism surprising in the light of the artist’s earlier comments on this topic.

Thus, works by Agata Bogacka based on a monochromatic colour-scheme and a diversity of textures are set in composition with selected paintings from the last three years (for example, from the series Mirroring from 2008 or Tatras from 2009) demonstrate both a new sphere of thematic interests and an evolution in the artist’s creative stance – we can observe a clear transition from the “here and now” to history understood in broad terms, and also a totally different stylistic approach from that used hitherto. Unchanged remains the artist’s interest in modes of recording reality and registering one’s emotional states, of the type we find in diaries or notebooks.

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curator Joanna Kordjak

The artist is realising this project realised under the Minister of Culture and National Heritage of the Republic of Poland scholarship.

BK Collectors talks. "How to collect?" Wednesday 03.08.2011 20.00!

2011-08-01T09:43:00.000-07:00

RSVP by phone or email

"Nasi młodsi bracia" exhibition opening. Boheńska Gallery 28.07.2011

2011-07-29T02:55:00.000-07:00

Wystawa "Nasi młodsi bracia"

Dzielą z nami radość, przyjaźń, ale też strach i ból. Często są od nas zależne, a sposób ich traktowania jest także miarą naszego człowieczeństwa. Przenosimy na nie wiele naszych cech, traktujemy symbolicznie. Zaludniają nasze legendy, mity, przysłowia. Nie żyjemy sami – nasi bracia mniejsi stanowią integralną część wspólnego świata. Psy, koty, konie, ptaki, wilki, świnie, nosorożce, osły, węże – menażeria przyjazna i bestiarium, zwierzęta dzikie i uczłowieczone stanowią uniwersalny i niewyczerpany motyw i temat sztuki. Postaci zwierząt pełniących rolę symboli i metafor, groteskowe i poetyckie, realistyczne i abstrakcyjne pokazane w pracach kilkudziesięciu polskich artystów współczesnych będzie można oglądać w naszej galerii od 28 lipca do 4 września 2011.

W wystawie wezmą udział: K.Augustin, A.Bauer, D.Bożekowska, D.Brodowska, M.Deskur, R.Dominik, M.Ekier, J.Gawłowski, B.Gniazdowska, R.Grzyb, E.Janczak-Wałaszek, J.Jarża, M.Kasprzyk, M.Kiesner, P.Kojta Kowalski, T.Kopcewicz, P.Lutomski, J. Jan, Piotr i Stanisław Młodożeniec, A.Myca, P.Pańkowski, S.Paruch, T.Pągowska, U.Przyboś, M.Przyszychowska, S.Ratajski, A.Rosochacka, A.Sandomierz, P.Skurski, M.Sobczyk, B.Levittoux-Świderska, L.Tarasewicz, T.Tatarczyk, M.Tomczyk, M.Torzecki, Teresa i Mieczysław Wasilewscy, M.Wielek-Mandrela, J.Wilkoń, O.Wolniak, R.Woźniak, K.Wróblewski, Ewa, Łukasz, Łucja i Krzysztof Zaremscy, J.Ziemiński, A.Zwierzchowski.

Na wystawie także będzie oprawa muzyczna w formie setów DJskich, Zagrają:

AM Radio (1/2 to I Say Mikey AKA M.Torzecki z uczestnikow wystawy)
Club Collab
Hungry Hungry Models
Kosakot
Teresa i Tygrysy

ZAPRASZAMY!

Bochenska Gallery

Centrum Kulturalne Koneser, ul. Ząbkowska 27/31

photorep. Lech Bator Exhibition opening at Re:Forma Bar, Mariensztat, Warsaw

2011-07-26T18:26:00.000-07:00

b&w: photographer Oleg Burdzenia

Lech Bator. Various paintings. Tonight 19.30 Re:Forma Bar. Mariensztat. Sq. Warsaw.

2011-07-26T07:22:00.001-07:00

British Realist Painter Lucian Freud, Famed for His Nudes, has Died Aged 88

2011-07-22T03:27:00.000-07:00

A Sotheby's employee holds British Artist Lucian Freud's 'Self-Portrait with a Black Eye' during a Sotheby's auction preview in London. EPA/FELIPE TRUEBA. By: Gregory Katz, Associated Press

LONDON (AP).- Lucian Freud, a towering and uncompromising figure in the art world for more than 50 years, has died, his New York-based art dealer said Thursday. He was 88. Spokeswoman Bettina Prentice said that Freud died after an illness at his London home late Wednesday night, but didn't give any further details. Freud was known for his intense realist portraits, particularly of nudes. In recent years his paintings commanded staggering prices at auction, including one of an overweight nude woman sleeping on a couch that sold in 2008 for $33.6 million. William R. Acquavella, his dealer, said in a statement that he would mourn Freud "as one of the great painters of the twentieth century." "He lived to paint and painted until the day he died, far removed from the noise of the art world," he said. Freud stubbornly refused to follow the trends of that world, insisting on using his realist approach even when it was out of favor with critics and collectors. He developed his own unique style, eventually winning recognition as one of the world's greatest painters. "He certainly is considered one of the most important painters of the 20th and 21st Centuries," said Brett Gorvy, deputy chairman of the postwar art department at Christie's auction house in New York. "He stayed with his figurative approach even when it was extremely unpopular, when abstraction was the leading concept, and as time moved on his classic approach has proven to be very important. He fought the system and basically won." He said Freud remained totally dedicated to his work, overcoming all obstacles and painting long hours every day well into his late 80s in a sustained bid to complete his life's work before death overtook him. "He lived and breathed his art," said Gorvy. "For someone who was so successful, he was extraordinarily regulated in his day, with three main sittings a day and some at night. He worked each and every day to this very tough regime. He was very aware of his own mortality and he knew his time was very, very precious." Freud was the grandson of Sigmund Freud, a leading pioneer of modern psychoanalysis. He was born in Berlin in 1922 and moved to London with his parents Ernst and Lucie Freud in 1933 after Hitler and the Nazis rose to power in Germany. He was naturalized as a British subject six years later and spent almost his entire working life based in London, where he was often seen at fashionable restaurants, sometimes with beautiful younger women, including the fashion model Kate Moss, who he painted nude, and other luminaries. He was at the height of his fame in the last decades of his life, when he still continued to paint for long hours at his studio in London's exclusive Holland Park. He was even named one of Britain's best dressed men by the fashion magazine GQ when he was well into his ninth decade. But there was little beautiful or sexy in Freud's nude portraits, which did not gloss over a subject's flaws. The intimate detail of his paintings sometimes left viewers uncomfortable. "He has certainly divided critics," said Starr Figura, a curator at the Museum of Modern Art in New York. "The ones who don't appreciate him find his work hard to look at and a bit out of step with what is going on in the rest of the world. They have a hard time categorizing it." She said Freud's work can be unsettling. "I think his work is very charged, and it is quite disturbing to look at," she said. "That's what gives people a problem and that's what gives his work power and fascination. His work is incredibly personal, and that comes through. On the other hand it is also very detached and critical and that is what makes it so intense. Among his most famous subjects was Queen Elizabeth II, who posed for Freud fully clothed after extensive negotiations between the palace and the painter. The colorful portrait, which the artist donated to the queen's collection, remains one of the most unusual and controversial depictions of the British monarch. "It makes her look like one of the royal corgis who has suffered a stroke," said Robin Simon, editor of the British Art Journal. Other critics said more enthusiastically that the work had broken the staid mold of royal portraiture. In his studio, Freud worked extremely slowly and deliberately. People who posed for Freud said it sometimes took him months or years to complete a portrait because of his attention to every tiny detail and the complex nature of his brushwork, which gave his paintings a lifelike intensity. He sometimes spent entire days mixing paints without putting a brush to canvas. When he did finally paint, he would wipe his brush on a cloth rag after every stroke. Great piles of rags lay on the floor of his studio and eventually he began to incorporate the rags into some of his paintings. Freud often painted his friends, relatives and fellow artists. Others were simply ordinary people who received a small daily fee for posing for Freud. He usually refrained from using professional models because he felt they brought artifice into his studio. His 1950-51 portrait of his first wife was to remain one of his most famous and best loved works. The detail of her features, the shadows in the room and her partial nudity are typical of the nuance and frankness of much of Freud's work. Nudity became a central feature of Freud's art. Painting people without their clothes, he believed, peeled away their outer layer and helped reveal their instincts and desires. "I'm really interested in people as animals," he told curators at the Tate Britain museum in advance of a major show in 2002. "Part of my liking to work from them naked is for that reason, because I can see more ... I like people to look as natural and as physically at ease as animals." His first solo exhibition was at the Lefevre Gallery in 1944 after a brief stint working on a merchant ship during World War II. After the war, Freud left London for several years to paint primarily in France and Greece. On his return in 1948, he started showing his work regularly at various exhibits and also taught art at several schools. His first major retrospective exhibition appeared at London's Hayward Gallery in 1974 to critical acclaim. Further retrospectives appeared in Paris, Berlin and Washington between 1987-88 and in 2002 at London's Tate Britain museum. Freud's work can be found in major public collections around the world, including the Tate Gallery and the National Portrait Gallery in London, the National Gallery of Modern Art in Paris and the Museum of Modern Art in New York. In 1998, prominent art critic Robert Hughes described Freud as "the greatest living realist painter." Despite the accolades, he kept trying to improve his work even as the end of his life neared. "I think the most dangerous thing for an artist would be to be pleased with one's work simply because it is one's own," he once said. "One wants every picture to be better than its predecessors. Otherwise, what's the point?" The painter feuded for many years with his late brother Clement Freud, a popular writer and broadcaster who died in April, 2009. He did not attend Clement Freud's funeral. Freud's marriage to Kathleen Garman lasted four years and was dissolved in 1952. They had two daughters together. His second marriage, to Caroline Blackwood in 1953, ended in 1957. Prentice, the spokeswoman, said in an email that funeral arrangements had not yet been made public. ___ Karolina Tagaris and Raphael G. Satter contributed to this report. Copyright 2011 The Associated Press.

Monday 18.07.2011 18.30. Save the Date!

2011-07-17T04:28:00.000-07:00

Desa Unicum bought control 51% stake of Sopocki Dom Aukcyjny 11.07.2011

2011-07-12T12:52:00.000-07:00

Kometarze ekspertów:

Tatiana Rasała, Dom Aukcyjny Polswiss Art
- Desa Unicum i Sopocki dom Aukcyjny postanowiły połączyć swe siły i pod jednym szyldem pracować dla wspólnego rozwoju i wzrostu. Mimo, iż obie firmy do tej pory konkurowały, to mają wiele wspólnego, jak chociażby kilka punktów sprzedażowych w kilku miastach w Polsce. Z pewnością będą mogły połączyć swoje doświadczenie, zespoły sprzedażowe i bazy klientów. Jednakże nie można zapominać , że polski rynek sztuki cały czas jest na etapie rozwoju i nie jest tak otwarty jak rynek sztuki na Zachodzie, dlatego istnieje obawa, że te wspólne działania sprzedażowe nie będą aż tak spektakularne jak prognozują to twórcy tego przedsięwzięcia.

Sharks Cocktail photorep. by Oleg Burdzenia

2011-07-08T12:50:00.000-07:00

07.07.2011, 19.00 Save the Date!

2011-07-05T11:04:00.000-07:00

Sharks & Piranhas.
New face in BK Contemporary.
First Preview.
Cocktail.

Maria Rostocka - born in 1981 in Warsaw. Studied at the Warsaw Academy of Fine Arts during years 2001-2007. Painting diploma in prof. Krzysztof Wachowiak's studio, annex to the diploma in prof. Mieczysław Wasilewski's studio in poster design. The diploma was awarded by the president of the Warsaw Academy of fine arts. 2004-2006 pedagogical school in Warsaw Academy of Fine Arts. She is a graduate of Licee Francais Rene Goscinny, an international French high school in Warsaw.

07.07.2011, 19.00
Biały Kamień Contemporary
Biały Kamień str. 2
RSVP for event:
+48 792 284 090
bkcontemporary@gmail.com

Ai Weiwei has been released from prison on bail!

2011-06-22T14:55:00.000-07:00

Art Basel 42: Extraordinary Quality, Strong Results and New Attendance Record

2011-06-20T08:24:00.000-07:00

Visitors are wearing masks showing the portrait of Chinese artist Ai Weiwei at the international art show Art 42 Basel, in Basel, Switzerland. AP Photo/Keystone, Georgios Kefalas.

BASEL.- The 42nd edition of Art Basel closed on Sunday, June 19, 2011. This year, the annual reunion of the international artworld attracted more than 65,000 artists, collectors, curators, and art lovers from around the globe, a new record for attendance. The participating galleries, art lovers, and art journalists were unanimous in pronouncing this a superb year for the show in terms of quality. Collectors from all over the globe rewarded the excellent material and booth presentations with strong sales throughout the week across all levels of the market. A great many artists attended the event, among them John Baldessari, Pierre Bismuth, Daniel Buren, Maurizio Cattelan, Janet Cardiff, Jimmie Durham, Liam Gillick, Joan Jonas, Vera Lutter, Goshka Macuga, Sarah Morris, Mai-Thu Perret, Tobias Rehberger, Allen Ruppersberg, Anri Sala, Thomas Schütte, Tino Sehgal, Yinka Shonibare and Cathy Wilkes. And over 50 museum groups, representing almost all the world’s major museums visited Art 42 Basel, as did major private collectors from North and South America, all of Europe and every emerging market of the artworld. At Art 42 Basel, more than 300 galleries from 35 countries exhibited works by over 2,500 artists. Many stands featured thematic exhibitions and one-person shows, and many galleries presented large installations and sculptures. Paintings, works on paper, and photography continued to be strongly represented. The overwhelming majority of exhibitors reported excellent results and made valuable new contacts for the future of their program. Discussing their experience at Art 42 Basel, many gallerists offered positive reports, such as these: Lucy Mitchell-Innes, Mitchell-Innes & Nash, New York 'This continues to be by far the best international fair in the world. I found the quality to be stronger this year. Galleries really seemed to be trying to make thoughtful presentations of their program and aesthetics. The attendance for this year's show seems much broader, and we have experienced sales to buyers from all over the globe.' Iwan Wirth, Hauser & Wirth, Zürich, London, New York 'This year has been exceptional, with a tremendous response to the works on show, especially Paul McCarthy, leading up to our major show in both the London and New York galleries this November. The buying has been intelligent, vibrant and inspired. This may well be our best Art Basel ever.' David Zwirner, Gallery David Zwirner, New York 'Collector confidence was definitely back this year, and there was a lot of positive energy all around. In addition to seeing our dedicated clients from Europe, we were excited to see that a number of the new collectors we met during recent travels to Asia also made their way to Basel. And we were especially grateful that our presentations at Art Unlimited for Jason Rhoades and Fred Sandback were so enthusiastically received.' Alex Logsdail, Lisson Gallery. London 'The fair this year has been a great success in terms of both volume of sales and the diversity of artists that we have sold. By the end of the first day there were only five works left unsold on the stand. People seem to have enormous confidence in the future of both established and emerging artists, which is highly encouraging. Over all, another great year in Basel.' Friedrich Petzel, Friedrich Petzel Gallery, New York 'Art 42 Basel has again been proven to our most successful fair. This year, more contacts and sales were made to newer collections and institutions. Art Basel is constantly improving, as the audience is changing.' Ciléne Andréhn, Andréhn-Sciptjenko, Stockholm 'The opening day was very intense. The solo show of Matts Leiderstam’s works, well-known by many but new to others, has received extremely positive feedback from collectors and curators alike resulting in sales to Europe, Asia and the US.' Nils Staerk, Staerk Gallery, Copenhagen 'We had an excellent opening, with sales to both public and private collectors. The piece 'I Copy Therefore I Am' by Superflex was a huge magnet to the booth, and two out of three editions sold to private collectors, in Europe and Latin America.' Alison Jacques, Alison Jacques Gallery, London 'Our solo presentation of Lygia Clark has been an unqualified success. Art Basel is the perfect context to show and promote this work. It has been extremely gratifying to see top level collectors and, importantly, key international curators and museum directors responding so enthusiastically to the work.' Ola Gustafsson, Elastic Gallery, Stockholm 'Taking the step from Liste and selling out the booth in the first hour of the preview – then recieving positive feedback from the most prominent museums, collectors and curators is what Art Basel can deliver like no other fair.' Jörg Maass, Kunsthandel Maass, Berlin 'We are thrilled about the show and recorded a strong demand for works by Otto Dix, George Grosz, Erich Heckel, Ernst Ludwig Kirchner, Lyonel Feininger from Europe and the United States. If the quality is right, the exchange rate doesn't matter.' Art Unlimited spotlighted 62 ambitious works and once again drew a huge audience. Many of the exhibited pieces were created especially for Art 42 Basel. Highlights included major works by legendary artists Carl Andre, John Baldessari, Daniel Buren, Hans-Peter Feldmann, Dan Flavin, Mona Hatoum, Anish Kapoor, Robert Rauschenberg, Thomas Schütte, Rirkrit Tiravanija and Cerith Wyn Evans, joined by pieces from younger and emerging stars such as Jennifer Allora and Guillermo Calzadilla, Gardar Eide Einarsson, Jacob Kassay, Robert Kusmirowski, Mark Leckey and Sarah Morris. With its 27 single-artist projects from young galleries and artists from around the globe, this year’s Art Statements had very strong presentations. The two Baloise Art Prizes of CHF 30,000 per artist were awarded to Alejandro Cesarco and Ben Rivers. The Baloise Group will also acquire works by both artists and once again donate them to the Hamburger Kunsthalle and the MUMOK Museum of Modern Art Ludwig Foundation in Vienna. The second edition of the Art Feature sector was of extraordinary quality and showed a vibrant mix of carefully curated exhibitions. The sector evolved very well, featuring solo shows by artists Giorgio Morandi, Lygia Clark, Alighiero Boetti, Jimmie Durham and Rirkrit Tiravanija among others. Many art lovers crossed the Rhine to experience Art Parcours, where site-specific artworks and performances by the artists Ai Weiwei, Janet Cardiff and George Bures Miller, Anne Chu, Federico Herrero, Chris Johanson, Joan Jonas, Kris Martin, Yinka Shonibare MBE, and Gabriel Sierra transformed a variety of locations throughout the historic St. Alban Tal of Basel, including fishing houses along the river, a large cargo ship, sections of the old city wall, the St. Alban church, an old water reservoir, as well as various public sites throughout the area. This array of high-caliber pieces was curated by San Francisco-based curator Jens Hoffmann, Director of the CCA Wattis Institute, San Francisco. A true Highlight of the week was the Art Parcours Night, which featured Chris Johanson's band 'Sun Foot' and was attended by 1700 people. The Art Basel Conversations series again brought together prominent members of the international art scene, including Allen Ruppersberg, Chris Dercon, Martin Roth, Nancy Spector, Tariq Al Jaidah, Dana Farouki, Abdullah Al Turki, Hans Ulrich Obrist, Luc Deleu, Anri Sala, Stephen Willats, Momoyo Kaijima, Julieta Aranda, Stefan Kalmár, Marta Kuzma and Anton Vidokle. Additionally, a daily program of artist conversations, book signings, and discussion forums took place in the Art Salon forum every afternoon, offering a total of 28 presentations. Once again the Art Film program featured outstanding films, screened at the Stadtkino Basel. Curator Marc Glöde's thematic program presented short films by artists while film connoisseur This Brunner selected "A Cave of Forgotten Dreams" by Werner Herzog. Other highlights were the Swiss premiere of Lawrence Weiner's film 'Dirty Eyes' (2010) and the European premiere of 'Hallucinations/Paradise' by Sam Samore. On the weekend of June 16 to June 19, 2011, Art 42 Basel celebrated the Art Basel Weekend, highlighting special activities (solo shows, performances, book signings etc.) at the booths of 28 participating galleries. The museums and institutions in Basel also featured special events such as guided tours, performances and talks. Shortly before the show, our visitors could download the Art Basel Smartphone app. Using your iPad, iPhone, Blackberry or other smartphone, you can still explore Art 42 Basel's galleries, artists and exhibition sectors. The app's interactive 3D-map allows you to virtually navigate through the halls, access information and images of artworks that our galleries brought to the show, organize them as favourites, and forward them to your friends and colleagues.

Pomalama art and design squad opens on Saturday June 17 on Mokotowska 65 str.

2011-06-19T09:00:00.000-07:00

BMW replaces Audi as VIP Shuttles during Art Basel 42

2011-06-18T04:02:00.000-07:00

pic. by Homa Nasab

Art Basel 42: a week of highlights

2011-06-16T04:21:00.000-07:00

Art Basel 42: a week of highlights

This time, the 42nd edition of Art Basel is going to be based in Basel, Switzerland and will last from June 15th through June 19th, 2011. Being the leading yearly art fair, Art Basel represents the seasonal gathering of the global art scene, taking place right in the heart of the city of Basel, which has now played the role of artistic hub for a long time...

Published on Monday, June 13th, 2011

Art Basel was born in 1970 and established by a group of local gallerists. Since then the fair has comfortably positioned itself as the most prominent annual global art show. The eminence and variety of the art pieces recurrently shown grasp the attention of over 60,000 people including artists, gallerists, collectors, curators, museum directors, and art lovers. Art 42 Basel displays every type of artistic expression: paintings, sculptures, photography, editions, installations, performances, drawings and video art. Reasonably priced works by promising artists are on sale, along with excellent works of art worth millions.

The galleries exhibiting their works are over 300, chosen by the Art Basel Committee, an international board of judges made up of notorious gallerists, from more than 1,000 applicants. They come from 35 different countries spread over the six continents of the globe. What more could one ask for? Yet again, 99% of the most important international galleries will be present at the show. Diverse and new exhibitors enhance this edition’s tough list of habitual applicants. Emerging for the first time in Art Galleries are: Concept (Paris), Bortolami (New York), Blondeau (Geneva), Cabinet (London), Isabella Bortolozzi (Berlin), gb agency (Paris), Joanna Kamm (Berlin), Holland-Hibbert (London), Regina (Moscow), Standard (Oslo), Vintage (Budapest) and Sfeir-Semler (Beirut). After a short break, Moeller Fine Art (New York) and Szwajcer (Antwerp) rejoin Art Basel’s exhibitors in the Art Galleries sector. The multiples specialists in Art Edition are joined by Three Star Books (Paris). The art pieces displayed have the signature of more than 2.500 artists belonging to this current generation as well as the previous one.

Basel is an excellent location for art talent scouting, so much so that there’s a section especially created for this reason: Art Statements highlights 26 stands from uprising international galleries each respectively representing their top emerging artist.

From 1999, the Baloise Group has honored its yearly Baloise Art Prize to two exceptional Art Statements' projects. This year, the prize is worth CHF 30,000 for each artist. Moreover Baloise Group will purchase artworks by the prize-winning artists and thus make a contribution to the Hamburger Kunsthalle and the MUMOK Museum Moderner Kunst Stiftung Ludwig Wien. Besides, those galleries present in the show, additional number of 50 impressive art pieces within the Art Unlimited division will be displayed. The exhibition theory linked with Art Unlimited has once again been structured in cooperation with Geneva curator Simon Lamunière.

The fair is spread out all over Basel, thanks to the site-specific schemes and accomplishments present in the Art Parcours segment, which this year will renovate a number of structures all through the neighbourhood of St. Alban.

At the same time, the major cultural institutions of town, them being museum institutions, will show dazzling exhibitions dedicated to artists such as Richard Serra, Constantin Brancusi, Konrad Witz, Quaytman, Francis Alÿs, R.H. and Henrik Olesen.

Following a greatly celebrated first appearance last year, Art Feature concentrates on accurate curatorial exhibitions. In fact a number of 20 gallery projects – characterized by artistic discussions, outstanding art material will be staged every morning (June 15 to June 19), and solo exhibitions - will be introduced on both floors of Hall 2, next to the Art Galleries division. Going back to discussions, Art Basel Conversations will be going on every morning during the week, assembling together principal components of the worldwide art scene. The Premiere of the Art Basel Conversations focuses on a celebrated artists. Additional themes comprise: ‘Public/Private: How Will Museums Be Able to Collect,’ 'Collector Focus: Patronage and Politics,' ‘The Future of Artistic Practice: The Artist as Urbanist,’ and 'What is Alternative – Alternative to What?' Moreover, a widespread day-by-day list of artist talks, book signings, and more will be the highlights of the Art Salon forum every day.

Art Basel hosts a number of films both created by and regarding artists. The Art Filmsection is curated by Berlin film academic Marc Glöde (Berlin) and This Brunner, the Zürich collector with an extensive power in the global film scene. Marc Glöde's program introduces films by artists which are separated into four collections on diverse subjects.

curated by eleonora galasso

42 Art Basel

June 15th to 19th, 2011

Hall 1+2 Messeplatz, 4005 Basel, Switzerland

Opening Hours: Wednesday 15th to Sunday 19th from 11 a.m. to 7 p.m.

Info: www.artbasel.com

by: www.exibart.com

Rebecca Elfast exhibition pening photorep. 13.06.2011

2011-06-14T15:04:00.000-07:00

photographer: Oleg Burdzenia

ART BASEL 42, VIP Day. Previews.

2011-06-14T08:26:00.000-07:00

Rebecca Elfast exhibition opening. Tonight 19.00

2011-06-13T02:08:00.000-07:00

Rebecca Elfast

About

Born 1982 in Gothenburg, Sweden.
Architect, artist, illustrator. Am interested in marrying the closely related fields of architecture, illustration and art. Communication through images, that's what it's all about!

I paint mostly watercolours, I am intrigued and challenged by the unpredictability of the medium. I always feel there is something new to learn, a perfect painting waiting around the corner.

I also work in digital media, draw a lot by hand and do some oil painting and acrylic.
Education
2002-2008 Architecture, Chalmers, Gothenburg.
-classes in figure drawing
-class in egg tempera painting
2007 Watercolour class for Lena Amstrand, Styrs, Gothenburg.
2008 Watercolour class for Hasse Karlsson, Gerlesborgsskolan.
2008 Watercolour class for Lars Holm, Gerlesborgsskolan.
2009 Exhibition Galleri Backlund, Gothenburg
Biały Kamień Contemporary & Milanovo kindly invites:
Duration 13.06.2011 - 13.07.2011
Location
MILANOVO Restaurant Pizzeria Cafe
Kostki Potockiego 24 G / przy Pałacu Wilanowskim, 02-958
Wilanów, Warsaw, Poland

Location	MILANOVO Restaurant Pizzeria Cafe Kostki Potockiego 24 G / przy Pałacu Wilanowskim, 02-958 Wilanów, Warsaw, Poland

Reccomended to attend: Le Sacre du Printemps. Premiere 11.06.2011

2011-06-12T03:20:00.000-07:00

ŚWIĘTO WIOSNY

Igor Strawiński / Wacław Niżyński, Emanuel Gat, Maurice Béjart

Wieczór baletowy w trzech częściach
Premiera tej inscenizacji: 11 czerwca 2011
Muzyka: Igor Strawiński
Dyrygent: Łukasz Borowicz

1. Święto wiosny
Choreografia: Wacław Niżyński
Rekonstrukcja i realizacja: Millicent Hodson
Scenografia i kostiumy: Nikołaj Roerich / Kenneth Archer
Światła: Stanisław Zięba

2. Święto wiosny
Choreografia: Emanuel Gat
Realizacja: Mia Alon, Roy Assaf, Michael Löhr
Światła i kostiumy: Emanuel Gat
Nadzór techniczny: Samson Milcent

3. Święto wiosny
Choreografia: Maurice Béjart
Realizacja: Tony Fabre, Kyra Kharkevitch, Domenico Levré
Dekoracje i kostiumy: Pierre Caille
Światła: Dominique Roman / Stanisław Zięba

Polski Balet Narodowy, Orkiestra Opery Narodowej

obsada:

WACŁAW NIŻYŃSKI
Tańczą
Wybrana - Magdalena Ciechowicz
oraz
Joanna Drabik, Nathalie Fernandez, Tehelet Har Yam, Anna Hop, Karolina Jupowicz, Ana Kipshidze, Dominika Krysztoforska, Iwona Kurowska, Anna Lorenc, Ewa Nowak, Agnieszka Pietyra, Karolina Sapun, Margarita Simonova; Sergey Basalaev, Robert Gabdullin, Adam Kozal, Carlos Martín Pérez, Egor Menshikov, Sergey Popov, Sebastian Solecki, Oskar Świtała, Łukasz Tużnik, Vladimir Yaroshenko, Jarosław Zaniewicz

EMANUEL GAT
Tańczą
Marta Fiedler, Aleksandra Liashenko, Izabela Szylińska; Robert Bondara, Kurusz Wojeński

MAURICE BÉJART
Tańczą
Wybraniec - Maksim Wojtiul
Wybranka - Anna Lorenc
Przywódcy - Adam Kozal, Wojciech Ślęzak
Dwaj młodzi mężczyźni - Paweł Koncewoj, Egor Menshikov
Cztery młode kobiety - Agnieszka Pietyra, Karolina Sapun, Margarita Simonova, Maria Żuk

Rewolucyjne dzieło muzyczne Igora Strawińskiego – balet Święto wiosny w trzech różnych, słynnych wersjach choreograficznych. Awangardowy charakter muzyki i pierwszej choreografii legendarnego polskiego artysty Wacława Niżyńskiego (Balety Rosyjskie Siergieja Diagilewa, 1913) znacznie wyprzedziły swoją epokę i miały kapitalny wpływ na rozwój muzyki i baletu XX wieku. Powstało potem bardzo wiele wizji scenicznych Święta wiosny z najgłośniejszą choreografią Maurice'a Béjarta (Balet XX Wieku, 1959), powstają wciąż nowe. Wielkim wydarzeniem okazała się także rekonstrukcja pierwotnej choreografii Wacława Niżyńskiego dokonana przez amerykańską artystkę Millicent Hodson we współpracy scenograficznej z brytyjskim historykiem sztuki Kennethem Archerem (1987). Dzięki nim świat odkrył na nowo Niżyńskiego jako prekursora nowoczesnej choreografii. Krzysztof Pastor postanowił zaproponować w Teatrze Wielkim wieczór bez precedensu w skali światowej – Święto wiosny Strawińskiego w trzech różnych wersjach scenicznych: Wacława Niżyńskiego, Maurice'a Béjarta i współczesnego choreografa izraelsko-francuskiego Emanuela Gata z 2004 roku. Będzie to niezwykłe przedsięwzięcie artystyczne Polskiego Baletu Narodowego u progu stulecia najsłynniejszego tytułu baletowego XX wieku. [pch]

„W 1913 roku Święto wiosny było gwałtownym, pełnym młodzieńczego impetu wyznaniem wiary. Nie przypadkiem nazwano je Nowym Testamentem muzyki; dla ówczesnego pokolenia było to objawienie, wstrząsające, oślepiające swoim blaskiem. (...) Skandaliczną awanturę, jaka wybuchła na sali podczas premiery Święta wiosny, wywołała nie tylko muzyka, która z brutalną siłą rzuciła wyzwanie gustom epoki. Wyzwaniem była również tematyka: pogańskie wierzenia i obrządki, przedstawione z całą surowością i okrucieństwem, wydawały się zbyt barbarzyńskie i obrażały subtelny smak widzów, uformowany na delikatnych niedomówieniach impresjonizmu i symbolizmu. (…) Wyzwanie stanowiła również choreografia (…) z jej rytmicznymi, ostrymi ruchami, jakby wyciosanymi z kamienia – taniec ociężały, ze stopami zwróconymi do wewnątrz, który później spopularyzują rytmy afrykańskie. Ale wówczas jeszcze było za wcześnie, aby ta choreografia mogła zostać właściwie doceniona”. (Ludwik Erhardt Balety Igora Strawińskiego]

http://www.teatrwielki.pl/
Projekt plakatu: Adam Żebrowski

pre Art Basel 42 weekend preview started in BK Contemporary

2011-06-11T09:55:00.000-07:00

Projektowanie w działaniu/Design in action. Event opening 9.06.2011

2011-06-09T14:47:00.001-07:00

Ulica Mokotowska zmieni się w niezwykły szlak dzięki polskim i niemieckim projektantom. W salonach fryzjerskich, sklepach spożywczych, w kawiarniach, instytucjach, prywatnych firmach i butikach mody, a także bezpośrednio na ulicy przedstawią oni swoje projekty – przedmioty finezyjne i zgrzebne, zaskakujące, inspirujące i niebanalne.

W tych tymczasowych pop-up shopach odwiedzający napotkają różne oblicza sztuki projektowania – przykłady współczesnego dizajnu dźwięków, światła i... zapachów. Natomiast to, czym i w jaki sposób w ciągu ostatnich dwudziestu lat faktycznie urządzaliśmy warszawskie i berlińskie mieszkania, pokaże wystawa fotografii prezentująca zdjęcia z prywatnych polskich i niemieckich archiwów.

Dzięki niej zajrzymy w najbliższe, intymne otoczenie człowieka, w świat, w którym królują przedmioty codziennego użytku. Wszystko to będzie punktem wyjścia do licznych warsztatów, dyskusji panelowych, pokazów filmów i imprez, w czasie których artyści, naukowcy, dziennikarze i odwiedzający będą mogli wspólnie zastanowić się, jak urządzamy naszą prywatną rzeczywistość. Mokotowska wprawia projektowanie w ruch!

Organizatorzy: Ambasada Niemiec w Warszawie, Fundacja Nowej Kultury Bęc Zmiana, Goethe-Institut

Partnerzy: Designerdeutsch, Fundacja Archeologia Fotografii, Towarzystwo Inicjatyw Twórczych „ę”, Create Berlin, Ostkreuzschule für Fotografie und Gestaltung Berlin, designkritik.dk

Projekt jest realizowany dzięki dofinansowaniu ze środków m.st. Warszawy (www.warszawa2016.pl)

Projekt zrealizowany dzięki dotacji Fundacji Współpracy Polsko-Niemieckiej

9. – 19. 06. 2011 ul.Mokotowska, Warsaw design-exhibition between Poland & Germany

	-------------------------------------------- curators Polska: Katarzyna Białousz - Goethe Institut Warszawa Hanna Rydlewska - Exklusiv Agata Michalak - Aktivist -------------------------------------------- curators Deutschland: Michael Okraj - DESIGNERDEUTSCH

Exhibition opening. Odpusty i cudowne widzenia. Julia Curylo 1.07.2011 - 27.07.2011

2011-06-07T13:43:00.000-07:00

W Polsce, kraju silnie katolickim, religia leży w sferze nietykalności, pozostaje tematem tabu, doktryną totalną kreującą jedyny prawidłowy obraz rzeczy. W malarstwie Curyło pojawiają się obiekty kultu religijnego - figurki świętych, które artystka kupuje w sklepach z dewocjonaliami. Ze szczegółami oddaje tendencyjne i pozbawione wyrazu twarze, jaskrawe kolory, charakterystyczne gesty. Julia Curyło, wychowanka szkoły katolickiej, wykorzystuje w swoich pracach znajomość świata i praktyk katolików. Artystka odwołuje się do wizualnej sfery wiary - przedstawień odpustnych, jarmarcznych i dewocyjnych, obnażając jej banalne i populistyczne oblicze prowadzące do uprzedmiotowienia a wręcz ideologizacji religii. Skupiając się na symbolu, można zapomnieć o istocie wiary. U Curyło materializują to dmuchane zwierzęta, przedmioty sztuczne, ulotne i podatne na przebicie.

Odpust w teologii katolickiej oznacza odpuszczenie przez Boga win, darowanie kary. Uzyskuje się go poprzez spełnienie wymaganych warunków i wykonanie odpowiednich czynności. Odpusty u Curyło to ślepe posłuszeństwo obrządkom i czynnościom, stronie formalnej, a nie duchowej, każdej religii. Służą otrzymaniu rozgrzeszenia i często stanowią jedynie powierzchowną stronę wiary.

Cudowne widzenia nawiązują do etosu cudowności związanego z wiarą katolicką – widzeń i ekstaz, które pogłębiają para-fizyczny związek człowieka z Bogiem. Ta fizyczność znajduje ujście pod postacią produkowanych na masową skalę dewocjonaliów, które każdy może dotknąć, kupić i postawić w swoim domu.

Tytuł wystawy „Odpusty i cudowne widzenia” jest podsumowaniem wątków obecnych w twórczości Curyło prezentowanej w toruńskiej galerii. Na wystawie zebrano 9 orazów wielkoformatowych oraz obiekty będące dla artystki inspiracją podczas ich powstawania. Dopełnieniem jest film nakręcony w Warszawie w marcu 2010 roku dokumentujący usunięcie z przestrzeni publicznej jednej z prac artystki.

Julia Curyło analizuje kontrasty i absurdy społeczne poprzez stosunek człowieka XXI wieku do wiary, mistyki i religii. Problem skomercjalizowania wiary, kwestia istnienia popkultury w religii, blichtr kolorowych i pociągających obiektów a także estetyka kiczu towarzysząca wierze katolickiej – to kwestie, które w szczególności ją interesują. Korzenie jej twórczości odnajdziemy głównie w surrealizmie i neo-pop.

Galeria Sztuki Wozownia
Ul. Św. Ducha 6
Toruń

Kuratorka: Ewa Sułek

The Venice Effect

2011-06-06T03:38:00.000-07:00

Visitors to Tracey Emin's installation at the British pavilion in 2007

Curators of the Biennale have always played down its impact on the art market, but the two go hand-in-hand

By Olav Velthuis Web only
Published online 3 Jun 11 (Features)

http://www.theartnewspaper.com/

When the Venice Biennale was founded in 1895, one of its main goals was to establish a new market for contemporary art. A sales office assisted artists in finding clients and selling their work, a service for which it charged 10% commission. The office was successful: by the end of the first edition, more than half of the works exhibited had been sold. The organisers earned so much in commissions that they were able to donate a handsome amount of cash to charity.

Sales remained an intrinsic part of the biennale until 1968, when leftist students and intellectuals sought to occupy the Giardini’s exhibition grounds as part of their widespread revolt against bourgeois culture. They vilified the biennale as a playground of the rich that promoted the commodification of culture. During their occasionally violent clashes with the police, students carried posters with slogans like “Biennale of capitalists, we’ll burn your pavilions!” and “No to the biennale of the bosses.” Their protests did not go unnoticed, for the biennale’s board decided to dismantle the sales office. Commerce was now taboo in the Giardini. While many of the achievements of 1968 have since been discarded, the biennale’s ban on sales remained. Its commissioners and curators have time and again framed the exhibition as a locus for experiment rather than commerce, elaborating on the fundamental differences between the institution and the art fair, and downplaying its impact on the market. For instance, when Daniel Birnbaum, director of the 2009 edition, revealed the list of artists he had invited to the Arsenale, the president of the biennale, Paolo Baratta, emphasised that the director’s job is “not to give the latest quotation on the market for contemp-orary art”.

But if past attempts to ban commerce from the biennale have been serious, they have also been in vain. For instance, in 2007, London’s White Cube gallery had sold the majority of the works by Tracey Emin in the British pavilion (seen on p21) before the biennale had even opened officially. In the same year, the French super-collector François Pinault snapped up a series of paintings by Sigmar Polke in the Padiglione Italia, much to the dismay of some museum directors, who, as Pinault put it mischievously in a recent interview with the Financial Times, arrived “un peu après”.

No matter how hard its curators have tried to deny it, the biennale’s impact on the art market is notable: showing in Venice speeds up sales, gets artistic careers going, cranks up price levels and helps artists land a dealer ranked higher in the market’s hierarchy. While business may be conducted in a more circumspect way than at an art fair or in a commercial gallery, and money may not be changing hands in the Arsenale or the Giardini, the market is never asleep. During the biennale’s opening days, dealers such as Berlin- and London-based Sprüth Magers, with five artists in Venice this year, or Zurich-based Eva Presenhuber (seven artists in this year’s edition), will be gauging how deep the interest is in specific works on display, calculating the best way to “place” pieces in the hands of trusted collectors or schmoozing with museum curators. To exploit the Venice Effect, numerous others exhibiting at the biennale, among them, Jennifer Allora & Guillermo Calzadilla (Lisson Gallery) and Barbara Visser (Annet Gelink Gallery), will have works for sale at Art Basel, the world’s most important modern and contemporary art fair, which opens its doors only a week later (15-19 June, pp15-18). Their dealers’ credo: “See it in Venice, buy it in Basel.”

So what causes the Venice Effect? The easy answer is that showing in Venice is widely perceived as a signal of artistic quality, lending legitimacy to an artist’s oeuvre and therefore contributing to shaping collectors’ tastes (read: their willingness to pay for art). In this respect, Venice is, of course, far from unique. Dozens of other biennials around the world, such as Documenta in Kassel, but also museums and art critics, as well as influential market players such as Pinault or Charles Saatchi and dealers such as Larry Gagosian or Hauser & Wirth, send out signals of their own. It would therefore be easy to overstate the biennale’s power to make or break artistic careers. The days of 1964, when Venice awarded the top prize to Robert Rauschenberg, and by doing so imported Pop Art into the canon of art history, are long gone. Leafing through past catalogues, the dominant impression is not of the scores of artists whose careers, like that of Pierre Huyghe in 2001, were launched at the biennale, but of all the artists who have been almost forgotten since.

Nevertheless, compared with those of other institutions, the signals sent out by the biennale have a relatively strong effect on the market because of their pure, fresh, independent and highly visible character.

Paradox 1: Purity produces market power

In the contemporary art market, economic value can only be established if it is backed up by artistic value: a growing body of research shows that the reputation of an artist (the sum of all the solo and group shows in museums, monographs published, acquisitions of works by institutional collections, etc.) is one of the best predictors of price levels. The late French sociologist Pierre Bourdieu accounted for this correlation: the type of capital around which the art world revolves is not economic or financial, but symbolic. Possessing symbolic capital means having the power to “consecrate” works of art. It is accumulated by curators, critics and all the other brokers of taste who populate the art world. They do so by demonstrating their independence from the market, by ignoring commerce, by showing an autonomous interest in art, in experimentation rather than mundane monetary matters. But once such symbolic capital has been accumulated, it can be converted into economic capital: the stronger the artistic reputation, the stronger the sales and the higher the prices. Thus the paradox is that the curator’s resistance to commerce and Venice’s official status as a non-selling event, is exactly what makes its quality signals influential in the art market.

The importance of purity is illustrated by Ireland’s contribution to this year’s edition. When the country announced the name of the commissioner for its pavilion, Emily-Jane Kirwan, and the artist exhibiting there, Corban Walker, it stirred up controversy. Kirwan is a director at New York’s Pace gallery, one of the world’s most established art dealers, which represents Walker. In The Art Newspaper, a veteran biennale curator who wished to remain anonymous called it “a terrible decision” to put an entire pavilion in the hands of an art dealer and her protégé, arguing that “certain lines must not be crossed, certain categories must not be confused or conflated, and ethical standards must be strictly applied”.

Paradox 2: The fresher the signal, the stronger its impact

While in the past, inclusion in the Venice Biennale would crown the end of an artist’s career, now it often marks its beginning. To show their independence from the market and their ability to spot new talent, the biennale’s directors and curators have increasingly focused on young artists who are not yet household names. In this competition to send out fresh quality signals, which has hotted up due to the worldwide proliferation of biennials, curators are now engaging in a reverse generational race. The press release of the list of artists invited by Bice Curiger emphasised that 32 were born after 1975.

The paradox is that the more virginal these young artists’ curricula are, the stronger the Venice Effect will be for them. Referred to by the late American sociologist Robert Merton as the Matthew Effect (“the rich get richer and the poor get poorer,” according to the gospel of St Matthew), their participation prompts many more curators and collectors to pay attention to their work. For the few older artists in Curiger’s “Illuminations” exhibition, such as James Turrell or Elaine Sturtevant, Venice will be just one more line on their CVs. Likewise, the market for Christopher Wool is unlikely to change much due to Curiger’s invitation: his 1990 canvas Blue Fool was sold at Christie’s New York last year for $5m (with buyer’s premium), making him the most expensive artist included this year. But they are the exceptions to the rule. The market for most of the artists selected by Curiger are nowhere close to established. And while the commissioners of the national pavilions tend to invite artists who are better known, of all the participants this year, only one out of five has ever achieved an auction price of more than $25,000. Half of them have never been sold at auction. Anya Titova, the second youngest artist to participate in the biennale, does not even have a dealer representing her.

Paradox 3: Independence financed by the dealers’ money

Curators have another instrument to demonstrate their independence vis-à-vis the market: focusing on artists who make work that is hard to sell, such as installations or videos. In the past couple of decades, these non-commodities have slowly crowded out the commodities at the biennale. But paradoxically this has done little to decouple Venice from the market. One reason is that powerful dealers are interested in representing artists who create non-commodifiable art for similar reasons to curators: it allows them to prove that they not only want to make a quick buck from selling smart paintings and photographs or from trading on the secondary market. In other words, representing these artists produces symbolic capital for these dealers.

An important practical reason why the focus on non-commodities has failed to decouple Venice from the market is that the biennale itself lacks the funds to produce, ship and install these large-scale works. Therefore the financial involvement of dealers is indispensable. Here the decision to stop selling in 1968 has taken its revenge, because it resulted in a steep drop in revenue for the biennale. The same hand that pushed the sales commissioner out pulled the art dealers in.

Paradox 4: Visibility because of proximity to the biennale

The Venice Effect not only depends on the purity, freshness and independence of its signals, but also on their high visibility. The 2009 edition attracted more than 375,000 visitors. In itself, this number is hardly staggering if one takes into account that the biennale lasts for almost six months. In the same year, solo shows of Pipilotti Rist at the Museum of Modern Art or Cai Guo-Qiang at the New York Guggenheim museum attracted more visitors. But in terms of the audience’s composition, the biennale is hard to beat: functioning as the art world’s equivalent of Cannes, which on the side of its film festival hosts the main international platform for the movie business, the entire industry convenes in Venice.

Obviously Venice’s importance to the art industry is related to its attractive location and to its status as the oldest biennale which has served as a (counter) model for the dozens of other biennials established in the last couple of decades. But another reason is its proximity – both in time and place – to the centre of the international contemporary art market: Art Basel, which opens only a week after Venice (the two usually follow each other) and attracts a largely similar crowd of art professionals.

The structural position of Venice and Basel in the global art world overlaps in several respects. First of all, presenting an instant overview of today’s worldwide art production, they provide a means for both curators and collectors to economise on search time. This is particularly important for the art market’s clientele whose scarcest resource is not money but time: travelling regularly to individual museum or gallery shows out of town has become a luxury that the richest can no longer afford, unlike the leisure class of yesteryear who used to be the main customers. Visiting fairs and biennials in order to save time and travel costs is all the more important in an art world where “local” has become a pejorative term. As The Economist put it: “‘local artist’ has become a synonym for insignificant artist … ‘International’ is now a selling point in itself.” In other words, a global habitus is expected from all members of the art industry. Both Venice and Basel enable this habitus by temporarily bringing the globally consecrated supply of art under one roof.

Second, the continuing success of both Basel and Venice in attracting art crowds should be seen in the light of a wider culture of events. Within this culture, the consumption (but not necessarily acquisition) of contemporary art is packaged as a social and cultural experience, livened up by the artistic performances, seminars and round table discussions of experts that have now become standard elements of both the fair and the biennale.

Third, Basel and Venice derive their central role in the art industry from the latter’s status-driven nature: both the biennale and the fair are finely tuned tools that reflect and reproduce status hierarchies. They distinguish visitors by providing selected groups with VIP treatment, access to pre-(and pre-pre-) openings, after parties on expensive billionaire’s yachts, or visits to the villas of collectors living close by. Those types of access are broadly recognised as signs of status among the cultural elite: the more exclusive the venue, the more status access to that venue produces.

In short, asking what the impact of Venice on the art market is poses the wrong question: without institutions such as the biennale, it is impossible to conceive of a contemporary art market to begin with. And vice versa: without the art market, the biennale would no longer flourish. To annul the Venice Effect seems impossible, but if the curators and commissioners want to try, here is the recipe: follow Ireland’s example of appointing art dealers as the commissioners and curators; invite artists with a chock-full rather than a virginal curriculum; postpone the opening a couple of weeks so that it can no longer be attended as part of a 21st-century Grand Tour that also includes Art Basel.

It is unlikely that any of these measures will be adopted soon by the biennale’s organisers. And why would they? It may go a long way towards decoupling Venice from the market, but at the cost of turning the institution into an irrelevancy. In the end, the problem may not be the Venice Effect itself, but the art world’s anti-commercial ideology, which makes curators uncomfortable about this effect. As Curiger argued recently in an interview: “What happens to an artist once you’ve approached him or her is beyond your control. Artists are not throwaway objects – if they sell well, does that mean that their work doesn’t mean anything any more?”

II official day of Biennale di Venezia 54

2011-06-05T02:34:00.001-07:00

François Pinault Presents a New Exhibition at Palazzo Grassi: The World Belongs to You

2011-06-02T12:00:00.000-07:00

The Artwork 'Contamination' by Joana Vasconcelos, is seen at Palazzo Grassi during the opening of the exhibition 'Il Mondo vi Appartiene' at 54th Visual Arts Biennale in Venice, Italy. The Biennale runs from 4th June to 27th November 2011. EPA/ANDREA MEROLA.

VENICE.- The exhibitions In Praise of Doubt at Punta della Dogana, and The World belongs to You at Palazzo Grassi mark the 5 year anniversary of the opening of Palazzo Grassi by François Pinault and the Mayor of Venice in April 2006. It also marks the beginning of a new phase of programming for François Pinault Foundation’s Palazzo Grassi and Punta della Dogana.

From now on, Palazzo Grassi and Punta della Dogana present exhibitions that operate under two distinct time frames. Palazzo Grassi presents a fast turnover, with more emphasis on the “event” nature of its exhibitions whereas Punta della Dogana, concerned with a continuous presentation of the collection, operates on a long-term schedule, similar to permanent collection changeovers of major international art museums.

On 2nd June 2011, François Pinault Foundation presents a new exhibition at Palazzo Grassi : The World Belongs to You.

François Pinault has appointed Caroline Bourgeois as the curator of this exhibition, which was conceived to coincide with the exhibition In Praise of Doubt at Punta della Dogana, and presents another re-assessment of the traditional limits of the geography of art, and how we relate to others and the world.

The World Belongs to You brings together works by artists from different practices, generations, and backgrounds, exploring artists’ relationships to history, reality and its own representation. «The exhibition revolves around major themes of contemporary history: from the breakdown of symbols, to the temptation of self-withdrawal and isolation, the attraction of violence and spirituality in a troubled and globalised world” (Caroline Bourgeois).

Artists include : Ahmed Alsoudani, Yto Barrada, Alighiero Boetti, Sergey Bratkov, Frédéric Bruly Bouabré, Maurizio Cattelan, David Claerbout, Matthew Day Jackson, Marlene Dumas, El Anatsui, Urs Fischer, Cyprien Gaillard, Adrian Ghenie, Loris Gréaud, David Hammons, Nicholas Hlobo, Thomas Houseago, Huang Yong Ping, Jeff Koons, Friedrich Kunath, Louise Lawler, Boris Mikhailov, Farhad Moshiri, Takashi Murakami, Giuseppe Penone, Philippe Perrot, Sigmar Polke, Charles Ray, Thomas Schütte, Rudolf Stingel, Lee Ufan, Joana Vasconcelos, Francesco Vezzoli, Jonathan Wateridge, Sislej Xhafa, Sun Yuan & Peng Yu, Yang Jiechang, Zhang Huan, Zeng Fanzhi.

Caroline Bourgeois has curated numerous shows including Money, Joan Jonas, Valie Export, Cao Fei, Adel Abdessemed and Loris Gréaud as well as several exhibitions of the François Pinault Collection including The Passage of Time in Lille, A Certain State of the World in Moscow, and Who’s Afraid of Artists? in Dinard.

www.artdaily.com

With Strong Sales, Art Hong Kong Confirms Its Position Amongst the World's Leading Art Fairs

2011-06-01T02:32:00.000-07:00

A visitor walks past the "Untitled (Abracadabra) 2011" by Polish artist Piotr Uklanski at Hong Kong International Art Fair in Hong Kong. The largest international art fair hosts 155 exhibiting galleries from 29 countries that exhibited from May 26 to 29. (AP Photo/Vincent Yu.

HONG KONG.- Strong sales of work by artists from around the world including Liu Wei, Zhang Enli, Yan Pei-Ming, Jeff Koons, Andreas Gursky and Louise Bourgeois to collectors from Asia, Europe and America reconfirmed ART HK’s status as Asia’s premier art fair. The 4-day fair, which ran from 26-29 May at the Hong Kong Convention and Exhibition Centre’ (HKCEC), attracted 260 galleries from 38 countries presenting works by more than 1,000 artists – with a record numbers of visitors attending, 63,511, a 37.7% increase on 2010, and a similar number of visitors to Art Basel in 2010.

Major sales of Asian and Western Contemporary Art at ART HK 11 included:
• Beijing’s Long March Space sold Liu Wei’s Don’t touch, 2011, to a European Collector for an undisclosed US$ six figure sum.
• Galerie Gmurzynska from Zurich sold Flying Eagles, 2008 by Fernando Botero for US$650,000 to an Asian Collector.
• Yan Pei-Ming’s Self Portrait, 2011, priced at US$420,000, was sold by David Zwirner, New York to an Asian Collector. The gallery also sold The Couple, 2011 by Luc Tuymans priced at $1.1 million.
• Sprüth Magers Berlin London sold Andreas Gursky’s Ferrari II, 2007 to a European Collector for 550,000 Euros.
• Jeff Koon’s Monkey Train (Orange), 2007 was sold at L&M Arts from New York for in the region of US$3.5 million.
• Hauser & Wirth London Zurich New York sold out of a number of works by Zhang Enli including one to a private foundation in Shanghai priced at US$120,000. They also sold an eye for an eye, 2011 by Bharti Kher, to a Beijing based collector for US$265,000.
• The Geometry of Pleasure, 2009, by Louise Bourgeois sold for UD$750,000 to a Chinese Collector by Cheim & Read from New York.
•White Cube from London sold Jake & Dinos Chapman’s Dass Kapital ist Kaput? Ja? Nein! Dummkopf!, 2008 for £525,000 to an Asian collector.
• Timothy Taylor Gallery from London sold Wall of Light, Pink White, 2011 a large new painting by Sean Scully for an undisclosed sum to a Hong Kong based collector.

Art collectors attended the Fair from across Asia, Europe and the USA. High-profile collectors in attendance included Don and Mera Rubell of the Rubell Family Collection and the Contemporary Arts Foundation (Miami); Richard Chang (Beijing & New York); Sidonie Picasso; David Tang (Hong Kong); Samir Sabet d’Acre (Brussels) and Judith Neilson of the White Rabbit Foundation (Sydney).

Commenting on their experience at ART HK, Don and Mera Rubell jointly said: “This is our first time in Hong Kong in over 40 years and things have changed rather dramatically. It’s a city on steroids -dynamic, fresh, vibrant - a true international city, and the general curiosity of people is incredible. The Fair goes out of its way to cater to families and children and there is an explosion of young people at the Fair who were fully engaged with the art on show. They are the future of art, and the Fair is helping build audiences for art here in Hong Kong. There are very few places which are a gateway between East and West and there is a unique opportunity at the Fair to compare and contrast Eastern and Western art, to see the similarities and the differences. It’s been a great opportunity for us to learn about Chinese art, and we've seen an outstanding interest from the Asian collectors who are intent on learning more about Western art. This trip we have bought Chinese art, Indonesian art, and some European art. We hope to come back next year.”

Acquavella Galleries from New York, Victoria Miro from London, Anna Schwartz Gallery from Australia and Yvon Lambert from Paris were notable galleries debuting at the 2011 Fair. They joined established ART HK galleries such as Gagosian Gallery, Emmanuel Perrotin, Hanart TZ and Lisson Gallery. This year’s new section, ASIA ONE, showcased vibrant solo presentations of work by emerging Asian artists from galleries across Asia. Commenting on showing in ASIA ONE for the first time, Bill Gregory, Director, Annandale Galleries, Sydney said: “I am very impressed with the way ART HK has positioned the ASIA ONE and ART FUTURES sections, which have been integrated into the Fair. We have done very well with our solo show of work by Zadok Ben David and made a lot of connections with people in the region. This is the first time we have participated in the Fair and we will definitely come back next year.”

Among the many cultural highlights at ART HK 11 was the installation of Paul McCarthy’s Daddies Tomato Ketchup Inflatable, 2007, courtesy of Hauser & Wirth, an installation by Australian artist, Janet Laurence, in which viewers encountered a laboratory equipped for the palliative care of ailing plants and Jason Hackenwerth’s balloon installation, sponsored by the Savannah College of Art and Design (SCAD). Artist visitors to the fair included Liu Wei; Marc Quinn; Yan Pei-Ming; Yoshitomo Nara; Takashi Murakami; Wang Kepin; Zhang Huan, who participated in a talk with Charles Saumarez Smith, Secretary & Chief Executive of the Royal Academy of Arts; David LaChapelle & Ming Wong, both on the panel for this year’s Intelligence Squared Asia Debate; Wucius Wong, Pak Sheung Chuen, Jeon Yong-Seok, Huan Zhiyang, Qiu Zhijie and Park Chan-kyong who all took partin Asia Art Archive’s Backroom Conversations at the Fair.

This year’s fair was sponsored by Deutsche Bank, who will continue to be the lead sponsor for ART HK 12. Michael West, Deutsche Bank Head of Communications, Asia Pacific, said: "In scale, quality and attendance, ART HK has quickly developed into a premier event on the global art calendar. Deutsche Bank will again be the lead sponsor of ART HK in 2012”.

Magnus Renfrew, Fair Director of ART HK, commented: “From galleries to government, curators to collectors there is genuine excitement that ART HK has put Hong Kong firmly on the international cultural map. We’re thrilled with the record visitor attendance and believe that the people of Hong Kong and the surrounding area are embracing the Fair and are intensely curious to learn and experience more about contemporary art”.

ART HK 11 was also attended by some of the world’s most influential museum directors & curators, including Lars Nittve, Executive Director of M+, the contemporary art museum in Hong Kong’s planned US$2.1 billion West Kowloon Cultural District; Alexandra Munroe, Samsung Senior Curator of Asian Art, Solomon R. Guggenheim Museum, New York; Charles Saumarez Smith CBE, Secretary and Chief Executive, Royal Academy of Arts, London; Dr. Melissa Chiu, Director of the Asia Society Museum; Doryun Chong, Associate Curator, Department of Painting and Sculpture at MoMA; Hans Ulrich Obrist, Co-Director of Exhibitions and Programs and Director of International Projects at the Serpentine Gallery in London; Kwok Kian Chow, Director of the National Art Gallery Singapore and Tan Boon Hui, Director of the Singapore Art Museum.

Commenting on his experience at ART HK, Lars Nittve, Executive Director of M+, said: “It has been absolutely marvelous to experience the incredible energies in the Hong Kong art community being released this ART HK week. I have heard so many visitors from abroad being both surprised and impressed by the Hong Kong audience and artists - and I have witnessed the delight among the region's art world over being able to take part in a world class art event! We are just in the beginning of something big in Hong Kong, and it is already amazing!"

Private museums of contemporary art are growing extraordinarily fast in Asia and in a groundbreaking seminar, ART HK brought together more than thirty five major collectors and owners and directors of private museums, to explore how to sustain and develop such innovative institutions. Participants came from mainland China, Korea, Indonesia, Malaysia, Singapore, Hong Kong as well as from Europe and the USA. From mainland China alone, major collectors and private museum owners came from Xi'an, Chengdu, Beijing and Shanghai. This seminar will now lead to the development of an active working group to explore how private museums can cooperate – sharing information and exhibitions - in a way that public museums routinely do.

This year’s ART FUTURES Prize, sponsored by Lane Crawford, was awarded to the emerging artist, Gao Weigang, for his solo presentation at Magician Space, Beijing. The judges for the US$25,000 Prize included Lars Nittve, Executive Director of M+, Hans Ulrich Obrist, Co-Director of Exhibitions and Programs and Director of International Projects at the Serpentine Gallery in London and Elaine Ng, Editor and Publisher of ArtAsiaPacific Magazine. Following his experience at ART HK 11, Hans Ulrich Obrist praised the Fair and its host city: “The Hong Kong experience was even more exciting than in 2010. There is a fascinating local art scene and more and more international artists, collectors, critics, curators, gallerists and museum directors are coming to experience it. The Hong Kong miracle continues.”

Commenting on winning the Prize, Qu Kejie, Founder and Director of Magician Space, Beijing said: “This has truly been a memorable first appearance for Magician Space at ART HK, which has given us a great opportunity to showcase our space and artist Gao Weigang to an international audience. To have been awarded the ART FUTURES Prize this year by its panel of critics and curators of the highest esteem is fantastic. I hope that we can continue on this trajectory into the future and through the exhibitions and projects we are planning, both in our Beijing space and for further events abroad. Gao Weigang is an artist representative of Magician Space’s focus on experimental emerging art, and interest in his work has piqued during the Fair.”

Following consultation with exhibitors, collectors and suppliers during the Fair, the dates for ART HK 12 have been revised and the Fair will take place from 17-20 May 2012, with a preview and press day on 16 May 2012. The long-term plan remains to move the Fair to early Spring, and together with the HKCEC we are looking at suitable dates. www.artdaily.com

Upgrading June '11 portfolio

2011-05-31T12:08:00.000-07:00

In June 2 new artistist will be announced in Biały Kamień Contemporary portfolio. Follow the blog.

SUPERFLAT HEROES LA LACHOWSKA exhibition opening Love&Trade, Warsaw 27.05.2011

2011-05-28T07:47:00.000-07:00

ANIA LACHOWSKA urodzona w 1980 w Poznaniu, studiowała na poznańskiej Akademii Sztuk Pięknych na wydziale Architektury Wnętrz i Wzornictwa Przemysłowego. Dyplom w roku 2004 w Pracowni Zjawisk Teatralnych Jarka Maszewskiego. Od 2005 rozpoczęła serię przestrzennych plastikowych obrazów, nawiązujących do makiet, szablonów. Pierwsza seria to "Flowernessness" kolejny cykl ,kontynuowany od paru lat, to 'Superflat heroes 'Tematem ostatniego są postacie z kreskówek, zabawki oraz gadżety dorosłych dzieci, zakorzenione w kulturze masowej. Materialnie chłodne, wyczyszczone, połyskliwe formy to jej wizja naszych, wycofanych, ukrywanych emocji.
Mimo minimalnych środki wyrazu : kontur, jeden kolor, idealnie płaska powierzchnia oraz brak powierzchni jej twórczość zalicza się do nurtu superflat.
Bohaterowie masowej kultury w technice masowej produkcji.. są to prace ascetyczne , nastawione na bardzo indywidualny odbiór kontemplację... Dopatrzcie się tego czego tam nie ma...

photographer: Oleg Burdzenia

ART HK 2011 opened it's doors yesterday.

2011-05-27T08:08:00.000-07:00

HK's most glamorous turned out for the opening night of ART HK 11
The Fair is now open until Sunday

ART HK 11, Asia’s preeminent Art Fair and one of the most eagerly anticipated events on the international art calendar returns to the Hong Kong Convention and Exhibition Centre, where 260 galleries from 38 countries will come together to offer the largest display of contemporary art ever seen in Hong Kong.

From 26th – 29th May, ART HK 11 will present works from modern masters such as Picasso through to important contemporary artists such as Takashi Murakami and Damien Hirst, offering visitors the opportunity to immerse themselves in the very best and most extensive showcase of modern and contemporary art in Asia.

With prices ranging from HK$8,000 to HK$80M, ART HK provides the perfect opportunity to build your collection whether you are buying your first art work or are an established collector looking to invest in your next masterpiece.

ART FUTURES - A newly expanded section of ART HK, sponsored by Asia’s leading multi-brand luxury retailer Lane Crawford. ART FUTURES is a multi-gallery display of works by emerging artists represented by galleries established within the last five years – it features a cross-section of the very best in emerging contemporary art.

ASIA ONE - an exciting a new addition to ART HK that showcases solo exhibitions by artists of Asian origin and provides a unique opportunity for visitors to experience a diverse and current view of the Asian art scene.

Education Programs
As part of its education program, ART HK has partnered with Asia Art Archive (AAA) to host a number of informative and educational talks during the Fair. To review the schedule and for more information click here.

Art Tours
A series of guided tours will take place throughout the Fair enabling visitors to gain in-depth information on exhibiting galleries and works on view. Click here for more information.

Activities for Children
ART HK is committed to developing a platform for children to explore the world of art and is collaborating with leading local art institutions to provide art programs especially designed for children. Click here for more information.

17th BMW Art Car by Jeff Koons! Now in Asia at ARTHK!

2011-05-25T05:30:00.000-07:00

Must see the 17th BMW Art Car by Jeff Koons! Now in Asia at ARTHK!

Exhibition opening: "Otwierając drzwi? Sztuka białoruska dzisiaj". Zachęta Gallery. Warsaw. 23.05.2011

2011-05-24T00:32:00.001-07:00

fotographer: Oleg Burdzenia

Otwierana w poniedziałek w Zachęcie wystawa jest jedną z największych prezentacji białoruskiej sztuki współczesnej, jakie zorganizowano dotąd w Warszawie.

Choć Polska sąsiaduje z Białorusią, kontakty kulturalne i handlowe między naszymi krajami przez ostatnie dwadzieścia lat były raczej słabe. Przyczyną jest zarówno obecna sytuacja polityczna u sąsiadów, jak i zdecydowanie prozachodnia orientacja Polski. Oficjalna polityka kulturalna Białorusi nie sprzyja rozwojowi sztuki współczesnej, choć środowisko artystyczne jest tam prężne. Ograniczenia i tabu skłaniają artystów do sięgania po metaforyczny język i szukania alternatywnych sposobów dotarcia do zagranicznej publiczności. Na wystawie "Otwierając drzwi?" zobaczymy prace twórców mieszkających i pracujących na Białorusi i za granicą. Nie po raz pierwszy dwie części podzielonej sceny artystycznej połączą się we wspólnym przedsięwzięciu, ale rzadko się zdarza, żeby taki projekt miał miejsce w bliskim sąsiedztwie ich kraju (ostatnio udało się to w Wilnie). Większość białoruskich artystów mieszkających na Zachodzie utrzymuje kontakty z rodziną i regularnie odwiedza ojczyznę, ale nieczęsto mają okazję pokazywać prace w Mińsku (czy w ogóle na Białorusi). Dlatego pokaz w Warszawie jest dla nich wyjątkową okazją do spotkania na neutralnym gruncie.

Kurator wystawy Kęstutis Kuizinas zwraca uwagę na to, że większość prezentowanych w Zachęcie prac nawiązuje w taki czy inny sposób do problemów białoruskiego społeczeństwa, jednak tylko nieliczne odważnie punktują kwestie, o których zazwyczaj tam się nie rozmawia.

Tekst: Agnieszka Kolwalska

http://wyborcza.pl/1,75475,9629318,Uchylamy_drzwi__Sztuka_bialoruska_w_Zachecie.html

Rebecca Elfast Collage. Swedish exhibition finissage last day.

2011-05-22T12:04:00.001-07:00

Wywiad z dyrektorami Art Basel. Rozmawiała redaktorka Artnet Magazine Gesine Borcherdt 17.05.2011

2011-05-21T01:09:00.000-07:00

Wywiad z dyrektorami Art Basel na temat przejęcia udziałów i organizacji targów Art Hong Kong.

Co oznacza przejęcie organizacji Art Hong Kong dla szwajcarskiej sztuki jak i dla Art Basel i

Art Basel Miami Beach??

Annette Schönzoler: Docelowo planujemy przeprowadzić w perspektywie średnioterminowej

trzy edycje targów Art Basel w Azji. Jesteśmy na etapie sprawdzania co to dla nas dokładnie

oznacza. Tylko wtedy, gdy będzie to dla nas jasne, Art Basel w Azji będziemy mogli

firmować w naszym imieniu.

Courtesy of Hong Kong Convention and Exhibition Centre

Czy zmiany na zachodnim rynku sztuki i w Azji sprawiają, iż więcej kolekcjonerów i

zachodnich galerii pojawia się w Azji czy w zachodniej Europie??

Marc Spiegler: Celem naszego działania jest ułatwienie wejścia na rynek azjatycki galeriom

ze Stanów Zjednoczonych i Europy. Dążymy również do podwojenia liczby azjatyckich

wystawców na Art Basel, którzy są bardzo atrakcyjni dla szwajcarskich kolekcjonerów.

Oczekujemy także większego zainteresowania ze strony azjatyckich miłośników sztuki

podczas targów Art Basel i Art Basel Miami Beach. Liczymy na podobny sukces jak podczas

organizacji Art Basel Miami Beach w Ameryce Łacińskiej, który sprawił, iż mamy coraz

więcej kolekcjonerów z tego regionu również na Art Basel.

Czy w przyszłości zostanie ustanowiona na azjatyckich targach odrębna wystawa

reprezentująca sztukę szwajcarską, znacznie oddzieloną od innych europejskich nurtów

sztuki??

Marc Spiegler: Tak jak Art Basel i Art Basel Miami Beach są nastawione na różne nurty w

sztuce, tak samo będziemy starali się zrobić na azjatyckiej edycji Art Basel.

Komisja rekrutacyjna, która zostanie utworzona - będzie składać się z równej liczby

azjatyckich i zachodnich właścicieli galerii?

Annette Schönholzer: Jest to pytanie, na które na chwilę obecną nie możemy udzielić

odpowiedzi, ta kwestia musi zostać jeszcze przedyskutowana. Oczywiście chcemy, aby

różnorodność na targach była również reprezentowana w komisji .

Jakie są planowane zmiany organizacyjne dotyczące liczby uczestników, lokalizacji targów??

Marc Spiegler: Sprawy organizacyjne będziemy planować w najbliższych miesiącach.

Jeśli organizacja Art Hong Kong jest teraz w rękach Art Basel, to czy jest ustanowiony

oddzielny organ kierowniczy targów?

Annette Schönholzer: Magnus Renfrew i jego zespół będą zajmować się organizacją targów

w 2012 roku, oczekujemy, że ta decyzja pozostanie nieodwołalna. Jak będzie wygląda

przyszła struktura organizacyjna, dowiemy się w następnych miesiącach podczas Art Hong

Kong 2011 i 42 edycji Art Basel.

Magnus Renfrew, Director of the Art HK 11

Tłumaczenie: Katarzyna Kuryłowicz

oryginalny artykuł można przeczytać tutaj:

http://www.artnet.de/magazine/interview-mit-den-leitern-der-art-basel-zur-ubernahme-der-art-hongkong/

MOCAK otwarty. 19.05.2011

2011-05-20T12:04:00.000-07:00

19 maja miało miejsce oficjalne otwarcie MOCAK-u Muzeum Sztuki Współczesnej w Krakowie. W uroczystości udział wzięli m. in. Prezydent Rzeczpospolitej Polskiej Bronisław Komorowski oraz Prezydent Miasta Krakowa Jacek Majchrowski. Muzeum Sztuki Współczesnej w Krakowie jest pierwszą w Polsce tego typu instytucją, która została stworzona od podstaw. Budynek powstał na terenie dawnej fabryki Schindlera w poprzemysłowej dzielnicy Krakowa - Zabłocie, która w ostatnich latach przeszła gwałtowną rewitalizację. Autorem projektu jest Claudio Nardi, włoski architekt i projektant wnętrz, który nawiązuje do nurtu neomodernistycznego.

Placówka zostanie otwarta dla zwiedzających 20 maja podczas ósmej edycji krakowskiej Nocy Muzeów. Jest to idealna okazja do obejrzenia 6 interesujących ekspozycji m. in. "Historia w sztuce" międzynarodowa wystawa 44 artystów ukazująca w 120 pracach krytyczny obraz historii.

Druga wystawa to " Kolekcja MOCAK-u" zbiory prac współczesnych polskich i zagranicznych artystów reprezentantów powojennej awangardy i konceptualizmu. Ekspozycjae fotografii „ALIAS: Madeleine Sante" przedstawiająca sześć alternatywnych życiorysów fikcyjnej bohaterki tytułowej – Madeleine Sante oraz "Maurycy Gomulicki, Bibliophillia" 14 fotografii, ukazujących bibliotekę jako miejsce spotkań intelektu i zmysłów.

Nagroda Fundacji Vordemberge-Gildewart” – to z kolei wystawa młodych artystów polskich. Fundacja Vordemberge-Gildewart powstała w 1981 roku z inicjatywy Ilse Vordemberge-Leda, promuje ona młodych artystów, którzy nie ukończyli trzydziestego piątego roku życia.

tekst: Katarzyna Kuryłowicz

Exhibition opening SUPERFLAT HEROES LA LACHOWSKA ex. Ania O

2011-05-20T08:29:00.000-07:00

27 May at 19:00 - 10 June at 19:00

Love&Trade

Solec 18

Warsaw, Poland

Coctail with Marset and Christophe Mathieu in 3F Studio.

2011-05-19T14:10:00.000-07:00

3F STUDIO i firma Marset mają przyjemność zaprosić na prezentację kolekcji oświetlenia. Gościem specjalnym pokazu będzie designer, Christophe Mathieu, projektant lampy Discoco. Po prezentacji odbędzie się koktajl podczas, którego zostaną rozlosowane lampy firmy Marset.

http://www.3fstudio.com.pl/

The Collage by Gina Amama, The Kosciuszko Foundation. Exhibit opening 20.05.2011 NYC

2011-05-19T04:01:00.000-07:00

The Collage

FRIDAY, MAY 20, 2011, AT 7:00PM

The Collage by Gina Amama

15 East 65th Street
New York, NY 10065

Gina, is Polish born artist. She began her story with art studying painting and drawing from where she moved to London studying art and design (with a continued focus on painting) at the University of Arts in London.

This focus on visual media and her strong fashion background, developed working as a model, led her into fashion photography. This became the central theme of her diploma which she completed at London College of Fashion in 2009.

Gina started to work as a freelance photographer directly after her studies focusing on creating fashion stories. Her first independent project and solo exhibition, The Collage, took place late autumn of 2010 in Warsaw. It was met with positive reviews from invited guests and the press; several images were invited to the Polswiss auction later the same year.

Gina's work is strongly influenced by fashion, but it is her passion for snap-shooting and lomography that has shaped her signature style. This style is strongly noticeable in both her commercial and personal projects

Brain and Beauty

A lecture by Professor Jaroslaw Krejza

A question nurtures people whether beauty exists only as a subjective feeling or whether it is a real and universal form. Thus, the lecture addresses our perception of beauty and attraction, meaning and influence of romantic love, differences between romantic and mother's love, illusion of happiness and approaches to the health of our brain.

Shedding a light on illuminations by Barbara J. Scheuermann

2011-05-18T14:05:00.000-07:00

Biennial Venice 2011
Shedding a light on Illuminations

Barbara J. Scheuermann
published in: (H)Art #80, April 2011, p. 20

No doubt, the Venice Biennial – the mother of all art biennials – is still one of the most important and eagerly-anticipated events in the art world, not least because of the often discussed national pavilions which seem a bit outdated nowadays but still give the biennial this special edge. The expectations for the curated main exhibition in the Central Pavilion and in the Arsenale are high, and one can imagine that the position of the respective curator is not an easy one, overexposed to public pressure and criticism. After all the Biennale is regarded as being the most comprehensive and influential contemporary art exhibition in Europe (besides the Documenta which only takes place every five years in Kassel). The respective curator usually plays a very prominent role, so it’s no surprise that an image of this year’s curator Bice Curiger, curator at Kunsthaus Zürich since 1993, is the first thing you see when you enter the website of the Biennial. Bice Curiger, well-known art historian, critic and curator at Kunsthaus Zurich, cofounded the prestigious art magazine “Parkett”, of which she is editor-in-chief. She also has been publishing director of London Tate Gallery’s magazine “Tate etc” since 2004 – there are not many curators who could be described as more acknowledged in the European art world than Bice Curiger.

In March, she and Paolo Baratta, president of the Venice Biennale, undertook a promotion tour to Zürich, Berlin, Moscow and London to introduce their programme of this year’s biennial which is titled “Illuminazioni/Illuminations”. On occasion of these – extremely well-attended – press conferences Bice Curiger took the chance to present her major ideas for the exhibition as well as the facts around it. First the facts: As usual the show will be laid out in the Central Pavilion in the Giardini and in the Arsenale, featuring 82 artists from all over the world – not all of their names have been revealed yet –, including 32 artists who were born after 1975 which probably is supposed to indicate that the biennial is a rather young one and many of its participants are still “emerging”. Yet you find “hipsters” like Klara Liden, Cyprien Gaillard or Das Institut and Kerstin Brätsch on the list of youngsters too. But there are also established ones among the named artists, such as Fischli & Weiss, Pipilotti Rist, Franz West or Cindy Sherman. Most of the shown artworks will be made specifically for the Biennial. Somewhat astonishing seems the special remark in the press release that 30 of the 82 participants are women. Why is it, in 2011, worth an announcement that not nearly half of the artists of the Biennial are female? Given that this announcement comes from the organizers themselves it seems that this is supposed to be regarded as a notably good thing, however it rather makes one wonder – and a little depressed – how long it still will take until we have the first major exhibition with more female than male artists and just nobody will care and why we haven’t reached this point yet, not even when the curator is female herself.

It’s good to hear Curiger talking about her work and her perspective on the recent art discourse. It is so common that curators and critics only mention “specific” criteria and aspects without bothering to actually specify them that Curiger’s clear and sharp-sighted approach means a relief. Of course, it’s probably a bit too widespread when the curator explains that the title “Illuminations” not only “emphasizes the intuitive insight and the illumination of thought that is fostered by an encounter with art and its ability to sharpen the tools of perception” but also “suggests a wide range of associations, from Arthur Rimbaud’s wildly poetic ‘Illuminations’ and Walter Benjamin’s ‘Profane Illuminations’ on the surrealist experience to the venerable art of mediaeval illuminated manuscripts and the philosophy of illumination in 12th century Persia.“ That has a bit of a sweeping swipe but sounds great and just one has to see how this wide range of references actually will ber reflected in the exhibition. Particularly interesting is Curiger’s emphasis “on the ‘light’ of the illuminating experience, on the epiphanies that come with intercommunicative, intellectual comprehension” and that, “despite the fact that, in recent years, the idealization of enlightened reason and a specific brand of European western scholarly practice have come under fire, we cannot help respecting and even defending their value particularly in regard to the debate on human rights.”

These essential thoughts led Curiger not only to invite artists which are less-known in Europe like Gedewon (1939-1990 in Ethiopia) or Birdhead from Shanghai (Song Tao and Ji Weiyu, born 1979 resp. 1980 in Shanghai) but also to commission four artists – Monika Sosnowska, Franz West, Song Dong und Oscar Tuazon – to create “Parapavillons” with works by other artists, thus giving the curatorial control partly out of hand and accommodating the contemporary phenomenon of the “artist-curator”.

By the way: Jacopo Tintoretto (1518-1594) is invited too. The incorporation of his work into the show is supposed to “transmit unexpected, stimulating signals and cast light on the conventions of the art trade regarding both old and contemporary art”, since “contemporary art rarely moves beyond the territory covered by the history of Modernism.” Well, that might be true, but this bridging to earlier epochs reminds of the last Berlin Biennial 2010 when curator Kathrin Rhomberg tried to include works by Adolph Menzel (1815-1905) which were – badly – installed in the Alte Nationalgalerie, separately from everything else, and had no impact on the Biennial whatsoever. It rather brought up the question if the viewer needs this disgruntingly didactic art-historical reminder. Same will have to be asked for Tintoretto in Curiger’s show, especially in Venice where not even the biggest ignoramus can fail to notice that there was art before Modernism.

ILLUMInazioni – ILLUMInations
Venice (Giardini and Arsenale), June 4th – November 27th, 2011
Preview June 1st, 2nd and 3rd, 2011

International project "Przedmieścia" with Julita Malinowska.19.05 - 11.06.2011

2011-05-17T08:21:00.000-07:00

Wydział Sztuki Uniwersytetu Ostrawskiego, Galeria "Nova" w Ostrawie, oraz Akademia Sztuk Pięknych w Krakowie

zapraszają na wystawę, zorganizowaną w ramach międzynarodowego projektu "przedmieścia".

Czas trwania wystawy:

19.5. - 11.6. 2011r.

Wernisaż: 19.5. 2011r., godz. 17.00

ARTYŚCI Z POLSKI I CZECH

Pavel Albert

Bogusław Bachorczyk

Zbigniew Bajek

Iwona Demko

Darek Gajewski

Zbyněk Janáček

Julita Malinowska

Libor Novotný

Przemysław Pokrywka

Marek Sibinský

Magdalena Starska

Witold Stelmachniewicz

Renata Szułczyńska

Mariola Wawrzusiak

Małgorzata Wielek-Mandrela

Day of Sweeden 2011//Sweedish Art Exhibition 6-8.05.2011 photorep.

2011-05-16T05:44:00.000-07:00

7 maja w Warszawie na pl. Zamkowym odbył się Dzień Szwecji, nad którym patronat honorowy objęła Ambasada Szwecji w Warszawie. Impreza plenerowa była niesamowitą okazją aby poznać bliżej kulturę i tradycję naszego północnego sąsiada. Dla najmłodszych gości organizatorzy przygotowali szereg atrakcji m. in. warsztaty malarskie, przedstawiania teatralne "Pippi Pończoszanka" i "Dzieci z Bullerbyn", quizy wiedzy o Szwecji oraz wiele konkursów z nagrodami ( nagroda główna wycieczka promem Stena Line do Szwecji dla dwóch osób). Dorośli mieli możliwość dzięki studentom z Wydziału Skandynawistyki ze Szkoły Wyższej Psychologii Społecznej w Warszawie, nauczyć się podstawowych zwrotów z języka szwedzkiego, jak również zapoznać się literaturą skandynawską czy też spróbować szwedzkich potraw.

Wspaniałym zakończeniem dnia był występ szwedzkiego chóru "Ostro Choros". Na specjalne zaproszenie organizatorów wystąpił również popularny z występów w konkursie Eurowizji, szwedzki girlsband "Timoteij" grający muzykę, która jest połączeniem lokalnego folkloru z popem.

Podczas obchodów Dnia Szwecji w dniach 6-8 maja w Domu Polonii miała miejsce także organizowana przez Biały Kamień Contemporary Showroom wystawa malarstwa szwedzkiego. Przedstawione prace to dorobek młodych artystów jak i tych z ugruntowaną pozycją obrazy olejne, akwarele i grafiki nawiązujące swoją tematyką do Skandynawii

REBECCA ELFAST

Ur. w roku 1982. Ukończyła architekturę, malowała od dziecinstwa. Urodzona w roku 1982, absolwentka architektury, samorodny talent. Mówi o sobie, że najważniejsza dla niej jest kreatywność, której poszukuje każdego dnia.

FREDRIK THORSÉN

Ur. w 1982 roku, malarz realistyczny, absolwent prestiżowej szkoły Florence Academy of Art; zdobywca wielu nagród. Sam twierdzi, że aby ulepszyć swoją technikę, trzeba się uczyć wprost od mistrzów takich jak Rembrandt, Velázquez czy Sargent.

ANN EDHOLM
Ur. 1953. Członek Akademii Sztuki w Sztokholmie i profesor Akademii Sztuk Pięknych. Ma za sobą wiele indywidualnych i zbiorowych wystaw, a jej prace są ozdoba wielu cennych kolekcji prywatnych i muzealnych (m.in. Museum of Modern Art. w Nowym Jorku, Muzeum Narodowe w Sztokholmie).Twórczość Ann Edholm znajduje się w kręgu abstrakcji geometrycznej. Do tego nurtu należeli m.in. Piet Mondrain, Kazimierz Malewicz, Henryk Stażewski, Stefan Gierowski). Artystka zafascynowana jest formą, przestrzenią i czasem. Dzięki jej twórczości stajemy się współuczestnikami materialnej i duchowej inspiracji twórczej.

PETER FREUDENTHAL
Ur. 1938. Jeden z wybitniejszych twórców współczesnej awangardy światowej. Podstawowym modułem w jego pracach są kolorowe formy geometryczne, które artysta często multiplikuje, by przybliżyć metafizykę swojej myśli twórczej. Peter Freudenthal odbył wieloletnie studia nad znaczeniem koloru, który wynika z teorii barwy, analiz antropologicznych odnośnie sensu egzystencji człowieka, wreszcie studiów filozoficznych dotyczących tradycji i znaczenia samej formy malarskiej. Jego obrazy znajdują się w kolekcjach muzealnych m.in. Moderna Muzeum w Sztokholmie, Muzeum Żydowskim w Nowym Jorku, licznych międzynarodowych galeriach oraz w zbiorach prywatnych.

Jeśli nie udało się Wam obejrzeć wystawy zapraszam serdecznie na finissage w dniach 15-23 maja, który odbędzie w Biały Kamień Contemporary Showroom , godz. otwarcia codziennie 18.00- 22.00, za uprzednią rezerwacją telefoniczną.

Tekst: Katarzyna Kuryłowicz

Recommended to attend: Jakob Lenz. Amazing, advanced opera.

2011-05-15T15:00:00.000-07:00

JAKOB LENZ

Wolfgang Rihm

Opera kameralna
Premiera obecnej produkcji: 7 maja 2011
Libretto: Michael Fröhling wg opowiadania Georga Büchnera Lenz
Oryginalna wersja językowa z polskimi napisami

Czas trwania: ok. 75 min. (bez przerwy)

Dyrygent: Wojciech Michniewski
Reżyseria: Natalia Korczakowska
Scenografia i kostiumy: Anna Met
Choreografia: Tomasz Wygoda
Reżyseria świateł i wideo: Wojciech Puś
Casting: Leszek Barwiński
Przygotowanie językowe i muzyczne zespołu wokalnego: Marcin Kozieł

Koprodukcja z Teatrem Narodowym

Orkiestra Opery Narodowej

Spektakle: 7, 8, 10, 13, 15 V 2011

Afisz

obsada:

Soliści:
Lenz: Holger Falk
Oberlin: Jacek Janiszewski
Kaufmann: Daniel Kirch
Czerwony Kapturek/Głos Fryderyki: Kamila Kułakowska
Jurij Gagarin: Magdalena Molendowska
Napoleon Bonaparte: Agnieszka Bajer
Kaliban: Małgorzata Godlewska
Jezus Chrystus: Leszek Solarski
Johann Wolfgang Goethe: Piotr Wołosz

Aktorzy (Teatr Narodowy):
Ojciec: Krzysztof Wakuliński
Oberlinowa: Dorota Landowska

Dzieci: Piotr Aleksandrow, Karol Jabiry, Aleksander Jakubowski,
Maciej Kasperek, Michał Kasperek, Ignacy Łopuszyński, Anna Mizińska, Alan Turonek

Tancerka: Anita Wach

Pierwsza tak wyjątkowa współpraca teatrów: operowego i dramatycznego czyli koprodukcja Teatru Wielkiego - Opery Narodowej i Teatru Narodowego. "Jakob Reinhold Lenz uznany za prekursora romantyzmu, chorował na schizofrenię. LenzBüchnera to nowela o chorobie umysłu. Szaleństwo jest źródłem romantyzmu. Idee romantyczne zakłamują rzeczywistość, ale w swojej pierwotnej formie były reakcją na inne zakłamanie. Były próbą przywrócenia równowagi społeczeństwu w pierwszej fazie rewolucji przemysłowej, społeczeństwu zapatrzonemu w obietnice kapitalizmu. Romantyzm był szaleństwem, anarchią, próbą stworzenia opozycji dla mitu człowieka racjonalnego i obowiązującego pojęcia normalności" - mówi Natalia Korczakowska, opowiadając o trwającej pracy nad spektaklem.

TERYTORIA. Cykl na Scenie Kameralnej. Prezentacja niemal nieobecnych w polskich teatrach XX- i XXI-wiecznych dzieł operowych i baletowych - nowoczesnych, wyrafinowanych, teraźniejszych, sięgających po skrajne, nieraz graniczne stany emocjonalne. Ich inspiracją były zwykle wielkie dzieła literackie. Ich muzyka nie pozwala o sobie zapomnieć.

TERYTORIA to próba poszukiwania nowych jakości estetycznych i form wyrazu, wytyczenia nowatorskich nurtów, wyzwolenia nieznanych skojarzeń i wizji. Do współpracy Teatr Wielki - Opera Narodowa zaprasza najciekawszych obecnie twórców w dziedzinie muzyki, teatru i plastyki.

Uwaga! W ostatnim obrazie spektaklu wykorzystany zostanie efekt stroboskopowy (światło pulsujące z dużą częstotliwością). Osoby wrażliwe na ten rodzaj oświetlenia prosimy o zachowanie szczególnej ostrożności.

Projekt plakatu: Kobas Laksa/Basia Bańda

Biały Kamień Contemporary Showroom

Julita Malinowska. New Artworks. 10.01.2012-10.02.2012

pre Christmas Shopping event

Enklawa. CSW 5.12.2011

Coming OuT 2011! Best ASP diplomas 25.11.2011

The Others. Photoreport.

We are exhibiting on Stand B10, The Others, 4-6.11.2011 Turin, Italy

New gallery page officially released

Saved by Droog. Exhibition opening 17.10.2011 CSW

VIII Samsung Art Master

Göteborg International Biennial for Contemporary Art

Starter Gallery. Abstract Forms. Emerging Artists. 29.09.2011

Zuzanna Soińska. Abstrakcje. Wernisaz wystawy prac na drewnie. 30.09.2011

Grażyna Bartnik. Conceptual Graphics. Exhibition opening 26.09.2011, 18.30

Gosia Kosiec. Digital Portraits. First Preview. 23.09.2011 18.30

Gosia Kosiec.Digital Portraits.New artist in BK Contemporary.First Preview.Collectors Cocktail.

23.09.2011, 18.30Biały Kamień ContemporaryBiały Kamień 2 str. RSVP for event:+48 792 284 090 bkcontemporary@gmail.com

Visiting Kasia Domanska workshop

KASIA DOMANSKA | Malarstwo. Letni cud pozostaje w słodkich wspomnieniach.

Pokolenie przemiany. Nowa sztuka z Indii. Exhibition opening, Zacheta Gallery 02.09.2011.

Early Lech Bator's Deers just arrived to BK terrace wall

Reynold Reynolds (USA), presentation and meeting with artist, CSW Kino.LAB 18.08.2011

Graphyphoto Exhibition opening . Milanovo 13.08.2011

Agata Bogacka PAMIĘTNIKI / DIARIES, 12.08.2011 19.00 Zachęta Gallery

BK Collectors talks. "How to collect?" Wednesday 03.08.2011 20.00!

"Nasi młodsi bracia" exhibition opening. Boheńska Gallery 28.07.2011

photorep. Lech Bator Exhibition opening at Re:Forma Bar, Mariensztat, Warsaw

Lech Bator. Various paintings. Tonight 19.30 Re:Forma Bar. Mariensztat. Sq. Warsaw.

British Realist Painter Lucian Freud, Famed for His Nudes, has Died Aged 88

Monday 18.07.2011 18.30. Save the Date!

Desa Unicum bought control 51% stake of Sopocki Dom Aukcyjny 11.07.2011

Sharks Cocktail photorep. by Oleg Burdzenia

07.07.2011, 19.00 Save the Date!

Sharks & Piranhas.New face in BK Contemporary.First Preview.Cocktail.

Ai Weiwei has been released from prison on bail!

Art Basel 42: Extraordinary Quality, Strong Results and New Attendance Record

Pomalama art and design squad opens on Saturday June 17 on Mokotowska 65 str.

BMW replaces Audi as VIP Shuttles during Art Basel 42

Art Basel 42: a week of highlights

Rebecca Elfast exhibition pening photorep. 13.06.2011

ART BASEL 42, VIP Day. Previews.

Rebecca Elfast exhibition opening. Tonight 19.00

Rebecca Elfast

About

Reccomended to attend: Le Sacre du Printemps. Premiere 11.06.2011

obsada:

pre Art Basel 42 weekend preview started in BK Contemporary

Projektowanie w działaniu/Design in action. Event opening 9.06.2011

Exhibition opening. Odpusty i cudowne widzenia. Julia Curylo 1.07.2011 - 27.07.2011

The Venice Effect

Visitors to Tracey Emin's installation at the British pavilion in 2007

Curators of the Biennale have always played down its impact on the art market, but the two go hand-in-hand

II official day of Biennale di Venezia 54

François Pinault Presents a New Exhibition at Palazzo Grassi: The World Belongs to You

With Strong Sales, Art Hong Kong Confirms Its Position Amongst the World's Leading Art Fairs

Upgrading June '11 portfolio

SUPERFLAT HEROES LA LACHOWSKA exhibition opening Love&Trade, Warsaw 27.05.2011

ART HK 2011 opened it's doors yesterday.

HK's most glamorous turned out for the opening night of ART HK 11The Fair is now open until Sunday

17th BMW Art Car by Jeff Koons! Now in Asia at ARTHK!

Exhibition opening: "Otwierając drzwi? Sztuka białoruska dzisiaj". Zachęta Gallery. Warsaw. 23.05.2011

Otwierana w poniedziałek w Zachęcie wystawa jest jedną z największych prezentacji białoruskiej sztuki współczesnej, jakie zorganizowano dotąd w Warszawie.

Rebecca Elfast Collage. Swedish exhibition finissage last day.

Wywiad z dyrektorami Art Basel. Rozmawiała redaktorka Artnet Magazine Gesine Borcherdt 17.05.2011

MOCAK otwarty. 19.05.2011

Exhibition opening SUPERFLAT HEROES LA LACHOWSKA ex. Ania O

Coctail with Marset and Christophe Mathieu in 3F Studio.

The Collage by Gina Amama, The Kosciuszko Foundation. Exhibit opening 20.05.2011 NYC

The Collage

FRIDAY, MAY 20, 2011, AT 7:00PM

Shedding a light on illuminations by Barbara J. Scheuermann

International project "Przedmieścia" with Julita Malinowska.19.05 - 11.06.2011

Day of Sweeden 2011//Sweedish Art Exhibition 6-8.05.2011 photorep.

Recommended to attend: Jakob Lenz. Amazing, advanced opera.

obsada:

Gosia Kosiec.
Digital Portraits.

New artist in BK Contemporary.
First Preview.
Collectors Cocktail.

23.09.2011, 18.30Biały Kamień Contemporary
Biały Kamień 2 str.
RSVP for event:
+48 792 284 090 bkcontemporary@gmail.com

Sharks & Piranhas.
New face in BK Contemporary.
First Preview.
Cocktail.

HK's most glamorous turned out for the opening night of ART HK 11
The Fair is now open until Sunday