Artists
Andrzej Bednarczyk, Michał Bratko, Diana Lelonek, Izabela Łęska, Krzysztof Maniak, Kinga Nowak, Mikołaj Smoczyński, Łukasz Stokłosa, Mikołaj Szpaczyński, Michał Zawada
Curator
Magdalena Ujma
The exhibition is a part of the Copernicus Festival
A collective exhibition dedicated to experiencing time. In everyday life we assume that time flows only in one direction. You can’t turn it back, it runs mercilessly and all we can do is accept it as it flows at a steady pace, measured increasingly accurately. Subjective experience of time, however, is rather different – it flows at various speeds, we can imagine turning it around, its movement in many directions. Then there are achievements of modern science which sometimes defies time, and the ways science defines it are often much different to common knowledge.
Artists invited to the exhibition will show their interpretation of time, inspired by both common conviction and science. We will be asking about the possibility of stopping the flow of seconds, minutes and hours and what would happen if we succeed. There are moments in life, when time gets suspended – when we see a stunning landscape or when we’re happy. Another situation when we have the impression that the clock has stopped is while travelling, immobilized between the starting point and the destination. These situations, when we’re stopped in mid-time, will be the main topic of the exhibition.
Artist
Marek Chlanda
Curators
Marta Bryś, Magdalena Kownacka, Izabela Zawadzka
As the project members say – ‘We never know what’s going to happen’. 270 drawings entered the room (stage) of Cricoteka. For now they are grouped in 20 drawingbags, in three series which will seat on 70 chairs. Five films are looking for proper conditions to be shown. Oh, and a few sculptures got a lifting. 52 steps long and 18 across. Rather mediocre acoustics. Time flows slowly. ‘The realm of drawings is not so much what can be drawn, but what has been drawn hundreds and thousands of times’ – this is how Marek Chlanda introduces us to the event. We’ve been working here for over a month, mostly as tools to measure distance, temperature, hardness, smell and strength. The works cover several spheres: the area of direct experience, the space of drawings as verbal concepts, and transmissions from the afterworld. Action thinking, intuitive locking of events, choreographic look and various other procedures are all milestones of our progress. We place capacity, buoyancy, content of actions in the place of interpretation, substance and understanding. We study mechanic and organic movement, remembering and forgetting. The exhibition room is our territory, inhabited by mocking Jesters and an existential reverie of the Afterworld, cams and right angles. We govern the space, authorizing the views of our not-really organism, not-really landscape. It’s a bit funny, but not without pressure and exploitation.
Marek Chlanda’s Cargo is a project placing itself at the meeting point of an exhibition, installation, performance and research process. It is currently lead by a team consisting of Marek Chlanda, Marta Bryś, Kaja Gliwa, Magdalena Kownacka, Izabela Zawadzka, Gaweł Kownacki i Aleksandra Idzikowska. Cargo, or a shipping service is the starting point. We all have our formatting experiences, teachers, masters, ideas and realizations which establish their artistic and life ‘me’. For Marek Chlanda it was the year 1975, when he saw Jerzy Grotowski’s Apocalypsis cum figuris and Tadeusz Kantor’s Dead Class. These experiences were key to his art and the way he understood art. He was a 20 years old student of the Faculty of Graphics of the Academy of Fine Arts in Cracow. Chlanda is the only member of the team so far, who has seen those spectacles live. The rest knows them through somebody else’s experience. Each of them is facing the contents of Cargo.
The exhibition room will be undergoing constant changes. Marek Chlanda and the other team members will be present in Cricoteka through the whole project. A group of coworkers will be growing. Guests from different environments and fields will be invited to join the project, and the variety of points of view will become the beginning of the publication accompanying the event.
Cargo will be open to viewers from the 9th of October 2020.
The exhibition is a part of ‘Difficult pasts – uncertain futures’, celebration of 40th anniversary of Cricoteka.
What if we told you that art is a variety of ways to experience reality and a means for constant training the senses? In the ‘TRANSmissions’ experiment we will be faced by a work of art, a testament to extreme emotions. We will try to take the challenge of being not only a receiver, but a participant, an interpreter and the mediator of art (and the artist). The exhibition ‘Unclaimed land’ will be the realm of our activities and our sensoric sensitivity will be tested.
The experiment will be conducted by dr.Monika Nęcka.
It would be hard to find more individual, controversial and at the same time deeply Japaneese artists. With his bold and monumental work Nobuyoshi Araki has set the trends and shifted the borders in the world of photography. Shiro Tsujimura on the other hand, considered a revolutionist by the circles of Japanese ceramics admirers, has made his way to the reality of modern art through his unique, muted style. What both artists have in common, besides almost titanic productivity and working ‘on their own terms’ without compromise, is following ethical and aesthetic traditions of zen. This, at first glance contrasting, juxtaposition of two most outstanding Japanese artists will be the point of the exhibition presented from 12th of May to the 25th of October 2020 in the Manggha Museum of Japanese Art and Technology.
Małgorzata Jagiełło – a graduate of the Faculty of Graphics of the Academy of Fine Arts in Cracow. A diploma in the Copperplate Studio under the supervision of prof. Mieczysław Wejman. Took part in many individual and collective exhibitions. She is a member of Cracow’s Chapter of ZPAP.
She does oil and pastels paintings, drawings, photography, digital graphics and poetry. In her work she focuses on the variety of contexts in human life. Despite the charms of abstraction she mostly creates representational art.
At the beginning of all world’s cultures, besides weapons and tools, humans created a figurine – an image of deity, but also themselves. It had many functions – it was used in magic, it could be an offering and many more.
With time, this alter-ego became a portrait, a first object of art and a toy.
This is how a doll was created. A companion of a person from birth to death. Rich and poor, primitive and those with ‘sophisticated personalities’, naked and clothed according to the wealth of the owner, dolls share the fate of their owners, carry the signs of time, use and also cruelty.
Passed from generation to generation they were decorations of childrens’ beds, strollers and sweet rooms. They have become a universal symbol of a human being. For many years, besides other forms of art, I have been building ‘little worlds’ covered by glass domes. Metaphoric scenes almost like from a puppet theater. I buy or find dolls and various objects on the flea markets and antique shops, sometimes my friends give them to me in different states. When I am creating those little worlds I am an author, director and a scenographer of these spectacles. I save these ‘played out’ dolls by giving them a new life. They symbolically carry the truth about the condition of a man, the comedy and tragedy of their lives.
Bogna Becker – born in 1946 in Cracow. urodzona w 1946 r. w Krakowie. A graduate of the Secondary School of Fine Arts and the Faculty of Painting and Textile at the Academy of Fine Arts in Krakow. She works in painting, sculpture, conservation and photography. Numerous individual exhibitions, participation in many collective exhibitions. Works in museums and private collections in Poland, France, Italy, Scandinavia, Germany, Israel, USA, Canada.
Cracow’s Artistic Residencies 2020 is a project consisting of residencies for guests invited to Cracow for ten days and an open-air painting meeting for local artists invited to participate in the project. The symposium part (with webinars) will initiate the idea to get acquainted with art of various ethnical and cultural backgrounds, and with art created by guests of the project. We are planning to show the results of the project at the end of 2020. The exhibition will be accompanied by a publication concluding the project, a movie about it and recordings of the webinars. Foreign artists will have the opportunity to familiarize themselves with the cultural heritage of Cracow and the Lesser Poland region. To make it possible we will organize trips to Miechów, Olkusz and to the Cracow-Częstochowa Upland. Our guests will be visiting monuments, galleries and museums and will participate in a meeting with the Rector of the Academy of Fine Arts in Cracow. Dr hab.Joanna Banek and Tomasz Awdziejczyk are the curators of the project.
Works of art resulting from Cracow’s Artistic Residencies 2020 will be made publicly available in an exhibition in the Gallery of the International Center of Culture in Cracow between the 1st and the 12th of December 2020. A broad catalog will also be published on this occasion. Invited artists will represent countries like England, the Czech Republic, Slovakia, Lithuania, Romania and Ukraine. One of the guests will be Barbara Kaczmarowska-Hamilton, official painter of the British Royal Family.
Wydarzenie ma charakter dwuczęściowego projektu kulturalnego. Część pierwsza-poznawcza, promuje kulturę i sztukę Krakowa i Małopolski, integruje środowisko artystów krakowskich ze światem sztuki europejskiej. Otwiera możliwość wymiany doświadczeń i zwiększa promocje, zasięg sztuki . Część druga upublicznia dorobek twórczy artystów rezydentów i artystów krakowskich stając się platformą integracji i wymiany doświadczeń świata sztuki.
Projekt realizowany przy wsparciu finansowym Województwa Małopolskiego. Działania zostaną zorganizowane z najwyższą troska o bezpieczeństwo epidemiologiczne w zgodzie z wszelkimi wymogami sanitarnymi i przepisami w tym zakresie.
The pandemic has changed a lot in the lives of many institutions, including ours. Our plans of organizing an exhibition in Hipolits’ House for KRAKERs had to be adjusted and will take the form of a film. The exhibition space of the bourgeois house in the Hipolits’ House is a place where history meets modern times. The interiors, furnished according to the tradition supported by available archives, iconography and memoirs, allow us to dive into the past. Visitors has a feeling that the owners are still there and they’ve been invited to meet them. Unique feeling of continuity, undisturbed even by the presence of the people supervising the display and other security measures necessary in a museum, makes it possible to experiment and surprise the visitors with something unexpected. People who lived in this house surrounded themselves with art and craftsmanship, which allows us to think that if new generations of people lived here they would continue expanding this collection. They might focus on classic art or on the contrary – start a collection of modern art. The video we have prepared for this year’s KRAKERS will be an attempt at creating a virtual walk through the bourgeois house and an occasion to have a conversation about modern art (from the collection of Cracow Museum) in the context of the history of culture and customs.
We invite you to participate in the competition that will soon appear on the Facebook profile of the museum. The participants can win MOCAK’s publications.
I know I’m always repeating myself, but everything’s in the details… In the meanderings of path we grope along. The fingers get a different detail every time around… No one knows what segment of the way will give the traveler the blessing of strength. That is why the road must be walked time and again… The more imperiled I feel, the wider I have to draw my horizon.
Krystian Lupa is one of the greatest European theatre directors. He has been associated with the Stary Theatre since 1978, preparing here sixteen stagings that work as laboratories of shifting memories (his own, the actors’, and the viewers’).
