Wladyslaw Strzeminski Retrospective at MS2, Lodz / Poland
| Jarosław Lubiak, curator of the exhhibition, explains work of Władysław Strzemiński (1893-1952), one of the most important polish avant-garde artist. Strzemiński was a painter, designer, theoritican and teacher. The theory of Unism, which he created, was an importand contribution to the history of art of 20th century.
ms2 Muzeum Sztuki - ( Lodzkie - Łódź )
ms2 Muzeum Sztuki / ms2 Art Museum - Województwo Łódzkie
Modernizacja i adaptacja 19-wiecznej pofabrycznej zabudowy na Muzeum Sztuki. Projekt jest dofinansowany ze środków Unii Europejskiej kwotą 17.000.000 PLN
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Modernization and adaptation of the XIX-century former factory building for Art Museum in Łódź. Project co-financed by the EU - 17.000.000 PLN
Notes from the Underground. Muzeum Sztuki, Lodz.
Art and alternative music in Eastern Europe 1986-1994
22.9.2016–15.01.2017
Curators:
David Crowley (Royal College of Art, London)
Daniel Muzyczuk (Muzeum Sztuki Lodz)
This exhibition explores the close and often dynamic relationship between visual artists and musicians in Eastern Europe under communist rule between 1968 and 1994.
The video «Notes from the Undeground» focuses on the room presenting the Leningrad art scene from the 1980s. Most works in this part of the exhibition are by (E-E) Evgenij Kozlov.
Among them are important portraits of Timur Novikov, Georgy Guryanov, Oleg Kotelnikov, Joanna Stingray, the ‘New Composers’ Valery Alakhov and Igor Verichev, as well as the artist‘s ‘Self-portrait with Blue Eyes’.
Also displayed are Kozlov's posters for the exhibition of Leningrad artists (1983) and for the band ‘KINO’ (1985).
Photographs include his pictures for the LP Cover ‘Insect Culture’ (with Sergey Kuryokhin and the New Composers) and his album of painted photos of Leningrad artists and musicians.
Two large paintings – ‘Shark‘ and ‘Love for Work‘ – dominate the ‘Leningrad’ room. All works were realised between 1983 and 1990.
David Crowley:
We knew that Leningrad in the 1980s had this remarkable vibrant scene which connected visual art and music, of course. And in this world Evgenij Kozlov was a significant figure in a number of different ways, because he was right at the heart of the New Artists – his formation of artist –, but he was also a brilliant chronicler of their activities. So we feel very blessed that we can be showing both a great artist whose work has a kind of energy and a vibrancy which is really stimulating, but also somebody who effectively through his creativity documented many of the practises of his peers.
Daniel Muzyczuk:
Evgenij Kozlov’s works are really creating or enabling us to see the vibrant scene as such. Not just as a documentary of the scene itself, but rather as something that we can still feel in an impressionistic way. We can feel the energy, not the personalities.
Camera: Souad Bensalah-Mekkes and Hannelore Fobo
Interviews, editor, film stills: Hannelore Fobo
Music: New Composers Dr. Mabuze
© E-E films by Evgeni Kozlov 2016
e-e.eu
Polish Art Book. Tokyo: Musashino Art University -Lodz: Book Art Museum/ Tryzno _ 4.50 min
The collection of Polish Book Art in Musashino Art Universisty, Tokio. Exhibiton happend in October/ November 2011 in Tokyo. Short story of production of art book in Lodz, Book Art Museum of family: Janusz and Jadwiga Tryzno.
【親日国】ポーランド・クラクフ！日本美術技術博物館「マンガ館」日本の美術品が展示！ Japanese art and technical museum``Manggha`` Krakow,Poland
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日本の美術品が展示！日本美術技術博物館「マンガ館」
ヴァヴェル城とヴィスワ川を挟んで反対側にある、日本美術技術博物館「マンガ館」。マンガと聞いて漫画を連想するかもしれませんが、漫画の博物館ではありません。ここは、日本の美術をこよなく愛した故フェリクス・マンガ・ヤシェンスキ氏が収集した数多くの日本美術品が展示される博物館です。
ヤシェンスキ氏の死後、映画監督アンジェイ・ワイダ氏が博物館の設立に尽力。ワイダ氏が稲盛財団から京都映画賞を受賞した際の4500万円の賞金の他、日本政府、クラクフ京都財団、JR東労組の寄付、そして、クラクフ市の土地無償提供により作られました。設計は、世界的に有名な日本人建築家磯崎新氏によるものです。
博物館は1994年11月30日に開館。館内には、6500点にも及ぶ日本美術品が展示され、その多くが安藤広重や北斎、歌麿、写楽などの浮世絵です。他に武具や漆器、着物、掛け軸や屏風などが展示されています。日本文化に興味を示す人々が多いポーランドですが、数多くのポーランド人が来場する人気博物館となっています。
館内には、カフェが併設されており、日本茶やコーヒーなどの飲み物以外に、おにぎりや味噌汁、五目寿司などの日本食も提供しています。気候が温暖な時期にはテラス席で、ヴィスワ川とヴァヴェル城を見ながらの食事がお薦めです。
＜日本美術技術博物館「マンガ館」基本情報＞
住所：Konopnickiej 2630-302 Krakow
営業時間：10:00～18:00（入館は17:30まで）
TEL：+48-12-267-2703
料金：大人20PLN、子供15PLN
アクセス：クラクフ中央駅より徒歩約20分、もしくは中央駅南側から22番のトラム利用
CODEX EUROPA AFTER LECTURE OF ALEXEI MONROE FROM OPENNING OF EXHIBITION ,, AUSTELLUNG LAIBACH KUNST REKAPITULACJA 2009 ,, MUSEUM OF ART IN LODZ 23 06 09
Łódź (Poland)
Łódź is the third-largest city in Poland. It is the capital of Łódź Voivodeship, and is approximately 135 kilometres (84 mi) south-west of Warsaw. The city's coat of arms is an example of canting: depicting a boat. It alludes to the city's name which translates literally as boat. The city is internationally known for its National Film School, a cradle for the most renowned Polish actors and directors, including Andrzej Wajda and Roman Polanski.
The Piotrkowska Street, which remains the high-street and main tourist attraction in the city, runs north to south for a little over five kilometres (3.1 miles). This makes it one of the longest commercial streets in the world. Łódź has one of the best museums of modern art in Poland, Muzeum Sztuki, on Więckowskiego (ms1) and Ogrodowa (ms2) Street, which displays a 20th and 21st century art collection.
The city has an international airport: Łódź Władysław Reymont Airport located 6 kilometres (4 miles) from the city centre. Flights connect the city with destinations in Europe and Turkey.
FIXING WHAT ISN'T BROKEN - PART 1 - Vivian van Saaze
Vivian van Saaze
Traveling Concepts in the Filed of Conservation
Dr. Vivian van Saaze is an Assistant Professor at the Faculty of Arts and Social Sciences at Maastricht University and the co-founder and Director of the Maastricht Centre for Arts and Culture, Conservation and Heritage (MACCH). Her research explores the challenges that museums are facing in the wake of new artistic practices (such as new media, installation and performance-based art), as well as the implications of digitization for museums. She was the founder of the International Network for Ph.D. and Postdoctoral Researchers in the Field of Contemporary Art Conservation, and was a co-investigator in the Tate research network Collecting the Performative, which sought to examine emerging practices for collecting and conserving performance-based art. In 2013 she was a research fellow at Tate, London. Recent publications include Installation Art and the Museum: Presentation and Conservation of Changing Artworks (Amsterdam University Press, 2013), “Collecting Performance-Based Art: New Challenges and Shifting Perspectives” with Pip Laurenson in Performativity in the Gallery: Staging Interactive Encounters (Peter Lang, 2014), and “In the Absence of Documentation. Remembering Tino Sehgal’s constructed situations” in Performing Documentation in the Conservation of Contemporary Art, a special issue of Revista Historia da Arte (2015).
SYMPOSIUM
FIXING WHAT ISN'T BROKEN
What is Reconstruction in Contemporary Art?
December 3, 2016
Conference Hall, Latvian National Museum of Art
The symposium Fixing what isn’t broken. What is reconstruction in contemporary art? will address the dilemmas that arise when trying to reconstruct contemporary artworks, with a particular focus on works that are unstable or changing - installations, performances, kinetic or multimedia artworks. At the centre of the discussion will not only be themes of materiality and the physical process of reconstruction of the artwork, but also such issues as authorship, authenticity, original vs. copy, material vs. immaterial, author’s intent, and re-interpretation. The questions asked in the symposium spring forth from two exhibitions organized by the Latvian Centre for Contemporary Art that take place parallel to the symposium: Juris Boiko. Salt Crystals at the Latvian National Museum of Art and Archaeology of Kinetics by artist Valdis Celms and restorer Ieva Alksne at the Riga Art Space.
One of the works revived in these exhibitions is Saltblower (1990), a complex video installation by Latvian artist Juris Boiko (1954-2002). Saltblower consists of a heap of three tons of salt, a video projection of moving clouds, eight muted televisions sets broadcasting live TV and a sound piece in the background. Boiko created the work for the seminal exhibition Latvia – 20th Century Somersault. 1940-1990, which took place in the background of the struggle for Latvian independence of the late 1980s and early 1990s.
Realising this reconstruction brings up a series of unexpected conservational and curatorial questions. For instance, the original TV sets no longer exist – do you find exactly the same TVs of the original piece or it does not matter as long as they are analogue? What place do the original exhibition and the socio-political events that inspired it have for the understanding of this work and how that context should be presented? Is it possible to make an accurate reconstruction of this site-specific installation? And why is it meaningful to do it now? To further complicate matters, all these questions will have to be answered without the usually indispensible input of the author himself.
In the symposium we will look at these questions and themes through case studies of two important actors in the reconstruction process: the curator and the conservator-restorer. The symposium will welcome professionals from a wide range of European institutions, who will share their experiences with reconstructing changing artworks. Participants include Stephanie Weber (Lenbachhaus Munich, Germany), Daniel Muzyczuk (Muzeum Sztuki in Lodz, Poland), Louise Lawson (Tate Modern, UK), Hilkka Hiiop (Art Museum of Estonia), Ieva Alksne and Evita Melbārde (conservators-restorers, Latvia), Astrīda Rogule (Latvian National Museum of Art), Ieva Astahovska (Latvian Centre for Contemporary Art), Francesca Bertolotti-Bailey (Liverpool Biennial, UK), and Kaspars Vanags (ABLV Charitable Foundation, Latvia). Prior to their talks, conservation expert Dr. Vivian van Saaze (Maastricht University, Netherlands) will open the symposium with a lecture on the key concepts of conservation theory.
The symposium will also present a publication - An Incomplete Guide Fixing what isn't broken. What is reconstruction in contemporary art?, edited by Simon van der Weele (researcher, Netherlands).
Artystka zaprasza: Nie śnij o miłości, Kuryluk
Od 6 maja w Gmachu Głównym Muzeum Narodowego w Krakowie pokażemy wystawę poświęcona twórczości malarskiej Ewy Kuryluk – historyczki sztuki, pisarki, poetki, malarki, rysowniczki, fotografki, autorki instalacji. Wystawa w Muzeum Narodowym w Krakowie stanowi ważne podsumowanie malarskiego dorobku artystki, która sama przyznaje, że najlepsza na świecie kolekcja jej obrazów znajduje się od czterdziestu lat w krakowskim Muzeum.
//
DON’ T DREAM ABOUT LOVE, KURYLUK is a retrospective exhibition of paintings by Ewa Kuryluk, painter, installation artist, art historian and writer. The show features over 50 paintings from the collections of National Museum in Cracow, National Museum in Warsaw, National Museum in Wrocław and Museum of Art in Łódź, and important works from the collection of the artist to be presented in Poland for the first time. From May 6, 2016 in the Main Building.
Więcej o wystawie: mnk.pl/wystawy/nie-snij-o-milosci-kuryluk
More about exhibition: mnk.pl/exhibitions/don-t-dream-about-love-kuryluk
FIXING WHAT ISN'T BROKEN - PART 3 - Daniel Muzyczuk
Daniel Muzyczuk (Head of Modern Art Department, Muzeum Sztuki in Lodz, Poland)
The Neoplastic Room as Idea and Object and its Consequences for the Idea of Reconstruction of Works of Art
Daniel Muzyczuk is the Head of the Modern Art Department at the Muzeum Sztuki in Łódź, Poland. He has curated numerous projects, including Gone to Croatan (with Robert Rumas), MORE IS MORE (with Agnieszka Pindera and Joanna Zielińska), Melancholy of resistance (with Agnieszka Pindera), Views 2011, Sounding the Body Electric: Experiments in Art and Music in Eastern Europe 1957–1984 (with David Crowley), Notes from the Underground: Eastern European Alternative Art and Music Scene 1968–1994 (with David Crowley), and Museum of Rhythm (with Natasha Ginwala). He was the co-curator of the Polish Pavillion for the 55th Venice Biennale (with Agnieszka Pindera), and the winner (together with Agnieszka Pindera) of the Igor Zabel Competition in 2011. He is the current vice president of AICA Poland.
SYMPOSIUM
FIXING WHAT ISN'T BROKEN
What is Reconstruction in Contemporary Art?
December 3, 2016
Conference Hall, Latvian National Museum of Art
The symposium Fixing what isn’t broken. What is reconstruction in contemporary art? will address the dilemmas that arise when trying to reconstruct contemporary artworks, with a particular focus on works that are unstable or changing - installations, performances, kinetic or multimedia artworks. At the centre of the discussion will not only be themes of materiality and the physical process of reconstruction of the artwork, but also such issues as authorship, authenticity, original vs. copy, material vs. immaterial, author’s intent, and re-interpretation. The questions asked in the symposium spring forth from two exhibitions organized by the Latvian Centre for Contemporary Art that take place parallel to the symposium: Juris Boiko. Salt Crystals at the Latvian National Museum of Art and Archaeology of Kinetics by artist Valdis Celms and restorer Ieva Alksne at the Riga Art Space.
One of the works revived in these exhibitions is Saltblower (1990), a complex video installation by Latvian artist Juris Boiko (1954-2002). Saltblower consists of a heap of three tons of salt, a video projection of moving clouds, eight muted televisions sets broadcasting live TV and a sound piece in the background. Boiko created the work for the seminal exhibition Latvia – 20th Century Somersault. 1940-1990, which took place in the background of the struggle for Latvian independence of the late 1980s and early 1990s.
Realising this reconstruction brings up a series of unexpected conservational and curatorial questions. For instance, the original TV sets no longer exist – do you find exactly the same TVs of the original piece or it does not matter as long as they are analogue? What place do the original exhibition and the socio-political events that inspired it have for the understanding of this work and how that context should be presented? Is it possible to make an accurate reconstruction of this site-specific installation? And why is it meaningful to do it now? To further complicate matters, all these questions will have to be answered without the usually indispensible input of the author himself.
In the symposium we will look at these questions and themes through case studies of two important actors in the reconstruction process: the curator and the conservator-restorer. The symposium will welcome professionals from a wide range of European institutions, who will share their experiences with reconstructing changing artworks. Participants include Stephanie Weber (Lenbachhaus Munich, Germany), Daniel Muzyczuk (Muzeum Sztuki in Lodz, Poland), Louise Lawson (Tate Modern, UK), Hilkka Hiiop (Art Museum of Estonia), Ieva Alksne and Evita Melbārde (conservators-restorers, Latvia), Astrīda Rogule (Latvian National Museum of Art), Ieva Astahovska (Latvian Centre for Contemporary Art), Francesca Bertolotti-Bailey (Liverpool Biennial, UK), and Kaspars Vanags (ABLV Charitable Foundation, Latvia). Prior to their talks, conservation expert Dr. Vivian van Saaze (Maastricht University, Netherlands) will open the symposium with a lecture on the key concepts of conservation theory.
The symposium will also present a publication - An Incomplete Guide Fixing what isn't broken. What is reconstruction in contemporary art?, edited by Simon van der Weele (researcher, Netherlands).
John Moran live at Book Art Muzeum Lodz, Poland by Dotfilm.tv and WNM
Zapraszamy Cię na niesamowity spektakl Johna Morana czyli amerykańskiego aktora-mima-kompozytora-filmowca-artysty, zarejestrowany live.
Dotfilm.tv wraz z WNM zrealizowali przekaz na żywo ze spektaklu Jahna Morana w Muzeum Książki Artystycznej w Łodzi 18 stycznia 2014.
Dotfilm - więcej niż telewizja!
FIXING WHAT ISN'T BROKEN - PART 7 - Astrīda Rogule
Astrīda Rogule - The Challenges of the Curator of the Contemporary Art Museum Collection: Problems and Risks
Astrīda Rogule is a curator and manager of the contemporary art collection at the Latvian National Museum of Art. She holds a Master of Arts and Museology and is a professor at the Latvian Academy of Culture. Since 2004 she has been working on the development of the architectonic and collections policies for the prospective Latvian Museum of Contemporary Art. She has curated and collaborated on many arts and heritage exhibitions both in Latvia and abroad (in Italy, Belgium, France, Denmark, the UK, Sweden, Finland, Russia, Poland, Estonia and Lithuania), including the Latvian pavilion at the 54th International Art Exhibition Biennale di Venecia, where she worked with the artist Kristaps Ģelzis on his project Artificial Peace (2011). She has curated solo exhibitions in Latvia by the artists Antony Gormley (UK), Braco Dimitrijevic (Croatia/France) and Christian Boltanski (France), and she has published more than 300 articles and research papers on art history, criticism, and exhibition management.
SYMPOSIUM
FIXING WHAT ISN'T BROKEN
What is Reconstruction in Contemporary Art?
December 3, 2016
10:00 - 17:00
Conference Hall, Latvian National Museum of Art
K. Valdemara iela 10, Riga
The symposium Fixing what isn’t broken. What is reconstruction in contemporary art? will address the dilemmas that arise when trying to reconstruct contemporary artworks, with a particular focus on works that are unstable or changing - installations, performances, kinetic or multimedia artworks. At the centre of the discussion will not only be themes of materiality and the physical process of reconstruction of the artwork, but also such issues as authorship, authenticity, original vs. copy, material vs. immaterial, author’s intent, and re-interpretation. The questions asked in the symposium spring forth from two exhibitions organized by the Latvian Centre for Contemporary Art that take place parallel to the symposium: Juris Boiko. Salt Crystals at the Latvian National Museum of Art and Archaeology of Kinetics by artist Valdis Celms and restorer Ieva Alksne at the Riga Art Space.
One of the works revived in these exhibitions is Saltblower (1990), a complex video installation by Latvian artist Juris Boiko (1954-2002). Saltblower consists of a heap of three tons of salt, a video projection of moving clouds, eight muted televisions sets broadcasting live TV and a sound piece in the background. Boiko created the work for the seminal exhibition Latvia – 20th Century Somersault. 1940-1990, which took place in the background of the struggle for Latvian independence of the late 1980s and early 1990s.
Realising this reconstruction brings up a series of unexpected conservational and curatorial questions. For instance, the original TV sets no longer exist – do you find exactly the same TVs of the original piece or it does not matter as long as they are analogue? What place do the original exhibition and the socio-political events that inspired it have for the understanding of this work and how that context should be presented? Is it possible to make an accurate reconstruction of this site-specific installation? And why is it meaningful to do it now? To further complicate matters, all these questions will have to be answered without the usually indispensible input of the author himself.
In the symposium we will look at these questions and themes through case studies of two important actors in the reconstruction process: the curator and the conservator-restorer. The symposium will welcome professionals from a wide range of European institutions, who will share their experiences with reconstructing changing artworks. Participants include Stephanie Weber (Lenbachhaus Munich, Germany), Daniel Muzyczuk (Muzeum Sztuki in Lodz, Poland), Louise Lawson (Tate Modern, UK), Hilkka Hiiop (Art Museum of Estonia), Ieva Alksne and Evita Melbārde (conservators-restorers, Latvia), Astrīda Rogule (Latvian National Museum of Art), Ieva Astahovska (Latvian Centre for Contemporary Art), Francesca Bertolotti-Bailey (Liverpool Biennial, UK), and Kaspars Vanags (ABLV Charitable Foundation, Latvia). Prior to their talks, conservation expert Dr. Vivian van Saaze (Maastricht University, Netherlands) will open the symposium with a lecture on the key concepts of conservation theory.
The symposium will also present a publication - An Incomplete Guide Fixing what isn't broken. What is reconstruction in contemporary art?, edited by Simon van der Weele (researcher, Netherlands).
Ausstellung Laibach Kunst @ Muzeum Sztuki Łódź 27-05-2009
Jaroslaw Misiewicz & Sylwia Gorak - Action in Museum - Sample - 2001
THE INTERNATIONAL ART WORKSHOP
The International project CONTINUUM is an effect of artistic contacts realized in former years owing to efforts of The International Artists' Museum, Wschodnia Gallery from Lodz and the Italian group of artists ORESTE.
Its idea links also to traditions of international meetings and exchange between artists coming together every year in different European countries, in places created by artists including Artists in Residence programmes.
By bringing together rich ethnic and a cultural mix of creative individuals we hope to foster a cultural form, where ideas and perspectives about art and life can be exchanged.
In addition to providing a space and time for artists of different generations to experiment, we also concentrate on the impact our events have on the local community.
CONTINUUM projects will take place periodically in Poland and abroad with the participation of artists representing an international community of creators -- organizers and curators of places of art.
We want to introduce their activity, based on the cooperation and builng natural bridges and mutual relations between people by art - out of the context of big institutions.Interdisciplinary collaborations encourage us to cross traditional communication barriers and stereotypes of knowledge about ourselves, both in process and presentation.
Collaborations involving participants with different cultural backgrounds hasten and catalyze special occurrences achieving - in the context of European and global unification.
We aim to grasp the connections which in daily life, in mediumistic chaos are hard to be noticed.
The CONTINUUM 2001 project - as the process of yearly meetings with the contribution of tens of artists from various countries,
was organized by Wschodnia Gallery with cooperation of The Art Book Museum,
Forum Fabricum from Lodz and The Contemporary Art Center -- INNER SPACES -- MULTIMEDIA from Poznan.
CONTINUUM 2001
PIANO AND VOICE - CONCERT - ´ACTION´ IN MUSEUM
SLAWOMIR BRZOSKA: INSTALLATION
SYLWIA GORAK: VOICE
TOMASZ MATUSZAK: INSTALLATION
JAROSLAW MISIEWICZ: MUSIC , PIANO
ANNA PETRIE: PERFORMANCE MALGORZATA WOLANSKA: INSTALLATION
ORGANIZED BY:WSCHODNIA GALLERY, THE ART BOOK MUSEUM, FORUM FABRICUM THE CONTEMPORARY ART CENTER-INNER SPACES-MULTIMEDIA
Cover: Slawomir Brzoska´s Installation
Kobro y Strzemiński. Prototipos vanguardistas
El Museo Nacional Centro de Arte Reina Sofía (Madrid) presenta la exposición 'Kobro y Strzemiński. Prototipos vanguardistas', co-organizada junto al Muzeum Sztuki de Łódź. La muestra, dedicada a los artistas Katarzyna Kobro (Moscú, 1898 - Lodz, 1951) y Władysław Strzemiński (Minsk, 1893 - Lodz, 1952), exhibe alrededor de 160 obras entre dibujos, pinturas, carteles, collages, esculturas y diseños. Ambos artistas, figuras clave de la vanguardia centroeuropea, crearon originales conceptos artísticos, como el Unismo, que radicalizaron tanto como transgredieron los presupuestos de la modernidad.
Igor and Svetlana Kopystiansky: Incidents (1996/7) Excerpt. MoMA 2012
excerpt from the 15 min video Incidents(1996/7) by Igor and Svetlana Kopystiansky
from the MoMA collection:
Exhibition History of “Incidents” (1996/7), 14:56 min video/sound installation:
1997 L’Autre. 4e Biennale de Lyon, Art Contemporain, Lyon, France. Curated by Harald Szeemann, (cat.).
1997 “2nd Johannesburg Biennale,” South Africa. Curated by Okwui Enwezor (cat.).
1997 “In Medias Res,” Dolmabahce Palace, Istanbul. Curated by René Block (cat.).
1999 “Szenewechsel” (Change of Scene) Museum of Modern Art, Frankfurt/Main. Curated by Jean-Christophe Ammann and Mario Kramer.
1999 “Trace” Liverpool Biennial of Contemporary Art, Tate Gallery Liverpool. Curated by Anthony Bond, (cat.).
1999 “Wait,” Kunst-Werke, Berlin. Curated by Klaus Biesenbach
2000 Folkwang Museum in Essen, Germany. Curated by Klaus Biesenbach
2000 “Moment,” Dundee Contemporary Arts, Great Britain. Curated by Katrina Brown
2000 “Incidents,” Vor und Zurück. Curated by Sylvia Martin. Kunstmuseum Düsseldorf, Germany.
2000 “Igor and Svetlana Kopystiansky” Museum Sztuki, Lodz, Poland
2000 “Incidents” Art Gallery of New South Wales, Sydney, Australia. Curated by Anthony Bond.
2004 “9th Triennal of Small Sculpture” Fellbach, Germany. Curated by Jean-Christophe Ammann.
2005 “Igor & Svetlana Kopystiansky,” Kunsthalle Fridericianum, Kassel, Germany. Curated by René Block.
2005 “Igor & Svetlana Kopystiansky,” Fine Arts Center of the University of Massachusetts, Amherst, MA. Curators Loretta Yarlow/Gregory Salzmann
2005 “From the permanent collection. Kopystiansky, Roth, Orozco, Cahn, Muniz.” AGNSW, Sydney. Curated by Anthony Bond.
2007 “Igor & Svetlana Kopystiansky,” ESPOO Museum of Modern Art (EMMA), Espoo, Finland. Curated by Timo Valjakka (cat.)
2008 “From the permanent collection.” AGNSW, Sydney. Curated by Anthony Bond.
2009 Igor and Svetlana Kopystiansky” Cinema 2, April 22. Musée National d’Art Moderne Center Pompidou, Paris, France. Curated by Philippe-Alain Michaud.
2009 “False Twins” S.M.A.K., Stedelijk Museum voor Actuele Kunst, Ghent, Belgium, Curated by Guillaume Désanges.
2009 “From the permanent collection. Roman Opalka, Brice Marden Igor and Svetlana Kopystiansky and Rachel Whiteread,” AGNSW, Sydney. Curated by Anthony Bond.
2009 KunstFilmBiennale, “From the collection of the Center Pompidou Paris.” Medienkunstraum der Bundeskunsthalle Bonn, Germany. Curated by Philippe-Alain Michaud.
2010 “Radical Conceptual. Positions in the MMK Collection.” MMK Frankfurt/Main, Germany. Curated by Susanne Gaensheimer.
2010 “Image by Image. Film and Contemporary art from the collection of the Centre Pompidou,” Museum Ostwall, Dortmund, Germany. Curated by Philippe-Alain Michaud and Olivier Michelon.
2010 “Igor and Svetlana Kopystiansky, ” Musée d’Art Moderne de Saint-Etienne Métropole. 6th of February – 18th of April, France. (cat.)
2011 “Energy and Process. Igor and Svetlana Kopystiansky. Presentation of the collection. TATE Modern London. Curated by Stuart Comer.
2011 “Wunder,” Deichttorhallen Hamburg and Siemens Stiftung. Curated by Hürlimann | Lepp | Tyradellis (cat.)
2011 “From Trash to Treasure,” Kunsthalle zu Kiel, Germany. Curated by Anette Hüsch, (cat.)
2012 “Wunder,” Kunsthalle Krems, Austria. March 4th to July 1st Curated by Hürlimann | Lepp | Tyradellis.
2012 “Igor and Svetlana Kopystiansky: Incidents (1996/7),” From the permanent collection. MoMA, New York.
2013 “Incidents,” in works from the collection selected by Rineke Dijkstra for The Krazy House. February 23-May 26. MMK Frankfurt. Catalogue.
2013-2014 “Everyday Epiphanies. Photography and Daily Life Since 1969.” Curator Douglas Eklund. The Metropolitan Museum of Art. June 25, 2013–January 26, 2014.
2014-2015. Collection Display. MMK Frankfurt, Germany.
Display caption
Bits and pieces of urban detritus are transformed into a lyrical symphony of everyday forms in this video by Igor and Svetlana Kopystiansky.
Muzeum Książki Artystycznej cz.1 - Z Kamerą Po Drodze
IN OUT CITADEL KOBRO LODZ
Paintings in the Strzemiński Academy of Fine Arts Łódź Poland
Frank Bretschneider and Daniel Muzyczuk
Talk and musical intervention
19 April 2018, Akademie der Künste, Berlin
Symposium Underground and Improvisation
Camera: Hannelore Fobo
Texts courtesy Akademie der Künste:
Frank Bretschneider (born 1956) is a musician, composer and video artist in Berlin. His work is known for precise sound placement, complex, interwoven rhythm structures and its minimal, flowing approach. Bretschneider's subtle and detailed music is echoed by his visuals: perfectly translated realizations of the qualities found in music within visual phenomena. In 1986, Bretschneider founded AG Geige, a successful and influential East German underground band. Though limited to the East before the wall came down, they were invited to perform across Germany and internationally after 1989 and released three albums before splitting in 1993. Bretschneider was co-founding raster-noton in 1996 and has released numerous solo albums since then.
Daniel Muzyczuk is Head of the Modern Art Department at Museum Sztuki in Lodz in Poland. Curator of the exhibitions The Melancholy of Resistance (with Agnieszka Pindera), 2011; Sounding the Body Electric: Experiments in Art and Music in Eastern Europe 1957 – 1984 (with David Crowley), Co-Curator of the Polish Pavilion of the 55th Venice Biennale (with Agnieszka Pindera). Vice-president of the International Association of Art Critics (AICA), Poland. Together with David Crowley he curated „Notes from the Underground 2016 for the Muzeum Sztuki, Łódź, and adapted it together with Angela Lammert for the Akademie der Künste in Berlin, in 2018.
Józef Chełmoński - malarstwo
Józef Marian Chełmoński - ( 07.XI.1849 - 06.IV.1914),
polski malarz, przedstawiciel realizmu.
Muzyka: Henryk Wieniawski (1835 - 1880),
Koncert skrzypcowy D-moll, op.22, cz.II
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Tytuły obrazów J.Chełmońskiego:
1. Autoportret (1902) Muzeum Narodowe, Warszawa.
2. Krajobraz z wsią (1908) Własność prywatna.
3. Kaczeńce (1908) Muzeum Narodowe, Warszawa.
4. Jesień (1875) Własność prywatna.
5. Krajobraz - wieś nad wodą (1913) Muzeum Narodowe, Warszawa.
6. Bociany (1900) Muzeum Narodowe, Warszawa.
7. Orka (1896) Muzeum Narodowe, Poznań.
8. Babie lato (1875) Muzeum Narodowe, Warszawa.
9. Owczarek (1897) Muzeum Narodowe, Kraków.
10. Krzyż (1905) Muzeum Mazowieckie, Płock.
11. Sielanka (Przed burzą) (1885)
The Bowers Museum, Santa Ana (Kalifornia), USA.
12. Koncert żab (1890) Własność prywatna.
13. Powitanie słońca. Żurawie. (1910) Muzeum Sztuki, Łódź.
14. Świt. Królestwo ptaków (1906) Własność prywatna.
15. Żurawie o poranku (1913) Własność prywatna.
16. Kaczki nad wodą (1880) Własność prywatna.
17. Staw w Radziejowicach (1898) Muzeum Narodowe, Warszawa.
18. W ogródku (1869) Muzeum Sztuki, Łódź.
19. Krajobraz (Las) (1900) Muzeum Narodowe, Wrocław.
20. Droga w lesie (1887) Muzeum Narodowe, Kraków.
21. Droga w polu (1889) Muzeum Narodowe, Warszawa.
22. Jesień (1897) Muzeum Narodowe, Poznań.
23. Droga (1908 -1910) Muzeum Śląska Opolskiego, Opole.
24. Pastuszkowie przy ognisku (1895 -1900) Własność prywatna.
25. Krajobraz z Podola (1910) Muzeum Narodowe, Warszawa.
26. Wschód księżyca (1888) Własność prywatna.
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...wiem, że nie docenia się twórczości Realistów, ale mnie będą wzruszały niezmiennie obrazy Chełmońskiego... Jego wszystkie bociany, żurawie, nitki babiego lata, szept polnych traw i zapach jesiennych ognisk unoszących się nad senną ziemią... Kocham te wszystkie pejzaże, tak bardzo polskie... ;o)
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