“Museum objects are pieces of movable and immovable property owned by the museum and entered into the inventory of museum objects”. These words, taken from the Act on museums, aptly indicate the traditional way in which institutional collections are understood. In addition to the necessity to record them in inventory books, their basis is their material nature – these are usually tangible artefacts, whose parameters such as dimensions or the raw materials used, may be determined objectively. By their nature, they may also be subjected to various attempts at archiving, including digitization – they may have been accurately photographed or scanned, presented as a three-dimensional model. However, what about the less material forms, which break out of the above-mentioned statutory definition?
Zorka Wollny’s work situates itself between theatre, dance, music and visual arts. Her achievements include video films – distinguishing themselves with a pictorial vision – concerts and choreographic performances involving numerous actors (often realized together with Anna Szwajgier). In projects that refer to the form of an audiovisual show, the artist plays the role of director and producer, inviting musicians, actors, and dancers to cooperate, working with members of local communities, amateur clubs, and groups that share common interests. The essential element of her projects is space: works are created as a result of observing the existing conditions created by the architecture of the place, as well as penetrating its private, public, and institutional aspects.
The performance On Invisible by the Czech collective Rafani, was staged simultaneously in one of the exhibition halls of the Bunkier Sztuki Gallery and in the urban space. In the gallery spaces, it was witnessed by people who intentionally arrived at the event; these witnesses, however, met only the lecturer, a poet from Kraków, and the slammer, Jan Paweł Kowalewicz (a.k.a. Roman Boryczko), connected using the telephone conference method with five performers.
Jan Hoeft initiated an artistic intervention taking place on the border of visibility: in the middle of a vast lawn in Kraków’s Błonia Park, he placed a ten-metre-long sculpture, made of stainless steel, deliberately resembling a scaled-up barrier (easily restored if necessary). Over its frame, a white and red scarf was slung, reminiscent of the colours sported by the fans of the nearby football clubs, Cracovia and Wisła. In place of the club’s name, a phone number was embroidered, the use of which resulted in drawing the caller into a remote performance, following the scenario prepared by the artist.