List of all exhibits. Click on one of them to go to the exhibit page. The topics allow exhibits to be selected by their concept categories. On the right, you can choose the settings of the list view.
The list below shows links between exhibits in a non-standard way. The points denote the exhibits and the connecting lines are connections between them, according to the selected categories.
Enter the end dates in the windows in order to set the period you are interested in on the timeline.
- Author Anna Zaradny
- Date of production 2013
- Dimensions height: variable, width: variable
- Author's designation none
- ID no. BS/1043
- Availability in stock
- Object copyright Bunkier Sztuki Gallery of Contemporary Art
- Digital images copyright CC BY-NC-ND 4.0 Attribution – NonCommercial – NoDerivatives 4.0
- Digitalisation RDW MIC, Virtual Małopolska project
Anna Zaradny’s activities – as a composer, instrumentalist, multimedia artist – are strongly intertwined with the issue of polysensory stimulation. This aspect is especially characterized by two of them: Najsłodszy dźwięk krążącego firmamentu [The sweetest sound of a revolving firmament] (2011), a sound performative installation inspired by the figure of the medieval composer and mystic, Hildegard of Bingen, and Język Wenus [The Language of Venus] (2012), a sound and visual installation, referring to the author of piano compositions and pianist, Tekla Bądarzewska. In BruitBruit, the combination of musical and visual themes is also significant. This time, the inspiration for the artist was Krystyna Tołłoczko-Różyska (1909–2001), the architect and author of the Municipal Exhibition Pavilion in Kraków – the current Bunkier Sztuki Gallery of Contemporary Art.more
Anna Zaradny’s activities – as a composer, instrumentalist, multimedia artist – are strongly intertwined with the issue of polysensory stimulation. This aspect is especially characterized by two of them: Najsłodszy dźwięk krążącego firmamentu [The sweetest sound of a revolving firmament] (2011), a sound performative installation inspired by the figure of the medieval composer and mystic, Hildegard of Bingen, and Język Wenus [The Language of Venus] (2012), a sound and visual installation, referring to the author of piano compositions and pianist, Tekla Bądarzewska. In BruitBruit, the combination of musical and visual themes is also significant. This time, the inspiration for the artist was Krystyna Tołłoczko-Różyska (1909–2001), the architect and author of the Municipal Exhibition Pavilion in Kraków – the current Bunkier Sztuki Gallery of Contemporary Art.
Zaradny drew attention to the limitations which Tołłoczko-Różyska had had to face from the beginning of her project work. They resulted both from the nature of a historic part of the Old Town, which was difficult to develop, as well as internal political games and investors’ decisions. The artist was also interested in the fate and transformation of the original project, which included establishing an interior glazed patio with a winter garden, as well as entrusting the sculptural design of the façade, which was different than the architect’s design, to the sculptors Antoni Hajdecki and Stefan Borzęcki. The factors which, in her opinion, seemed to adversely impact the cohesion of the architectural premise were in the subsequent development history of the building, in the progressive interior modifications and departure from their original arrangement, including walling up the skylights which lit up the gallery storey and a window row extending along the façade. However, the greatest objections of this contemporary artist were provoked by the decision to annex a cafe to the pavilion building, according to a design by Mateusz Taranczewski of 2001, in a style closer to Art Nouveau than to the Brutalist architecture of the gallery. Zaradny treated the series of developments affecting the original architect’s design as a kind of defect, failure, cycle of distortions, which not only was never interrupted, but had deepened over time.
The defect theme is the dominant feature of the design, being an abstract, multidimensional composition. Its visual aspect (video film) was based on the processing of rhythms and divisions of the brutalist façade. The basis of the sound is a piece that uses the rules of noise music, a musical movement initiated, at the beginning of the 20th century, by the Italian futurist Luigi Russol. It is based on the sounds collected in the space fused with the Gallery – the café pavilion. The very shape of the object reflects the ideal figure of the pavilion, which could have been created by the architect, if she had not been restricted by the limitations related to the buildings existing on a land plot subject to a preservation order (an 18th century granary). Through the multifaceted analysis of the subject, the artist managed to initiate in BruitBruit a correspondence between visual arts, music, and architecture. The effect is a specific Gesamtkunstwerk, a total work, drawing motifs from various artistic fields. At the same time, thanks to the use of abstract forms, it remains ambiguous and obscure, creating an inspiring space for further reflection.
Elaborated by Anna Lebensztejn, Bunkier Sztuki Gallery of Contemporary Art,
This work is licensed under a Creative Commons Attribution 3.0 Poland License.
Anna Zaradny (born 1977) is a sound and visual artist, composer, and instrumentalist. She traverses a broad spectrum of the musical sphere: from acoustic improvised music with a minimalist contemporary idiom, to structurally and comprehensively composed, completely electronic, experimental forms. Her works of a visual character mainly take the form of installations, objects, photography, and video. The artist uses means of abstraction, sound, and architectural micro-objects, light and space in her creations. These works are characterized by the ambiguity of the concept and the relationship between ideas and the form of the medium. She is the author of individual exhibitions, including: Pass/ed (No Local, Kraków, 2010), Język Wenus [The Language of Venus] (Starter Gallery, Warsaw, 2012), Rekonstrukcja [Reconstruction] (Starter Gallery, Warsaw, 2015), RONDO ZNACZY KOŁO [ROUNDABOUT MEANS CIRCLE] (Bunkier Sztuki Gallery of Contemporary Art, 2016). She has Participated in numerous group exhibitions, including: Early Years (KW Institute for Contemporary Art, Berlin, 2010), Co widać. Polska sztuka dzisiaj [As you can see. Polish art today] (Museum of Modern Art, Warsaw 2014), Czysta Formalność [Pure Formality] (Labirynt Gallery, Lublin, 2015), Milczenie dźwięków [Silence of sounds] (Wrocław Contemporary Museum, 2016). In 2011, she was a finalist of “Views – Awards of the Deutsche Bank Foundation” and the recipient of the audience award. The artist has also participated in many Polish and international music festivals, including: In Between (Chicago, 2001), Hafarot Seder Festival (Tel Aviv, 2007), “What is Music?” (Sydney, Melbourne, 2009), Unsound (New York, 2011 and London/Kraków, 2013), EMFP Festival (Tokyo, 2011), El Nicho Aural Festival (Mexico City, 2014), as well as the 7 +7 = 70 Festival of 7 Currents (Warsaw, 2016). She has been the long-time curator of the festival of experimental and improvised music, Musica Genera Festival, and the Musica Genera publishing house. Her discography includes solo recordings and projects realized, among others, with: Burkhard Stangl, Robert Piotrowicz, Christian Fennesz, and Kasper T. Toeplitz. Zaradny is also the author of music for a large number of theatrical and audio performances, including: Peer Gynt (Dramatyczny Theatre, Warsaw, 2007–2008), Poczet królów polskich [Polish kings] (National Stary Theatre, Kraków, 2013), Katastronauci [Catastronauts] (Nowy Theatre, Warsaw, 2013). She lives and works in Warsaw. The artist’s webpages may be found at: annazaradny.net, soundcloud.com/annazaradny.