Pięćdziesiąt lat życia Marii Jaremy obejmowało mniej więcej pierwszą połowę dwudziestego stulecia. Pół wieku to niewiele. Jednak przez większość tego czasu artystka przyglądała się krytycznie kalejdoskopowi „-izmów” i włączała się aktywnie w najbardziej postępowe nurty sztuki. „Zawsze w awangardzie” – stwierdził po jej śmierci Henryk Stażewski. Krótkie życie Jaremianki rekompensuje intensywność wyrazu jej prac. Maria Jarema była rzeźbiarką i malarką, projektowała kostiumy i scenografię do spektakli teatralnych, występowała też na scenie. Sprawy artystyczne łączyła z zaangażowaniem społecznym. Jej magnetyczna osobowość, w połączeniu z odwagą poglądów i konsekwencją w podążaniu raz obraną drogą, przeszły do legendy.
From the mass of thickly laid off paint, there emerge words taken out of context and deliberately crooked. The clash between the background and the semantic content enhances the impact. The choice of words has been thought of carefully. They are all related to current ideological and patriotic discussions. Gender play is an additional device to manipulate meanings. The same adjective has different connotations depending on whether it is feminine or masculine.
From the mass of thickly laid off paint, there emerge words taken out of context and deliberately crooked. The clash between the background and the semantic content enhances the impact. The choice of words has been thought of carefully. They are all related to current ideological and patriotic discussions.
From the mass of thickly laid off paint, there emerge words taken out of context and deliberately crooked. The clash between the background and the semantic content enhances the impact.
This painting represents the Zalipie culture which is closely connected with the Dąbrowa district. The fact that it was painted by Felicja Curyłowa, one of the most talented artists from Zalipie, makes this exhibit even more valuable. Enjoying great authority and endowed with organisational skills, being conscious of the value of local decorative traditions, Curyłowa made Powiśle famous not only in Poland but also outside the borders of the country.
Have you ever touched a beautiful object made of lacquer? Sensuality would be the best word to convey its smooth texture. The same word can be applied to the minimalist works of Aliska Lahusen, which evoke a sensual feeling. They have been created using lacquer — one of the most sophisticated Japanese materials. It was deliberately used by the artist and it gives her sculptures a mystical character.
By appearing as a woman, Ane Lan represents both genders simultaneously. In his work Woman of the World, he additionally transcends the boundaries of nationality and origin, touching upon the problems of both postcolonial and developed countries.
The work is a photographic documentation of a performance carried out by the artist in 1971. Fifteen prints, arranged in five rows, three in a row, step by step present actions involving a single paving stone. The work, with its roots in conceptualism, also has feminist and political connotations.
The convention of computer commands and terms transferred to an existential area. A clash of computer language with real-world problems. An amusing, but at the same time unpleasant, discrepancy between the two worlds.
A photographic triptych, showing women in different stages of their lives – from youth, through maturity to old age. The adopted poses as well as the compositions with a static, “altar-like“ quality point to the inspiration by Christian iconography, recurrent in the artist’s work. The work deals with the relationship between age and the attitude to life. A young woman wants to be loved, a mature woman is fed up with everything and the old woman craves peace.
Twenty four colour self-portraits stand out from the crowd sketched in the background; each face plays out the spectacle of a different personality.
One of the themes of Jadwiga Sawicka’s works are words and phrases almost literally taken out of context, from newspapers, commercials, or electronic media. At the beginning of her activity, the artist juxtaposed them with images of everyday objects on the same canvas: presented clothing items with a limited range of colours and cosmetics were accompanied by fragments of advertising slogans, newspaper extracts, titles, and summaries of TV series.
Little is known about the life and artistic work of Bronisława Galiczanka (Bronisława Olga Galica) and her achievements are limited to a few student works. She was born in Czertez near Sanok in 1902. She was registered as a student at the Academy of Fine Arts in Kraków during the years 1924–1928. She was educated in the studios of Władysław Jarocki and Fryderyk Pautsch, and her work was then recognized and awarded...
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.
The late 1950s and the early 1960s was the heyday of the Polish modern sculpture which, after the ignoble period of the socialist realism rule, renewed its relations with current tendencies present in international art. It was a period of creative activity of many distinguished sculptresses.
The sculpture represents a figure of a sitting woman depicted from the waist upwards. The woman is holding binoculars and slightly leaning out of the theatre box, assumedly to take a better look of the details of the artistic event in which she is participating. There is a satisfaction, or even reverie visible on her face. Is it because of the play?
Above all, Olga Boznańska is a portraitist, an artist of portraits painted in muted colours, sometimes almost monochrome. The figures in her paintings are usually represented indoors, against a neutral background constructed with diffused and subdued lighting, subtly defining the space and imparting her paintings with an aura of the unreal.