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Poznań Art Week 2017



curator: Katarzyna Kucharska
arranging: Mateusz Piestrak, Mateusz Słociński

Municipal Galleries of the University of the Arts in Poznan
Mateusz Piestrak presents a kind of quasi places and quasi things. On the one hand, they relate to something familiar; on the other hand, they are a product of new times and the associated aesthetics. His non-places lead to transcendental experience, becoming manifestations of existence in depersonalized supermodernity, as Marc Augé refers to the modern world. According to Augé, a prominent French anthropologist and ethnologist, similar spaces (including motorway routes, junctions, airports, means of transport, retail outlets and refugee camps) are devoid of their specific features

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NO TITLE - Paweł Susid

Duża Scena UAP
Mała Scena UAP

26 April – 21 May 2017

Opening exhibition: 26 April 2017

Paweł Susid is an artist who has mastered the skill of listening to the surrounding reality.
He transforms the sentences, words and statements heard or read into a visual form.
His formally economical ‘figures of thought’ are reflections on human condition, socio-political transformations, the way we understand the world and the changing phenomena of contemporary culture.

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Artistic projects offering alternatives to structures and social systems play an important role in the process of maintaining or contesting the existing symbolic order. Typically, these projects expose positive features of public relations by referring to universal elementary issues. They are the carriers of progressive changes, but can have also pejorative effects. Alternative artistic interventions offer a choice rather than support the only vision of ‘true reality’  relating to the accepted modes of conduct.

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Workshops pictoGRAMS accompanying the exhibition Deconstructure

Workshop participants learned how it feels to be a fashion designer, what experimental textiles are, what the word ‘pictogram’ means and what kind of structure is used in Deconstructure? Under the guidance of the artist, children had the opportunity to design their own backpacks using a digital embroidery machine.

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Deconstructure (deconstruction + structure) is a project related to an artistic exploration in the area of ​​experimental textiles, clothing and objects. The question ‘Can we wear a piece of paper?’ has become a source of inspiration and impetus for choosing a creative medium – outdated, printed pages of glossy fashion magazines. The resulting material has been obtained using the author's technique, which involves deconstructing printed paper into unique fabric. The project presents a collection of clothes and patterns. As such, it represents an extensive idea, which can be implemented in many areas of art and design.

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Art workshops for children THE INTRUDER

What is a parasite? Is ‘gudgeon’ a plant or an animal? What do biology and architecture have in common? What does the difficult word ’introduction’ mean? During the creative workshops for children, architect Anna Pilawska took the participants on a fascinating journey through Polish nature and architecture. After seeing the exhibition INTRODUCTION, children made works of art that were born in their imagination. Original compositions created through the destruction of the existing installation resembled works of expressionists and action painters.

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The exhibition INTRODUCTION at the DESIGN UAP Gallery is devoted to environmental issues that have been translated to the language of architecture. When examining the problem of biological invasions, Anna Pilawska has designed an educational space whose form alludes to one of the most difficult and complex problems of environmental protection, i.e. the introduction of alien species. 

In the biological nomenclature, the word introduction means bringing new species of plants or animals into a specific area. As a result, the native flora and fauna often die out, which negatively affects the ecosystem of the area. The problem of biological invasions is one of the least explored, most unpredictable and least recognized threats to biodiversity.

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Amor Fati

A large circular hole in the wall is a popular construction in the Japanese Zen culture of architecture. It symbolizes a window or an eye to the world. It is usually placed in temple pavilions and specially designed gardens, making it possible to enjoy the year-round changing nature. Its shape refers to the human eye or some other apparatus used for optical observation. In the process of doubling views, the cut-out portion of landscape seems unreal and detached from the whole, but it is still strangely authentic because it touches the very essence of what it represents. The double view achieved by the repetition of barriers permeable to light frees our perception from individual experience and conditions.

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The Fetish

Consumer society is characterized by the need to own and acquire more and more material goods. While some spend their money primarily on their daily necessities, more affluent individuals often buy useless things on the spur of the moment. Seduced with new, better solutions, we all get caught up in relationships and influences. We want more and more... We agree to commodity fetishism and increase the influence of objects, believing that they are of superior value. What follows, our interpersonal relationships often come down to trade for profit. There is also a singularity economy, which is based on the production of personalized products and those dedicated to a specific group. These include high quality items, which become luxury goods due to their uniqueness. A work of art, which combines a physical form with an idea, can also be a luxury object.

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Workshops for students from Poznań Secondary School of the Arts accompanying the exhibition entitled Material. Design. Furniture. at DESIGN UAP Gallery

moderator: Mateusz Wróblewski

During the workshops, Mateusz Wróblewski, PhD, the curator of the exhibition Material. Design. Furniture., presented the latest furniture designed by Professor Aleksander Kuczma, a recognized Polish experimental designer, innovator and teacher beloved by numerous students. In the 1960s, he was an undisputed pioneer in the use of modern materials in furniture design. The exhibition presented Professor Kuchma’s current areas of interest.

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Cast Lead

The first images that man created showed violence and war. These were the topics of prehistoric paintings in caves, Uccello’s paintings, nineteenth-century panoramas and propaganda war films, as well as online live streams of current conflicts. Thus, the history of presenting the images of conflicts is long: ‘from the Holocene to the Holocaust’, one could quote Sven Lindqvist. The desire to capture such images is common to the humankind: it is cross-cultural. Of course, these representations are different in terms of methods applied, scale and persuasiveness. Also, the authors’ attitudes to these images are different: they can be apologetic and praising a conflict or a victory, or critical and full of resistance strategies. Today's deployment of military conflicts and their virtualization, visibility, or rather, paradoxically, the lack thereof – despite the military penetration – as well as immersion into war games make us redefine the role of a viewer. The role of a war reporter has become obsolete as once was the case for a battle painter. The boundary between ‘civilian’ and ‘military’ has been blurred, not only due to reconstructive groups.

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OTHERS - Piotr C. Kowalski


Mateusz Bieczyński

Who is the author? What can be a work of art? Art has been accompanied by these questions at least since the time when it became the subject of systematic theoretical reflection. For example, in his ‘Treatise on Painting’, Leonardo da Vinci showed that shapes made by a sponge soaked with paint and flung against a wall arouse imagination. On the other hand, through his actions today known as ‘ready-made’, Marcel Duchamp tried to show that anything can be art as long as this has been decided by an artist.

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Workshops for children accompanying the exhibition entitled Material. Design. Furniture. at DESIGN UAP Gallery

moderator: Aleksandra Leśnik-Krowicka (Olo Olo)

Where does furniture come from? Who decides what items to create, how they will look like and what materials they will be made from? Workshop participants learnt about the artist Aleksander Kuczma and saw the furniture designed by him. Together we reflected on the formation of functional forms.

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The Human Comedy - Marcin Markowski / Szymon Szymankiewicz

According to a dictionary definition, a poster is a piece of paper of at least A3 format, presented in a public space. It advertises or conveys political contents and informs about events. As a medium of communication it must have an impressive form, and quickly and easily communicate what, where and why. [1] Proponents of this view argue that everything has been already said about a poster, and its essence has been exhausted in the statement that ‘a poster is a commercial printing of 100 cm x 70 cm.’ [2] If we assumed that this conviction is accurate, this would mean that some poster artists do not create posters. Although their works resemble posters in terms of format or the brevity of message, they are separate forms because they apparently break away from the events they should herald. Going beyond the purely informative or advertising functions, they become autonomous in terms of both content and form. Their implied metaphorical potential demonstrates their ‘otherness’ and turns their ephemeral form into a universal message.

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À Honore (à jamais) Daumier

Max Skorwider vs Honoré Daumier

Curator: Mateusz Bieczyński

‘Yes all resemblances belong to us!’ , Charles Philipon wrote in a satirical weekly La Caricature of 24 November 1831, thus confirming the right of satirical cartoonists to portray the imperfections of the surrounding world, often against the official social expectations and so-called political correctness. Philipon argued that ‘a resemblance, even if perfect, is never an attack; you must not recognize it as such...’   Honoré Daumier, an artist and at the same time a publisher of lithographs, thus expressed his support for this new type of artistic creation. Art, which had been closed so far to social issues, opened up to them and began to play an active role in breaking up the false cognitive schemas that supported the relative social order.

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Three Worlds and a Half of America

Julia Popławska

25 November – 03 December 2016 | vernissage: 18:00
R20 Art Gallery

At the exhibition, Julia Popławska raises the question of an ‘information bomb’, whose impact can equal the explosive power of nuclear or cyber bombs. Encirclement arising from the excess of a variety of information evokes a sense of total loss. In addition, the artist speaks of the modern ‘commodification of the body’, used especially in the advertising industry.

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“Water towers in Sudan”, “Let’s talk about garbage”, “Barcelona rock” – these are Hugon Kowalski’s most renowned concepts. Utopian visions, naïve idealism, science-fiction, or rather an in-depth analysis of the most important challenges of modernity, rational thinking – the solution to a problem and an answer in the form of innovative architectural structure.

Kowalski’s designs set new horizons in thinking of a creating cities and buildings. Rather than industry magazines, he finds inspiration in daily news feeds. Rather than beautiful buildings, Kowalski is interested in real-life, difficult and usually unattractive problems that architecture can and should solve. Today, Kowalski can boast 30 awards granted in international competitions, as well as his participation in the most prestigious architectural exhibition in the world – the Venice Architecture Biennale. For Hugon Kowalski, there are no limitations – a folded city, portable homes for students, built in … one day, or a hotel resembling a climbing wall – these are merely a few of the design that will be presented at the opening event for the Poznań University of Fine Arts Gallery – “Curators Lab”. This is no accident. Hugon Kowalski was one of the first year of the Faculty of Architecture of the Poznań University of Fine Arts, and has been working as an academic there for several years now. The school is the first fine arts university in Poland to educate architects.

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7 and a half

Paweł Tymcio

27 October – 12 November 2016
R20 Art Gallery

The R20 Art Gallery run by Natalia Brodacka and Jagoda Zych, students of the University of Arts (UAP) in Poznań, hosts a project of Paweł Tymcio, a student of UAP, consisting of paintings, photographs, installations and interactive forms concerning the complex situation of the Other in culture. The state of political and cultural anxiety that has been observed worldwide for a long time has again revealed issues related to the presence of the concept described by philosophers such as Lévinas, Buber, Habermas, Foucault and Tischner. The artist refers to violence, hatred, fear and xenophobia, which come from the deepest heart of darkness. At the exhibition, the Other is given a name and his or her story is told, thus revealing the drama of being a human being in general.

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Przestrzenie prywatne

When faced with certain cultural texts, some individuals feel an overwhelming need to rewrite or repaint them. This applies to works which are able to move the deepest layers of sensitivity in particularly receptive readers or viewers, as a result of which they begin to identify themselves with what they see. In an act of reception, the identity of the subject susceptible to impulses sent by a work of art – in a metaphorical sense – melts and disappears somewhere on the body surface. The delight that accompanies this experience is always individual, but never personal. It comes from the asymbolia of speech and the resulting otherness that is difficult to integrate into a whole. I can respond to this creativity of an artwork only with my own inventiveness.

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THE SKYLINE - The Exhibition of Works by Professor Tomasz Psuja

The Exhibition of Works by Professor Tomasz Psuja

Mateusz Bieczyński

Maciej Kurak

Katarzyna Kucharska

‘The paintings of Tomasz Psuja are “signed” with dates. Nameless, they activate rather than direct the imagination.’   Jaromir Jedliński began his description of the artist’s works for the catalogue published in 2000 with the following words, ‘Faced with the paintings of Tomasz Psuja – a painter/non-painter, I can see (as far as I understand these paintings) landscapes and country-sides of space and time rather than of specific places.’   Tomasz Psuja referred to these words a few years later in an interview conducted by Rafał Jakubowicz. The artist stated that Jedliński had perfectly described his works and that basically there was nothing he could add to his words...

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