Exhibition: Time is the Game of Man
Bambini at Castello di Brolio consists of eighty-three sculptures of child figures, originally created by the artist in 1998 and 1999 for the outdoor installation at Les Jardins du Palais Royal in Paris.
The headless crowd of children’s bodies could be interpreted as a reflection on the war suffering the artist endured during the Second World War yet today could equally stimulate the recognition of a mass of refugees escaping the war
in Syria or victims of gun crimes staging protest in America. Such is the universal power of Abakanowicz art that walking around Bambini can bring us to memories of forbidden individuality when one would inadvertently become part of
an indistinct mass, as well as the times of communities forming when being part of the crowd meant bringing on change or at least staying safe together. Located on the terrace of Castello di Brolio, Bambini are juxtaposed with the
surrounding nature resembling an animal herd or hollow tree trunks as if they were just imprints of children, shadows of the past. At the conclusion of experiencing the sculptural installation, it is one’s memory and individual history
which will dictate the feelings, the moods, the imaginations experienced around the ambiguous creatures. Just as Abakanowicz would give Bambini multiple identities and universal meanings, each viewer will discover there is more than one
self inhabiting their bodies.
Magdalena Abakanowicz (1930 - 2017) lived and worked in Poland. Abakanowicz prolific art practice involved sculpture, drawing, and writing occupying a unique position between the fields of art, philosophy, and nature, constituting a
deep exploration of humanity and it’s relationship to natural, historical, and cosmic imaginaries. Her powerful sculptures and drawings address the human condition in both natural and political terms, while her monumental outdoor installations
have been widely exhibited globally, often on permanent basis. She has had solo exhibitions in Wrocław, Poland (2017), Centre Pompidou, Paris, France (2009), Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain (2008), The Metropolitan
Museum of Art, New York, USA (1999), The Institute for Contemporary Art P.S.1, New York, USA (1993), Yorkshire Sculpture Park, UK (1995), Whitechapel Art Gallery, London, UK (1975), Stedelijk Museum, The Netherlands (1969). She has represented
Poland at the 1980 Venice Biennial. Group exhibitions include “A Century of Sculpture - The Nasher Collection", Guggenheim Museum, New York, USA (1997), "The Avant-Garde in the Eighties", Los Angeles County Museum of Art, Los Angeles, USA (1987),
"Fiber Works Europe and Japan” National Museum of Modern Art, Tokyo, Japan (1976), “Wall Hangings”, The Museum of Modern Art, New York, USA (1969), VII Biennale de Sao Paulo, Brasil (1965).
ALEX MIRUTZIU: BETWEEN TOO SOON AND TOO LATE
29/31 Catherine Place
London SW1E 6DY
26/04/2018 — 02/06/2018
Mon—Fri, 10:00 — 18:00
Sat, 12:00 — 18:00
Weds, 25/04, 18:00 — 21:00
Delfina Foundation and European ArtEast Foundation collaborate to
present Between Too Soon and Too Late, the first solo exhibition
in the UK by Alex Mirutziu (b. 1981, Sibiu, Romania).
Read more (press release)
Mirutziu’s practice interrogates the process of how we create
meaning to interpret the world around us. Inspired by philosophy,
literature and design, he explores the inadequate use of objects,
language and the body as tools of communication.
For a few years, Mirutziu has
been researching the work of
novelist and philosopher Iris
Murdoch and the different
methodologies she employed to
create meaning, both spoken
and unspoken. During a short
residency at Delfina
Foundation, Mirutziu visited
Murdoch’s archives at
Kingston University. Instead
of focusing on her most
prolific writing period, he
concentrated on unfinished
writings from the latter
stages of her career, which
was marked by the onset of
In Between Too Soon and Too
Late, Mirutziu uses Murdoch’s
writings as a starting point
to reflect on the notion of
time and space in relation to
meaning. The exhibition,
which includes newly commissioned and existing works, explores
the ‘tiny space’ – as identified by Murdoch – where meaning stays
tacit, where being and not being are the same. According to
Murdoch, this point is in between being ‘too soon’ and ‘too
late’. The works in the exhibition attempt to occupy this space
and prolong the process of establishing meaning; they refuse to
yield a sense of resolution and closure, entangling the viewer in
a space that is indefinite and inconclusive.
ALEXANDRA PIRICI: "CO-NATURAL" AT THE NEW MUSEUM IN NEW YORK CITY
Alexandra Pirici (b. 1982, Bucharest, Romania) uses sculpture, performance, and choreography to address symbolic manifestations of history through frameworks that define bodily presence in both real and virtual space.
Pirici’s new work, Co-natural (2018), is an ongoing action with live performers and a holographic image. The work considers the increasing fragmentation of presence and self, enabled by digital technologies, financialization, and, more broadly, by modernity’s division of nature from culture, body from mind or spirit, and individual from collective. Co-natural attempts to enact a dispersion of bodily presence, commenting on contemporary processes of abstraction that separate sign from substance and image from material support. Yet the work also mines this fragmentation for its potential to create a different idea of the self, one distributed across time, space, bodies, history, and memory.
Effigies of Life, A Tribute to Magdalena Abakanowicz (1930 – 2017)
European ArtEast Foundation’s first project was Effigies of Life, A Tribute to Magdalena Abakanowicz (1930 – 2017). Featuring over 120 works across multiple museums, venues and outdoor public locations in Wroclaw, Poland, in summer 2017, the retrospective exhibition was curated by Maria Rus Bojan and Mariusz Hermansdorfer, the former director of Wroclaw’s National Museum. A catalogue accompanies this exhibition.
Magdalena Abakanowicz Catalogue Raisoneé
Magdalena Abakanowicz (b. 1930, Falenty, Poland, d. 2017, Warsaw, Poland) was a leading Eastern-European avant-garde artist, notable for her use of textiles as a sculptural medium. The Foundation is supporting the production of her catalogue raisoneé, joining the efforts of the artist's husband Jan Kosmowski in creating a comprehensive index of works across private and public collections.