Magdalena Abakanowicz (1930-2017): Presence, Essence, Identity. EXHIBITION IN TIMISOARA, ROMANIA.
Curated by Maria Rus Bojan, Chairman of the Board of the EAEF.
September 20 – October 25, 201.
Featuring an impressive selection of sculptures, ranging from the early 1970’s to the late 2000’s, this largeretrospective of the renowned Polish artist opens on September 19, 2019 at The Museum of Art Timişoara.
The exhibition at the Museum of Art Timişoara is co-curated by Cristina Bută.
The works on view belong to The Magdalena Abakanowicz Foundation, Warsaw, Artur Trawinski and Irmina Nazar collection, Wroclaw, Marek Trzaskowsk, Poznan and Ovidiu Şandor collection, Timişoara
One of the major figures of contemporary art in the world, Magdalena Abakanowiczgained her international notoriety in the 1960’s for her experimental, and highly uncommon at the time, gigantic fiber sculptures entitled generically Abakans. These fluid woven structures made of organic materials significantly expanded the traditional meaning of sculpture, transforming the flat surface of a tapestry into a dynamic, space-organized form that triggers complex visual and tactile experiences.
Throughout her entire life, Abakanowicz devoted her creative energy to the restless exploration of the dialectical relationship between the human being and the larger natural world. She translated her understanding about the essence of things into unique sculptural representations that challenge conventional ideas of art and raise universal questions about human experience.
This exhibition proposes a consistent overview on the artist’s creation, highlighting key works from different stages in her career, such as the Hurma cycle. The haunting crowds of headless human figures suggest, just like other emblematic human and non-human figures in Abakanowicz’s work, the frozen witnesses of history.
Featuring more than 100 sculptures, the exhibition aims to provide an understanding of the major issues in Abakanowicz’s work, and to illustrate the ways in which she revolutionized the history of sculpture through a lifelong commitment to constant reinvention. The crucial themes in the artist’s works are freedom and loss, resurrection and destruction, identity and difference.
The presentation at the Museum of Art Timisoara is the third installment of an individual retrospective presentation realised in cooperation with the artist’s estate from Warsaw, following the exhibitions Effigies of Life, A tribute to Magdalena Abakanowicz (Wroclaw, 2017) curated by Mariusz Hermansdorfer together with Maria Rus Bojan and Magdalena Abakanowicz:Presence, Essence, Identity (Wałbrzych, 2018) curated by Maria Rus Bojan together with Magdalena Mielnicka.
VENNICE BIENNALE ARTE: May You Live In Interesting Times
The European ArtEast Foundation is celebrating their support of a major performance program devised by Ralph Rugoff, Artistic Director of the 58th Venice Biennale of Art, and Aaron Cezar, Director of Delfina Foundation. As part of "Meetings on Art” this is supported by the European ArtEast Foundation.
This is part of the official public program of the Venice Biennale, the performance programme consisting of 15 different shows is commissioned by the Arts Council England for the opening week in May and the final weekend of the biennale in November.
Amongst others, this programs' artists have recently been featured in Frieze Magazine as well as in The Art Newspaper. As part of a major collaboration, the European ArtEast Foundation is co-presenting the performances with the Venice Biennale throughout the gardens of the Giardini and Arsenale, as well as Teatro Piccolo Arsenale.
We are proud to support and present you an artist that we believe in and had the pleasure to support already; Polish-English artist Alex Baczynski Jenkins.
Untitled (Holding Horizon), 2018
A neon sign created by the Warsaw-based feminist and queer collective Kem—of which the artist is co-founder and member—will be installed above the entrance and switched on when the performance is happening. Untitled (Holding Horizon) (2018) draws on the box step, a basic movement used in several social dances, to explore collectivity, subjectivity, queer embodiment and desire. Synchronised movements co-exist with moments of slippage and letting go, each performer embodying individual and shared gestures and affections. The performers both affect, and become affected by, the live sound and light mixing. In this altered state, the box step becomes a container for the relational force that resides in moving with others.
European ArtEast Foundation is proudly supporting the Frieze Artist Award performance by this years winner, Polish artist ALEX BACZYNSKI JENKINS
Alex Baczynski-Jenkins, Until a thousand roses bloom (with Warsaw in the background), 2018. Performance documentation, Foksal Gallery Foundation, Warsaw, June 1-22, 2018. Photo: Spyros Rennt. Courtesy the artist and Foksal Gallery Foundation.
The Frieze Artist Award returns, curated by Diana Campbell Betancourt. A major opportunity for an emerging artist to present a new artwork at the fair, the Frieze Artist Award follows in a rich tradition of artist award commissions at Frieze since 2006, providing early support to artists including Jordan Wolfson, Simon Fujiwara, Rachel Rose and Kiluanji Kia Henda.
For the first time, the Artist Award will focus on performance-based work and the winning artist will benefit from a residency at Delfina Foundation, London. The new partnership with Delfina Foundation provides the artist in residence with an additional opportunity to develop their practice through a greater access to learning, resources and networks.
Aaron Cezar (Director, Delfina Foundation, London) said, ‘Delfina Foundation has had a long-standing commitment to nurturing performance, one of the most popular yet under-supported mediums. We are excited to join forces on the Frieze Artist Award to create a career-defining opportunity for an artist to produce a new performance in one of the most visible platforms in the world.’
The Frieze Artist Award winner was judged by a panel of curators including Diana Campbell Betancourt, Aaron Cezar (Delfina Foundation), Christodoulos Panayiotou (artist) and Kathryn Weir (Pompidou, Paris); chaired by Lewis Gilbert and Tania Doropoulos (both Frieze).
The nominators of the shortlist of artists included: Pablo Leon de la Barra, Mélanie Bouteloup, Sebastian Cichocki, Cosmin Costinas, Martijntje Hallmann, Susan Hapgood, Venus Lau Sau Yee, Chus Martínez, Yvette Mutumba, and Philippe Pirotte.
The 2018 Frieze Artist Award winner is Alex Baczynski-Jenkins
Alex Baczynski-Jenkins (born 1987, London) lives and works in Warsaw and London. Previous solo exhibitions include: Foksal Gallery Foundation, Warsaw (2018) and Chisenhale Gallery, London (2017). He has also presented work at: Migros Museum of Contemporary Art, Zurich (2018); Palais de Tokyo, Paris; Museum of Modern Art, Warsaw (both 2017); Swiss Institute Contemporary Art, New York; Muzeum Sztuki, Łódź (both 2016); and Basel Liste (2014). He is co-founder of feminist and queer project space Kem in Warsaw. Kem have recently realised projects at the Museum of Modern Art, Warsaw (Kem Care, 2017) and are currently on a one year residency at the Ujazdowski Castle Centre for Contemporary Art (Three Springs, 2018-2019). He was a fellow at the Home Workspace Program, Beirut between 2012-2013.
Frieze Artist Award is in partnership with Delfina Foundation
Read more at Frieze
Read more at Art-Agenda
Supported by European Arteast foundation and Cultural Polish Institute London
Presence, Essence, Identity
Magdalena Abakanowicz (1930-2017)
Portrait of Magdalena Abakanowicz with one of her Abakan works. Photo courtesy of the artist’s archive.
Curated by Maria Rus Bojan
Centrum Nauki i Sztuki Stara Kopalnia
The Old Mine Center for Science and Art
30 September – 30 December, 2018
International opening: Wednesday 10 October
Presence, Essence, Identity features a broad selection of works by Magdalena Abakanowicz, one the world’s most acclaimed Polish artists, who gained international notoriety in the 1960s for her experimental and distinctive fiber sculptures. Generically entitled Abakans, these fluid woven structures made of organic materials challenged traditional sculpture by transforming the flat surface of a tapestry into a spatial and dynamic form that triggers complex visual and tactile experiences.
Throughout her life, Magdalena Abakanowicz devoted her entire creative energy to the relentless exploration of the dialectical relationship between the human being and the wider natural world, translating her understanding of the essence of things into unique sculptural representations. Resisting all categories, Abakanowicz’s works are intelligent forms of physical thinking that challenge conventional ideas of art and raise questions that are essential and universal to human experience.
Proposing a comprehensive overview of the artist’s creative output, highlighting key works from all stages of her career revolving around crucial themes such as freedom and loss, resurrection and destruction, identity and difference. Featuring more than 100 sculptures, the exhibition aims to provide an understanding of the major recurrent issues in Abakanowicz’s works, presence, essence, identity, and to illustrate the ways in which the Polish artist revolutionized the history of sculpture through a lifelong commitment to constant reinvention. The unique, post-industrial setting of the former mine offers an ideal backdrop to experience the full impact of the work of Abakanowicz.
This presentation at Stara Kopalnia (The Old Mine Center for Science and Art) is a sequel to the exhibition Effigies of Life, A Tribute to Magdalena Abakanowicz (Wroclaw, 2017) curated by Mariusz Hermansdorfer and Maria Rus Bojan. This exhibition offers a new selection of works, celebrating the lifelong collaboration and friendship between Magdalena Abakanowicz (1930-2017) and the visionary curator and art historian Mariusz Hermansdorfer (1940-2018).
For the full press release, please click here
For further information please contact Pelham Communications
Elena Necchi - elena[aaat]pelhamcommunications[dot]commmmm
Grace Englefield - elena[aaat]pelhamcommunications[dot]commmmm
Centrum Nauki i Sztuki Stara Kopalnia
The Old Mine Center for Science and Art
Piotra Wysockiego 29, 58-304
Open daily, with tours from 10 am to 6 pm (last entry 4 pm)
This exhibition is produced by Magdalena Mielnicka and All That Art Foundation, Wroclaw in collaboration with The Estate of Magdalena Abakanowicz, Warsaw.
The works have been sourced from the artist’s estate, Irmina Nazar and Artur Trawinski Collection, MARe Collection and NOWA 20_21 Collection.
The exhibition was made possible with the generous support of the Ministry of Culture and National Heritage through the Cultural Promotion Fund.
Main Sponsor: European ArtEast Foundation, London.
Additional Sponsors: The City of Wałbrzych, All That Art Foundation, SleepWalker Boutique Hotel.
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.