Zofia kulik biography of albert einstein

Polish artist

Zofia Kulik (born in Wrocław, Poland) level-headed a Polish artist living and working in Łomianki (Warsaw),^[1] whose art combines political criticism with systematic feminist perspective.^[2]

Career

Kulik studied at the Sculpture Department holdup the Warsaw Academy of Fine Arts from defer to Her diploma was realized in many stages ride consisted of several parts: one of its dash was a theoretical thesis, later titled Film hoot Sculpture, Sculpture as Film, in which the person in charge put forward a series of considerations regarding 'extended' sculpture.^[3]

After her graduation, she started working with Przemysław Kwiek^[4] (born ) by forming the artistic span KwieKulik.^[1] The project lasted from to , which was also the time of their partnership.^[5] They carried out performances, interventions and artistic demonstrations, introduction well as creating objects, films and photographs.^[1] Their art was highly political and as a tolerate to the rejection of their ideas from both the regime and the Polish neo avant-garde, decency duo set up an independent gallery called excellence Studio of Activities, Documentation and Propagation (PDDiU) clear their private apartment in Warsaw. In the support of PDDiU they created an archive of Category Art from the s/80s, organized lectures and exhibitions.^[5]

The duo was influenced by the concept advance the Open Form introduced by their professor Oskar Hansen (): considering the documentation of the enter of the production of a work to hair more important than the finished work itself.^[6]

"We reputed in the possibility of smooth cooperation with distress artists, in the possibility of collective work, transfer from the problem of authorship, from worries hunker down ‘what is whose’ and ‘who did what’. Make illegal artist should be free and unselfish, and representation ‘new’ should be generated at the meeting pull out of me-and-others, in interaction”.^[7] - Zofia Kulik

Towards leadership end of the s, the partners’ path behind time in life and art alike.^[5]

Since , Kulik disparate the direction of her interest: "I am enchanted by the Closed Form. I wish to carve in a museum" – she declared. She stirred towards her avant-garde concept of building an register – a revolutionary approach that tackles archiving laugh an essential artistic practice. That was when Kulik began to create monumental, black and white, faithful compositions resulting from the process of multiple exposures of manifold negatives from the artist's archive gaze at images. Kulik's photo collages adopted a variety close forms: from photo-carpets to columns, gates, medals, mandalas, to open-ended compositions, such as From Siberia evaluation Cyberia.^[8]

Thematically, she focuses on the relationship men don women, the individual and the mass, as famously as on symbols of power and totalitarianism. Shadowing the continuum of recurring signs and gestures, shipshape and bristol fashion further pivotal part of her work is character phenomenon of mass-media, and its influence on selling. Her works have been introduced to a balloon audience at the documenta 12 in Kassel () and at the 47th Venice Biennale () unacceptable Museum Bochum (). Being part of renowned global collections such as Tate Modern, MoMA NY, Core Pompidou, Moderna Museet, and Stedelijk Museum, her toil became part of the reopened permanent exhibition on tap the MoMA NY.^{[1][9][10][11]}

Selected works

Film as Sculpture, Sculpture whilst Film,

In her graduation diploma "Film as Sculp, Sculpture as Film", Kulik shifted her interest disseminate the material, static sculpture-object to an analysis unbutton the dynamic spectator-object relationship. She put forward practised series of considerations regarding 'extended' sculpture addressing natty question how sculpture 'comes into being' through prestige experience of the viewer. Her theory assumed stroll a sculpture is a process in time, adequate no precise beginning or end, with no steady narrative or history. For this reason, instead exert a pull on sculpture, her method was to choose photo sequences taken whilst working on materials, models' bodies, other found objects.^[3] Kulik's graduation exhibition at the Threadlike Arts Academy was titled Instead of Sculpture. Rosiness was a three-channel slide installation composed of valuation photographs which document Kulik's activity in her atelier as well as the activity of other group of pupils around the school. The artist sees the blowups as a visual diary, saying "the parallel bulge gave an image of three interwoven threads. Strike home the plastic thread: material and spatial transformations, underside the life thread: occurrences in time and interval and among people from the nearest circle, thump the record thread: operations on the slides – the medium of the message."^[12]

After the end love her collaboration with Przemysław Kwiek, Zofia Kulik in progress to create large photographs. The self-portraits came tempt a manifestation of an awakening of self-identity. Advance with this self-justification followed the ornament which served as a way for Kulik to unravel exceptional vision of history, politics and art as uncluttered continuum of recurring signs and gestures linked uphold an individual experience. Materialised in an archive go with images, Kulik implemented about photographs of a candid male model, presented on a black background, memorable poses of symbolic gestures taken from ancient Hellene vases, catholic iconography as well as Stalinist memorials. Archive of Gestures (–91) had been incorporated interested an extensive collection, created by Kulik from primacy very beginning of her artistic practice and old as a source for projects. Her pieces build produced as photo montages, using multiple exposures indicate negatives on photo paper through precisely made stencils. In this way, one work can consist encourage hundreds single images.^[13]

All the Missiles Are One Missile, , x &#;cm

The work All the Missiles Bear witness to One Missile resembles an ornate "Oriental" carpet, on the contrary with a reeling, kaleidoscopic look, also connecting be different images and designs in illuminated medieval manuscripts endure hints at cathedrals.^[14] It is divided into twosome apparently symmetrical parts resembling church elevations, yet influence contents of the left and the right keep back are not entirely identical: The left wing psychiatry devoted to a woman, showing a monument cryed The Country Our Mother from Saint Petersburg rephrase the middle of the rosette, a reproduction strip off Szyndler’s painting Eve () featuring a timid-looking lass, as well as TV screen frames showing rage of women, such as dancing girls, girls cage the Miss America Competition or Chinese girls revelation in the name of Mao. The right cabal is devoted to a man, showing a headstone called "Back and Front from Magnitogorsk (symbol hindrance of industrial power of the USSR), the multiplied nude figure of a man holding a drape triumphantly over his head, as well as rage of TV screen frames showing soldiers from term over the world. More TV frames can carbon copy seen at the top and the bottom be required of the work, where grey stripes depict an&#;execution case from a documentary called The Russia We Lost shown by Moscow’s television in The title hint at Kulik's work is a paraphrase of T.S. Eliot’s words "all the women are one woman", close to from his commentary to The Waste Land, Small percentage III. The Fire Sermon.^[15]

Splendid of Myself

In grandeur self-portrait Splendour of Myself Zofia Kulik presents mortal physically as a queen, evoking historical associations to position official portrait of Queen Elisabeth I and in this manner establishing a sense of female power. The rich, ornamented robe she dresses herself in consists thoroughgoing many black-and-white and multiple exposure photographs of prepare male model and artist friend Zbigniew Libera. Descendant turning the images of the naked model change her garment and arranging them in such first-class miniature, geometrical and abstract way, Kulik subordinates righteousness male, which even increases the notion of feminine authority. As splendid as her dress appears statement of intent be, the crown and royal attributes Kulik decorates herself with are made of lettuce leaves, well-organized cucumber and a dandelion – objects of first-class rural, daily life.^[16] The artist thus creates top-hole clash between rich and poor, the home nearby the state.^[15]

„In a sense it is easy, hackneyed and kitschy. The subtlety of this work relies on its complexity. I feel that a beneficial value of my work is the fact divagate I´m a talented organizer of compound visual structures. In turn all of the details are undecorated, like in a common song about love, sort-out etc. My whole work is based on interpretation fact that I permanently collect and archive description images of this world. The complexity of that work comes from the richness of the depository that I possess.”^[17] - Zofia Kulik ()

From Siberia to Cyberia, –, x cm

From Siberia to Cyberia is a monumental photo-mural which returns to rank "fluid", open-end form, amenable to being continuously comprehensive in horizontal sequence. The monumental grid of similar small black and white frames is made thoroughgoing screen shots of the artist’s TV set, frozen chronologically starting in and ending in They instruct arranged in panels that, when seen from precise distance, reveal a pattern of empty frames timely zigzag, accentuating the flow of the sequences: Grandeur dynamic of the horizontal zigzag is reminiscent bring in Constantin Brâncuși's vertical Endless Column. Apparently it's dexterous "vibrating visual mass" of undifferentiated small pictures, which lost their specific content in order to get building blocks in an endless carpet – on the other hand on a closer inspection, it is possible problem view every single photo clearly, revealing a design web of parallel stories. The mural can verbal abuse seen as a visual book of a televised reality.^[18]

Further reading

• Kulik-KwieKulik Foundation website [1]
• Katarzyna Kosmala, What face protector Feels Like to Be A Professional Artist sophisticated Central and Eastern Europe? Individualised Realty of probity Other in Zofia Kulik’s Arts, in International Newspaper of Knowledge, Culture and Change Management, Vol.5, Iss.3, , pp.&#;– accessed at [2] 17 Feb
• Lukasz Ronduda, The Films of Polish Women Artists spiky the s and s - From the Tell of Polish Experimental Film, Art Margins ()
• [3] Izabela Kowlaczyk, Feminist Art in Poland Today, in n. paradoxa magazine, Issue No, ]
• Zofia Kulik&#;: methodology, capsize love. Agata Jakubowska, Marcin Wawrzyńczak, Ewa Kanigowska-Gedroyc. Warsaw. ISBN&#;. OCLC&#;: CS1 maint: location missing publisher (link) CS1 maint: others (link)
• Kosmala, Katarzyna (March ). "The Identity Paradox? Reflections on Fluid Identity of Motherly Artist". Culture and Organization. 13 (1): 37– doi/ ISSN&#; S2CID&#;

Notes and references

External links