... From: SMTG Witold Skulicz To: firstname.lastname@example.org Subject: Newsletter of International Print Triennial in Krakow no 06/2007 Newsletter of
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, Oct 24, 2007
----- Original Message -----
From: SMTG Witold Skulicz
Subject: Newsletter of International Print Triennial in Krakow no 06/2007
Newsletter of International Print Triennial in Krakow no 06/2007
Dear Readers, we would like to present you the newest issue of the Newsletter by International Print Triennial Society in Krakow. The artist of this issue is Georg Lebzelter - remarkable Austrian graphic artist and co-curator of Vienna part of International Print Triennial Krakow - Oldenburg - Wien. We invite you to read an account of the opening of this great print event, that is complementary to the exhibitions in Krakow and Oldenburg. In this issue we also recommend texts related to print events in Poland and all around the world, among others an account on Venice Biennial that is slowly becoming a thing of the past. We also provide you with the information concerning artistic events that are coming soon. We would like to encourage you to read our Newsletter as well as visit our website and to send your own proposals for the next issues.
Newsletter Editor: Marta Raczek
ARTIST OF THE MONTH - GEORG LEBZELTER
Georg Lebzelter is a real hero of September 2007. As the curator of International Print Triennial Wien 2007 he has created wonderful event's programme, great catalogue and exhibition in the halls of Kunstlerhaus.
Fertigteilserie 1.2 Fertigteilserie 2.3
aquatint, 184 x 140 cm aquatint, 140 x 98 cm
Georg Lebzelter (born in 1966) - remarkable Austrian middle-aged graphic artist, who graduated from Fine Arts Academy in Vienna (1990), and afterwards he studied at the Universidad Complutense in Madrid (1992-1993). He presented his works at almost twenty solo exhibition in Vienna, Berlin, Melk and Linz, and during more than twenty group exhibitions all around the world. Polish audience may have seen his art at the exhibitions in Krakow and Katowice. He was rewarded at many international exhibitions and contests, i.e. he was honoured with Medal of the 40th anniversary of International Print Triennial in Krakow, as well as he was holder of Sussmanna Scholarship. He also illustrates books, i.e. he published "auge greifnah" - textcollage and linocuts to Samuel Beckett. Lebzelter also writes texts on art, previously he was associated with "Wiener Kunsthefte", and since 2006 he cooperates with "um:druck" Zeitschrift f�r Druckgraphik und visuelle Kultur. He also curates exhibitions, lately together with professor Wojciech Krzywoblocki he was a co-curator of the Vienna part of the International Print Triennial Krakow - Oldenburg - Wien.
Print that is govern by the system - about the newest works by Georg Lebzelter
Contemporary graphic art is a source of different challenges. Particular artists explore different fields that, according to them, need profound study and a broaden range of artistic insights. In the case of the newest works by Austrian artist Georg Lebzelter this field is undoubtly the system. Term that is taken from ancient languages means a set of entities, real or abstract, comprising a whole, where each component interacts with or is related to at least one other. While any element, that is not a part of that system, becomes a part of the system environment. Lebzelter explores relations between that what orginally belonged to a system, and afterwards was subjected to diverse transformations, changing itself into a new system or becoming a system environment.
According to the artist himself his series Prefabricated Parts (Fertigteilserie): transfer the collage system to colour etching. With a module system of printing plates in different sizes, states and intensities of aquatint I create arrangements in formal and colour variations. The single prints are mounted to bigger units. The system of variation, which is also important in the preceding series "Grosse Pl�ne, procedere", "Schlachten und Lichten" and "Abbruchreste", suggested by the specific materials and the possibilities of the etching medias, is continued and expanded radically: through dividing and new arrangement the interaction of elements, their structure and the feasibilities of the pictures are explored.
The series Prefabricated parts reminds both a long history of collage, that originates from the first experiments by Picasso and Braque, and was developed in Hans Arp's idea of three-dimensional sculpture collages, up to contemporary works by pop-art artist or those who are geometrical abstractionists. What draws our attention in Lebzelter's collages is an extraordinary symbiotic coexistence of order and chaos. It is a perfect visual metaphor of the system and its environment - it means of something that is well-ordered and submitted to rigour and of something that is usually disordered and for that reason does not belong to the system. At first, each of the prints is perceived as a chaotic set of elements, but soon viewer's eye finds in it some traces of order. Those both forms of elements existence are equally important, that is because without the existence of the system it is impossible to appreciate chaos and inversely.
While looking at the newest series of Lebzelter's prints it is worth to draw one's attention to a role that light plays in them. Thanks to colours gradation artist is able to achieve an extraordinary transparency of elements. It makes the prints to look as if they are brightened by the inner light that radiates. Both a subtleness of colour range as well as a harmony of colours arrangements additionally underline that transparency, as well as the system employs by the artist.
[text: Marta Raczek]
EXHBITION OF THE MONTH
International Print Triennial Krakow - BIS 2007 in Rondo Sztuki Gallery
MTG Krakow - BIS 2007, Rondo Sztuki Gallery in Katowice
The atmosphere of an exhibition is built not only by the set of selected works but also - and sometimes even first and foremost - by the space in which they are presented. One was able to appreciate this second factor while walking through the exhibition of the International Print Triennial Krakow - Bis 2007 in Rondo Sztuki Gallery in Katowice. Some part of this exhibition repeated the presentation previously organised in Bunkier Sztuki in Krakow, but the rest presented new prints by the artists qualified for last year Triennial. But the biggest advantage of the presentation was the space itself. While arranging the exhibition instead of a traditional formula - with the works hanging on the walls in straight raws - the organisers used a free scenario, thanks to which both stages of the gallery transformed themselves into a maze of prints. Visitors immerse into a stream, or rather were dragged by whirls of works that influenced both individually and through interesting arrangements. Once again a motif of human body, analysed and presented in different forms, appeared as the most important subject of the exhibition. It took a form of pure physicality, as well as a form of traces of attendance and memory of the body. But this gallery consists not only of the huge, white rooms, but the city itself is a part of it, because it is located at the biggest roundabout in Katowice, that is a centre of a communication route from East to the West of Poland. City space interferes with the gallery space, and they are complementary to one another. The city also enters a direct dialogue with particular works, it penetrates their structure, broadens it and throws it into disarray. This kind of symbiotic relation between the gallery and the city space is a great advantage of this new gallery and it also has a contribution in making the Triennial presentation more attractive.
MTG Krak�w - BIS 2007, Rondo Sztuki w Katowicach
It is worth to underline that even the word "bis" is used in a title of the exhibition, this presentation is not a simple repetition or direct transfer of the Krakow exhibition, but a completely new artistic event proposed to the audience in Silesia region. It will be continued, because in the future in Rondo Sztuki an exhibition parallel to a Krakow one will be held. So it is worth to remember this address in Katowice, not only because of an extraordinary exhibition space, but as well for the reason of interesting planes of cooperation between Triennial in Krakow and the gallery.
[text: Marta Raczek]
GALLERY OF THE MONTH
Happy Birthday - Dunikowski-Duniko Exhibition
Since the 8th of September till the end of October the Foto-Medium-Art Gallery invites to the exhibition of works by Wincenty Dunikowski-Duniko entitled Happy Birthday. It is the first individual presentation of his artistic oeuvre in Krakow in the last 12 years.
Photos from the Wincenty Dunikowski-Duniko exhibition in Foto-Medium-Art Gallery
The exhibition features a selection of characteristic works from the period between the 1970s and today. The early series Moment Art is represented by the work called Hammering Artist (1976) and Common Printing with Breath (1980). Another decade of creative activities is reflected by painting From the Series T (1989). The Point of No Return series, started in 1992 and continued until now, shows his explorations in the 1990s. The exhibition is completed by Art Playing Table (1976/95) installation from Current Programme series, which goes back to the 1970s (my best video is current programme, 1974). This series was first exhibited, like the other series, including Projections (1973/4), in the form of drawings, projects and graphics, which are being realised until now.
Wincenty Dunikowski-Duniko was born in 1947. In 1974 he graduated from the Academy of Fine Arts in Krakow. He currently lives and works in Bonn, Berlin and Krakow. Duniko's experiments are rooted in artistic changes initiated by conceptual art experiences. His interdisciplinary artistic activities can be divided into two areas. The first one is focused on the issue of form development and integrates almost all means of creation - he practised crossover in his art long before the term was established. His leitmotiv is a motto I am always changing (1972) and extensive theory Power of Conceptualization - Art Energy (1972/3). The second area is connected with broadening the notion of art. Intellectual explorations are usually accompanied by rebellious syndromes which are expressed by the to be is to be against manifesto (1973) - he has often been described as "anarchist without a cause".
He had already earned international recognition in the mid-1970s for his work series called Albums (1971), Projections (1973/4) and Moment Art (1976), which have won prizes at prestigious exhibitions in Poland and abroad. He participated in Polish 1970s avant-grade exhibitions. In the 1980s and 1990s he focused mainly on installations and works from the above-mentioned series Ready for Use and Current Programme, which were exhibited in Kassel, Heidelberg, Mulhous, Berlin, Ludwigshafen, Oro�sk, Warsaw and Melbourne. The break of the 20th and 21st centuries was marked by retrospective exhibitions, which included series from the 1980s and 1990s (in Krakow, Heidelberg and Oro�sko).
Works by Wincenty Dunikowski-Duniko can be found in many collections, including the National Museum in Warsaw, Nationalgalerie in Berlin, Schering Kunstverein in Berlin, Bank of America in San Francisco, Moderna Galerija in Ljubljana, Museum of the Southwest in Midland, Texas, and others.
[Press Release of the Gallery]
The Foto-Medium-Art Gallery was opened in Wroclaw in October 1977. The Gallery has continually focused on exhibitions of the Polish and international avant-garde from the 1970s until today. Since 2007 Foto-Medium-Art has been located in Krakow city centre. The Gallery represents emerging and established contemporary artists.
COOPERATION OF INTERNATIONAL PRINT TRIENNIAL SOCIETY
WITH INSTITUTIONS ALL OVER THE WORLD:
1. INTERNATIONAL PRINT TRIENNIAL KRAKOW - OLDENBURG - VIENNA 2007 K�NSTLERHAUS WIEN
The exhibition entitled Print Internationale Grafik Triennale Krakau-Oldenburg-Wien 2007, which was solemnly opened on the 4th of September 2007 in K�nstlerhaus in Vienna, is a result of triangular agreement contracted on the 15th of September 2006 at 11.00 a.m. in Portraits Room of the Municipal Office in Krakow between the initiator of the agreement - International Print Triennial in Krakow - and two partners: Horst Jansen Museum in Oldenburg and K�nstlerhaus in Vienna. Every institution is an individual organiser and they create distinct artistic events. This agreement is term of aspirations of International Print Triennial in Krakow to constant broadening its artistic and social functions. Those exhibitions gather the world-wide artistic society and contribute to a development of graphic art as well as indicating new trends in this field. In the countries that resigned from organising periodical graphic exhibitions, development of that branch of art vehemently decreases. European interdisciplinary exhibitions like Documenta in Kassel or Venice Biennial would never replace distinct presentations dedicated only to graphic art. The triangular agreement between Krakow, Oldenburg and Vienna is an attempt to return to a tradition of international graphic exhibitions. Vienna that may be proud of its print collection - one of the biggest and most valuable in the world - that is a part of Albertina collection and numbers more than a million prints, is a perfect place for continuing the tradition of graphic art.
Photos from the exhibition opening
The exhibition Print Internationale Grafik Triennale Krakau-Oldenburg-Wien 2007 presents works by 166 artists coming from 50 countries. Merits of the organisers was to create not only an interesting exhibition - works selected according to similarity in their aesthetic and hanged in the wide rooms of K�nstlerhausu do not lose their autonomy - but also a kind of commentary on fundamental phenomena in contemporary graphic art. Both curators of the exhibition - Wojciech Krzywob�ocki and Georg Lebzelter - in multitudes of presented works underlined parallel between subjects and artistic methods.
The main subject of presented works is a human body - multiplicated and transformed in different processes (Karl Brandst�tter, Violetta Tycz-Nowowiejska, Krzysztof Tomalski). On one hand those overexposed, fragmented figures are reflections of centuries-old human inclination to recognise humanity, and on the other hand they are images of what a human may become while being ill or in agony. Sometimes artists try to avoid representing human figure directly and limit themselves only to represent its designation, i.e. clothes (Iwona Ju�kowiak-Abrams, Inn Hee Bang). Another subject pointed out by the curators is a world around us. Graphic artists, while quotating reality translate it into graphic alphabet of complexity, symmetry and recurrence. For some artists inspiration lies in observed forms that afterwards are transposed into subjective view of the world (Michael Botor, Sang gon Chung, Dalibor Smutny, Ingrid Ledent, Therese Houyoux). Also script became frequently explored subject (Justin Quinn, Helga Cmelka). Young artists carry on a dialogue with the future reaching back to etymology of the word "graphic". It orginates from Greek words related to writing: grapho ("engrave", �ac. sculpo), graphia ("graver", �ac. stilus) and graphikos ("related to writing", �ac. scriptorius). According to curators this underlined diversity of subjects, interpretations and techniques (collage, assemblage, montage) is an evidence of full bloom of graphic art, which constantly search for its own place among multitude of artistic disciplines. The exhibition Print Internationale Grafik Triennale Krakau-Oldenburg-Wien 2007 also shows variety of artistic investigations conducted by the artists from different nations. All of them think that graphic art still develops and - likewise in the past when people left traces of their hands on the cave walls - it is timeless code of people's communication.
The Jury of Print Internationale Grafik Triennale Krakau-Oldenburg-Wien 2007 has admitted two awards:
Woyty-Wimmer Preis f�r Graphik (1.600?) for Karl Brandst�tter
Double Moon I (1999) Bright Figure (1999)
Irene und Peter Ludwig Preis f�r K�nstlerinnen und K�nstler aus Osteuropa (800 ?) for Tadeusz Wiktor
Vertical Transcendent 9 Vertical Transcendent 14
The main exhibition is accompanied by a presentation of animations, symposium and many other graphic exhibitions, like: Printing at the Edge, Exprint, Disposition, Multiples & Structures i Permutation - solo exhibition of Wojciech Krzywob�ocki (we have presented his art in the previous Newsletter).
2. GRAND PRIX OF YOUNG POLISH PRINT IN GORZOW WIELKOPOLSKI
Grand Prix of Young Polish Print in the Miejski Osrodek Sztuki in Gorzow Wielkopolski is the fifth stop on a very successive tour of this exhibition that - as we know - began in October 2006 in Bunkier Sztuki in Krakow. Grand Prix of the Young, as it soon became entitled, was initiated in 2000 as a periodical exhibition accompanying International Print Triennial in Krakow. Its idea was an answer of the Triennial organisers to the rising wave of young Polish graphic art that appeared almost unexpectedly with the d�but of new names and great works for which there was not enough room within the frames of already existing competitions of the Polish Print Triennial in Katowice. The idea to organise separate, periodical presentation of young graphic art proved correct. It was impossible to have enough room in Bunkier Sztuki in Krakow for its second edition organized in 2006 and high artistic level of works made other galleries to invite this exhibition to five cities in Poland. In this way this presentation started in Bydgoszcz and came through Opole to Gorzow Wielkopolski. Amount of exhibitions and viewers positive reactions to the presented works indicate that a good time for young Polish graphic art has just arrived. It is worth to notice that young polish graphic artists win more and more awards not only in Poland but as well at the international competitions all over the world.
[text: Profesor Witold Skulicz]
Photos from the opening of the exhibition in Gorzow
3. GRAND PRIX - DAVIDA KIDD IN ENGRAM GALLERY IN KATOWICE
In United States every day new trends and fields that are penetrated by contemporary art come into being. Of course it is a natural consequence of development of technique and human environment. Social practice - including art language - changes according to the rhythm of this modifications. One of these new trends influenced by the contemporary civilization is "robotic art" to which art of Davida Kidd in some sense belongs. Her paintings outwardly represent people and places that resembling reality. But I think that through their lunatic character they communicate only dreams. In its intensity this art was born of gloomy urban civilization which beginning and end is obscure for the citizens. Undoubtedly, the art of Davida Kidd is true and revelational. It developed from authentic, but gloomy inner frustrations caused by progressing loss of humanity. I do not want to use high words, but for me it is the art in which I can hear a gentle inner lamentation over something lost forever.
[text: Professor Witold Skulicz]
Davida Kidd, God Save us From Intoxicating Glances, 2004
GRAPHIC ART EVENTS ALL AROUND THE WORLD:
VENICE BIENNIAL - PART ONE
A Walk Through Biennial - some remarks on Venice art festival.
In the following issues of the Newsletter I would like to invite you to read a handful of subjective reflections after my walk through the 52. Venice Biennial. This event - while concerning its absolutely gigantic scale and its constantly building fame - could never be perceived as a complete disappointment, even though complaining about it is something obligatory in postbiennial commentaries. Of course, on every Biennial there are weaker moments, but just beside them there are also real pearls, so the most important thing is to find those latter, and ignore those former. At the beginning I would like to remark that in my opinion the most valuable art this year was to find in the city space and everyone may have checked it while walking through the maze of Venice streets. But I will start my story from traditional Biennial localisations: Giardini and Arsenale.
This time the Giardini site seemed to me the weakest point of the Biennial. While entering the gate of Giardini I expected variety - at last it is a territory full of national pavilions - but the reality occurred to me quite different. I started from Padiglione Italia that since some time is a place of presenting the main exhibition. As two years before we ma called works presented there "safe choice" - famous names and anything controversial. So walking through those wide, white rooms resembled rather a visit in a friends' house, where from time to time we may see old piece of furniture with a fresh eye. But there were also some great artistic surprises. First one was an installation by Sophie Calle - also her project in France national pavilion was something worth a mention - entitled Pas Pu Sasir la Mort of 2007. It was a beautiful story dedicated to artist's mother, who has just passed away, a kind of a tribute, but without any unneccesary realism - rather a poem than a prose. Another interesting work was made by Joshua Mosley. He adapted his animated film to a style of a story about idealistic biologists from the 17th century. In the context of contemporary scientists' enthusiasm and uncritical attitude to cloning this film sounded like a warning. But beside some interesting works and projects one might feel in those spaces like on exile - that word resembled the intervention by Adel Abdessemed, who made a neon sign that instead of EXIT indicated EXIL. Another disadvantage of the main exhibition - both its parts - was a lack of suggestive subject. Motto of this year Biennial: Think with the Senses and Feel with the Mind is very wide, but seems to be a little bit scribbling as for that kind of event.
But first and foremost Giardini is a space of national pavilions. This year undoubtly belonged to the artists from Asia, like for example Hyungkoo Lee from Korea, who showed works concerning contemporary anthropology connected with cartoon heroes like in the installation Mus Animatus. Also Russia Pavilion was very interesting, which was subjected mainly to the contemporary media and their mechanisms. Romania Pavilion prepared by the following artists: Victor Man, Cristi Pogacean, Mona Vatamanu and Florin Tudor was a success as well. They showed works based on critical approach to the resentments of the former communistic epoch. Monika Sosnowska followed similar path while realising for Polish Pavilion her architectural installation, in which architecture is not necessarily "impossible" but rather "impossible to remove and stand". Critique of modernist, after-communistic buildings that still scare us in many Polish city centres finds in the work entitled 1:1 an ideal visual counterpart. Very interesting project was also presented by already mentioned Sophie Calle. In the France Pavilion she showed her new project entitled Take Care of Yourself - a story about getting accustomed to being left, which was very beautiful and made with using various media. Starting point of this story was an e-mail that she has received from one of his boyfriends. In this way he has informed her about breaking down, and ended his letter with the following statement: Take care of yourself, what can be understand both: Stick it! or To look after oneself. Calle decided to focus on that second - more literal - sense of this term and she asked many women to interprete this letter for her. This action helped her to go through this new stage of her life. It resulted in a beautiful story about women's strength, their consciousness, intelligence and sense of humour. Organisers also do not forget about Emilio Vedova, who died a year ago and who was very much involved in the Venice Biennial. They asked his close friend Georg Baselitz to prepare something and he decided to make some paintings that are a kind of an answer to one of Vedova's scuptures. The whole presentation was entitled Omaggio a Vedova. Dialogo con Baselitz and was complemented with a show of famous art-videos that are mostly concerned to belong to classical works like film by Marina Abramovic - Art Must Be Beautiful / Artist Must Be Beautiful.
But while going out of Giardini one may feel unsatisfied and quickly try to forget about the following Pavilions: German, Canadian or Egiptian. Arsenale appeared to be a remedium for this disappointment, but I will write about it next time.
This year the Ljubljana Biennial celebrated its 50th anniversary. Only till the end of October 2007 you can watch biennial exhibitions. Grand Prix of the 27th Ljubljana competition was awarded to Jeon Joonho:
Jeon Joonho, The White House, 2005/2006, computer animation, 32' 16"
We have received important news from Hilo, Hawaii. Pacific Rim International Print Exhibition is moving to New Zealand to University of Canterbury in Christchurch. 2008 Pacific Rim International Print Exhibition will be presented at the SOFA Gallery in the Arts Centre in Christchurch and will be on display during October 6 to the end of November 2008. Professor Cathryn Shine, Dean of the Faculty of Creative Arts and Convenor of Studios in Fine Arts for the School of Fine Arts at the University of Canterbury replaces Professor Wayne Miyamoto, Chair of the Art Department at the University of Hawaii at Hilo as Director of the Exhibition.
For more information about 2008 Pacific Rim International Print Exhibition please write an inquiry to: pacificrimprint@...
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