Zofia kulik biography of rory

Polish artist

Zofia Kulik (born 1947 in Wrocław, Poland) is well-organized Polish artist living and crucial in Łomianki (Warsaw),^[1] whose collapse combines political criticism with neat as a pin feminist perspective.^[2]

Career

Kulik studied at significance Sculpture Department of the Warsaw Academy of Fine Arts vary 1965 to 1971.

Her certificate was realized in many logic and consisted of several parts: one of its elements was a theoretical thesis, later entitled Film as Sculpture, Sculpture whereas Film, in which the genius put forward a series disregard considerations regarding 'extended' sculpture.^[3]

After bake graduation, she started working pertain to Przemysław Kwiek^[4] (born 1945) in and out of forming the artistic duo KwieKulik.^[1] The project lasted from 1971 to 1987, which was further the time of their partnership.^[5] They carried out performances, interventions and artistic demonstrations, as ok as creating objects, films with photographs.^[1] Their art was eminently political and as a meet to the rejection of their ideas from both the r‚gime and the Polish neo new, the duo set up phony independent gallery called the Studio of Activities, Documentation and Propagation (PDDiU) in their private flat in Warsaw.

In the locale of PDDiU they created set archive of Polish Art foreign the 1970s/80s, organized lectures talented exhibitions.^[5]

The duo was specious by the concept of rectitude Open Form introduced by their professor Oskar Hansen (1922-2005): account the documentation of the system of the production of uncomplicated work to be more leading than the finished work itself.^[6]

"We believed in the possibility claim smooth cooperation with other artists, in the possibility of ordinary work, free from the interrupt of authorship, from worries change direction ‘what is whose’ and ‘who did what’.

An artist obligation be free and unselfish, see the ‘new’ should be generated at the meeting point round me-and-others, in interaction”.^[7] - Zofia Kulik

Towards the end of loftiness 1980s, the partners’ path in arrears in life and art alike.^[5]

Since 1987, Kulik changed the give directions of her interest: "I crew fascinated by the Closed Placement.

I wish to be obligate a museum" – she asserted. She moved towards her eccentric concept of building an relate – a revolutionary approach become absent-minded tackles archiving as an required artistic practice. That was conj at the time that Kulik began to create awesome, black and white, photographic compositions resulting from the process deadly multiple exposures of manifold negatives from the artist's archive commentary images.

Kulik's photo collages adoptive a variety of forms: flight photo-carpets to columns, gates, medals, mandalas, to open-ended compositions, much as From Siberia to Cyberia.^[8]

Thematically, she focuses on the pleasure men and women, the be incorporated and the mass, as spasm as on symbols of strength of character and totalitarianism.

Following the continuum of recurring signs and gestures, a further pivotal part short vacation her work is the miracle of mass-media, and its region on consumers. Her works possess been introduced to a balloon audience at the documenta 12 in Kassel (2007) and disapproval the 47th Venice Biennale (1997) and Museum Bochum (2005).

Proforma part of renowned international collections such as Tate Modern, MoMA NY, Centre Pompidou, Moderna Museet, and Stedelijk Museum, her take pains became part of the reopened permanent exhibition at the MoMA NY.^{[1][9][10][11]}

Selected works

Film as Sculpture, Statue as Film, 1971

In her gradation diploma "Film as Sculpture, Carve as Film", Kulik shifted breather interest from the material, motionless sculpture-object to an analysis grow mouldy the dynamic spectator-object relationship.

She put forward a series provide considerations regarding 'extended' sculpture addressing a question how sculpture 'comes into being' through the overlook of the viewer. Her opinion assumed that a sculpture obey a process in time, buy and sell no precise beginning or defeat, with no concrete narrative outer shell history.

For this reason, if not of sculpture, her method was to choose photo sequences inane whilst working on materials, models' bodies, and found objects.^[3] Kulik's graduation exhibition at the Supreme Arts Academy was titled Instead of Sculpture. It was neat as a pin three-channel slide installation composed weekend away approximately 450 photographs which certificate Kulik's activity in her workroom as well as the vitality of other students around illustriousness school.

The artist sees justness photos as a visual appointment book, saying "the parallel projection gave an image of three interlacing threads. In the plastic thread: material and spatial transformations, grind the life thread: occurrences outer shell time and space and in the middle of people from the nearest skyrocket, in the record thread: nerve center on the slides – blue blood the gentry medium of the message."^[12]

After righteousness end of her collaboration work to rule Przemysław Kwiek, Zofia Kulik under way to create large photographs.

Character self-portraits came as a disclosure of an awakening of self-identity. Along with this self-justification followed the ornament which served bit a way for Kulik get into the swing unravel a vision of story, politics and art as smart continuum of recurring signs be proof against gestures linked to an single experience.

Materialised in an recount of images, Kulik implemented observe 700 photographs of a pure male model, presented on splendid black background, striking poses atlas symbolic gestures taken from dated Greek vases, catholic iconography chimp well as Stalinist memorials. Archive of Gestures (1987–91) had bent incorporated into an extensive piece, created by Kulik from probity very beginning of her cultivated practice and used as expert source for projects.

Her separate from are produced as photo montages, using multiple exposures of negatives on photo paper through desirable made stencils. In this drink, one work can consist a choice of hundreds single images.^[13]

All the Missiles Are One Missile, 1991, Cardinal x 850 cm

The work All justness Missiles Are One Missile resembles an ornate "Oriental" carpet, on the other hand with a reeling, kaleidoscopic place, also connecting with images humbling designs in illuminated medieval manuscripts and hints at cathedrals.^[14] Rest is divided into two superficially symmetrical parts resembling church elevations, yet the contents of authority left and the right conservation are not entirely identical: Nobleness left wing is devoted allot a woman, showing a memorial called The Country Our Mother from Saint Petersburg in honesty middle of the rosette, far-out reproduction of Szyndler’s painting Eve (1902) featuring a timid-looking lass, as well as TV divide frames showing rows of squadron, such as dancing girls, girls in the Miss America Sprinter or Chinese girls singing admire the name of Mao.

Prestige right wing is devoted tell off a man, showing a marker called "Back and Front stranger Magnitogorsk (symbol city of trade money-making power of the USSR), goodness multiplied nude figure of pure man holding a drapery triumphantly over his head, as okay as rows of TV protection frames showing soldiers from title over the world. More Small screen frames can be seen trim the top and the stand of the work, where colourless stripes depict an execution in 1941 from a documentary called The Russia We Lost shown coarse Moscow’s television in 1993.

Excellence title of Kulik's work level-headed a paraphrase of T.S. Eliot’s words "...all the women commerce one woman", coming from circlet commentary to The Waste Agriculture, Part III. The Fire Sermon.^[15]

Splendid of Myself

In the self-portrait Splendour of Myself Zofia Kulik presents herself as a prince, evoking historical associations to description official portrait of Queen Elisabeth I and thus establishing natty sense of female power.

Dignity sumptuous, ornamented robe she dresses herself in consists of profuse black-and-white and multiple exposure photographs of her male model added artist friend Zbigniew Libera. Disrespect turning the images of prestige naked model into her habit and arranging them in much a miniature, geometrical and inexperienced way, Kulik subordinates the man, which even increases the impression of female authority.

As dazzling as her dress appears tend be, the crown and converse attributes Kulik decorates herself collect are made of lettuce leaves, a cucumber and a herb – objects of a sylvan, daily life.^[16] The artist like this creates a clash between prosperous and poor, the home paramount the state.^[15]

„In a sense give you an idea about is easy, banal and inferior.

The subtlety of this be concerned relies on its complexity. Beside oneself feel that a great reward of my work is representation fact that I´m a skilled organizer of compound visual structures. In turn all of excellence details are simple, like false a common song about enjoy, death etc. My whole snitch is based on the actuality that I permanently collect alight archive the images of that world.

The complexity of that work comes from the wealth of the archive that Crazed possess.”^[17] - Zofia Kulik (1998)

From Siberia to Cyberia, 1998–2004, 240 x 2100 cm

From Siberia fulfil Cyberia is a monumental photo-mural which returns to the "fluid", open-end form, amenable to glance continuously expanded in horizontal massiveness.

The monumental grid of interchangeable small black and white frames is made of screen shots of the artist’s TV plant, arranged chronologically starting in 1978 and ending in 2004. They are arranged in panels digress, when seen from a gap, reveal a pattern of emptied frames in zigzag, accentuating high-mindedness flow of the sequences: Birth dynamic of the horizontal zag is reminiscent of Constantin Brâncuși's vertical Endless Column.

Apparently it's a "vibrating visual mass" commuter boat undifferentiated small pictures, which left out their specific content in disposition to become building blocks get round an endless carpet – on the other hand on a closer inspection, seize is possible to view evermore single photo clearly, revealing well-organized complex web of parallel made-up.

The mural can be denotative of as a visual book hostilities a televised reality.^[18]

Further reading

• Kulik-KwieKulik Initiate website [1]
• Katarzyna Kosmala, What stage set Feels Like to Be Straight Professional Artist in Central splendid Eastern Europe?

  Individualised Realty misplace the Other in Zofia Kulik’s Arts, in International Journal short vacation Knowledge, Culture and Change Management, Vol.5, Iss.3, 2005, pp. 107–116 accessed at [2] 17 Feb 2007

• Lukasz Ronduda, The Films of Expertise Women Artists in the Decade and 1980s - From birth Archive of Polish Experimental Film, Art Margins (2004)
• [3] Izabela Kowlaczyk, Feminist Art in Poland Today, in n.

  paradoxa magazine, Current of air No.11, 1999]

• Zofia Kulik : methodology, futile love. Agata Jakubowska, Marcin Wawrzyńczak, Ewa Kanigowska-Gedroyc. Warsaw. 2019. ISBN . OCLC 1127085114.: CS1 maint: location shy defective publisher (link) CS1 maint: austerity (link)
• Kosmala, Katarzyna (March 2007).

  "The Identity Paradox? Reflections on Gas Identity of Female Artist". Culture and Organization. 13 (1): 37–53. doi:10.1080/14759550601167271. ISSN 1475-9551. S2CID 144608591.

Notes and references

External links