INTERNATIONAL SCIENTIFIC CONFERENCE: What does sculpture mean today?
The conference will be dedicated to the exhibition “Artistry. 100 years of Polish Sculpture”.
The conference is presided by Vita Birzaka
The Paradise for Sculptors. About The Centre of Polish Sculpture in Orońsko/ Poland
The Orońsko Sculpture Centre’s collection of sculpture and environmental art works has developed historically, particularly in the past 30 years, with careful thought being given to supplementing the collection with the works of both classic as well as very young artists: starting from the stylization of form typical of modernists, abstraction, expression right up to contemporary spatial objects, installations, video and neon light projects. The Centre of Polish Sculpture is trying to document and collect these current works of selected Polish as well as international artists, which – we hope – will not only increase the value of our collection but also will make a representative collection serving educational purposes. It is particularly true about our park exhibition which is going to be rebuilt in the years to come. Jarosław Kozakiewicz’s work Transition, the monumental ‘self-assembled work’ by Maciej Szańkowski and Marta Pszonak’s Teapot are its new beginning. In 2017 the collection was also enriched with Magdalena Abakanowicz’s new works. Time will tell if we manage to create something as valuable as the historical sculpture parks of western Europe, e.g. at the Louisiana Museum of Modern Art in Denmark or the Dutch Kröller-Müller Museum, or the more contemporary ones like Yorkshire Sculpture Park in England.
Doing sculpture in The Rabbit House
XVIII century Królikarnia Palace ( The Rabbit House) hosts the division of National Museum in Warsaw dedicated to sculpture. Our artistic interests are based on two sources: the history of our venue and a modern understanding of the concept of sculpture, which could mean the traditional figure made of marble or bronze as well as public art in the spirit of Joseph Beuys’s concept of 'Social Sculpture'. For this reason, our program combines traditional museum exhibitions with more experimental projects, such as concerts that begin at sunrise, a vegetable garden cultivated by the museum audience, or a mystic Muslim ritual celebrated among the art exhibits. We research the history of polish sculpture, looking specially for the interesting artists, who had not yet been well recognised by the art historians. This is particularly true in the case of many women – sculptors. Among other artists, we introduced to the public the oeuvre of Maria Papa-Rostkowska, Wanda Czełkowska and Iza Tarasewicz.
Zakopane Woodworking School. How vocational school in a small village became one of the most important artistic school in Poland.
Artistic Manifestations of Riga Sculpture Quadrennials 2004 – 2016
14.00-14.30 Coffee Break
Art in Riga Public Space 2012-2017
The programme Art in Riga’s Public Space is a private initiative which thanks to the collaboration of Boris and Ināra Teterev Foundation and the City of Riga, is now already into its fifth year. In Riga’s case, this is a unique experience, whereby permanent works of contemporary art take root in public space. In turn, it is an example of a practice that one does not see that often internationally, i.e. a private foundation taking the initiative for an arts programme and financing its implementation in full. In commencing work on the programme, Art in Riga’s Public Space, in an attempt to emphasise that contemporary art in the urban environment can be a source of surprises, paradoxes, as well as a reflection of global trends and thinking, curator Helēna Demakova defined its leitmotif as THE JOY OF THOUGHT. This project is motivating Latvia’s artists and giving them the opportunity to participate in competitions under the auspices of the programme and as a result future generations will be left with a legacy of artistic thought in 21st century Latvia.
Sculpture Is a Woman: Polish Contemporary Sculpture and Non-masculine Tradition
Over the last decade or so, Polish history, art criticism as well as art history have thoroughly re-assessed the history of modern and contemporary Polish sculpture and, consequently, have re-written the sculptural canon from the point of view of feminist (and post-feminist) gender politics, sexuality and affect. The works of such artists as Katarzyna Kobro, Alina Szapocznikow and Maria Pinińska-Bereś have thus been re-assessed. However, next to the rise of new art history, one also has observed the emergence of a new artistic trend among young female Polish sculptors who, at the turn of the 21st century, have not only re-visited the tradition of Polish (and world) sculpture but also formulated a new paradigm of sculpture.
Mirosław Bałka. A Point of Deficiency.
Mirosław Bałka (1958) is a Polish sculptor and video artist. He represented Poland at Art Biennale in Venice (1993), he is a laureate of Paszport “Polityki” in the scope of visual arts (1995), stipend holder of Miese van der Rohe in Krefeld, Germany, member of Akademie der Künste in Berlin. He created the memorial of the Victims of Estonia Ferry Disaster in Stockholm (1998) as well as sculptures, objects, installations and environment art. He also practices drawing and experimental film.