ARTISTS
Wanda 颁锄别艂办辞飞蝉办补: Retrospection
Having been artistically active for well over fifty years, 颁锄别艂办辞飞蝉办补 takes a reflective look at her oeuvre which has always stayed in touch with all the most significant currents of 20th c. avant-garde art: neo-primitivism, expressionism, conceptualism. The contemporary installation she has designed especially for the 碍谤贸濒颈办补谤苍颈补 exhibition, incorporates the artist鈥檚 historical works. Sculpture has always been the chief means of Wanda 颁锄别艂办辞飞蝉办补鈥檚 expression, though she has more than once crossed the traditional understanding of the discipline.
Born in 1930, Wanda 颁锄别艂办辞飞蝉办补 is an artist of utmost originality and independence. Though highly recognized by specialists, her work still awaits an exhaustive analysis in art history. Neither has the potential of her art been fully explored in exhibition spaces. Nonetheless, the few and fragmentary presentations of her work have always intrigued and stirred curiosity. It took only one sculpture and two drawings by 颁锄别艂办辞飞蝉办补, presented in May of this year at a collective exhibition at New York鈥檚 1602 Broadway Gallery, for the Artspace critic, Andrew M. Goldstein, to claim the show to be one of the best ten presented at the Frieze New York 2016 - a key event In the calendar of the global artworld.
The concept for Wanda 颁锄别艂办辞飞蝉办补鈥檚 solo presentation at 碍谤贸濒颈办补谤苍颈补, with an accompanying publication and an academic conference to be held at the Sculpture Museum in February 2016, was forged during the many hours of conversation the artist spent with Ewa Opa艂ka, the curator of the exhibition and the long-time researcher of her oeuvre. In 2010, 颁锄别艂办辞飞蝉办补 made her studio in a post-industrial location in Warsaw鈥檚 district of Mokot贸w, virtually a hop, skip and jump from 碍谤贸濒颈办补谤苍颈补. This incredible space, filled with natural light pouring in through the huge windows, houses the artistic effects of 颁锄别艂办辞飞蝉办补鈥檚 long and creative life. There are the monumental plaster portraits - like the statues from Rapa Nui - standing among the geometrical constructions made of wooden planks and steel flat bars. The tables and turntables are covered with tools: grinders, hammers, brushes, chisels. Though it may all seem like great chaos, the situation is one of a well thought-out order, where each object has its place and its artistic sense - just as in the exhibition at 碍谤贸濒颈办补谤苍颈补. Here too, even the tiniest element has a precisely intended location, and every detail does mean something.
鈥淩etrospection鈥� is a term borrowed from literature and film. It means a reconstruction of events from the vantage point of a single person. At the exhibition of Wanda 颁锄别艂办辞飞蝉办补, all events and works from the past have become a part of a contemporary installation, made up of pieces brought here from the nearby studio, new objects which have been created especially for 碍谤贸濒颈办补谤苍颈补, or works which years ago were procured by The National Museum in Warsaw, The Silesian Museum, or The National Museum in Krakow. And it was Krakow with which the artist had the longest relation. She graduated from the local Academy of Fine Arts in 1954. In the years 1969 鈥� 1981, she belonged to the Second Krakow Group, though she never strayed from her own individual path and thus never saw her membership in the group as of utmost importance. When still at the Academy, 颁锄别艂办辞飞蝉办补 developed her original style despite the then binding doctrine of socialist realism. The heavy, expressive, neo-primitive portraits from that period have been incorporated in the new installation titled 鈥淓lipses鈥� created in the space of 碍谤贸濒颈办补谤苍颈补. The sculptural head is the leitmotif of 颁锄别艂办辞飞蝉办补鈥檚 art, processed and reprocessed to almost abstract forms (鈥淭he Head鈥�, 1967), multiplied as in the monumental installation 鈥淭he Table鈥� from the years 1968 鈥� 1972, or ostentatiously dematerialised as in 鈥淭he Absolute Elimination of the Sculpture as a Notion of Shape鈥� (1972鈥�1994).
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Having been artistically active for well over fifty years, 颁锄别艂办辞飞蝉办补 takes a reflective look at her oeuvre which has always stayed in touch with all the most significant currents of 20th c. avant-garde art: neo-primitivism, expressionism, conceptualism. The contemporary installation she has designed especially for the 碍谤贸濒颈办补谤苍颈补 exhibition, incorporates the artist鈥檚 historical works. Sculpture has always been the chief means of Wanda 颁锄别艂办辞飞蝉办补鈥檚 expression, though she has more than once crossed the traditional understanding of the discipline.
Born in 1930, Wanda 颁锄别艂办辞飞蝉办补 is an artist of utmost originality and independence. Though highly recognized by specialists, her work still awaits an exhaustive analysis in art history. Neither has the potential of her art been fully explored in exhibition spaces. Nonetheless, the few and fragmentary presentations of her work have always intrigued and stirred curiosity. It took only one sculpture and two drawings by 颁锄别艂办辞飞蝉办补, presented in May of this year at a collective exhibition at New York鈥檚 1602 Broadway Gallery, for the Artspace critic, Andrew M. Goldstein, to claim the show to be one of the best ten presented at the Frieze New York 2016 - a key event In the calendar of the global artworld.
The concept for Wanda 颁锄别艂办辞飞蝉办补鈥檚 solo presentation at 碍谤贸濒颈办补谤苍颈补, with an accompanying publication and an academic conference to be held at the Sculpture Museum in February 2016, was forged during the many hours of conversation the artist spent with Ewa Opa艂ka, the curator of the exhibition and the long-time researcher of her oeuvre. In 2010, 颁锄别艂办辞飞蝉办补 made her studio in a post-industrial location in Warsaw鈥檚 district of Mokot贸w, virtually a hop, skip and jump from 碍谤贸濒颈办补谤苍颈补. This incredible space, filled with natural light pouring in through the huge windows, houses the artistic effects of 颁锄别艂办辞飞蝉办补鈥檚 long and creative life. There are the monumental plaster portraits - like the statues from Rapa Nui - standing among the geometrical constructions made of wooden planks and steel flat bars. The tables and turntables are covered with tools: grinders, hammers, brushes, chisels. Though it may all seem like great chaos, the situation is one of a well thought-out order, where each object has its place and its artistic sense - just as in the exhibition at 碍谤贸濒颈办补谤苍颈补. Here too, even the tiniest element has a precisely intended location, and every detail does mean something.
鈥淩etrospection鈥� is a term borrowed from literature and film. It means a reconstruction of events from the vantage point of a single person. At the exhibition of Wanda 颁锄别艂办辞飞蝉办补, all events and works from the past have become a part of a contemporary installation, made up of pieces brought here from the nearby studio, new objects which have been created especially for 碍谤贸濒颈办补谤苍颈补, or works which years ago were procured by The National Museum in Warsaw, The Silesian Museum, or The National Museum in Krakow. And it was Krakow with which the artist had the longest relation. She graduated from the local Academy of Fine Arts in 1954. In the years 1969 鈥� 1981, she belonged to the Second Krakow Group, though she never strayed from her own individual path and thus never saw her membership in the group as of utmost importance. When still at the Academy, 颁锄别艂办辞飞蝉办补 developed her original style despite the then binding doctrine of socialist realism. The heavy, expressive, neo-primitive portraits from that period have been incorporated in the new installation titled 鈥淓lipses鈥� created in the space of 碍谤贸濒颈办补谤苍颈补. The sculptural head is the leitmotif of 颁锄别艂办辞飞蝉办补鈥檚 art, processed and reprocessed to almost abstract forms (鈥淭he Head鈥�, 1967), multiplied as in the monumental installation 鈥淭he Table鈥� from the years 1968 鈥� 1972, or ostentatiously dematerialised as in 鈥淭he Absolute Elimination of the Sculpture as a Notion of Shape鈥� (1972鈥�1994).
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