Kuratork\u0105 tegorocznej wystawy jest Dorota Monkiewicz \u2014 wieloletnia kustoszka sztuki wsp\u00f3\u0142czesnej w Muzeum Narodowym w Warszawie, tw\u00f3rczyni koncepcji i dyrektorka Muzeum Wsp\u00f3\u0142czesnego Wroc\u0142aw (do 2016), obecnie zwi\u0105zana z Centrum Rze\u017aby Polskiej w Oro\u0144sku.<\/p>\n
Wystawa konkursowa w Zach\u0119cie rozpocznie si\u0119 8 wrze\u015bnia 2017. Laureat\u00f3w poznamy 26 pa\u017adziernika. Pierwsza nagroda to 60 tys. z\u0142otych, druga \u2014 wyjazd studyjny do Villa Romana we Florencji. Tradycyjnie zostanie r\u00f3wnie\u017c przyznana nagroda publiczno\u015bci.<\/p>\n
Konkurs Spojrzenia \u2014 Nagroda Deutsche Bank, odbywaj\u0105cy si\u0119 co dwa lata (od 2003 roku), to projekt wspieraj\u0105cy rozw\u00f3j m\u0142odej sztuki polskiej. Dzi\u0119ki tej inicjatywie mo\u017cliwe jest uhonorowanie najciekawszych postaw artystycznych i wypromowanie w Polsce i za granic\u0105 najlepszych tw\u00f3rc\u00f3w m\u0142odego pokolenia.<\/p>\n
<\/p>\n Jak\u0105 prac\u0119 pokazujesz na wystawie\u00a0Spojrzenia<\/em>?<\/strong> Lacrimosa<\/strong><\/em> Jak postrzegasz obecn\u0105 scen\u0119 sztuki w Polsce i jak siebie na niej sytuujesz?<\/strong> Czego oczekujesz od mecenasa prywatnego, a czego od instytucji publicznej?<\/strong> ————————– September 8th – November 12th<\/p>\n Views 2017 is the eighth edition of the competition for young artists, organised by Deutsche Bank Polska S.A. and Zach\u0119ta \u2013 National Gallery of Art. The committee led by painter Paulina O\u0142owska selected five finalists. Participating in this year\u2019s Views are artists born between 1984 and 1987, representing various regions of Poland, whose art is linked by a shared interest in humanity \u2014 both in the individual, as well as in the social perspective.<\/p>\n Ewa Axelrad has lived and worked in London and Gliwice (Poland), for many years. She creates installations, photographs, videos and sculptural objects. One of the recurring motifs in her works is violence observed in interpersonal and social relationships, and above all, its manifestations in everyday objects or architectural systems. Przemek Branas uses performance, video and installations in his works \u2014 combining biographical themes with symbols. He is interested in crossing boundaries marked by the body, culture and social functioning mechanisms. Agata Kus is primarily a painter, although she works with the medium of video as well. She paints mainly people. Her paintings are characterised by a simultaneous multiplicity of narratives bonded into one composition, their non-obviousness and ambiguity. She plays with form, using painting collages, pseudo-cut-outs, elements pasted in or crossed out and destruction. Honorata Martin, working and living in Gda\u0144sk, is a multimedia artist, painter and performer. She is known for the radicalism of her actions and her search for the boundaries of physical and mental endurance. She studies extreme situations and the strong emotions that accompany the overcoming of one\u2019s own fears. \u0141ukasz Surowiec is an interdisciplinary artist and author of social actions. He is interested in political and historical interpersonal relations, but also the body and its borders. He practices socially engaged art \u2014 he works with marginalised people and initiates processes that often reveal the most uncomfortable problems.<\/p>\n The curator of this year\u2019s exhibition is Dorota Monkiewicz \u2014 a long-time curator of contemporary art at the National Museum in Warsaw, author of the concept and director of the Wroc\u0142aw Contemporary Museum (until 2016). She is currently associated with the Centre of Polish Sculpture in Oro\u0144sko.<\/p>\n The competition exhibition at Zach\u0119ta will start on the 8th of September 2017. The winners will be announced on the 26th of October. The winner will receive a prize of 60 000 PLN (15 000 Euro) and the second place prize is a study trip to Villa Romana in Florence. Traditionally, an audience award will also be presented.<\/p>\n The Views \u2013 Deutsche Bank Award competition, held every two years (since 2003) is a project aimed at supporting the development of young Polish art. Thanks to this initiative, we can honour the most interesting artistic positions and promote the best artists of the young generation in Poland and abroad.<\/p>\n What work are you showing at the\u00a0Views\u00a0<\/em>exhibition?<\/strong> Lacrimosa<\/em><\/strong> How do you perceive the Polish art scene today and your own place in it?<\/strong> What do you expect from a private patron and what from a public institution?<\/strong> <\/p>\n
\nTrwaj\u0105cy nadal trend w sztuce, b\u0119d\u0105cy produktem artyst\u00f3w okre\u015blonych przez
\nJakuba Banasiaka jako \u201ezm\u0119czeni rzeczywisto\u015bci\u0105\u201d, wydaje si\u0119 sta\u0107 w sprzeczno\u015bci z tworzonymi przeze mnie obrazami. Wi\u0119kszo\u015b\u0107 z nich opiera si\u0119 przecie\u017c na przedstawieniach realistycznych, fotografiach i kola\u017cach, wizerunkach wa\u017cnych dla mnie postaci z filmu i literatury. Staram si\u0119 jednak na sw\u00f3j spos\u00f3b odrealni\u0107 te wizerunki, znajdowa\u0107 dla nich niejednoznaczne, lekko niepokoj\u0105ce konteksty. Nowy cykl obraz\u00f3w, kt\u00f3rego cz\u0119\u015b\u0107 mo\u017cemy ogl\u0105da\u0107 na tegorocznych\u00a0Spojrzeniach<\/em>, r\u00f3\u017cni si\u0119 od starszych prac. Zamiast pi\u0119knych, intryguj\u0105cych dziewcz\u0105t postanowi\u0142am malowa\u0107 brzydkich, lecz pe\u0142nych \u017cycia ch\u0142opc\u00f3w. Przede wszystkim jednak zaspokajam pragnienie pokazywania bliskiego mi \u015brodowiska i oryginalnych, zdumiewaj\u0105cych os\u00f3b, swoim barwnym \u017cyciem dostarczaj\u0105cych mi wielu bod\u017ac\u00f3w i temat\u00f3w, kt\u00f3re same nasycaj\u0105 si\u0119 odpowiedni\u0105 ilo\u015bci\u0105 tajemnicy i humoru \u2014 a to ceni\u0119 sobie najwy\u017cej.<\/p>\n
\nW\u00a0Chimerycznym lokatorze<\/em>\u00a0Roland Topor ujawni\u0142, \u017ce bohater wcale nie jest nawiedzony, lecz szalony. Buduj\u0105c wyimaginowan\u0105 histori\u0119 Lokatora, opieram si\u0119 na jego klimacie i maluj\u0119 posta\u0107 muzyka oddaj\u0105cego si\u0119 czynno\u015bciom piel\u0119gnacyjnym w podobnym Toporowi, nieco spazmatycznym ge\u015bcie. W listopadzie 1791 roku chory Mozart ko\u0144czy\u00a0Requiem<\/em>. Komponuje w \u0142\u00f3\u017cku swoje opus magnum \u2014\u00a0Lacrimosa<\/em>\u00a0(pow\u00f3d\u017a \u0142ez), przewiduj\u0105c sw\u00f3j rych\u0142y zgon.
\nW sierpniu 2016 roku s\u0142aby i skacowany Micha\u0142 Jan Dymny ko\u0144czy \u0107wiczy\u0107
\nna gitarze. Wycie\u0144czony, komponuje w \u0142\u00f3\u017cku i wywo\u0142uje pow\u00f3d\u017a \u0142ez kroplami
\ndo oczu Lacrimal. Nie wiemy, czy chce dzi\u0119ki temu widzie\u0107 wi\u0119cej, czy mniej; uwra\u017cliwi\u0107 si\u0119 na bod\u017ace czy znieczuli\u0107. Podobno przy pierwszych taktach
\nLacrimosy<\/em>\u00a0Mozart wybuchn\u0105\u0142 p\u0142aczem. Dalej, po\u00a0luceat eis<\/em>, powszechne
\nb\u0142aganie ko\u0144czy si\u0119 jednak nut\u0105 pocieszenia: Mozart pokrzepia nas wersami, \u017ce wszystko b\u0119dzie dobrze, poniewa\u017c istnieje lito\u015b\u0107. \u0141zy przynosz\u0105 ulg\u0119.
\nObraz przywodzi na my\u015bl przedstawione przez Hieronima Boscha wyd\u0142ubywanie
\nkamieni szale\u0144stwa. Pokazuj\u0105c kompozytora w tej wyszukanej pozie, staram si\u0119
\nr\u00f3wnie\u017c nawi\u0105za\u0107 formalnie do obraz\u00f3w Caravaggia, kt\u00f3rego teatralne uk\u0142ady
\nprzeplataj\u0105cych si\u0119 w napi\u0119ciu m\u0119skich r\u0105k i n\u00f3g, s\u0105 dla mnie r\u00f3wnie mocnym
\nwyr\u00f3\u017cnikiem jego tw\u00f3rczo\u015bci, co zabiegi ze \u015bwiat\u0142em i cieniem. M\u00f3j Caravaggio
\nzatopiony jest w bieli po\u015bcieli z Ikei. I w tej po\u015bcielowej bieli prze\u017cywa b\u00f3l istnienia.
\nPornografia<\/strong><\/em>
\nObraz jest po\u0142\u0105czeniem dw\u00f3ch przenikaj\u0105cych si\u0119 postaci i form, tworz\u0105cych ca\u0142o\u015b\u0107. Pierwsza para (w czerni i bieli) to wariacja na temat podarowanych mi fotografii i historii Marcina \u015awietlickiego, kt\u00f3ry pojawia si\u0119 na zdj\u0119ciu jako nastolatek. Jego pierwsza dzieci\u0119ca narzeczona obserwuje w\u0142adczym wzrokiem, gdy ten g\u0142aszcze psa. Nie wiemy, czy pie\u015bci zwierz\u0119, czy na polecenie ukochanej robi mu krzywd\u0119. St\u0105d tytu\u0142 nieuko\u0144czonego obrazu\u00a0Pornografia\u00a0<\/em>nawi\u0105zuj\u0105cy do utworu
\nGombrowicza, w tw\u00f3rczo\u015bci kt\u00f3rego mo\u017cemy odnale\u017a\u0107 wiele analogicznych historii. Obraz zosta\u0142 przeze mnie porzucony w trakcie pracy dwa lata temu. Dopiero teraz znalaz\u0142am do\u0144 odpowiedni klucz \u2014 po\u0142\u0105czy\u0142am go z drug\u0105, osobliw\u0105 par\u0105 z czas\u00f3w wsp\u00f3\u0142czesnych. Bohaterka obrazu Ola I. nosi nieco anachronicznie wygl\u0105daj\u0105c\u0105 sukienk\u0119 i w teatralny spos\u00f3b pali papierosa. Po\u0142\u0105czone ze sob\u0105 przedstawienia ujawniaj\u0105 skryte napi\u0119cie seksualne, pewien rodzaj rytua\u0142u, celebracji.
\nJadwiga 2017<\/strong><\/em>
\nObraz odnosi si\u0119 w oczywisty spos\u00f3b do nagrobka kr\u00f3lowej Jadwigi w Katedrze
\nWawelskiej. To ironiczny komentarz postawy pokolenia dzisiejszych trzydziestolatk\u00f3w, kt\u00f3rzy przyzwyczajeni do wygodnego i beztroskiego \u017cycia, posiadanie potomstwa zr\u00f3wnuj\u0105 ze \u015bmierci\u0105 towarzysk\u0105. Pomnik dedykowany jest bohaterstwu mojej przyjaci\u00f3\u0142ki El\u017cbiety M.
\nNosferatu<\/em><\/strong>
\nObraz przedstawiaj\u0105cy zaprzyja\u017aniony zesp\u00f3\u0142 Neal Cassady & The Fabulous Ensemble w alkoholowym upojeniu, w trakcie koncertu w jednym z warszawskich klub\u00f3w. Z pozoru zn\u00f3w traktowa\u0107 mo\u017ce o bliskim mi pokoleniu trzydziestolatk\u00f3w, kt\u00f3rzy wol\u0105 pozostawa\u0107 w strefie komfortu, a swoj\u0105 agresj\u0119 i energi\u0119 roz\u0142adowuj\u0105 podczas eksces\u00f3w w knajpie. Wokalista przewraca si\u0119 na zestaw perkusyjny.\u00a0 Gitarzysta wykonuje w\u0142adczy ruch r\u0119k\u0105, przywodz\u0105cy na my\u015bl gesty z seans\u00f3w spirytystycznych. Zestawione kola\u017cowo widma dziewczynek trac\u0105 dla ch\u0142opc\u00f3w g\u0142owy, a cie\u0144 r\u0119ki Nosferatu dyryguje wampiryczn\u0105 symfoni\u0105 grozy.<\/p>\n
\nCiekawym zjawiskiem jest wed\u0142ug mnie post\u0119puj\u0105ca w bardzo szybkim tempie
\nzmiana schemat\u00f3w poznawczych i odchodzenie od struktury hierarchicznej
\nw kwestii nabywania do\u015bwiadcze\u0144 poprzez si\u0142\u0119 autorytetu. Na przek\u00f3r twierdzeniom wielu kurator\u00f3w, kt\u00f3rzy korzeni obecnych trend\u00f3w szukaj\u0105 w historii sztuki polskiej, wydaje mi si\u0119, \u017ce procesy te przyj\u0119\u0142y struktur\u0119 figury k\u0142\u0105cza, opisywanej przez Deleuze\u2019a i Guattariego w\u00a0Mille plateaux<\/em>.\u00a0Capitalisme et schizophr\u00e9nie.<\/em>\u00a0Nieograniczony dost\u0119p do informacji, obraz\u00f3w i nowo\u015bci z ca\u0142ego \u015bwiata maj\u0105 r\u00f3wnie\u017c arty\u015bci, szczeg\u00f3lnie ci z m\u0142odszego pokolenia. Nie musimy ju\u017c szuka\u0107 dost\u0119pu, podr\u00f3\u017cowa\u0107 czy wydawa\u0107 20 dolc\u00f3w na zagraniczn\u0105 pras\u0119, by zobaczy\u0107, co dzieje si\u0119 w Nowym Jorku i Londynie, w du\u017cych i ma\u0142ych galeriach, w pracowniach i mieszkaniach poszczeg\u00f3lnych artyst\u00f3w. \u0141\u0105czno\u015b\u0107, wielo\u015b\u0107 i heterogeniczno\u015b\u0107 k\u0142\u0105cza Instagrama, sprowadzaj\u0105cego warto\u015b\u0107 wszystkich reprodukcji do jednakowo ma\u0142ych ikonek, sprawia, \u017ce do tw\u00f3rczo\u015bci \u015brodowiska krakowskiego jest mi tak samo blisko jak do sztuki artyst\u00f3w z Meksyku. Warto o tym pami\u0119ta\u0107, rozp\u0142ywaj\u0105c si\u0119 nad wyj\u0105tkowo\u015bci\u0105 pojawiaj\u0105cych si\u0119 nowych trend\u00f3w w polskiej sztuce i zobaczy\u0107, czy przypadkiem internet nie p\u0119ka od tego w szwach.<\/p>\n
\nJako malarzowi znacznie trudniej mi sobie wyobrazi\u0107 takie po\u0142\u0105czenie, kt\u00f3re dawa\u0142oby szans\u0119 na satysfakcjonuj\u0105c\u0105 realizacj\u0119 zamierzonych cel\u00f3w, natomiast widz\u0119 interesuj\u0105ce mo\u017cliwo\u015bci wspierania takich dziedzin sztuki jak performans, akcje artystyczne, przedstawienia teatralne czy r\u00f3\u017cnego rodzaju projekty intermedialne. Nowoczesny, egalitarny charakter globalnego spo\u0142ecze\u0144stwa internetu pr\u0119\u017cnie tworzy narz\u0119dzia i systemy nie tylko promocji, ale i fundowania takich dzia\u0142a\u0144. Pozwalaj\u0105 one w jakim\u015b stopniu omija\u0107 lepiej lub gorzej funkcjonuj\u0105ce cechy tradycyjnego mecenatu. By\u0107 mo\u017ce nied\u0142ugo nie b\u0119dzie ju\u017c konieczny bogaty fundator, mecenas czy instytucja, od kt\u00f3rych wp\u0142yw\u00f3w i polityki mo\u017cna sta\u0107 si\u0119 zale\u017cnym. Mamy ju\u017c przecie\u017c crowdfunding, a informacje i promocja rozchodzi si\u0119 po portalach spo\u0142eczno\u015bciowych w mgnieniu oka i trafia do ogromnej liczby os\u00f3b. Tradycyjne malarstwo sztalugowe zachowuje jednak charakter salonowy i elitarny. Trudno temu zaprzeczy\u0107 i z tym walczy\u0107.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n
\nViews 2017. Deutsche Bank Award<\/p>\n
\nThe continuing trend in art, driven by artists described by Jakub Banasiak as \u2018reality-weary\u2019, seems to be at odds with my paintings. Most of them are based on realistic representations, photographs and collages, images of actors and literary figures that matter to me. I try nonetheless to unrealise them in my own way, to find ambiguous, slightly disturbing contexts for them. My new series, part of which is featured in this year\u2019s\u00a0Views<\/em>, differs from the older works. Instead of beautiful, intriguing girls, I\u2019ve decided to paint ugly but vigorous boy. Above all, however, I fulfil the desire to portray a community I feel emotionally bound with and the original, amazing persons that with their colourful life provide me with me inspirations and themes imbued with mystery and humour \u2014 qualities I appreciate the most.<\/p>\n
\nIn\u00a0The Tenant<\/em>, Roland Topor reveals that the protagonist is not at all possessed, but mad. Building an imaginary story of\u00a0the Tenant<\/em>, I rely on a similar mood and paint the image of a musician performing a self-care activity in a Toporesque, slightly spasmodic gesture. In November 1791, gravely ill and expecting his imminent demise, Mozart works on his\u00a0Requiem<\/em>. Bed-stricken, he composes the first 8 bars of his opus magnum,\u00a0the Lacrimosa<\/em>(\u2018flood of tears\u2019) movement. In August 2016, feeling weak and suffering from a hangover, Micha\u0142 Jan Dymny is almost done with his guitar rehearsal. Exhausted, he composes in his bed, causing a flood of tears with Lacrimal eye-drops. We don\u2019t know if he wants to see more or less; to become more sensitive to stimuli or to desensitise himself. Mozart reportedly burst into tears with the first bars of\u00a0the Lacrimosa<\/em>. Further on, after\u00a0luceat eis<\/em>, the common pleading ends on a note of consolation: Mozart comforts us that everything is going to be all right because mercy exists. Tears bring relief. The painting brings to mind Hieronymus Bosch\u2019s representation of the \u2018extraction of the stone of madness\u2019. Showing the composer in the elaborate pose, I seek also to make a formal reference to the paintings of Caravaggio, whose theatrical compositions of tensely intertwined male arms and legs are for me as distinctive a trademark of his work as are chiaroscuro effects. My Caravaggio is immersed in the whiteness of Ikea bed linens. And in this bed-sheet whiteness he experiences the pain of existence.
\nPornography<\/strong><\/em>
\nThe image is a combination of two cross-fading figures and forms that comprise a whole. The first pair (in black and white) is a variation on the photographs and stories presented to me by Marcin \u015awietlicki, who appears in the photo as a teenager. His first childhood girlfriend watches him with an overbearing gaze while he strokes the dog. We don\u2019t know if he fondles the animal or hurts it at the girl\u2019s bidding. Hence the title of the unfinished painting, an allusion to Gombrowicz\u2019s novel, in whose work we can find numerous similar stories. I gave up working on the half-finished piece two years ago. It is only now that I\u2019ve found the right key to it, combining it with another peculiar contemporary duo. The protagonist, Ola I., wears a slightly anachronisticlooking dress and smokes a cigarette in a theatrical way. The combined representations reveal latent sexual tension, a kind of ritual, celebration.
\nJadwiga 2017<\/strong><\/em>
\nThe painting makes an obvious reference to the tombstone of Queen Jadwiga at the Wawel Cathedral in what is an ironic commentary on the attitudes of today\u2019s 30-year-olds who, accustomed to a comfortable and carefree life, equate having children with social death. The monument is dedicated to the heroism of my friend, El\u017cbieta M.
\nNosferatu<\/em><\/strong>
\nThe painting shows my friends, the band Neal Cassady & The Fabulous Ensemble, inebriated, during a concert at a club in Warsaw. At first sight, it may again allude to the thirtysomething generation, to people who prefer to remain in the comfort zone and who release their aggression and energy through rowdy behaviour in bars. The singer is falling on the drum kit. The guitar player is making a domineering gesture. Collaged phantom girls lose their heads for the boys, and the shadow of Nosferatu\u2019s hand conducts the vampiric symphony of horror.<\/p>\n
\nRapid changes in cognitive schemas and a move away from hierarchical structures in the matter of acquiring experiences through the power of authority have been an interesting phenomenon. Despite the claims of numerous curators, who argue that the current trends are rooted in the history of Polish art, I believe that these processes have assumed the structure of a rhizome, as described by Deleuze and Guattari in\u00a0A Thousand Plateaus: Capitalism and Schizophrenia.<\/em>\u00a0Artists, especially those of the younger generation, also enjoy unlimited access to information, images, and novelties from around the world. We no longer need to seek access, travel, or spend 20 bucks on international magazines to find out what\u2019s going on in New York and London, in galleries large and small, in the studios and homes of different artists. Communication, multiplicity, and heterogeneity of the rhizome known as Instagram, which reduces the value of all reproductions to equally small icons, means that Mexican artists matter as much to as the Krak\u00f3w art scene. This is worth remembering when we gush over the apparent uniqueness of new trends in Polish art; the Web may be full of such stuff.<\/p>\n
\nAs a painter, it\u2019s much harder for me to imagine such a combination that would
\nmake possible the satisfactory accomplishment of intended goals, but I see interesting possibilities of supporting such artistic disciplines as performance, happening, theatre, or all kinds of intermedia. The modern, egalitarian character of the global online society has been vigorously creating tools and systems for not only promoting but also funding such practices, and these make it possible to circumvent the more or less satisfactorily functioning aspects of traditional arts patronage. Perhaps in the near future we will no longer need wealthy sponsors, whether private, corporate, or institutional, on whose influence and politics we may become dependent. We now have crowdfunding sites, and information and marketing can be instantly shared on social media, reaching vast numbers of people. Yet traditional canvas painting still retains its elitist character. This is something one can hardly deny or oppose.<\/p>\n<\/div>\n<\/div>\n![\"\"](\"https:\/\/agatakus.pl\/wp-content\/uploads\/2017\/08\/spojrzenia-1024x538.jpg\")
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