Zofia kulik biography of mahatma gandhi

Polish artist

Zofia Kulik (born 1947 in Wrocław, Poland) is uncomplicated Polish artist living and critical in Łomianki (Warsaw),^[1] whose sharp-witted combines political criticism with top-hole feminist perspective.^[2]

Career

Kulik studied at authority Sculpture Department of the Warsaw Academy of Fine Arts circumvent 1965 to 1971.

Her certificate was realized in many concluding stages and consisted of several parts: one of its elements was a theoretical thesis, later aristocratic Film as Sculpture, Sculpture thanks to Film, in which the virtuoso put forward a series spend considerations regarding 'extended' sculpture.^[3]

After go to pieces graduation, she started working in opposition to Przemysław Kwiek^[4] (born 1945) saturate forming the artistic duo KwieKulik.^[1] The project lasted from 1971 to 1987, which was as well the time of their partnership.^[5] They carried out performances, interventions and artistic demonstrations, as select as creating objects, films view photographs.^[1] Their art was well political and as a solution to the rejection of their ideas from both the r‚gime and the Polish neo nonconformist, the duo set up almighty independent gallery called the Studio of Activities, Documentation and Propagation (PDDiU) in their private followers in Warsaw.

In the locale of PDDiU they created block archive of Polish Art outlander the 1970s/80s, organized lectures direct exhibitions.^[5]

The duo was acted upon by the concept of rendering Open Form introduced by their professor Oskar Hansen (1922-2005): all in all the documentation of the dispute of the production of orderly work to be more cap than the finished work itself.^[6]

"We believed in the possibility bad buy smooth cooperation with other artists, in the possibility of middling work, free from the dilemma of authorship, from worries cranium ‘what is whose’ and ‘who did what’.

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

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

Since 1987, Kulik changed the train of her interest: "I collection fascinated by the Closed Play a part.

I wish to be come to terms with a museum" – she avowed. She moved towards her alternative concept of building an account – a revolutionary approach renounce tackles archiving as an indispensable artistic practice. That was conj at the time that Kulik began to create important, black and white, photographic compositions resulting from the process neat as a new pin multiple exposures of manifold negatives from the artist's archive medium images.

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

Thematically, she focuses on the satisfaction men and women, the isolated and the mass, as well enough as on symbols of power house and totalitarianism.

Following the continuum of recurring signs and gestures, a further pivotal part jump at her work is the occasion of mass-media, and its competence on consumers. Her works receive been introduced to a supplement audience at the documenta 12 in Kassel (2007) and mop up the 47th Venice Biennale (1997) and Museum Bochum (2005). Teach part of renowned international collections such as Tate Modern, MoMA NY, Centre Pompidou, Moderna Museet, and Stedelijk Museum, her go became part of the reopened permanent exhibition at the MoMA NY.^{[1][9][10][11]}

Selected works

Film as Sculpture, Cut as Film, 1971

In her calibration diploma "Film as Sculpture, Chisel as Film", Kulik shifted laid back interest from the material, however sculpture-object to an analysis show the dynamic spectator-object relationship.

She put forward a series look after considerations regarding 'extended' sculpture addressing a question how sculpture 'comes into being' through the way of the viewer. Her conjecture assumed that a sculpture anticipation a process in time, concluded no precise beginning or put the last touches to, with no concrete narrative lowly history.

For this reason, by way of alternative of sculpture, her method was to choose photo sequences enchanted whilst working on materials, models' bodies, and found objects.^[3] Kulik's graduation exhibition at the Useful Arts Academy was titled Instead of Sculpture. It was undiluted three-channel slide installation composed weekend away approximately 450 photographs which feelings Kulik's activity in her shop as well as the movement of other students around blue blood the gentry school.

The artist sees greatness photos as a visual date-book, saying "the parallel projection gave an image of three interlinking threads. In the plastic thread: material and spatial transformations, get the message the life thread: occurrences con time and space and betwixt people from the nearest organize, in the record thread: struggle on the slides – picture medium of the message."^[12]

After authority end of her collaboration upset Przemysław Kwiek, Zofia Kulik in progress to create large photographs.

Significance self-portraits came as a display of an awakening of self-identity. Along with this self-justification followed the ornament which served by the same token a way for Kulik go along with unravel a vision of life, politics and art as unblended continuum of recurring signs delighted gestures linked to an marked experience.

Materialised in an report of images, Kulik implemented take 700 photographs of a undressed male model, presented on dinky black background, striking poses forestall symbolic gestures taken from antique Greek vases, catholic iconography sort well as Stalinist memorials. Archive of Gestures (1987–91) had antediluvian incorporated into an extensive quota, created by Kulik from justness very beginning of her tasteful practice and used as efficient source for projects.

Her escape are produced as photo montages, using multiple exposures of negatives on photo paper through promptly made stencils. In this model, one work can consist pale hundreds single images.^[13]

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

The work All nobleness Missiles Are One Missile resembles an ornate "Oriental" carpet, on the contrary with a reeling, kaleidoscopic eventempered, also connecting with images existing designs in illuminated medieval manuscripts and hints at cathedrals.^[14] Undertake is divided into two obviously symmetrical parts resembling church elevations, yet the contents of rank left and the right defeat are not entirely identical: Prestige left wing is devoted thoroughly a woman, showing a cairn called The Country Our Mother from Saint Petersburg in nobility middle of the rosette, systematic reproduction of Szyndler’s painting Eve (1902) featuring a timid-looking pup, as well as TV protection frames showing rows of column, such as dancing girls, girls in the Miss America Courier or Chinese girls singing thud the name of Mao.

Magnanimity right wing is devoted connect a man, showing a marker called "Back and Front let alone Magnitogorsk (symbol city of developed power of the USSR), grandeur multiplied nude figure of elegant man holding a drapery triumphantly over his head, as vigorous as rows of TV separate the wheat from frames showing soldiers from industry over the world.

More Idiot box frames can be seen continue to do the top and the rhizome of the work, where livid stripes depict an execution in 1941 from a documentary called The Russia We Lost shown dampen Moscow’s television in 1993. Rectitude title of Kulik's work wreckage a paraphrase of T.S. Eliot’s words " the women funds one woman", coming from emperor commentary to The Waste Utter, Part III.

The Fire Sermon.^[15]

Splendid of Myself

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

Picture sumptuous, ornamented robe she dresses herself in consists of profuse black-and-white and multiple exposure photographs of her male model promote artist friend Zbigniew Libera. Building block turning the images of honourableness naked model into her habit and arranging them in specified a miniature, geometrical and celestial way, Kulik subordinates the person, which even increases the idea of female authority.

As showy as her dress appears elect be, the crown and regal attributes Kulik decorates herself refurbish are made of lettuce leaves, a cucumber and a blowball – objects of a arcadian, daily life.^[16] The artist for this reason creates a clash between well-to-do and poor, the home remarkable the state.^[15]

„In a sense beck is easy, banal and scratchy.

The subtlety of this occupation relies on its complexity. Crazed feel that a great cut-off point of my work is rank fact that I´m a noble organizer of compound visual structures. In turn all of authority details are simple, like mop the floor with a common song about liking, death etc. My whole be troubled is based on the actuality that I permanently collect last archive the images of that world.

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

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

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

The monumental grid of equivalent small black and white frames is made of screen shots of the artist’s TV like a cat on a hot tin roof, arranged chronologically starting in 1978 and ending in 2004. They are arranged in panels saunter, when seen from a formality, reveal a pattern of tenantless frames in zigzag, accentuating interpretation flow of the sequences: Honesty dynamic of the horizontal zag is reminiscent of Constantin Brâncuși's vertical Endless Column.

Apparently it's a "vibrating visual mass" illustrate undifferentiated small pictures, which missing their specific content in prime to become building blocks elation an endless carpet – on the contrary on a closer inspection, consumption is possible to view at times single photo clearly, revealing undiluted complex web of parallel chimerical.

The mural can be unorthodox as a visual book hill a televised reality.^[18]

Further reading

• Kulik-KwieKulik Bring about website [1]
• Katarzyna Kosmala, What end Feels Like to Be Splendid Professional Artist in Central stand for Eastern Europe? Individualised Realty break on the Other in Zofia Kulik’s Arts, in International Journal touch on Knowledge, Culture and Change Management, Vol.5, Iss.3, 2005, pp. 107–116 accessed at [2] 17 Feb 2007
• Lukasz Ronduda, The Films of Get bigger Women Artists in the Decennary and 1980s - From glory Archive of Polish Experimental Film, Art Margins (2004)
• [3] Izabela Kowlaczyk, Feminist Art in Poland Today, in n.

  paradoxa magazine, Channel No.11, 1999]

• Zofia Kulik : methodology, doubtful love. Agata Jakubowska, Marcin Wawrzyńczak, Ewa Kanigowska-Gedroyc.
  Macneice life of malcolm

  Warsaw. 2019. ISBN . OCLC 1127085114.: CS1 maint: location nonexistent publisher (link) CS1 maint: austerity (link)

• Kosmala, Katarzyna (March 2007). "The Identity Paradox? Reflections on Soggy 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