01.09.2012 Wyspa Spichrzów - Granary Island /Gdańsk/
Gdańska Galeria Miejska
artMUSE - art in urban transformation
artMUSE is a common project of: LWL - Industriemuseum Textilmuseum in Bocholt, Germany, the Museum of Bitola and the National Institution Institute in Macedonia, the Gdanks City Gallery in Poland in cooperation with the M2C Institute. artMUSE is funded by the European Union.
The European locations of industrial culture, history of the city, contemporary art and protohistory in Bocholt, Gdansk and Bitola early in their insistence coalesced in the sectors work, technology, textile art, social development up to the industrial assembly. This common European historical dimension is currently further developed. The project artMuse assists this process by combining the mutual historical heritage with common topics of presence and future.
The district was first established in the XVI century as an industrial quarter with plenty of storehouses - there were roughly 340 in those days. The island was undoubtedly a symbol of wealth, affluence, mercantilism and overseas ship traffic. It served as a warehouse for cereal, food, fabric, leather, metalwork, ceramics and all the goods traded overseas; it had an air of exoticism. In order to protect the storehouses from pillage a canal was dug transforming the quarter into an island. Even better protection was provided by a curfew and letting packs of half-wild dogs into the streets at night hours and punishing any robbery with a death sentence. In 1885 the railway was introduced for transporting goods to storehouses. The island was soon covered with a well-developed network of tracks leading from Gdansk Brama Nizinna station. Because of the strict fire safety measures steam engines were replaced by horse-drawn wagons. Even today the remains of the railway tracks cut through the cobbled streets and we can see turntables for helping the wagons turn into side streets. In 1945 the island was almost completely destroyed by the Red Army entering the city. The most important monuments there are Stagwie Mleczne built in 1517-1519, which were substantially destroyed and burnt during the bombardment of the city.
The Northern part of the island has remained almost intact since 1945 with the abandoned ruins and remnants of the dense pre-war developments. (various sources)
artMUSE 2 PROGRAM/
Gdańsk City Gallery
VENTILATOR Slovak Summer in Gdańsk/ video presentations, talks and discussions
date: 31st of August/6pm and 1st of September/5pm
place: Günter Grass Gdańsk Gallery
curator: Lydia Pribišová (SK)
artists:Erik Binder (SK), Andrea Kalinová (SK), Michał Moravčík (SK),
Katarina Morháčová (SK), Martin Piaček (SK), Tomáš Rafa (SK), Magda Stanová (SK)
guests:Aleksandra Grzonkowska (PL), Kasia Krakowiak (PL), Krzysztof Miękus (PL), Emilia Orzechowska (PL), Igor Toschevski (MK)
reading room / bookshop
data: 31st of August and 1st of September
place: Günter Grass Gdańsk Gallery
art publications, magazines
HEAVEN HELL/various outdoor projects
date: 1st of September
place: Wyspa Spichrzów (Granary’s Isle)
coordinator: Patrycja Ryłko (PL)
artists:Jürgen Amthor (D), Aleksandra Chomicz (PL) & António Xavier (P), Ingo Dietzel (D), PGR ART [Robotnicy Sztuki: Mikołaj Robert Jurkowski & Sylwester Gałuszka] (PL), Marek Rogulski (PL), Ursula Scherrer (CH) & Flo Kaufmann (CH), Robert Sochacki (PL), Igor Toschevski (MK), Ania Witkowska (PL)
date:1st of September/7pm
place: Spiż 7 (Granary 7)
organisator:TNS Foundation with help of the Bałtyckie Bractwo Żeglarzy
curator:Marek Rogulski (PL)
artists:Maria Apoleika (PL) & Marcel Zammenhoff (PL), Tomasz Kopcewicz (PL), Jacek Kornacki (PL), Leszek Krutulski (PL), OBPW (PL), Andrzej Egon Miastkowski (PL), Krzysztof Polkowski (PL), Marek Rogulski (PL)
PRESSURE/new media exhibition
date:1st of September/7pm
place: Spichrz 7 (Granary 7)
organisator:TNS Foundation and Siłownia Gallery with help of the Bałtyckie Bractwo Żeglarzy
curator: Roman Bromboszcz (PL)
artists:Roman Bromboszcz (PL), Adam Ćwiek (PL), Małgorzata Maciaszek (PL), Urszula Szkudlarek (PL), Wojciech Wroński (PL)
concert of experimental music
date:1st of September/8pm
place: Spiż 7 (Granary 7)
organisator:TNS foundation and with help of the Bałtyckie Bractwo Żeglarzy
artists: Oleg Dziewanowski (PL), Rogulus (PL), Tomasz Szwelas Szwelnik (PL)
radio granaio/ workshops for children
date: 1st of September
place: Wyspa Spichrzów (Granary’s Isle)
orgnisator: Ole.Collective (PL) workshops: for children and youth older than 6 years, 5pm-7 pm
participants are required to have FM radio (for instance the one in mobile phone)
radio installation: 8pm
Venue: Wyspa Spichrzow (Granary Island)/1.09.2012
Artists: Jürgen Amthor, Aleksandra Chomicz & António Xavier, Ingo Dietzel, PGR ART [Robotnicy Sztuki: Mikołaj Robert Jurkowski & Sylwester Gałuszka], Marek Rogulski, Ursula Scherrer & Flo Kaufmann, Robert Sochacki, Igor Toschevski, Ania Witkowska
The Heaven&Hell project encompasses a number of artistic initiatives and interventions directly referring to both the complex history of the Granary Island and the contemporary peculiarity of this place. The dynamics of extremely distinct possibilities have been emphasized in the project, which implies metaphorical constructions and shifting the spatial habits connected to the way the city functions, and the Granary Island in particular. In spite of the dualism included in the title, the whole set of events is aimed at building bridges and mental shortcuts, linking and dialogue rather than emphasizing borderlines, differences or the exclusion/removal processes.
The several artists invited to take part treated the idea of an island either literally or conceptually - its meaning is connected here with a utopian paradise but also a remote, hostile area of separation. Some imagine this place to be difficult to reach, abandoned, uninhabited, forgotten and overgrown with wild vegetation but first and foremost - dangerous. Others perceive its unique peculiarity, mystique and even magic. The undeniable fact is that even though the island is located in the very central part of the city, in the mental picture of the majority of the inhabitants it remains one of its most remote areas.
The Hell Paradise project, stemming from the unconstrained meetings and discussions of the artists taking part in it has resulted in a surprisingly coherent commentary - though a bit pessimistic and peculiar. It has also provided a real opportunity to manage and re-organize the area of the island: the real and the mental one, the contemporary and that of the possible future changes.
Jürgen Amthor (D) is presenting Mieszkanie z morskim klimatem w centrum miasta (Flat with the sea climate in the center of town) - a feasible scenario of the revitalization of the Granary Island based on the example of another island of similar location and character in Bremen - Der Teerhof. That dread-bound place has been turned into a comfortable but somewhat dreamlike housing estate.
Aleksandra Chomicz (PL) & António Xavier (P) are developing the Cuda Niewidy (Miracles) project, which is based on geocaching. This modern technology allows 2D codes to be located with gps and later deciphering them using cell phones leads to revealing stories, unconstrained narrations of the natural inhabitants of the Island - the so called “homeless”. They tell us about No-place, Home-lessness, Miracles…
Ingo Dietzel (D) Hommage à Kraftclub by projecting something like a renaissance wallpaper into a space a new place of delicate beauty will be created that invites people to stay, forgetting or accepting the nature of the place.
PGR ART [Robotnicy Sztuki: Mikolaj Robert Jurkowski & Sylwester Galuszka] (PL) will present the research project Pod Ochroną (Under Protection), which is divided into two forms of presentation: an installation on the island itself and a survey directed to the inhabitants of Gdansk, recognizing their ideas and proposals concerning the future of the Island.
Marek Rogulski (PL) will mark the 20th anniversary of his activity on the Island by activating the space of his studio Spiz 7. He will present two exhibitions: Antycypacje (Anticipations) and Ciśnienie (Pressure) accompanied by a concert of contemporary improvised music.
Ursula Scherrer & Flo Kaufmann (CH) collect their findings in sound and image and combine that with photographs and prints from the time before the war. Irisiyawa, the Atlantis of the Indian Ocean, is the legendary sunken island. Wyspa Spichrzów, a former storage, is mostly a ruin of the time before the war, a wilderness within the urban cityscape. A storage of time. A part of the whole and at the same time a unity in itself and in its own way a sunken island.
Robert Sochacki (PL) will create the interactive installation Wstęp Wzbroniony (Access Denied).
Igor Toschevski (MK) realizes Territories, ongoing project where the artist declares and establishes independent Free Territory by means of propaganda devices and physical borderlines. Within the outlined borders of the Territory, any activity or object is declared an artistic action or art object.
Ania Witkowska (PL) inspired by Rene Magritte’s amateur films presents her video Peleryna (Cloak), in which she sustains the magical air of the place with repetitive black and white sequences of the film, thus re-locating us in some parallel reality.
The ANTICIPATIONS exhibition is organized by the TNS Foundation in cooperation with the Baltic Sailors Brotherhood.
Opening at 7.00 p.m.
Curator: Marek Rogulski
Artists: Maria Apoleika and Marcel Zammenhoff, Thomas Kopcewicz, Jacek Kornacki, Leszek Krutulski, Egon Miastkowski Andrzej Krzysztof Polkowski, Marek Rogulski
A concert of contemporary improvised music at 8.00 p.m.
Oleg Dziewanowski, Rogulus, Thomas Szwelas Szwelnik
Anticipations is organized to celebrate the 20th anniversary of the TNS Foundation. The word 'to anticipate’ means 'to foresee', 'to assume something that doesn't yet exist '.
The Exhibition focuses on the issue of building long-term artistic and cultural strategies. It will be a reflection on the environmental and psychological conditions of the people who carry out artistic activities. (In psychology, the term 'anticipation' is an adaptive defense mechanism.) Artistic choices are made in an unpredictable environment. Each decision and choice determines the next steps in a significant way over the course of time. In the same way, artistic activity alternates with life as a result of making an act of 'anticipation'.
PRESSURE is organized by the TNS Foundation in cooperation with the Siłownia gallery from Poznań and the Baltic Sailors Brotherhood.
Opening at 7 p.m.
Curator: Roman Bromboszcz
Artists: Roman Bromboszcz, Adam Ćwiek, Margaret Maciaszek, Urszula Szkudlarek, Wojciech Wronski
Pressure is an exhibition referring to the impatient quest for proper
solutions in an era of excess and overpopulation. It concerns matters that are mundane and fundamental, which cannot be forgotten but are always undertaken at the last moment. In a rather ironic way, it recalls figures addicted to risk, labor, doses, etc. This is all about warning the viewers but not calming them down. Pressure is a state of mind when everything is out of your hands, when you are about to throw something at somebody, when you open your mouth to curse - but a raised voice and lack of eloquence is merely a warm-up. When the pressure exceeds a certain level, an eruption, explosion or implosion takes place. The artists invited to take part in the exhibition are connected to the Siłownia gallery, a new space on the map of Poznań.
Slovak Summer in Gdańsk
August 31 / September 1, 2012
Curated by: Lýdia Pribišová
Artists: Erik Binder, Andrea Kalinová, Michal Moravčík, Katarína Morháčová, Martin Piaček, Tomáš Rafa, Magda Stanová.
Guests: Aleksandra Grzonkowska, Kasia Krakowiak, Krzysztof Miękus, Emilia Orzechowska, Igor Toschevski
Ventilator is a two day immersion in the reality of contemporary Slovak art. The workshop consists of a discussion about relevant themes and presentations of the artist’s works.
The curator Lýdia Pribišová will present an overview of contemporary Slovak art, as well as Flash Art magazine, of which she is an editor, together with other Slovak publications dedicated to contemporary art, such as Jazdec, Vlna and Profil.
During the event, four Slovak artists will present their works:
Magda Stanová focused on the creative process,thetheory of photography, urban development and cartography and standardized behavior, which she transcribes in particular algorithms. The results of her investigations are often innovative forms of artist presentations, as visual essays, books and lectures.
Katarína Morháčová is an artist observing various forms of perfection and failure. Her research is based on analyses of the politicum of the body, knowledge, abilities and aesthetics. With the artists Jaro Varga and Dorota Kenderová, she is running a contemporary art gallery non profit gallery HIT.
Tomáš Rafa is exploring the thin line between patriotism and nationalism and keeps searching for any displays of racism and xenophobia. His research over the last three years led to a video project set against the background of demonstration, blockade and protest footage, complete with the scenes of everyday life in Poland, the Czech Republic, Hungary and Slovakia.
Erik Binder is an artist who comments on various hot themes using absurd humor and a playful strategy. His work overlaps the visual arts into the field of music. His is also running a non-profit space in the suburb of Karlová Ves, Bratislava.
One of the main subjects of this workshop will be art in the public space, ahot issue in Slovakia. The artists Michal Moravčík and Martin Piaček will present the association called Verejný podstavec/Public Plinth, whose aim is to take a position on the difficulties in transforming public spaces in the countries of the former Eastern Bloc through artistic events. They will discuss artistic interventions in public spaces, as well as the various forms of art that can be seen in the streets and squares of Slovak cities. The artist Andrea Kalinová will discuss her public art project Abandoned (re)creation, organized in the spa resort of Trenčianske Teplice, as well as another of her projects where she works with the memory of place.
The the other subject will be the institutional structure of contemporary art in Slovakia, with the participation of curators and artists from Gdansk (Aleksandra Grzonkowska, Kasia Krakowiak, Krzysztof Miękus, Emilia Orzechowska). Two similar systems and structures of art from two countries with similar histories - Slovakia and Poland - will be explored.
Igor Toshevski, Macedonian artist, will present a short overview of contemporary art scene in Macedonia as well as his work in the context of political involvement and social implications. He will also investigates KOOPERACIJA, an association of artists who chose to work outside the framework of the national institutions and contribute to the alternative art practice.
During both days, a survey of contemporary and early Slovak video art will be presented. The emblematic example of the first Slovak video art / experimental film is Lift by Vladimír Havrilla from 1974. During the communist regime, experiments with video were outside the official art scene, as with the film by Ľubomír ĎurčekentitledInformation...about Hands and People (1982), a metaphor for living in conditions of limited liberty.
After ‘Velvet Revolution’, like other areas of visual art, video art mainly focused on the body, its physical perception and sexual and gender identity, as can be seen in the videos of Anna Daučíková. After the beginning of the new millennium, social and political issues dealing with the power of institutions and media, their influence and manipulations gained prominence in Slovak art. Artists also started to observe the contradictions between the public and private domains, and reflected upon the mechanisms of the contemporary art scene. The duo Anetta Mona Chisa and Lucia Tkáčová employ sarcasm and a defiantly anti-authoritarian attitude in their use of the techniques of displacement, sabotage and subversion, whilst questioning structures, systems of power and gender hierarchies (in the art world as well as within various political and social realities). The subject of Tomáš Rafa’s videosis the territory where art and political activism meet. The project entitled The New Nationalism in the Heart of Europepresents an archive of audiovisual material from the Visegrad region. Meanwhile, a social-introspective approach is characteristic of the work of Pavlína Fichta Čierna.
The idea of globalization in confrontation with the local context is the framework of two videos, Kill Folk and Apocalypse, made by the young artist Matúš Lányi in the Slovak countryside. Some of the artists, such as Lucia Nimcová and Erik Binder & Kunst Fu group, remember the past socialistic era with humour and irony and see an overlap into contemporary life. The artists Peter Rónai and Petra Feriancová use an autobiographical strategy in their videos. In the videos of Mira Gáberová, characterised by their theatricality and visual sensitivity, we can also see a light echo of the autobiography. The particular identity of the artist is the main subject of Mr. BRA video documentation, the hybrid artistic identity created by Marek Kvetán and Richard Fajnor. In the videos of Matej Gavula and Milan Tittel, it is possible to see the sculptural influences. Karol Pichler is focused on research dedicated to the possibilities of language, especially language games in their socio-philosophical context. He uses words from everyday language as material for the construction of his sophisticated message.