https://kasiasloboda.cargo.site Kasia Sloboda Wed, 05 Nov 2025 18:06:06 +0000 https://kasiasloboda.cargo.site en https://kasiasloboda.cargo.site/ALICJA-BIELAWSKA-A-PLACE-FOR-FOLDING-AND-UNFOLDING-TIME Wed, 05 Nov 2025 18:06:06 +0000 Kasia Sloboda https://kasiasloboda.cargo.site/ALICJA-BIELAWSKA-A-PLACE-FOR-FOLDING-AND-UNFOLDING-TIME ALICJA BIELAWSKA. A PLACE FOR FOLDING AND UNFOLDING TIME A Place for Folding and Unfolding Time by Alicja Bielawska is an exhibition that combines various levels of experience: the material and the ephemeral, the present and the memory, the pause and the fluidity. The artist treats time as if it were plastic matter − something that can be compacted or loosened, folded or unwound, or draped like fabric. The undulating structures of her artworks suggest that time is not a straight line: it can bend, repeat itself and overlap, creating a network of connections between moments, expanding in multiple parallel directions. The sculptures and drawings by Bielawska engage in a close dialogue with the space where they are displayed. In this case, said space consists of former residential interiors − places that served to store traces of everyday life, accumulated memories, gestures and glances. The artist fills these interiors with her own objects that do not just occupy a specific position in the space but also invite visitors to inhabit them: to sit down, pass through or stop for a while. Throughout the time of the exhibition, an intimate topography is being created and accumulated, representing the meetings between artworks, the venue, and you − our visitors. The matter employed by Bielawska consists of fabrics that were dyed manually by the artist using plant-based dyes made of spruce pines, madder roots and onion peels. Thanks to the draping, they gain exceptional density, enriching the palette of hues, subtly nuanced shades of colours that change according to the angle at which you look at them, or the intensity of light in the room. The shapes of draped fabric evoke the presence of human body, while endowed with an above-human corporeality. Movement is also part of this exhibition on many levels. Draped fabrics slide over edges, drawings are filled with shapes dripping with colour, they vibrate with tiny shifts in their lines, and the layout of objects within the space allows for a slow-paced and smooth passage between them. Even if sculptures stay still, their forms suggest gestures − captured half-way, suspended between appearing and fading away. The same movement can be found echoing in your choreographies, when you walk between rooms, stopping, passing by, or looking at artworks from different perspectives. Each one of your glances becomes the next stage in a sequence proposed by sculptures and drawings. Bielawska introduces the element of playing with visual perception: colours shift depending on the light, fabrics sway gently under gusts of air, textures reveal themselves when you come closer, and the proportions of shapes in the drawings enter into a dialogue with the shapes of ceramic sculptures on the walls or the draped fabrics. We hope that, as viewers, you can feel more aware of the interaction between your presence and the artworks in this space. It is a way for the exhibition to break away from a closed layout and instead become a living, ever-shifting composition whose ultimate shape can only be achieved in cooperation with you − our audience. A Place for Folding and Unfolding Time can be treated as a space for creating common rhythm − a time-space woven of multiple layers, where the material meets the memory, and commotion meets moments of stillness. It is an invitation to a more careful and sensual perception, where every step and every moment of viewing adds your own fragment to the story created from presence. Katarzyna SłobodaHERE you can find the photos from the exhibition.  Exhibition: Alicja Bielawska. A Place for Folding and Unfolding TimeCurator: Katarzyna SłobodaOpening: Fri, 14 Nov 2025, 7 p.m.Duration: 15 Nov 2025 – 26 Feb 2026 Polish Institut Düsseldorf, Citadellstr. 7, 40213 Düsseldorf https://kasiasloboda.cargo.site/THE-GREAT-BOOK-OF-SCORES Mon, 18 Dec 2023 14:33:54 +0000 Kasia Sloboda https://kasiasloboda.cargo.site/THE-GREAT-BOOK-OF-SCORES "THE GREAT BOOK OF SCORES is a collection of recipes for elixirs that can stimulate you to weave visions together and embody fantasies of a queer future. It was created by two collectives with different dynamics and histories: QUEER MOVEMENT ACADEMY and Przestrzeń wspólna. For the past five months, individuals from these collective bodies in a variety of configurations and psychophysical states have danced, written, drawn, sung, listened, laughed and cried together, tirelessly overcoming piles of emails, piled up excel tables, and an untold number of online and offline meetings to share with you recipes for creating temporary, embodied communities and multi-sensory experiences.(...)(...) The QUEER MOVEMENT ACADEMY and COMMON SPACE initiative is an attempt to build a supportive and co-learning community whose principle of being is generosity and mutual care. Now we want to share the recipes for building such communities with you!" "Scorings are otherwise known as scores, open to interpretation instructions and proposals that are used to creatively record ideas for shared movement practices. The bodily practices to which we want to invite you come from our experiences, the result of sharing them with each other during our meetings. They emerged from spontaneous raptures or planned experiments carried out in various contexts and configurations. In the Book, they become dynamic, open material for constant experimentation, repetition, change, adaptation and fine-tuning, depending on the needs, context and people. In creating practices and scorings, we are inspired by choreographic thinking, the not/everyday experience of bodies, relationships and sensuality, in a constant exchange of energy, matter and sensation.In our collectives, we create spaces where the body expresses itself and manifests its language hitherto relegated to the margins. The very focus on the production of movement, on how the body breathes, what mobility it has, how it runs, becomes a tool to try to think the world anew, differently. Our practices allow us to listen to the constantly emerging collective body and feel it in our guts." translation: Bartosz Jakubowski more photos and info: https://warszawa.krytykapolityczna.pl/dzialanie/pwst5/wielka-ksiega-scorow/Conception and production: Magda Czech, Alicja Czyczel, Bartosz Jakubowski, Jagna Nawrocka, Aleksandra (Alek) Sarna, Magdalena Siemaszko, Katarzyna Słoboda, Paulina Woźniczka Coordination: Katarzyna Słoboda, Paulina Woźniczka Coordination of Warsaw plein-air: Magda Czech Coordination of plein-air in Teremiski: Magdalena Siemaszko Coordination of celebration: Alicja Czyczel Coordination of production of the Great Book of Scores: Jagna Nawrocka Deisgn and layout: Aleksandra (Alek) Sarna Photos: Bartosz Jakubowski, Teresa Więcko, Marta Kaczmarek Workshops: Natalia Oniśk & Dana Chmielewska, Szymon Adamczak, Natalia Sarata & Wiktoria Siedlecka-Dorosz The cards were created through the work of the member individuals of the QAR and PW collectives, who participated in the joint production of collective and embodied knowledge: Aaa BiczyskoAga SterczyńskaAleksandra (Alek) SarnaAlicja CzyczelAlicja NaumanAnna BolewskaJurdziAnna Maria TuszyńskaBartosz JakubowskiHanna Raszewska-Kursa Ida ŚlęzakIgnacy HryniewiczJagna Nawrocka Jolaś AniołJulia HoczykKasia SkoczylasKasia SztarbałaKatarzyna SłobodaKola KluczykKonrad KurowskiMagda CzechMagdalena SiemaszkoMaria HołdysMarta KaczmarekNatalia OniśkOlo RusinekPaulina WoźniczkaPipekTere WięckoWeronika PerłowskaZuzanna Berendt https://kasiasloboda.cargo.site/Ucielesniona-uwaznosc Sat, 09 Dec 2023 17:14:07 +0000 Kasia Sloboda https://kasiasloboda.cargo.site/Ucielesniona-uwaznosc W publikacji Ucieleśniona uważność w wybranych praktykach tańca współczesnego Katarzyna Słoboda bada praktyki takich artystek, jak Lisa Nelson, Rosalind Crisp, Maria Zimpel, Anna Nowicka i Maria Stokłosa. Ucieleśniona uważność to zwrot ku prymarnej modalności tańca jako osadzonej w ciele wielozmysłowej świadomości i obecności, pozwalając umiejscowić percepcję i recepcję tańca w ciele. Autorkę interesuje w jaki sposób praktyki te problematyzują i pogłębiają wielozmysłowe relacje ciała, wyobraźni, percepcji i otoczenia. Kluczowe są tu narzędzia wygenerowane przez choreografię, jako główną modalność tańca współczesnego, która w relacji do improwizacji i tańczenia tworzy trajektorie komponowania elastycznych struktur działania, relacyjności, responsywności, zaangażowania i decyzyjności. Choreografia w praktykach tańca współczesnego jako metodologia wytwarzania, ale i angażowania siebie oraz widzów w afektywne relacje pozwala badaczce zadać najistotniejsze pytania o uważność, obecność, percepcję i wyobraźnię w doświadczaniu sztuki.  Książka jest rezultatem badań przeprowadzonych w 2018 roku dzięki stypendium badawczemu Grażyny Kulczyk z zakresu współczesnej choreografii oraz stypendium Ministra Kultury i Dziedzictwa Narodowego "Młoda Polska". Książka powstała na podstawie pracy doktorskiej obronionej w 2022 roku  w Instytucie Sztuki Polskiej Akademii Nauk w Warszawie, którego promotorką była prof. Krystyna Duniec. Publikacja została współwydana przez Narodowy Instytut Muzyki i Tańcaw ramach programu Program wydawniczy 2023, finansowana ze środków Ministra Kultury i Dziedzictwa Narodowego. Jeżeli chcesz zamówić książkę napisz do wydawnictwa: wydawnictwo@ispan.pl  Online: Księgarnia Prospero lub Księgarnia Muzyczna Pasja Fragment książki / rozdział nt. praktyki Marii Stokłosy w Magazynie Szum.  Recenzja książki aut. Anny Pajęckiej na łamach Magazynu Szum.  Recencja książki aut. Alicji Stachulskiej na łamach Didaskaliów  https://kasiasloboda.cargo.site/NARRACJE-14-ORUNIA-TENDER-POINTS Sat, 01 Apr 2023 14:37:02 +0000 Kasia Sloboda https://kasiasloboda.cargo.site/NARRACJE-14-ORUNIA-TENDER-POINTS The tender points are places that demand attention. Those that reveal their energy, relationships and multi-layered stories when you take the time to look at them closely. The proposed curatorial concept for the Narracje Festival is to find existing and create new tender points on the map of the Orunia district of Gdańsk. These will delineate spaces and routes for moving together, establishing contacts and relationships with art, people and the environment. Both the places where the artistic interventions will be located and the experience of the route between them are crucial to the concept of the festival. This formulation of the event will build new forms of understanding, relationship and engagement with the audience, going beyond active creators and passive spectators.   Installations, multimedia and interactive works, as well as performative and ephemeral activities taking place throughout the festival, will serve to build a collective experience and attentiveness to the Orunia district - its history, architecture, social and natural fabric. Attention and attentiveness are at the same time the festival's theme, its aim and the methodology behind the programme. A particularly important role will be played by performative events in which the artists will invite participants to redirect their senses to a different way of relating to their surroundings (especially in the context of their relationship with the environment), sensitising them to these sensitive points and the paths between them. This tuning of the senses will allow the spectators and viewers to perhaps perceive differently from everyday life all the practices we will engage in during the festival, but also to experience in a different, more attentive way the relationships, places and situations that will not be included in the official programme. Together, over two days, we will build a responsive map of Orunia. NOVEMBER 17-18, 2023 - GDAŃSK, ORUNIA MORE INFO HERE: https://narracje.eu/en/ https://kasiasloboda.cargo.site/Common-Space Thu, 28 Jul 2022 12:43:27 +0000 Kasia Sloboda https://kasiasloboda.cargo.site/Common-Space Common Space Common Space is a non-for-profit, seminar/workshop-based collective. Initiated in May 2020, it has been set up as fortnightly meetings delivered in a non-hierarchical, online shared space. The method of our work is based on reading and moderated discussion around texts written by practitioners and researchers of the body movement. Its crucial parts are bespoke choreographic practices proposed by the group’s members and informed by working with imagination, drawing, attention, and word. The activity of the group is documented in the form of collective notes. The key aims of the Common Space are:● building a non-institutional community of creators based on care and trust;● creating a possibility of exploration of individual and collective art practices;● developing the language of the theory of movement and its crossover with practice. The Common Space stems from a deep need for social solidarity and transition from an individual to a collective search for tools of creative cooperation, generating and sharing the knowledge and discourse around dance, performance art, and good practices of 'choreography of organizing from the bottom up'. The creative exchange of experiences not focused on obtaining tangible work places us in opposition to the common phenomenon of a cultural overproduction and has the potential of becoming both a source and a research apparatus, which could function also outside of the context of the pandemic. The initiative focuses on talking, critiquing, inspiring, and confronting various opinions. We believe that creativity is a form of developing and maintaining bonds, a precious process, which is also time-, attention- and energy-consuming. The lockdown, the social distance regime, and the transfer of activities to the virtual space, have revealed the potential for a meeting placed outside of the currently existing structures. During the pandemic, the conceptual, collective work on the movement research enables us to develop practices in the time of impeded contacts and precarious status of female artists. We consider the diversity of our sensitivities, as well as experiences gained in many creative communities and places around the world, an asset that enriches the dynamics of our meetings and the self-organization of our group. logo: Magda Wolnicka & visuals: Dana Chmielewska drawings: Dana Chmielewska https://kasiasloboda.cargo.site/Time-out-of-Joint Wed, 01 Jun 2022 18:20:50 +0000 Kasia Sloboda https://kasiasloboda.cargo.site/Time-out-of-Joint Time out of Joint Time out of joint is time that has fallen out of the well-known framework, negating norms and linear thinking. It is the dimension where the relationships between the past, future, and present, as well as what is private or shared, intertwine. The exhibition offers a reflection on the passing of time and the ways of experiencing it, both in a personal and social dimension. The norm, at the centre of which is Man and to which we are accustomed, does not work, it fails us. Our lifestyle is not working, and the consequences are experienced not only by us, but also by other species and the entire ecosystem. The intensive exploitation of natural resources has led the world to an ecological disaster. We are faced with the urgent need to change our perspective and rethink our role on the planet. In the works presented in the exhibition, what is intimate merges with what is planetary. For some artists, the starting point is their memory and private stories conveyed through the materiality of objects, photographs, videos, or sounds. This is evident in the works of Maja ∀. Ngom, Kuba Stępień, and Magdalena Franczak. Marta Krześlak and Agnieszka Polska use the medium of sculpture and video to talk about the entanglement of the individual and society in the climate catastrophe. Other female creators, Pauline Boudry and Renate Lorenz, postulate through their work the emancipation of minority groups. The exhibition “Time out of Joint” is not only an artistic commentary on the daily experience of global, local, or private problems. It is also an invitation to jointly look for alternatives to current ways of experiencing time. It is to encourage us to attempt and treat life non-linearly, and to open ourselves to otherness, both in the other being and in ourselves. One of the suggestions may be understanding and feeling the process of the passing of time through the body, through listening to its rhythm. The very space of the exhibition space seems perfect for this. The environment and conditions here enable us to perceive time differently, to get out of the constant race and redirect our attention to those issues that have eluded us so far. Each and every injury requires care. The remedy for time dislocations is the affirmation of one’s own rhythm of life, together with the acceptance of the experiences of other people and beings. The healing process must take under consideration the experiences of those whose voices have been ignored or marginalized so far. The exhibition recognizes the need not only to make (time and) space for different identities and ways of life, but it also encourages active opposition to manifestations of exclusion and hostility towards others. We can heal injured time only if we act together. Artists: Ania Bąk, Hannah Black, Pauline Boudry / Renate Lorenz, Alicja Czyczel, Ewa Dziarnowska, Eiko & Koma, Magdalena Franczak, Marta Krześlak, Haroon Mirza, Maja ∀. Ngom, Agnieszka Polska, Kuba StępieńYou can find more photos here. https://kasiasloboda.cargo.site/Prototypes-06-Alicja-Bielawska Sat, 30 Oct 2021 17:55:46 +0000 Kasia Sloboda https://kasiasloboda.cargo.site/Prototypes-06-Alicja-Bielawska Prototypes 06: Alicja Bielawska. At the Intersection of Lines Alicja Bielawska suggests we should treat works of art as models on which or thanks to which we can exercise our ability to sense the world around us. Artworks then may become guidelines leading us through reality, uncovering its hidden layers and aspects. The exhibition “At the Intersection of Lines” is the sixth in the “Prototypes” series, in which the artists tend to give new meanings and contexts to the works in the collection of Muzeum Sztuki in Łódź. There are lines that lead us through the exhibition. The lines of steps, lines on paper, lines of encountered glances, lines outlining space, and finally—the lines covering the drawings, which number nearly fifty in this edition of “Prototypes.” However, drawing is not only an auxiliary medium here or a sketch for further work. It is also a full-fledged work of art, set in dialogue with the sculptures of Keith Sonnier, Thei Djordjadze, Katarzyna Kobro, and Alicja Bielawska herself. Abstraction is the dominant form in the works presented. However, the abstraction here is poetic and open to a multitude of interpretations. Its language is universal, it gives every viewer the opportunity to interpret the work intuitively and filter it through their own experiences. It engages with the memory of the recipient and their personal connotations, allowing the construction of new networks of associations around the recognized shapes, textures, and colours. The objects and materials from which the sculptures were made were taken from the real world that surrounds us and act as links between the abstract work and the recipient. Bielawska’s exhibition is a space separate from everyday life, but at the same time related to it. It is a microcosm where we can experience the ideas, thoughts, and feelings of the artists in conditions conducive to contemplation. Alicja Bielawska has established an artistic dialogue with artists who have been active over the last hundred years, showing the flow of concepts and themes that keep coming back in the works of artists regardless of what period of time they represented, what place and what conditions they created in. The concept of openness in these works means that the authors of the exhibition are not only the artists whose works we can see here. The exhibition invites the viewer to cocreate it with their presence. Our own bodies that move between these works of art are not only the receptors of the art, but they also interact with the art. Each visitor brings their own rhythm. The choreographic theme is strongly marked by Johanna Billing’s film “I’m Lost without Your Rhythm.” In this screening—as in the whole exhibition space—simple, everyday movements create dialogues both between people and with their surroundings. The spatiality of the sculptures creates a situation in which our gaze does not stop at the sculptures themselves, but penetrates them and reaches beyond them. The shapes are not defined forever; each step we make generates a new view and thus a new creation. There is not one preferred and final image—Bielawska offers us a multitude of equally important perspectives. Artists: Alicja Bielawska, Johanna Billing, Thea Djordjadze, Emilia Małgorzata Dłużniewska, Simone Forti, Maria Jarema, Koji Kamoji, Katarzyna Kobro, Keith Sonnier, Kajetan Sosnowski, Henryk Stażewski, Franciszka Themerson, Stefan Themerson, Teresa Tyszkiewicz You can find more photos here. https://kasiasloboda.cargo.site/Land-Slip Fri, 29 Oct 2021 19:08:40 +0000 Kasia Sloboda https://kasiasloboda.cargo.site/Land-Slip Prototypes 04: Agata Siniarska. (Land)Slip(Land)Slip, an exhibition by Agata Siniarska, the fourth event organised as part of the Prototypes project based on the collection of Muzeum Sztuki, will examine material aspects of creating works of art and their further fate that often escape our visual perception, as well as the twofold role thereof: as an archive of processes involved in memory and forgetting and as the ability to preserve and destroy structures of the existing world.   Artists create worlds. Let us reach beyond the world of visual arts for a moment, to Ursula K. Le Guin, who in her novels sent us, her readers, to planets with different customs and relationships that existed (exclusively?) in our imagination – knew this very well. In one of her essays, she wrote: “To make a new world, you start with an old one, certainly. To find a world, maybe you have to have lost one. Maybe you have to be lost. The dance of renewal, the dance that made the world, was always danced here at the edge of things, on the brink...” Where is this “here” and “now”? Perhaps at this point it is right below our feet. Isn’t this the abyss that we are staring into right now? The mass extinction of species, climate annihilation, and other gradual or abrupt cataclysms that herald the real end of the world, such as humans and ecosystems disappearing from areas that will be soon impossible to inhabit because of global warming. What would this dance be like, creating a new world on the ruins of the old one? Dance is not just a form of expression, but it is also an active exploration of the possibilities of one’s own body: the relationship between its muscles, joints, tendons, limbs and space. Finally, it is a non-verbal tool for establishing relationships with other bodies. As one of the fields of art, it activates people in the most literal way, mobilizing their body and thoughts to work in a different way. In the simplest terms, choreography, as one of the most important methodologies of work in dance, involves composing movement and conceiving the relationships between bodies across time and space; and understanding how the audience will perceive this network of relations. Together with Agata Siniarska, this is how we feel about the exhibition, which has been prepared in dialogue with selected works from the collection of Muzeum Sztuki in Łódź. The bodies in question are the exhibited artworks, and their mutual relations are only seemingly static – after all, they are constantly re-created with each movement of a visitor’s body; and their awareness gives rise to new associations, interpretations, thoughts, and feelings. For us, this movement determines the dynamics of the exhibition, in which we study the process of the collapse of matter, thoughts, emotions, and memory. It is not a slipping towards something, but rather the very downward movement towards the ground, dictated by the laws of gravity. Slipping away is understood as a slow departure (from this world, from memory, from history?). The exhibition is a kind of an other archive (as proposed in her text by Agata Siniarska) – an archive of the material qualities of artworks that preserve traces of the artist’s work. Do Alina Szapocznikow’s sculptures, so often composed of casts of her legs or belly, constitute an archive of her body? Are not Jadwiga Maziarska’s collages an archive of the liveliness of her visual imagination, with her sketches exploring and breaking down the patterns of perception and the very materiality of forms, textures, phenomena, and relationships? Are Maria Jarema’s mono- types not an archive of tensions of forms and shapes that can be related to the nervous system of a living organism? The archive, understood in this way, is in itself a living, pulsating organism, whose sole purpose is to enter into relationships with other organisms, and the only principle of acting, continuous change. Within the framework of the exhibition, the archive is the space and time, the past and the future, meeting in the process of sensory feeling and imagining our shared present.Together with Justyna Stasiowska, Agata Siniarska created a sonic landscape for the exhibition and anchored it in the materiality of works of art and in invisible processes of decay that they undergo. In a way, it provides a continuous interface with the phantom-like presence of the artist and echoes the performance that she will show only several times during the exhibition. This is what the (Land)slip is for us. The exhibition as a story capable to encapsulate multiple parallel narratives and contradictory emotions, capacious and non-hierarchical. When the worlds are slipping, when they gradually disappear, we need a new type of story. If it is not for artists, who else could tell these new stories linked with the difficult art of survival on our destroyed planet? Katarzyna Słoboda, curatorYou can find more photos here. Artists: Simone Forti, Krystyna Gorazdowska, Izabella Gustowska, Barbara Hammer, Rebecca Horn, Agata Ingarden, Maria Jarema, Jadwiga Maziarska, Ana Mendieta, Aiko Miyawaki, Teresa Murak, Fortunata Obrąpalska, Ludwika Ogorzelec, Agata Siniarska, Justyna Stasiowska, Ludmila Stehnová, Alina Szapocznikow Agata Siniarska in her investigations touches, among others, stage practices, video, and lectures. She is interested in building up knowledge that examines diverse media, protocols, and self-developed strategies without imposing any hierarchies. She is also interested in all sorts of knowledge aimed to engage, not to explain. Siniarska is the founder of fxtrouble (formerly ’female trouble’) – a collective whose activities are centred around aspects of identity, carnality, feminisms, pleasure, afirmation, and love; she is also a co-founder of Pinpoint TV, an artistic research project that has been designed as an Internet TV channel set within intersecting art-scenes of Berlin. https://kasiasloboda.cargo.site/Composing-the-Space-Sculptures-in-the-Avant-garde Fri, 29 Oct 2021 19:21:14 +0000 Kasia Sloboda https://kasiasloboda.cargo.site/Composing-the-Space-Sculptures-in-the-Avant-garde Composing the Space. Sculptures in the Avant-garde Following the experiments of the avant-garde sculptors, this exhibition examined the behind-the-scenes findings and consequences of the fascinating modernist discoveries regarding the relationship between space, movement and body. Our guide here was Katarzyna Kobro herself and her artworks which were shown against the works of her contemporaries, such as: Naum Gabo, Alexander Calder, Barbara Hepworth, Antoine Pevsner, Jean Arp, Isabelle Waldberg, Alexander Archipenko, and Julio Gonzales. Above all, we asked a question about how artists, while experimenting with the materiality and plasticity of time, space and dynamics of the rhythms of the human body, reflected the complexity of the experience of modernity. We were also able to analyse what exactly characterised their search for new relations between abstract form and movement, as well as what visions of the relationship of man with the environment they proposed. Kobro claimed that the dynamism of our motor skills can be captured through the rhythm of consecutive moments of movement and stops taking place in space and time. The sculpture was for her a model of a new harmonious order of everyday surroundings, tuned to the optimal psychophysical coordination of human activities. The result was to be rationalised social behaviours whose purposeful organisation was governed by emotions of planarity– the term and concept proposed by Kobro. Herself, apart from the Spatial Compositions, she also sculpted the Nudes to which the women she knew or she herself had posed. In the works captivating a human figure with a delicate and tender schematic, we can also find the influences of space-time rhythms on the body itself. The exhibition thus combined these two seemingly separate themes of her work, showing the flow between the daily rhythms of the body and its surroundings. Following the ideas of creators who want to break free from identifying a sculpture piece with a solid and a closed form alone, the exhibition also problematised the issue of the movement of receivers of art. It was accompanied by performative tours encouraging viewers to look again at the ways in which they engage their body and senses in the reception of the composition of the exhibition and the works exhibited there. The exhibition publication included reprints and revised translations of Katarzyna Kobro's texts and articles, as well as selected statements contributed by other sculptors (including Barbara Hepworth, Georges Vantongerloo, Naum Gabo) and several papers by contemporary researchers, including Carola Giedion-Welcker, Rosalind Krauss, Yve-Alain Bois, Alex Potts and Megan Luke who addressed the issues of avant-garde sculpture and its relationship with space, corporality and movement. More on the book: https://www.artbook.com/9783960986591.htmlYou can find more photos here. https://kasiasloboda.cargo.site/Moved-Bodies-Choreographies-of-Modernity Fri, 29 Oct 2021 21:09:29 +0000 Kasia Sloboda https://kasiasloboda.cargo.site/Moved-Bodies-Choreographies-of-Modernity Moved Bodies. Choreographies of ModernityThe exhibition posed a question about the bodily and movement experience of modernity, taking Katarzyna Kobro's sculptural practice and theory as its starting point. The subject was taken up in an interdisciplinary manner, in the context of dance, choreographic and theatrical practices. The first half of the twentieth century was a period of revolutionary ferment, from which a new man of the age of modernism emerged. The pioneers of modernist dance, such as Loïe Fuller or Isadora Duncan, broke away from the rigour of balletic settings, introducing freedom of expression into dance. At the beginning of the 20th century, curiosity about the body and its movement translated into the study of its anatomical conditions and experiments with it. The question was asked how human movement could be made more rational, so that the effort put into a given activity was commensurate with the effect. At the same time, there was a break with the cultural and social patterns of movement in which the female body had been forced at the beginning of the 20th century. The consequence of these actions was, on the one hand, an emancipated body which became a tool for expressing social attitudes and rebellion. On the other hand, it was exploited, its fully rationalised movement translated into physical labour, and its effect was to be maximum profit. The aim of the exhibition was to confront Katarzyna Kobro's sculptures with the choreographic and dance practices of the first half of the 20th century, which built the context for her work. Like the dancers and choreographers of modernist dance, the sculptor asked in her theoretical texts about movement and its relations in space. Working with the matter of sculpture, she took up the subject of the rationalisation and functionalisation of movement in everyday life. The main narrative of the exhibition presented dance and choreographic experiments through archival films and photographs. However, the exhibition was not only archival in nature. The exhibition project was distinguished by the fact that it was arranged in collaboration with the set designer working for opera and drama theatres, Karolina Fandrejewska. Instead of architecture, a scenography creatively drawing on archival material is proposed, which has served as an inspiration for the performance activities of such artists as Tomasz Bazan, Marysia Zimpel, Noa Eshkol Chamber Dance Group, Noa Shadur. As part of the exhibition, in collaboration with the Department of Drama and Theatre of the Faculty of Philology of Łódź University, a conference How does the body think? Body-Movement Practices of the Modern Era, which took place on 3-4 December 2016 at ms², 19 Ogrodowa St. You can find more photos here.