Presentasjon av film og video av kvinnelige kunstnere på 1970 og 80-tallet og ny videokunst fra Polen. Samlingen er kuratert og presentert av Lukasz Ronduda fra Senter for Samtidskunst i Warszawa. Presentasjonene holdes under Oslo Open 2003.
Søndag 31. august kl 13:00: Film- og videoarbeider av kvinnelige kunstnere på 1970 og -80-tallet
Mandag 01. september kl 18:00: Ny videokunst fra Polen
Looking at Polish art during the last decade, we can observe a sudden
increase in the number of women artists using video techniques. The idea
of this presentation is the attempt to establish the genealogy of this
phenomenon. It is an attempt to explain how Polish women artists
confronted their ideas and artistic strategies with film and video in the
1970s and 1980s. Featuring a variety of artistic strategies, concepts, and
styles in the work of Polish women artists with film, the presentation
also serves to showcase the specificities of change in Polish art during
these decades.
Many of the films in this presentation are being shown here for the first
time since their premiere 20 or 30 years ago. The majority have had to be
restored or even partially reconstructed.
The presentation will open with films by Ewa Partum from the 1970’s:
realizations of the idea of visual poetry, as well as films fulfilling the
paradigm of structural cinema, will be shown along with documentations of
the artist’s actions in public space and performances in which she
addresses feminist ideology.
Examples of the interest in body issues are Grain (1980), by Teresa
Tyszkiewicz’ which, because of its formal structure as well as the way
the filmmaker actualizes body issues, may be interpreted as an example of
filmic ecriture feminine - and Interferences (1985-2000), by Barbara
Konopka, showing the transformation in her approach to body issues
undertaken by the artist from the 1980s to 2000.
In Reconstruction of the projection of the film Open Form (1971-2001),
Zofia Kulik reveals the sources (1971) of her artistic activity today, which is constructing huge, multi-elemental, multi-narrative, ’simultaneous’ photographic compositions. Consumption Art (1973), by Natalia LL, is a film version of her already classic photographic cycle of the same title. The artist plays a double critical game here, deconstructing both the strategy of conceptual art’s ‘cold’, systematic analysis and the conventional codes of popular art.
By the same token, Murderer (1975), by Katarzyna Hierowska, is an absurdist parody of both the language of popular culture (i.e., action movies) and the ‘academic’ approach of analytic art in the 1970s.
Sunday Augist 31st
Zofia Kulik - ‘Open Form’, 1971, scene: Game on the face of the actress; scene: The revealing of complex form; ‘Synchronisation of An Open Form film projection onto three screens’
Ewa Partum - ‘Tautological Cinema: Poem by Ewa’ (1973); ‘Tautological Cinema: Film by Ewa’ (1973); ‘Tautological Cinema: 10 meters of tape’ (1973); ‘Tautological Cinema: Drawing of TV’ (1976) ; Performance documentation - ‘Change. My problem is a problem of a woman’ 1979; ‘Self-identification’ 1980
Natalia LL - ‘Consumptive Art’ (1973)
Katarzyna Hierowska - ‘Murderer’ (1975)
Anna Kutera - ‘Presentation’ (1974)
Jolanta Marcolla - ‘The Kiss’ (1975)
Jadwiga Singer - ‘The End The End’ (1979)
Teresa Tyszkiewicz - ‘Grain’ 1980
Ewa Zarzycka - ‘Symptoms’ (1980)
Barbara Konopka - ‘Interferences’ (1985)
Irena Nawrot - ‘The Yellow Film’ (1985)
Iwona Lemke Konart - ‘The Limits of Human Possibilities’ (1984)
Monday September 1st
Artur Zmijewski - ‘KRWP’, ‘Oko za oko’('An Eye for an Eye’)
Katarzyna Kozyra - ‘Swieto Wiosny’ (’Rite of Spring’)
Barbara Konopka - ‘Binary Notes’ ; ‘Memetic Infections’
Anna Niesterowicz - ‘Gierek’
Anna Baumgart - ‘Prawdziwe?’ (’True’)
Maciej Toporowicz - ‘Obsession’
Marek Wasilewski - ‘Game’
Azorro - ‘Portret z kuratorem’ (’Portrait with curator’)
Igor Krenz and Wojciech Niedzielko - ‘Podstawy problemow komunikacyjnych’
(Communication problem’s basics)
Jozef Robakowski - ‘Z mojego okna’, (’From my window’)