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All Images Will Disappear, One Day : 4th Autostrada Biennale
- 2023
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Konstnärligt arbete (refereegranskat)abstract
- All Images Will Disappear, One Day 4th Autostrada Biennale 07.07 – 09.09.2023 All Images Will Disappear, One Day is an exhibition about what makes and unmakes us, what entangles and disentangles us from ourselves, about freedoms beyond choices, imaginaries that flow despite and across borders. It is an exhibition about collective autobiographies stored in cultural archives, those deep reservoirs of words, objects, patterns, feelings, or misunderstandings. It is about connecting with the unknown. What is unarchivable reminds us that all images disappear, one day, slipping into a temporal void. Yet art survives as a language of resistance and resilience, a way to validate our existence in the world, a horizon beyond imperial visual regimes. The biennale takes you on a journey around former NATO hangars, where the core of the exhibition sits, and then down into the streets of Prizren, and farther to Prishtina and Mitrovica. It starts with an artwork that first took root in 2021, which follows the sun: Agnes Denes’s Sunflower Fields (2021–ongoing). Another thirty art projects await you, asking, in their metaphorical languages: Which images do we hold on to and why? How do certain past and future memories, be it of a puppet theater, a typographer, a sacred book, an endemic flower, a blackbird, a clandestine gallery, a children’s hideout, a nomadic playground, or a destroyed museum, persistently, and somehow unconsciously, live on? How does the past stop to form the present but not the future? And how do we fail to stick to the values that supposedly unite us all? The exhibition, in accordance with its Latin etymology, ex-hibere, is a complex process of making something hidden visible. It is an invitation to travel through a set of multifaceted, social, poetic, and ephemeral art pieces across the three cities. It is a constellation of images that will disappear and open space for the construction of life anew. Therefore, it is about staying with what is difficult, but also about letting go at the same time. The exhibition promises unpredictable encounters in and out of Prizren, the Balkans, Europe outside Europe, and the planet. And finally, it is about hope and persistence, in spite of it all. Artists of the 4th Autostrada Biennale Prizren Opening: July 7–8, 2023 Agnes Denes Anna Boghiguian* Bajram Mehmeti Bella Rune Blerta Haziraj* Bouchra Khalili Dardan Zhegrova* Darinka Pop-Mitić* Hong–Kai Wang Gözde İlkin* Ivo Nikić* Kameelah Janan Rasheed Kostas Bassanos* Luchezar Boyadjiev Michael Rakowitz* Mila Panić* Nathan Gray and the Juluwarlu Group Aboriginal Corporation* Nil Yalter Neda Saeedi* Núria Güell Open Group* Oscar Lara Sebastián Díaz Morales & Ruangrupa School of Mutants* Selma Selman Vatra Gallery* Xhevdet Xhafa Prishtina Opening: July 9, 2023, 13:00 p.m. Agnes Denes Hera Büyüktaşcıyan* Mitrovica Opening: July 9, 2023, 19:00 p.m. Alban Muja* Rena Rädle & Vladan Jeremić* *New commissions Curated by Joanna Warsza Övül Ö. Durmuşoğlu CuratorLab participants/curators of the public program: Andria Nyberg Forshage Áron Rossman-Kiss Giulia Menegale Giovanni Giacomo Paolin Hana Halilaj Hala Alnaji Hampus Bergander Ieva Laube Maximilian Lehner Orestis Mavroudis
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Art in times of gray democracy : Ulf Aminde, Pablo Helguera, Alexandra Pirici
- 2014
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Samlingsverk (redaktörskap) (övrigt vetenskapligt/konstnärligt)abstract
- On behalf of the Galerie für Zeitgenössische Kunst, Joanna Warsza invited artists Alexandra Pirici, Pablo Helguera, and Ulf Aminde to Leipzig to try out three projects in public and semi-public spaces: Pirici staged a choreographic intervention at the Monument to the Battle of the Nations; Helguera an improvised speaking choir; and Aminde the dress rehearsal for an art strike. All the works were shown as part of the Performative Democracy series, whose title is taken from the book of the same name by Polish sociologist Elżbieta Matynia. It describes people as politically active creatures whose collective significance is derived from their actions.
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Empty stages, crowded flats : performativity as curatorial strategy
- 2017
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Samlingsverk (redaktörskap) (övrigt vetenskapligt/konstnärligt)abstract
- During its impressive career over the last decades the term ‘performative’ has been attributed with many parallel meanings in the humanities, philosophy, arts, or economics. Empty Stages, Crowded Flats additionally applies the notion of the performative to the context of curating with the aim to unfold a potential that so far has been mostly unused.The book is following J. L. Austin, Judith Butler, and others in their belief in the performative capacity to transform reality with words and other cultural utterances, but it also emphasises the often dismissed, colloquial notion of the performative as something being ‘theatre-like’, believing that those two strands are in fact interdependent and intertwined.Empty Stages, Crowded Flats investigates an array of staged situations, from choreographed exhibitions, immaterial museums, theatres of negotiation, and discursive marathons, to street carnivals and subversive public-art projects, and asks how ‘theatre-like’ strategies and techniques can in fact enable ‘reality making’ situations in art, and how, as a consequence, curating itself becomes staged, dramatised, choreographed, and composed.With contributions by Frédérique Aït-Touati, Knut Ove Arntzen, Nedjma Hadj Benchelabi, Claire Bishop, Beatrice von Bismarck, Rui Catalão, Vanessa Desclaux, Tim Etchells, Galerie, Karin Harrasser, Shannon Jackson, Ana Janevski, Lina Majdalanie, Ewa Majewska, Florian Malzacher, Maayan Sheleff, Gerald Siegmund, Claire Tancons, Kasia Tórz, Rachida Triki, Jelena Vesić, Joanna Warsza, and Catherine Wood.
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I can’t work like this : a reader on recent boycotts and contemporary art
- 2017
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Samlingsverk (redaktörskap) (övrigt vetenskapligt/konstnärligt)abstract
- In recent years, artists and curators have often been confronted with the political dilemma of engagement or disengagement. The ideological, economic, or ethically objectionable circumstances of certain biennials and art exhibitions have raised the question of whether to continue and, if so, under what circumstances, with what consequences, and to what ends? From 2013 to 2015, biennials in Istanbul, St. Petersburg, Sydney, and São Paulo demonstrated that curating and art production can’t just carry on as if nothing had happened.This reader is the result of Joanna Warsza’s course at the Salzburg International Summer Academy of Fine Arts in 2015. It examines four recent cases of boycotts, presenting their political, ideological, and economic contexts, timelines, statements, as well as interviews with parties involved. It reflects on how certain biennials became the place where the power of art is renegotiated and why one simply “can’t work like this.”
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- Warsza, Joanna
(författare)
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Art is a way of surviving
- 2020
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Ingår i: Janek Simon. - London : Sternberg press. - 9783956795107 ; , s. 13-19
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Bokkapitel (populärvet., debatt m.m.)abstract
- Janek Simon is not only an artist and occasional curator, he is also an anarchist, programmer, craftsman, intellectual, social organizer, traveler, and former junior champion of the card game bridge. He likes to say that he is interested in too many things, from globalization, political geography, artificial intelligence, digital materialism, algorithmic governance, financial speculation, and DIY strategies, to postcolonial theories within eastern Europe and Gombrowicz-like dilemmas on what Polish identity actually is. Simon’s work captivates both visually and intellectually and is driven by constant curiosity, erudition, and the quest for what he calls “synthetic folklore”—the question of how to cherish what is particular while constructing a planetary value system with the use of new technologies. This book, on the last fifteen years of his work, is published in conjunction with Simon’s eponymous exhibition, curated by Joanna Warsza, at Ujazdowski Castle Centre for Contemporary Art, Warsaw, in 2019.
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