Zofia Bluszcz: Twenty years ago in 1993 you curated the exhibition, “The Steppes of Europe: New Ukrainian Art”. What was Ukrainian art like at the time?
Jerzy Onuch: I made my first trip as an adult to Ukraine in 1991, just before the fall of the Soviet Union. I was a guest at the time of the First Biennale of Ukrainian Art, which took place in L’viv. I came as a performance artist. Everything seemed incredibly exciting and interesting. Later I traveled with my own performances to Kyiv. What I saw in L’viv was a signal for me not only of an opening, but also of a closing, revealing a reality at the moment of its passage.
Summer is in progress and you finally go away for a few days to get away from ‘your' firm and the charms of summer in the city. From the slope of a friendly hill, you look at the landscape of your freedom and think how to regain for yourself here the vacation atmosphere and forget about the situation on the employment market. A vacation, even the shortest, is something more than just going away for a break; you can give yourself time to change your route and occupy yourself, for instance, with such an impractical subject as your own shadow. It follows us everywhere where there is enough light. It does not agree upon anything with us; it always appears in, as it were, ready-made form, though obviously it is not an object.
[PL] The exhibition focuses on moments when Yayoi Kusama first worked in particular idioms - how would you describe her constant evolution? what was the reason for so many radical shifts?
Conversations with Jullian Stallabrass on YBA and with the curator Anne Galagher on Damian Hirst exhibition in Tate Modern
On Young British Art in conversation with Julian Stallabrass
Agata Mazur: For the cover of your book "High Art Lite. The Rise and Fall of Young British Art" you selected Lego versions of art works by members of YBA created by the duet The Little Artists, including Hirst's shark featured on the front cover. How does it relate to your book's intentions?
Julian Stallabrass: The book has had various covers in its different editions.
Interview with Cecilia Widenheim, chief curator of the Swedish and Nordic art collection, and Ann-Sofi Noring, co-director of the Moderna Museet in Stockholm and Malmö
Zofia Chojnacka: Moderna Museet has one of the world's finest collections of 20th and 21st century art. The Swedish and Nordic section of the collection of sculptures, paintings, and installations now comprises some 3,700 works, of which some 350 are from neighbouring Nordic countries. What can we learn about the international section of the collection?
Underappreciated for many years and treated as a mere provocateur, Christoph Schlingensief was, above all, a radical educator. A review of films by this German director and artist, who died in 2010, highlights how even his older films remain outstandingly current.
Artist as production agent
Morning of 31 August 1997: Hybrid WorkSpace at Documenta X in Kassel. The second part of Christoph Schlingensief's Mein Filz, mein Fett, mein Hase - 48 Stunden überleben für Deutschland is set to begin, when the director learns via internet of the death of Princess Diana and her partner in an automobile accident.
Debate on provocation and scandal in contemporary art held on the 19th November 2011 at the CCA Ujazdowski Castle, featuring Martin Schibli (curator at Kalmar konstmuseum), Oscar Germouche, Kaia Pawełek, Kamila Wielebska, Zuzanna Janin. Moderator: Agnieszka Rayzacher. The audience profited abundantly from the occasion to exchange opinions. The discussion took place one day after the opening of the exhibition of young artists from Sweden ("Cool Water"; curator: Martin Schibli, artists: Oscar Guermouche, Elin Magnusson, NUG, Anna Odell; lokal_30, 18.11.2011 - 13.01.2012)