Prabhakar Pachpute and Rupali Patil – Harbingers of Chaos
Collateral (KRK/NUE)
Justyna Mędrala: The Machine Was So Impressed It Collapsed Onto Itself
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Defiant dream
An intruder creeps into our dream. After awakening, we do not remember much, as only a shadow of our dreaming remains. Something bothers us; we turn over to the other side, but that doesn’t seem to help, either. We chase our projection and don’t let it fade away. We didn’t manage to settle into it yet and it already became a thing of the past. Justyna Mędrala dreamt of a machine. Not once, but thrice. It was a device with an unobvious mechanism – according to the artist, it was a conveyance with no particular purpose. This dream, intriguing both Mędrala – and possibly a future audience – brought about a persistent need to execute quasiarchaeological processes aimed at recreating its events. However, a thought soon follows: is it even possible to capture that which escapes, disappears, fades away, and falls into disrepair? Can we recognize and render experiences, impressions, and visions, which appear in imagination for a short instant? At the core of the exhibitions there is the unobvious correlation between time and space and the question whether the reality of things is consistent with the common image of the world. Leon Chwistek, the author of one of the theories of plurality of realities, could not come to terms with the notion of space-time formulated by the theory of relativity. He discerned the reality of impressions, notions, as well as the reality of things and the physical reality, proposing that different time be applied to each one of these realities. In The Limits of Science he wrote that the only remaining elements are the space he can see and his watch. Merciless passage of time, disintegration of past narratives and orders of history, the surrounding architecture of Kraków 4
and Nuremberg, city, scenery, and nature – these are the themes connecting the three new exhibitions in Bunkier Sztuki Gallery. Dreamt up and impossible places that are governed by orders, senses, and values alternative to reality, turn out to be more than just daydreaming. These are the spaces Prabhakar Pachpute and Rupali Patil invite us to while searching for universal values in the relation between man and nature; they look at the mining industry to apprehend the wider processes of economic transformation and their repercussions for the global culture and the environment. Within all these alluring visions lies the power of authenticity; it does need saying, though, that not every dream must be transformed into a literal story. Magdalena Ziółkowska
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Justyna Mędrala: The Machine Was So Impressed It Collapsed Onto Itself
At the heart of the artist’s reflection lies a dreamlike vehicle, known only to her and even then – only a little bit. The existence of the vehicle, revealed in a dream, is persistent and impels Justyna Mędrala to work on her own memory, which she digs through in the course of the artistic shaping of matter. Unfortunately, the recollection of the revelation becomes less clear as days go on – the machine model increasingly blurred, obscured, and filtered through images of subsequent days. A dream is subject to successive stages of forgetting. Former visions experienced during work are superseded by new ones. Contemplating an object that seemed real – but in reality was only an idea, imagined just once, just for a moment – turned into absorbing work and a separate story, detached from the original source. Using the pragmatic need to gain knowledge as a starting point, the artist continued her search and developed the story, which acquired its own logic, fuelled by further – rather psychic – passions. As a consequence, the artist created an obsessive visual story about… her obsession. Justyna Mędrala’s working process was determined by searching, both within reality and her own memory. The search, devoid of common sense, is bordering on madness – its direction, despite whatever might be logical, is not determined by a pragmatic goal. In spite of herself, the artist overwhelms herself with an absurd, quasi-archaeological process, using tools that are equally ridiculous. She engrosses herself entirely in working with ephemeral matter – fire and smoke, which she uses, unsympathetic to her own comfort and reason, to outline the shape of the 9
machine. While describing in that manner the retained model of the vehicle and maybe also its function, she paradoxically moves away from it, bringing into being something entirely new, although equally unlike anything we could ever call a “mechanism”. Justyna Mędrala persistently strives for knowledge, which causes her to digress into subplots and digressions that dilute a concise story. A real machine is the source of the shape-forming smoke; it even seems to resemble the one Mędrala dreamt up, but somehow it is insufficient, alien, and uninteresting, since it’s so different, so tangible, so accessible, simply – real. Mystery is much more fascinating than the revealed truth. This peculiar economy of distribution of knowledge and ignorance, both blended with conviction, imagination, and dreams, is supplemented by a metaphor of an organic curtain and its implementation presented at the Gallery. A wax curtain spills out into the memory reconstruction lab, subjugating with its shape, seizing successive cubic meters and conquering it. It almost constitutes an organism within the culture of drawn memories. It also exudes an intense smell, increasingly oppressive as time goes by. It evokes the mysterious and fascinating working process of bees, within which every creature has its own duty and is merely a cell in a larger structure – order that has a common goal. The curtain, while designating the beginning and end of a performance, it separates the sphere accessible by the senses and intellect from mystery; it is a part of the machinery that constitutes the ever-inaccessible, flexible consciousness and memories of the artist. This animated form, created to conceal, cannot be a permanent obstruction, after all. The curtain reveals the fact that there is something behind it. Thanks to the use of a particular substance, it allows strangers to take a blurred peak inside, similarly limited in scope as a recollection of a dream. While forming a not-entirely-clear border between knowledge, ignorance, and mystery, the curtain creates the feeling and notion of a secret – a perfect determinant for action, research, and further patient work on a reconstruction. Krzysztof Siatka
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The vision of the machine was brought about by a cycle of three dreams. In one of them, I fell victim to a volcano eruption. It was so violent that it engulfed the 30th floor of a hotel I was staying in. the other dream was feverish, the perception of stimuli – subdued, and its space – distorted. I was performing some task in A flat area that looked like the setting of an early moving picture. Everything was accelerated and slowed down at the same time. Its culmination was me climbing a small mountain that turned out to be huge the moment I took my first steps uphill. I was getting smaller while everything around me retained its freakish proportions. When – after a struggle, continually sliding down the hills, driving my fingernails into the black massif, and even merging with it into one mass – I managed to reach the peak, the machine was so impressed, it collapsed unto itself. Let me explain where that last sentence came from – a voice uttered it in my dream. I was surprised with the absurdity of it, but at the peak of the mountain I really did see a selfproclaimed machine for making nothing that was folding in half. I think it must have been watching me for a longer time and it collapsed under pressure. Justyna Mędrala, dream transcript
We have first raised a dust and then complain we cannot see. George Berkeley
JUSTYNA MĘDRALA (1988) – artist obsessively focused on her work. She investigates subjects that are abstract (temporality) and very tangible, even physiological (blood), or those associated with primal nature (coal, wax), all with a passion worthy of an alchemist. She’s very intuitive in combining the world of science with the world of mystery. She graduated from the Graphics Department at the Fine Arts Academy in Kraków, where she is working on her doctorate, using the medium of coal to reflect on the position of humans in the circulation of matter. Scholarship holder (Artistic Stipend of the Polish Humanitarian Fund in France, 2008; Stipend of the Polish Ministry of Culture and National Heritage, 2007; Dolina Kreatywna – second award in the Telewizja Polska S.A. scholarship competition, visual Justyna Mędrala: The Machine Was So Impressed It Collapsed Onto Itself, production of works, photos from artist’s archives
arts category) and award winner (distinction at the 2015 Walter Koschatzky ArtAward, Museum Moderner Kunst in Vienna, Austria; 2014 – Talenty Trójki main award in the visual arts category, Polskie Radio Trójka). Organized an individual exhibition entitled Krew, morze (Blood, Sand; AS Gallery, Kraków, 2014) and participated in collective exhibitions, such as Mocne stąpanie po ziemi (part of the Rezerwat project, BWA Contemporary Art Gallery, Katowice / BWA Municipal Gallery in Tarnów, 2015) and To, co jest i co nam się wydaje, że jest (Szara Gallery, Cieszyn, 2015) among others.
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Collateral
(KRK/NUE) © RENÉ RADOMSKY
© ŁUKASZ TRZCIŃSKI
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Collateral (KRK/NUE)
Two stories told by photographers; two cities – Nuremberg and Kraków. The former – almost entirely destroyed during World War II as it was considered “a guilty party”. One of its main landmarks today, apart from the castle, the St. Sebaldus Church, and the Frauenkirche, is the site of the Nuremberg Rallies – a pharaonic urban project with an area of eleven square kilometres, comprising of party meeting halls, stadiums, marching fields, a grandstand, where Hitler has been filmed on numerous occasions – all of it closely tied to Nazi history. Today, its remains serve as a Documentation Centre, but the deteriorating buildings and marching grounds serve as a reminder of the city’s and country’s history – history that has been processed, but remains unwanted. The latter city – Kraków, a survivor in a sea of destruction – came out of World War II relatively unscathed. Only during the post-war period, the city started to gradually deteriorate, in a way that was just as precarious as demolition of buildings – the arrival of new authorities and a new political regime, which – in a sense – punished the city by building the Nowa Huta steelworks. The Collateral (KRK/NUE) exhibition presents the works of photographers associated with both cities. It follows that it is governed by territorial limitations. Images, although quite diverse, actually depict only two small spaces. The varied exhibited works form a palimpsestic story – historical and private, artistic and documentary – of cities that are closely linked not only by the great creator Veit Stoss, but also a network of contemporary cultural associations. The exhibition’s starting point are photos that on one side present a swastika-decorated stand at the Nazi Party rally 19
site in Nuremberg, on the other – the first post-war May Day march in Kraków. The subsequent photos depict the complete devastation of Nuremberg, which had been one of the bestpreserved medieval cities in Europe before the war, and private documents, presenting the city in later years, with intertwined historical orders – for Nuremberg did reclaim its old town, but the reconstructed landmarks do feature the Nazi past, like the Nazi coliseum. The post-war history of Kraków is depicted in the photos of victims of war trauma, taken by Henryk Hermanowicz at the Psychiatric Hospital in Kobierzyn. Collateral (KRK/NUE) is also focused on space. The photos from the cycle Święta wojna [Holy War] by the eminent Kraków photographer Wojciech Wilczyk expose the graffiti of football fans, full of calls for violence, anti-Semitism, and abuse. This violation of public space has existed for many years, but it remains virtually invisible. Wilczyk focuses on what people are unwilling to see, since it requires effort and counteraction; a hateful, incessant presence. Nuremberg’s Jutta Missbach presents a work she created in Kraków, specifically for the purpose of this exhibition. It is a loose documentation of architecture, a juxtaposition of unwanted communist heritage such as concrete housing projects with the ensuing aesthetic heritage of plastic signboards and inscriptions. René Radomsky deals with city space unburdened with historical heritage; his photos feature moving images of birds. This attitude is specific to the young generation of Nuremberg creators, who abandon “important” subjects in favour of that which is private. The private contemporaneity of Kraków is also presented in the photos of the eminent American photographer Michael Ackerman, who has spent many years in the city. His dark, acute photos, portraits, and street scenes are visionary images, which utilize a fierce but sensible language. They mainly depict the “night shift” of Kraków, spirits banished to the periphery of official life, unknown people with faces that move those who look at them. Anika Maaß is focused on that which is ephemeral. Her 1440 is a recording of 20
a day in the life of many individuals, a loose documentation of moments that fade away. Here, even the technical side of the works forces the viewer to think about elusiveness – the artist presents small prints, referencing a typically domestic manner of documenting the mostly non-essential matters. Photos of Michael Ullrich are similarly private; the artist is focused on his own life and creating a photo journal. The work of the Kraków artist Łukasz Trzciński, also prepared specifically for this exhibition, serves as Collateral’s coda; its basis is a video shot in Nuremberg. The work, full of historical references, is focused on the inevitable blurring of meanings – historically meaningful gestures become empty, and monuments recalling of sheer cruelty of past generations fade away within the landscape. Trzciński claims it is necessary to forget, even about the things that define us, in order to make room for a new life. Languages of photography are a subsidiary theme of Collateral (KRK/NUE). It is not a homogenous medium – artistic, private, or documentary. Places and their histories are the basis and a key element of the exhibition; the manner of their rendition is diverse, however, describing the cities from many viewpoints. Mosaic, palimpsest, and a non-linear method of presentation are the basic rules that govern this attempt to juxtapose the two cities that are both close to and distant from each other. The curator of the exhibition is Wojciech Nowicki.
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© MICHAEL ACKERMAN
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In Ackerman, there’s sensitivity and hurt (a word thrown around by those who want to write cleverly about photography). In his photos, man, his creations, large cities, and disaster scenes all look like deep underground tunnels, sprinkled with sudden snow, which appeared there out of nowhere. His photos feature ephemeral images of a parallel world. Looking at them, I’m certain that his sensitivity is full of fear, and his fear is fierce. I would be afraid to approach a subject as close as he does, to demand the way he demands that someone undresses for me like that, stands like that, lies like that. (But that’s what photographers do – they approach, touch people, if not with a hand, then with a word or an image; Ackerman is no exception here.) He does not let go, he keeps at it, until finally people start following him, both furious and docile at the same time. That’s when he takes pictures of them, making them look like a Roman statue – stony, still alive, and bound for eternity. Excerpt from Odbicie [Reflection] by Wojciech Nowicki, Wołowiec, 2015, p. 255
© WOJCIECH WILCZYK / KRAKOW (BIENCZYCE), osiedle KALINOWE
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Prabhakar Pachpute Counter table 2016
k ar P a h b a a Pr c a p l u h i R P p d a u te an t i e r g l n s i b r o Ha f C— haos
Back to the Farm-I Charcoal on paper 2 × 3ft At Experimenter, Kolkata 2013 © Prabhakar Pachpute 2013
Prabhakar Pachpute and Rupali Patil – Harbingers of Chaos
Prabhakar Pachpute and Rupali Patil examine the mining industry, farming, and the influence of human existence on nature. Guided by the need of promoting justice and respect, they’ve been traveling around the world for many years, discovering bridges between different, seemingly distant worlds. They juxtapose the Upper Silesia mining community with those from Turkey, Germany, India, and Australia, as these communities have their own longstanding traditions and fully formed habitus. Thus, they create a map of experiences and practices that shape the perception of the condition of a given country, but also our contemporaneity, since some mechanisms of action exist in a wider context as a part of general social behaviour. In a world of migrating signs and symbols, read in a cosmopolitan perspective, modern art emerges as the space that defines the conditions of our life, of the here and now. The installations of Pachpute and Patil are suggestive landscapes of the future that depict the consequences of mutual relations between different forms of life and the environment, understood in a wide sense. The existential philosophy of the artists borders on understanding the present as Anthropocene, an era when humans are considered the equivalent of natural forces that governed the previous eras. Human, apart from the inherent role of a biological actor, also assumes today the role of the collective geo-actor, who lives off the Earth, utilizing its supplies and influencing the environment in a real, destructive manner. This experience of working and living conditions in regions dominated by industrial exploitation of nature becomes the basis of the artists’ reflection on our contemporaneity. 29
Artists choose India as a reference point for their landscapes, dominated by mechanical activities of man. Coal is the main source of energy; as an export commodity, it is also one of the most important factors that determine the economic growth of the country. Coal value is still high, and it also often causes deforestation of large areas, since new mines are often created in protected areas, inevitably endangering the fauna and flora or systematically degrading large plantations of grain, cotton, and rice. In turn, creating a new infrastructure for renewable energy would require investments that are deemed too large. All of this impacts the local population in an enormous way. After expropriation, land owners become a part of cheap, exploited labour force. One can arrive at such conclusions when learning the common name of both artists’ hometown, Chandrapur – “The City of Black Gold”, with major deposits of coal and limestone, where both Harbingers of Chaos artists come from.
Prabhakar recreates unseen lines that connect Chandrapur to Bombay, the coal miners and farmers of rural Maharashtra, to the now nearly disappeared, mill workers in Bombay, beginning with the coal that once powered the cotton mills in Bombay, the cotton curse of Vidarbha, and its neglect by a government that sits in the distant hub of Bombay. The unheard plight of the cotton farmers resonates with the situation the mill workers faced as their labour movements were crushed with rise of the ultra-nationalist Shiv Sena, a political party that presently opposes calls for independent statehood in Vidarbha. He charts his own migration to Bombay as an artist, finding resonances 30
with the migration of the mill workers into the city decades ago to work in the mills. Sumesh Sharma, Zasha Colah, Black or White, Van Abbemuseum, Eindhoven 2013, unnumbered
Though Western India is the wealthiest region of the country, with economy based mainly on services, trade, and tourism, the mining industry also plays an important role, providing fuel to coal power plants and electricity for half of the country. Despite the dominance of the role of this sector in domestic industry, mine infrastructure and miners’ working conditions put their lives in constant danger. A miner dies at work in India every ten days; mining disasters of various scales occur every three days, but none of this attracts media attention. These aspects of work, along with economic conditions and the general status of people at the services of big industry, are raised in the works by Pachpute and Patil. They analyse and comment on mechanisms and consequences of activities of both pit and underground mines, as well as salt, gold, and silver mines. With their installations, drawings, sculptures, and video works, they show how industrial architecture forces people to change their life and occupation, tell stories related to mine closures, but also how such labour impacts the functioning of local systems and families, how all of this impacts the environments, what are its consequences for other industries or even the country as a whole. The aesthetic experience, referring to such ideas as aesthetics of existence, politics of memory, or ecology of identity, is seen by the artists as an opportunity to transform the everyday existence of labourers, miners, and farmers.
Mining is a multigenerational profession, passed on from grandfather to father and son… or daughter. Karolina Baca-Pogorzelska, Babska szychta, photos by T. Jodłowski, translation by Kontekst Translations, Warsaw, 2014, p.77 31
In the context of history and tradition of the Polish mining industry, what fascinated Prabhakar Pachpute and Rupali Patil the most was the extraordinary respect for the miner profession, the accompanying iconography, as well as methods of underground work and a considerable number of women in the mining industry. Inspired by works such as the study of Karolina Baca-Pogorzelska, who spent a few years talking to women miners, and watching the relations between workers and miner families, they created an image of a mine as a place that mirrors the general social framework. “On the one hand, the miners have been saying for years that a broad in a mine brings bad luck, but on the other – it didn’t prevent them to select a female patroness, St. Barbara (who, as the patroness of ‘good death and difficult work’, watches over steelworkers, sailors, fishermen, soldiers, and even prisoners).”1 This quote – important to the artists – accentuates the dissonance between respect for and uncertainty of a woman, who is even associated with a curse. This not entirely clear and ambiguous attitude towards women and their often mythical perception (assuming the iconographic form of the “Polish Mother”), confronted with the Bhārat Mātā (Mother India), similar in function within Indian culture, is a theme that speaks of cultural dissemination and links various aspects of functioning of different – even if only geographically – societies.
1 Karolina Baca-Pogorzelska, Babska szychta, photos by T. Jodłowski, translation by Kontekst Translations, Warsaw, 2014, p. 23
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Eco Echo Watercolor on paper At Clark House Initiative, Mumbai 2014 Š Rupali Patil 2014
Fragment of a conversation between Prabhakar Pachpute and Rupali Patil, and Lidia Krawczyk, one of the curators of the Harbingers of Chaos exhibition (November 2016)
Lidia Krawczyk: Prabhakar, you were born into a family of miners. Your grandfather became a miner when he sold his land to a mine that was drilling under the village your family lived in. Your brother currently works at a pit mine, situated near your homestead. Most residents of neighbouring villages are also miners, working in the Sasti mine. How did you become an artist? Prabhakar Pachpute: Farmers sell their land to a coalmining company and that’s how they get a certain amount of money and one job for one person in such family. My grandfather went through a similar process – he became a coalminer, but he left a piece of land with his family. In order to get a coalmining job at Sasti (owned by WCL-Western Coalfields Limited), my brother sold his land to the coalmining company in 1984. I have not even been born yet, but all the family members were already dependent on him. Lidia Krawczyk: What about you, Rupali? You were very interested in the suicides of farmers in India, people, who have lost their land as a result of games of politicians, criminals who benefitted from expropriation, and moneylenders. How and when did you become interested in this subject? Rupali Patil: I was born and grew up in Pune City, but my actual place of origin is Jalgaon in Maharashtra state. We own farming lands in Jalgaon, where we grow cotton and other crops. I clearly remember the visual of our house. We used to store cotton in our living room – a TV stood right in the middle of a mountain of cotton. And this was 34
a popular sight in many households. This image is now a part of my installation. Even though I grew up in Pune, my childhood memories of the time I spent there are a thread connecting my works. But I can say that my work is not only about farmer suicides. Human existence and nature, and their interdependency are at the core of my art practice. Human dependency and the exploitation of nature are something I consider a challenge. Lidia Krawczyk: Do you think artists have the ability to fight for democratic, eco-friendly laws that would contribute to the creation of a more just society? Prabhakar Pachpute: Yes, absolutely. We think that artists have the ability to fight for such laws in order to express what they think is social justice. Art is a very powerful medium that can be used as a tool to communicate with the society at large. I believe that collective practices or artists associations can bring about such a change. Groups such as Bengal Famine, Radical Artist Association, Open Circle, and many others are successful in making their voices heard in India through their art. Rupali Patil: Yes, when an artist sees injustice, they have a full right to raise their voice. I agree with examples mentioned by Prabhakar. I think that art in public space and performance arts are also a really good weapon to express a silent but vibrant impact on large groups of people. Art has a great ability to gain immediate attention. I think there should also be more collaborations between artist, poets, and theatrical groups.
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One has vision and rest has belief Watercolor on paper At 14th Istanbul Biennale 2015 Š Rupali Patil 2015
PRABHAKAR PACHPUTE (born in 1986 in Chandrapur) is a SCULPTOR, and author of drawings and installations. In his works, he constantly returns to the subject of working conditions in mines and the cultural values of the mining industry in his home state of Maharashtra. He graduated from the Sculpture Department of the Faculty of Fine Arts, Maharaja Sayaijaro University of Baroda (2011). Winner of several awards, such as the Certificate Award of South Central Zone Cultural Center (Nagpur, 2008) and Professor Mahendra Pandya Foundation Award (Baroda, 2010). His works were exhibited at the Black and White collective exhibition (Van Abbemuseum, Eindhoven, 2013), How to (…) things that don’t exist exposition (as part of the 31st São Paulo Biennale, 2014), and the 14th Istanbul Biennale (2015). Clark House Initiative in Mumbai hosted his individual exhibition entitled Canary in a Coalmine (2012), and the National Gallery of Modern Art in Mumbai – the exhibition te tolanche dhaga navhate / no, it wasn’t the locust cloud (2016). He is a member of the Shunya Art Collective. He lives and works in Mumbai and Pune.
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RUPALI PATIL (born in 1984 in Pune) creates graphics, artistic objects, and installations. She graduated from the Graphics Department of the Faculty of Fine Arts, Maharaja Sayaijaro University of Baroda (2011). She usually collaborates with Prabhakar Pachpute, creating site-specific installations that tackle the themes of agrarian cultures and global social problems. Her works were presented at exhibitions such as Eros (Parasite, University Museum and Art Gallery, Hong Kong, 2014) and Kamarado (Stedelijk Museum, Amsterdam, 2015), as well as at the 14th Istanbul Biennale (2015). In 2014, Clark House Initiative in Mumbai hosted her individual exhibition Everybody Drinks but Nobody Cries. SHE IS A MEMBER OF the Shunya Art Collective.
Rupali Patil Underground Forest 2016–2017
She lives and works in Mumbai and Pune.
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Director:
Partners:
dr. Magdalena Ziółkowska
Nuremberg City Hall, Kraków City Hall
Publication accompanying the
The project is co-financed by
exhibitions:
the Foundation for PolishGerman Cooperation
Justyna Mędrala: The Machine Was So Impressed It
Prabhakar Pachpute & Rupali
Collapsed Unto Itself
Patil: Harbingers of Chaos
Opening:
Opening:
January 27th, 2017 (Friday), 6PM
January 27th, 2017 (Friday), 6PM
Duration:
Duration:
January 28th – june 18th, 2017
January 28th – june 18th, 2017
Curator:
Curators:
Krzysztof Siatka
Lidia Krawczyk, Magdalena Ziółkowska
Coordinator: Renata Zawartka
Curator of contextual activities:
Location:
Karolina Vyšata
Lower Gallery Assistant: Vera Zalutskaya Collateral (KRK/NUE) Producer: Dorota Bucka Opening: January 27th, 2017 (Friday), 6PM
Location: Ground floor
Duration: January 28th – May 3rd, 2017
Cooperation: Experimenter, Kolkata, Polish
Curator:
Institute in New Delhi, Bochnia
Wojciech Nowicki
Salt Mine, Kraków Saltworks Museum in Wieliczka, Kraków
Coordinator:
City Council, Nuremberg City
Jolanta Zawiślak, renata
Council
kopyto (nuremberg house in krakow)
Bunkier Sztuki Gallery Media patronage:
Location:
Fragile, Le Monde diplomatique,
Ground floor
O.pl, Radio Kraków
Co-organizers:
Exhibition Media patronage:
Nuremberg House in Kraków,
Gazeta Wyborcza. Kraków,
Krakow House in Nuremberg
Co Jest Grane 24, Herito, Lounge, Szum
Artists: Michael Ackerman, Henryk Hermanowicz, Friedrich Kuhrt, Anika Maaß, Justyna Mędrala, Jutta Missbach, Prabhakar
Co-organisers:
Pachpute, Rupali Patil, René Radomsky, Łukasz Trzciński, Michael Ullrich, Wojciech Wilczyk Text authors: Lidia Krawczyk, Wojciech
Cooperation:
Nowicki, Krzysztof Siatka, Magdalena Ziółkowska Translation: Piotr Czarnota Editing, revision, publishing coordination: Anna Żołnik, Piotr Czarnota Co-financed by: Graphic design and typesetting: Agata Biskup Copyright: Artists and Bunkier Sztuki Gallery of Contemporary Art Gallery media patronage: ISBN: 978-83-62224-59-3 Publisher: Gallery of Contemporary Art Bunkier Sztuki Print: PASAŻ Sp. z o.o. Exhibition media patronage: Volume: 2000 Typography: hrot Paper: cyclus print Kraków, 2017
EN Bunkier Sztuki Gallery of Contemporary Art pl. Szczepański 3a, Kraków bunkier.art.pl