portfolio

Karolina Breguła (born 1979) a Polish multimedia artist; creates installations, happenings, video,
photography. She has performed and exhibited in places such as the 55th Venice Biennale (Italy);
Jewish Museum, New York (USA) and National Museum in Warsaw (Poland). She has been
awarded multiple scholarships and awards such as Views 2013, Samsung Art Master 2008,
the Polish Ministry of Culture Scholarship and Visegrad Fond Scholarship. She is the author
of works such as Fire-Followers (2013), Art Translating Agency (2010) and Let Them See Us (2003).
In her works she is researching unprofessional art receivers and their relation to modern art.
She is looking for the place for art in today`s society and the role the art heritage can play in
contemporary world. Building the meanings and auto analysis of culture have became the sense
of her latest activity. She lives and works in Warsaw.
Solo exhibitions and events
2016
2016
2016 2016 2016 2015
2015 2014
2014 2014 2013
2013 2013 2013 2013 2012
2012 2012 2011
2011 2011 2011 2011 2011 2010
2010 2010 2010 2009
2009 2009 2009 2008
2008 2008 2008 2007
2007 Who’s there, Wrocław – European Culture Capital, Poland (public participatory film project)
I don’t Cry Over Sculptures, Upper Ray Galler, Treasure Hill, Taipei, Taiwan (solo exhibition)
Office for Monument Construction, Market Gallery, Glasgow, Scotland (solo exhibition)
Renovation, a word disgusting like a cokroach, Arsenał Gallery, Białystok, Poland (solo exhibition)
I don’t Cry Over Sculptures, Szklarnia Szkoły Filmowej gallery, Łódź, Poland (solo exhibition)
I don’t cry over Sculptures, Lokal_30, Warsaw, Poland (solo exhibition)
Histories, Polish Institute Gallery, Berlin, Germany (solo exhibition)
The Soup, AC Institute, New York, USA (solo exhibition)
Progress, Eastwards Prospectus, Bucharest, Romania (solo exhibition)
The Tower, Warsaw Chamber Opera, Warsaw, Poland (opera performance)
Leaving, Centre for Contemporary Art Ujazdowski Castle, Warsaw, Poland (solo exhibition)
Centre of Everything, Atlas Sztuki Gallery, Łódź, Poland (solo exhibition)
Root out, BWA, Katowice (solo exhibition)
Video screenings, Kolonia artystów, Gdańsk, Poland (solo exhibition)
Strange works, Zachęta National Gallery, Warsaw, Poland (performative lectures)
Spacial forms in the face of the disaster, EL Gallery, Elbląg, Poland
(performative science conference)
Runda med förklaring av offentliga utsmyckningar, Kalmar Konstmuseum, Sweden
(performative guiding)
Breakfast on the grass, Euro Art, Łódź, Poland (happening)
Corrective Photographs, Archeology of Photography Gallery, Warsaw, Poland (solo exhibition)
Corrective Photographs, Warsaw, Poland (public space installations)
Wschodnia Gallery Archive Reconstruction, Galeria Wschodnia, Łódź, Poland (solo exhibition)
Art Lover, public space, Gdańsk, Poland (solo presentation of one work)
Useful Art: Richard Long - A line made by walking, No Women No Art, Stary Browar Park, Poznań, Poland (performance)
Explaining the Art Exhibition: 13 Muz, Zachęta Szczecin, Szczecin, Poland; Centre for
Contemporary Art Ujazdowski Castle, Warsaw, Poland; Zachęta National Gallery, Warsaw, Poland; Centre of Contemporary Art Łaźnia, Gdańsk, Warsaw, Poland; BWA Warszawa,
Warsaw, Poland; Le Guern Gallery, Warsaw (performative gallery guidings)
Good Neighbours, Halo Galeria, Olsztyn, Poland (solo exhibition)
Let them see us, Akademickie Centrum Kultury, Lublin, Poland (solo exhibition)
Good Neighbours, Galeria Szara, Cieszyn, Poland (solo exhibition)
Summer in the middle, Plac Konstytucji, Warszawa, Poland (installation in the public space)
Good Neighbours, Watching tv, Grodno, Belarus (happening)
Good Neighbours, Borrowing salt and sugar, Kaliningrad, Russia (happening)
Lovebook, Galeria Pauza, Cracow, Poland (solo exhibition)
Good Neighbors, Shoping, Lviv, Ukraine (happening)
Artistic emergency service, Galeria XS, Kielce, Poland (happening and a solo exhibition)
The married women (with Ola Buczkowska), Galeria znad Wisły, Vilnius, Lithuania
(solo exhibition)
Good Neighbours, Waving hello, Cieszyn, Poland (happening)
Good Neighbours, Overhearing, Zlin, Slovakia (happening)
Lovebook, Galeria 65, Warsaw, Poland (solo exhibition)
The married women (with Ola Buczkowska), Galeria Nowych Mediów, Gorzów Wielkopolski, Poland (solo exhibition)
2007 Video camera, Galeria Nowych Mediów, Gorzów Wielkopolski, Poland (solo exhibition)
2007 Good Neighbours, Watering flowers, Vilnius, Lithuania (happening)
2007 Good Neighbours, Having coffee, Berlin, Germany (happening)
2006
All I see is the palace, Polish culture days, Uppsala, Sweden (solo exhibition)
2006 All I see is the palace, Desigh Hu, Budapest, Hungary (solo exhibition)
2006 The married women, (with Ola Buczkowska), Galeria Program, Warsaw, Poland (solo exhibition)
2006 The married women (with Ola Buczkowska), Galeria FF, Łódź, Poland (solo exhibition)
2006 Warsaw, Galeria Kawiarnia, Warsaw, Poland (solo exhibition)
2006 Let them see us, Collegium Polonicum, Słubice, Poland (solo exhibition)
2006 Let them see us, Fachhochschule, Potsdam, Germany (solo exhibition)
2006 Let them see us, Main LIBS, Frankfurt, Germany (solo exhibition)
2005 All I see is the palace, Galeria Jubileuszowa Pałacu Kultury i Nauki, Warsaw, Poland
(solo exhibition)
2005 Let them see us, Landtag, Stadt- und Landesbibliothek, Potsdam, Germany (solo exhibition)
2005 All I see is the palace, Galeria Traffic, Warsaw, Poland (solo exhibition)
2005 Let them see us, Neues Rathaus, Gottingen, Germany (solo exhibition)
2005 Let them see us, Jugendzentrum Glad-House, Cottbus, Germany (solo exhibition)
2005 Let them see us, Börgeramt Innerstadt, Köln, Germany (solo exhibition)
2004 An artist for sale (Karolina Breguła & Wojciech Rudzki), Jazzgot, Warsaw, Poland
(solo exhibition)
2004 Let them see us, Galeria „5”, Górnośląskie Centrum Kultury, Katowice, Poland (solo exhibition)
2004 Let them see us, Galeria INTACTO, Katowice, Poland (solo exhibition)
2004 Let them see us, Goethe Institute, Bucharest, Romania (solo exhibition)
2004 Let them see us, Atrium der ver.di Bundesverwaltung, Berlin, Germany (solo exhibition)
2004 Let them see us, Zagłębiowski Instytut Sztuki, Sosnowiec, Poland (solo exhibition)
2004 Galeria Czarna Łódź Podwodna, Wrocław, Poland (solo exhibition)
2003
Let them see us, Galeria Towarzystwa Sztuk Pięknych „Pałacyk”, Warsaw, Poland
(solo exhibition)
2003 Let them see us, Galeria Burzym & Wolff, Cracow, Poland (solo exhibition)
2003 Let them see us, CSW Łaźnia, Gdańsk, Poland (solo exhibition)
Screenings
2016 2016
2016 2016 2016 2015 2015 2015
2014
2014
The Tower, FidMarseille Film Festival, Marseille, France
The Tower, Centre for Contemporary Art, Warsaw, Poland
The Offence, Kyiv International Short Film festival, Ukraine
Office for Monumnet Construction, Glasgow Film Theatre, Scotland
The Offence, She Devil, Leipzig, Germany
The Tower (work-in-progress), Göteborg International Biennial for Contemporary Art, Göteborg, Sweden
Zupa, Viennacontemporary Filmprogram, Vienna, Austria
Fire-Followers and The Soup, Meet Factory, Prague, Czech Republic
The Soup, Knoll Gallery, Vienna, Austria
The Offence, Artists’ Film Biennial, ICA, London, UK
2014
2014
2014
2014
2013
2013 2013 2013 2013 2013 2013 The Soup, TR Warszawa, Warsaw, Poland
Fire-Followers, The Filmmaking Turn, Akbank Sanat Istanbul, Turkey
Fire-Followers, Hot Docs Film Festival, Toronto, Canada
Fire-Followers, Kino Piast, Cieszyn, Poland
Fire-Followers, Centre for Contemporary Art Ujazdowski Castle, Warsaw, Poland
Fire-Followers, New Horizons Film Festival, Wrocław, Poland
Fire-Followers, Alternativa, Wyspa Institute of Art, Gdańsk, Poland
Fire-Followers, National Museum, Cracow, Poland
Fire-Followers, Artist Village, Genk, Belgium
The Offence, Crosstalk Videoart Festival, Toldi, Budapest, Hungary
The Offence, Workshops of Culture, Lublin, Poland
Selected group exhibitions
2016
2016
2016
2016
2016
2016
2016
2016
2015
2015 2015 2015
2014
2014 2014 2014 2014 2013
2013 2013 2013 2013 2013 2013 2013 2013 2012
2012 2012 Common Affairs, DB Kunsthalle, Berlin, Germany
Alternativa, Uszczerbki i straty, Gdańsk, Poland
Zaczyn, Galeria Szara, Katowice, Poland
Nic z tego nie będzie, Austrian Cultural Forum, Warsaw, Poland (with Marko Lulić)
De-Mo-Cra-Cy, Labirynt Gallery, Lublin, Poland
Ordets Akt, Kulturhuset, Stockholm, Sweden
F.Y.I., Galeria TAV, Taipei, Taiwan
Nowe ilustracje, Galeria Arsenał, Białystok
We are here, BWA, Zielona Góra, Poland
Learning to read, Słodownia +1, Poznań, Poland
Videonale, Kunstmuseum, Bonn, Germany
We have time, Andel’s Hotel, Łódź, Poland
Sights and Sounds, Jewish Museum, New York, USA
Raptures and Convergences, Kuad Gallery, Istanbul, Turkey
Deliberations on Economics Cooked Up In the Back Room.
30 Years of Wschodnia
Gallery, Museum of Art, Łódź, Poland
GoEAST, Nassauischer Kunstverein, Wiesbaden, Germany
The Views, Zachęta National Gallery, Warsaw, Poland
Reflection Centre for Suspended Histories. An Attempt, The Venice Biennale,
The Romanian Institute for Culture and Humanistic Research, Venice, Italy
The Stranger, Alternative Space Loop, Seoul, Korea
Present/Presence, Jan van Eyck Academie, Maastricht, Holland
Seoul Seoul, Changdong Art Studio, Seoul, Korea
Uncertain places, Knoll Gallery, Budapest, Hungary
Uncertain places, Knoll Gallery, Vienna, Austria
Workers of the Artworld Unite, CCA Kronika, Bytom, Poland
Workers of the Artworld Unite, Galeria Szara, Cieszyn, Poland
Enclave, Centre for Contemporary Art Ujazdowski Castle, Warsaw, Poland
Artificiality, Archeology of Photography Gallery, Warsaw, Poland
It’s time for sneakers, Kunstlerhaus, Dortmund, Germany
2011
Otulina, Kordegarda Gallery, Warsaw, Poland
2011 Young Polish Artists on Tour, Uqbar gallery, Berlin, Germany
2010 Brzuch Atlasa, Atlas Gallery, Łódź, Poland
2010 Open City Festival, public space, Lublin, Poland
2010 Homo Ars Erotica, National Museum, Warsaw, Poland
2010 Failier in art, Emdes Gallery, Wrocław, Poland
2009 Kolekcja Zdarzeń – sztuka istnieje poza obrazem: pokaz kolekcji
Dariusza Bieńkowskiego, Atlas Gallery, Łódź, Poland
2009
Video Punkt, Studio Gallery, Warsaw, Poland
2008
Iluzja jako źródło cierpień, Galeria Bielska BWA, Bielsko Biała, Poland
2008 Red Eye Effect, Centre for Contemporary Art Ujazdowski Castle, Warsaw,
Poland
2008 Polsk kvinnodagbok, Konsert&Kongress, Uppsala, Sweden
2008 Biennale of Young European Art Supermarket Sztuki, Warsaw, Poland
2008 Pętle czasu, Festiwal Józefa Robakowskiego, Łodź, Poland
2008 Free Form Festiwal, Fabryka Trzciny, Warsaw, Poland
2008 Samsung Art Master, Centre for Contemporary Art, Warsaw, Poland
2008 Versus, Fotospace, Wrocław, Poland
2007
Power, Museum of Cinematography, Łódź, Poland
2006
Poza, Real Artways, Hartford, USA
2006
Love and democracy, Centre for Contemporary Art Łaźnia, Gdańsk, Poland
2006 Film School student exhibition, Galeria 65, Warsaw, Poland
2005 EAF diploma graduation exhibition, Galeria Wozownia Toruń, Poland
2005 Festival of Photography in Łódź, Poland
2004
Love and democracy, Art Poznań, Poznań, Poland
2004 Biennale of Young European Art Supermarket Sztuki, Warsaw, Poland
Prizes and scholarships
2015
2013
2013
2013 2013 2012
2012 2009 2008
Videobrasil – residency prize
The Views – II prize
Visegrad Fund Scholarship
UNESCO Scholarship
Młoda Polska Scholarship
Ministry of Culture Scholarship
Nomination for Przeciąg Art Award
The One Minutes Poland – I and III prize
Samsung Art Master – III prize
Residencies
2016
2015
2014
2013
2013 2013 2012
Taipei Artist Village, Taipei, Taiwan
Villa Romana, Florence, Italy
KulturKontakt, Vienna, Austria
Residency Unlimited, New York, USA
Art Quarter Budapest, Budapest, Hungary
National Museum for Contemporary Art, Changdong Art Studio, Seul, S-Korea
Objectifs, Centre for Photography and Filmmaking, Singapore
Education
2011 – 2015
2004 – 2010
2002 – 2004
2000 – 2002
Phd, National Film Television and Theatre School in Łódź, Poland
MA, National Film Television and Theatre School in Łódź, Poland
European Academy of Photography, Warsaw, Poland
GFU Photography school, Folkuniversitetet, Stockholm, Sweden
Languages
Polish – native
English – fluent
Swedish – fluent
Japanese – beginner
Contact
www.karolinabregula.com
[email protected]
+48 502 082 383
skype: bregulos
THE TOWER
2015, video opera musical, 119min
The Tower is an opera musical about a group of
people who live in the same concrete block of flats
and who plan building a sugar tower together. Full
of absurd and anxiety, the story of the utopian
project is addressing the history of post war housing
architecture analysing it from the position of its user,
the inhabitant of a modernist city. The dreams and
desires are juxtapositioned with difficult reality of
life in the blocks and contradictions inscribed in the
modernists’ plans.
Featuring: Joanna Cortes, Nina Czerkies, Roman Holc, Borys
Jaźnicki, Ewa Konstanciak, Sylwester Kostecki, Anna Lubańska,
Krzysztof Łapiński, Maciej Nawrocki,
Ewa Mikulska, Wojciech Parchem
Written and directed by Karolina Breguła
Music by Ela Orleans
Cinematography by Robert Mleczko
Sound by Weronika Raźna
Editing by Stefan Paruch
Production by Fundacja Witryna
HISTORIES OF ART
2014, photography series
Histories of Art is a series of stories about destroyed
pieces of art which reapear in the every day life
in the most unexpected moments and ways.
Images presented here address works by Joseph
Beuys, Katarzyna Kobro and Maurizio
Cattelan.
SUGAR POT
2015, video performance, 3min
Sugar Pot is a video performance which was
created during my artist stay in Florence.
The work is a commentary on the situation of
an artist surrounded by an overwhelming number
of masterpieces. The work was made for my solo
exhibition I don’t Cry Over Sculptures which was
a more elaborate reflection on the issue of materiality of art objects.
THE TOWER
2014, opera performance, 95min
The Tower is a story about a group of people
living together in a block of flats. They are
planning to build a tower made of sugar together.
Through this unusual architectural concept they
are hoping to liberate themselves from
the uncomfortable living conditions.
The performance shows the expectations, dreams
and desires awakened by the post-war housing
architecture and their crash with the reality
of the everyday life in blocks.
Libretto and directed by Karolina Breguła
Music by Ela Orleans
Sound by Weronika Raźna
Lighting by Robert Mleczko
Producers: Fundacja Witryna
Curator: Agnieszka Sural
Photo documentation by Anna Nesterowicz
THE SOUP
2014, video story, 19min
The Soup is a reflection on the artworld’s fake
engagement in politics and society. It’s showing
a group of artists who are stating their intrest in
the revolution which is taking part behind the wall.
However, what we see is their fear for action.
In the end they choose to focus on their everyday
issues rather than involve in the political upheaval.
The film is theatre of absurd commenting on the
position of the artist in the time of transformation.
The table is moving as well as the world is chang-
ing. The renovation (revolution) is almost breaking
into the tiny world of the characters but they don’t
react even though they stated they care about it.
Written and directed by Karolina Breguła
Cinematography by Robert Mleczko
Sound by Weronika Raźna
Edited by Stefan Paruch
Producers: Fundacja In Search Of and TR Warszawa.
Partners: Ośrodek Kultury i Sztuki we Wrocławiu and Muzeum
Sztuki w Łodzi.
The video was created for the exhibition Prologomena do nauk
ekonomicznych prowadzonych od kuchi curated by Daniel
Muzyczuk and Sąsiedzi TR Warszawa curated by Barbara
Piwowarska.
THE STREET
2013, photography
The Street alludes to the conservation issues generated by the new media art. One of the pieces in
the art collection of the Museum of Contemporary
Art in Seoul in South Korea (MOCA) is The More,
The Better - an installation by Nam June Paik. This
huge tower of 250 TV sets needs constant repera-
tions. As there are no guidelines for such a situation,
the Seoul MOCA decided to hold a conference,
where Paik’s work was discussed in the context of
new media art conservation issues. The post-conference publication shows that one of the solutions that
are being considered is to dismantle the sculpture
and bury it in the storage room.
The Street is an illustration of the imaginative situ-
ation in which parts of the Nam June Paik work are
being taken out of the museum. The photographs’
main protagonist is a man pulling a trolley full of
broken TV sets. This brings to mind the Korean
street, where such trolleys are used to collect scrap
paper. The other protagonists are figures inspired
by Korean art like Listening to the Nightingale on
Horseback by Kim Hong-do or the film The meaning
of 1/24 seconds by Kim Ku-Lim.
The work was realized in collaboration with National Art Studio,
Changdong - National Museum of Contemporary Art, Seoul, South
Korea
detail from The Street
THE OFFENCE
2013, video story, 20min
The Offence is a short story about a town official
obssessed with modernity. His provincial town
is a mainstay of xenophobia and fear of everything
new and unknown. The town official decides on
an unusual method to rescue the people from their
backwardness. Understanding human perversion,
he forces progress through restrictions, knowing
well that they will be broken.
Written and directed by Karolina Breguła
Photos: Robert Mleczko
Sound: Weronica Raźny
Editing: Stefan Paruch
Curator: Magdalena Ujma
The work was done as a part of the Visegrad Artist
Residency Program in Art Quarter Budapest
and Grodzka 5 project organized by the Culture
Workshops in Lublin.
WYJŚCIE
LEAVING
2013,
wideo2min
2013, wideo,
Leaving is a repetition of Workers leaving the LuFotografia Ulica powstała w nawiązaniu do probmière factory in Lyon by the Lumière brothers.
lemów konserwatorskich, jakie generują dzieła
My remake of this film was done in front of
sztuki nowych mediów. W kolekcji Muzeum Sztuki
the Northern entrance to the Ujazdowski Castle
Współczesnej w Seulu w Korei Południowej (MOCA)
and features employees of the Centre for Cotempoznajduje się praca Nam June Paika The More, The
rary Art. The employees leave through the narrow
Better. Ta gigantyczną wieża zbudowana z 250
door one by one: the first one is the leader of the
telewizorów potrzebuje od pewnego czasu bezuslabour union, then the personnel of the documentatatnego reperowania. Ponieważ nie ma jeszcze
tion, accounting and promotion departments,
wypracowanych metod radzenia sobie z tego typu
the curators, coordinators, assistants, cleaning
problemami, muzeum postanowiło zorganizować
staff... And at the end, of course, the director.
konferencję, podczas której omawiano zagadnienia
konserwacji
sztuki nowych
mediów na
The
film is showing
an art institution
asprzykładzie
a place
The
More,
The
Better.
Z publikacji,
któraItpowstała
of
hard
work
and
a factory
of meanings.
is also
jako efekt
żeinjednym
z kilku
refering
to konferencji
the current wynika,
sitiuation
the Centre
for
rozwiązań, które
bierze się pod uwagę, jest
Contemporary
Art.
demontaż rzeźby i pogrzebanie jej w magazynie.
Curator: Marcin Krasny
Ulica jest zainscenizowaną ilustracją wywożenia
części pracy Nam June Paika z Muzeum. Głównym
bohaterem fotografii jest mężczyzna ciągnący
wózek obładowany zepsutymi telewizorami. Ta
scena kojarzy się z koreańską ulicą, gdzie podobne
wózki służą do zbierania makulatury. Inni bohat-
erowie zdjęcia to postaci zainspirowane scenami z
dzieł sztuki koreańskiej jak na przykład Listening to
the Nightingale on Horseback Kima Hong-do or the
film The meaning of 1/24 seconds by Kima Ku-Lima.
Praca powstała we współpracy z National Art
Studio, Changdong - National Museum
of Contemporary Art, Seul, Korea Południowa
FIRE-FOLLOWERS
2013, video story, 49 min
Fire-Followers is a story about a town were people
suddenly start to be afraid of art. The museums,
the galleries and the private art collections are
all considered to be a danger. People get rid of
art pieces, the vicinities of the museums become
desolate. There is no proof of the existence of the
danger. Still, the fear and paranoia are growing.
Fire-Followers is a staged documentary which was
done to provoke a reflection on the direction
of progress and the power that art has to change
people’s thinking.
Written and directed by Karolina Breguła
Photos: Robert Mleczko
Sound: Weronica Raźny
Editing: Stefan Paruch
Producers: Atlas Sztuki and TouchFILMS
Trailer
http://vimeo.com/56814272#
SPACIAL FORMS IN THE FACE
OF A DISASTER
2013, performative science conference
In the 1960s and 1970s the Polish city of Elbląg
hosted a series of Biennials of Spatial Forms, which
were the most popular cyclical Polish artistic event
in public space, featuring outstanding artists such
as Magdalena Abakanowicz, Edward Krasiński or
Henryk Stażewski. It came as an effect of collaboration between Gallery EL and Mechanical Works
Zamech in Elbląg. The artists invited by the gallery
stayed in the city a few months of a residency to
create together with specialists from Zamech largescale metal Spatial Forms, most of which remain to
be seen in the Elbląg’s cityscape.
The Spatial Forms have fascinated me since
I saw them the first time I visited Elbląg three years
ago. From then on, I have been trying to guess the
meanings embedded in these metal sculptures.
Upon an invitation from Gallery EL to participate
in the project Awakening, I decided to finally solve
their mystery. I invited scientists from various fields
to collaborate with me towards the deconstruction
of Elbląg’s spatial forms. By observing them beyond
their inherent artistic context and through the eyes
of experts from outside the field of art, I wanted to
reach their deeply concealed meanings.
The effect of the work was presented during the performative
science conference which took place in Elbląg in December 2012.
Curated by Karina Dzieweczyńska
SPATIAL FORMS AS THE CENTRE
OF EVERYTHING
2013, book
Spatial Forms as the Centre of Everything
is an effect of the performative science conference
described below.
Authors of the texts in the book: Karolina Breguła,
Justyna Gabriel, Tomasz Gajda, Aanaida Ghazaryan,
Krzysztof Herbst, Andrzej Kapusta, Paweł Laufer,
Anna Maga, Paweł Mościcki, Daniel Muzyczuk,
Ewa Opałka, Jan Suffczyński, Piotr Sułkowski,
Joanna Świerczyńska, Urszula Zajączkowska.
Publisher: Bęc Zmiana Foundation
KIPPENBERGER COOKIES
2012, installation
In November 2011 a cleaner at Ostwall Museum
in Dortmund destroyed a Martin Kippenberger
work by removing limescale which was an element
of the artwork. The irreversible destruction of the
piece of art which caused an uproar in the media,
was not documented comprehensively
by the museum at the time.
Ostwall Museum is run according to the theory
of Museum As Powerstation by Alexander Dorner.
The teory criticizes the old-fashioned art institutions
which, according to its author, are just a place of
collecting relics and escaping from life. Dorner suggests replacing this concept with that of a museum
as a catalyst for interactive discussion
and development. In the context of the concept of
the Museum as Powerstation the cleaning of the
work seems to be a highly interesting performative
act which should prompt some analysis from critics
and museum alike. Even if performed unconsciously, the act does rise the issue of access to art and
the relation between the art and the art receiver.
To commemorate the event in Dortmund I baked
Kippenberger Cookies. They are an energy sugar
dose decorated with icing,a reminder of the limescale removed from the original Kippenberger
artwork.
The guests at the Kunstlerhaus had to make
the decision whether they will eat the cookies
presented in such an ambiguous manner.
CORRECTIVE PHOTOGRAPHS
2011, photography installations
Zofia Chomętowska was a photographer who
worked in Warsaw from the early thirties. She
photographed the city with its prewar architecture,
the war time, war destructions and the rebuilding
of the city after the Warsaw Uprising. 7 chosen
pictures out of Zofia Chomętowska archive were
installed in the city space in form of huge city wall-
papers. In the new context the old pictures changed
their meaning and instead of documenting com-
mented on the contemporary city by showing what
it lacks.
Curator: Karolina Lewandowska
Corrective photographs is a project commissioned by Archeology
of Photography Foundation as a part of the Living Archive Project.
EXPLAINING THE ART
EXHIBITION
2011, performances
Explaining the Art Exhibition is a continuation
of the project Art Translation Agency which is
described below.
The performances titled Explaining the Art
Exhibition are live versions of the Art
Translation Agency. They took place in BWA Gallery
(Warsaw), Centre of Contemporary
Art Łaźnia (Gdańsk), Zachęta National
Gallery (Warsaw), Centre for Contemporary Art
Ujazdowski Castle (Warsaw) and Le Guern Gallery
(Warsaw); all between May and August 2011. Two
of them were conducted by me and three by other
translators who collaborate with the Art Translation
Agency.
ART TRANSLATING AGENCY
2010, internet project
www.biurotlumaczen.art.pl
Art Translation Agency was a web-based organiza-
tion where people were invited to order an explanation of a piece of art. The translators, who collaborated with the agency either work within the field
of culture or are art lovers though not professional
artists themselves. The translators suggested interpretations often different than the scholarly ones.
This way they presented each work as an unfinished
form, open for different interpretations and inviting
participants to create new meanings.
By Art Translation Agency which interpreted art in a
non-traditional way I wanted to create a commotion
on the art information market and find an alternative
to the institutional language and institutional thruth.
Translation Agency was my diploma work at the National Film
Television and Theatre School in Łódź, Poland.
RECONSTRUCTION
OF WSCHODNIA GALLERY
ARCHIVE
2011, happening
When the curators of Wschodnia Gallery invited
me to make an exhibition I asked for the access
to the archive of the gallery in order to create something that would refer to it’s history. This way
I discovered that the documentation of the past
events at Wschodnia Gallery has never been
put in order and described.
I decided to invite the old regulars and friends
of the gallery to help me indentyfy all the old
documents, put them in odrer and describe.
On April 15th 2011 as part of the Art and Documentation festival we publicly organized the Wschodnia
Gallery archives.
USEFUL ART - RICHARD LONG’S
A LINE MADE BY WALKING
2011, happening
Useful art is a series of repetitions of known artistic
gestures re-performed in a new context which gives
them a contemporary useful meaning. The project
is an inquiry about the place of art in the contem-
porary society. It is supposed to cause the thought
about how the context of art influences its reception as well as redefine and replace the borders
between the art piece and the art receiver.
The conceptual art, which was meant to
decrease the production of art objects, is now filling
the museum collection storages in form of photographs and films with documentations.
By the project Useful art the artist I am trying to turn
the old art pieces into ideal non-physical objects.
USEFUL ART - BRUCE
NAUMAN’S SELF PORTRAIT
AS A FOUNTAIN
2009, happening
Useful art is a series of repetitions of known artistic
gestures re-performed in a new context which gives
them a contemporary useful meaning. The project is
an inquiry about the place of art in the contemporary
society. It is supposed to cause the thought about
how the context of art influences its reception as
well as redefine and replace the borders between
the art piece and the art receiver.
The conceptual art, which was meant to
decrease the production of art objects, is now filling
the museum collection storages in form of photographs and films with documentations.
By the project Useful art the artist I am trying to turn
the old art pieces into ideal non-physical objects.
ART LOVER
2010, photography, lightbox
A portrait of a person, the everyman, who is not an
expert on art. Although he often understands it in
a different way than the artists and the critics suggest, he derives pure joy from it.
The picture is presented in form of a big format light
box in the context of a recognizable art institution.
I DON’T UNDERSTAND
2009, video performance
A video in which I repeat fragments of conversa-
tions about art that I had with anonymous people
in the years 2007-2009. The words they say I put
in my own mouth to reveal the fact that although
we are unwilling to admit that, the feelings of confusion, dislike or naive delight are not unfamiliar to
most people.
VIDEO CAMERA
2007, video performance
A film in which I recite a video camera manual in all
European languages, simultaneously presenting its
contents by moving my hands. My aim is to show
the video cam technology as a carrier, which
through its documentary nature is comprehensible,
intelligible and beyond linguistic borders.
The film won the 3rd prize in the Samsung Art Master competition.
66 CONVERSATIONS
ABOUT CONTEMPORARY ART
2007, text
The record of my 66 interviews with people who
are not professionally connected with art.
By the conversations I try to recognize the tastes
and needs of a person who is not equipped to
interpret art.
www.karolinabregula.com
[email protected]
+48 502 082 383