October 29th 2013 Zofia Cielątkowska: You are most of the time considered as a performance artist, but at the same time in many interviews you emphasize your connection with painting. For example: “All my work evolves from my history as a painter: all the objects, installations, film, video, performance – things that are formed.” And “All my… Continue reading // Talk With Carolee Schneemann (2013) // “My work evolved with risk and uncertainty.”
Magazyn Szum, 5/2016 Zofia Cielątkowska: I start with the idea of hierarchy and structure. I mean, in one of the interviews you talk about your distance to this concept of dance education, that a dancer becomes a choreographer and then a professor – this predictable and rigid path. Then again your work is somehow always against the structure. You don’t like… Continue reading // Interview with Boris Charmatz (2016) // “I love and I hate dance that is why I’m a dancer”. “I love contradictions! […]”
Text published in Tique art paper 22/February/2018 https://www.tique.art/paper/artists/xavier-le-roy/ Zofia Cielatkowska: At the beginning of your path as a dancer and choreographer you didn’t really want to indicate that you are a scientist, but finally – with a little bit of story – you have used this information in your bio. Then, for the next following… Continue reading Interview with Xavier Le Roy (2018) // A visitor in an exhibition can walk in the space while in the theater a spectator seats on a chair //
Text on Zorka's projet Ophelias. Iconography of Madness More about Zorka For centuries, women have occupied a unique place in the annals of insanity. Women outnumber men in diagnoses of madness, from the “hysteria” of the eighteenth and nineteenth centuries, to “neurotic” and mood disorders in the twentieth and twenty-first. … Why is this so?… Continue reading // Madness and Holiness (2017) // Akin to holiness, madness is situated amongst the practices or within the phenomenon of “otherness,” yet, at the same time, it still belongs to the sphere of a given community or group.
* Zofia Cielątkowska, Too Close, “Punkt” 14, 2014, p. 316-325. The body – its stamina, sexuality, every, day existence, and commonality – definitely remains in the centre of one of the most frequently addressed topics in the field of “transgressing borders” in art. It appears in many contexts, indeed. The present time provides a vast… Continue reading // Too Close – An Essay on Intimacy (2014) // “What, however, makes it remain “too close” yet without transcending the flimsy borderline and not being regarded as pornography? “
*Jul 11, 2015, Interview published in Contemporary Lynx Zofia Cielątkowska: My first impression after listening to No More Stories (2015) was that it is an absence, which is actually a presence. Let me explain. I think No More Stories is very much connected – in a kind of reverse way – to your last major… Continue reading // The Sound Is Not Enough – Talk with Wojtek Blecharz (2015) // “In general, I compose very personal music and I am not afraid to admit it”.
“Obieg” Magazine, 7/2014* Zofia Cielątkowska:Tell me more about your project or rather presentation which we can see at the Jewish Museum. There are different stone pictures, a video in which you seem to be swallowing something and another video which is actually more difficult to describe. For the viewer who doesn’t know the context it… Continue reading // Element of invisibility – talk with Luísa Nóbrega (2014) // “Somehow when we get closer to history paradoxically we realize more and more how far we are from a throughout understanding.”
Photo: Movie still from Elephant Flesh Elephant Flesh, 2017 (video performance of Aleksandra Kubiak) POLISH How to tell personal trauma story? Is there any good way to talk about it? Is there a good moment? The very first scene of the Elephant Flesh starts with dialogue between two women in a complete darkness of the… Continue reading // Elephant Flesh // How to tell personal trauma story? Is there any good way to talk about it? Is there a good moment? The very first scene of the Elephant Flesh starts with dialogue between two women in a complete darkness of the stage.
Interview, February 4, 2016 Zofia Cielątkowska: Your higher education started with art history? ALICJA BIELAWSKA: I know it might be a bit surprising from today’s perspective, but after high school I was just not sure what I wanted to do. Art was always present in my home and surrounding, and it was an important part… Continue reading // Talk with Alicja Bielawska – Sculpture Suggests Movement (2016) // “I think the performative aspect is present in my work and I’m curious about the effects a performer will have when she/he is also part of the work.”