// Interview with Boris Charmatz (2016) // “I love and I hate dance that is why I’m a dancer”. “I love contradictions! […]”

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 … Continue reading // Interview with Boris Charmatz (2016) // “I love and I hate dance that is why I’m a dancer”. “I love contradictions! […]”

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 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 years – to a certain extent – it has became a ‘label’. How do you look at it from today’s perspective? Xavier Le Roy: In the first work [The Product of Circumstances, 1999 ] I decided to use this information in order to give it … 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 //

// 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.

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, … 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.

// 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? “

* Zofia Cielątkowska, Too Close, “Punkt” 14, 2014, p. 316-325. The body – its stamina, sexuality, every, day existence, and commonality – definitely remains in the … 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? “

// 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”.

*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, … 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”.

// 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.”

“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, … 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.”

// 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.

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 … 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.

// 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.”

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, … 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.”