So far, the discussion on decolonisation in the art world has been centred on institutions. What if we instead turned our attention to the conditions for critical debate? Decolonising Art Criticism, “Kunstkritikk”, 10.01.2020. The idea of decolonisation has been important in the art discourse the last couple of years.* However, its main focus seems to… Continue reading // Decolonising Art Criticism (2020) //
Affecting the Body – Interview with Arthur Jafa, “Kunstkritikk” 11.04.19. Arthur Jafa’s film Love Is the Message, The Message Is Death (2016) compiles a vast selection of images from African American history into a hard-paced, seven-minute-long montage, scored with gospel-inspired hip-hop. Black icons, like former US President Barack Obama and Martin Luther King, Jr., and documentation of… Continue reading //Interview with Arthur Jafa (2019)//
How does physical space both reflect and contribute to the creative life of a city?
The text was published by CAS - Contemporary Ar Stavanger Journal, as a result of the writing residency. What is the film Wild Relatives about? There are many ways to describe it. It is about the journey of seeds, agricultural cultivation practices in a globalised world, the long and short-term consequences of the modernization… Continue reading //The Seed as an Archive: On Jumana Manna’s Wild Relatives (2019)//
The Materiality of Gesture and Meeting Text by Zofia Cielątkowska about PAO Festival 2018 What is performance? The answer, as suggested by Kurt Johannessen in his artist talk, is situated between know and not-know, or to be more precise, in the constant movement between knowing and not-knowing. Performance, as a form based on presence and with… Continue reading //The Materiality Of Gesture And Meeting (2018)//
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.