{"id":27517,"date":"2016-05-01T19:04:01","date_gmt":"2016-05-01T17:04:01","guid":{"rendered":"https:\/\/ggm.gda.pl\/?p=27517"},"modified":"2024-08-05T12:16:05","modified_gmt":"2024-08-05T10:16:05","slug":"julita-wojcik-without-views","status":"publish","type":"post","link":"https:\/\/ggm.gda.pl\/en\/27517\/julita-wojcik-without-views\/","title":{"rendered":"Julita W\u00f3jcik „Without views”"},"content":{"rendered":"
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Exhibition:<\/strong> 13th May \u2013 3rd July 2016<\/p>\n

Place:<\/strong> Gda\u0144sk City Gallery 2, Powro\u017anicza 13\/15 Street<\/p>\n

Curator:<\/strong> Patrycja Ry\u0142ko<\/u><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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<\/p>\n

Without Views<\/em><\/strong> is the first solo exhibition by Julita W\u00f3jcik at the Gda\u0144sk City Gallery, featuring selected works from the period between 2003 and 2016. The show concentrates on social and political issues that concern lost hopes and the current lack of life stability, as well as formal questions regarding the artist’s struggle with art and its classic forms.<\/p>\n

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Referencing the title of the exhibition, No-View Postcards \u2013 Economy Mail<\/em> is a series of warnings issued by W\u00f3jcik and presented previously at the BWA Municipal Gallery in Tarn\u00f3w (2012). The artist placed various kinds of warnings on postcards \u2013 statements that also provide a commentary on the current social and political situation. W\u00f3jcik sent them directly to the address of the gallery, even though the messages were in fact addressed to each and every one of us.<\/p>\n

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This iteration of the project, created specifically for the exhibition in Gda\u0144sk, betrays a critical dimension as it highlights the overwhelming lack of prospects \u2013 views \u2013 that dominates society and exists as an important characteristics of the current times.<\/p>\n

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The majority of the remaining of works in the exhibition are presented in the form of documentation that records ephemeral actions, which often adopt the form of one-off artistic interventions. Using video footage and objects, the artist portrays her actions in the public space, such as sweeping up after textile workers in former factory halls in \u0141\u00f3d\u017a (To Sweep up after Textile Workers<\/em>; \u0141\u00f3d\u017a, 2003), a democratic poll concerning the weather, which she held among the residents of Budapest (Weather Forecast<\/em>, Budapest, 2006), or setting sail from the port of Gdynia on a raft made of suitcases, which was supposed to highlight the problem of emigration (Transatlantic<\/em>, Gdynia, 2013).<\/p>\n

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In her activities, such as Employment Contract<\/em> (2012) and Freelancer<\/em> (2013), Julita W\u00f3jcik addresses the precarious living situation of artists resulting from specific forms of professional activity \u2013 most often freelance and therefore pursued outside job contracts and social services, such as healthcare, pension, etc.<\/p>\n

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In turn, the actions that the artist carried out at art institutions \u2013 a race at the Muzeum Sztuki in \u0141\u00f3d\u017a, a tennis match at the National Museum in Warsaw, and a fencing match at the CCA Ujazdowski Castle in Warsaw (Race on 3600 m2<\/em>, Museum Tournament<\/em>, Painting Trial<\/em>) reference her individual struggles with the institutional format that imposes constraints on art, and with the sheer form of art: the white canvas.<\/p>\n

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Julita W\u00f3jcik co-creates her artistic activities with guests invited to join the projects and with random passers-by, whose presence is integral to the works. In a \u201cwhite cube\u201d gallery space, her socially-oriented participatory projects acquire the status of documentation to be viewed by a new audience that did not participate in their making.<\/p>\n

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Julita W\u00f3jcik’s artistic practice creatively develops the paradigm of critical art, which refers to the tradition of institutional critique. Making her own position in relation to the infrastructures of the art world and economic structures into the subject of her works, the artist not only denounces the conflicts stemming from the Neoliberal condition, but also actively positions art as a practice originating from the social conditions of production.<\/p>\n

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Julita W\u00f3jcik<\/strong> (b. 1971) lives and works in Gda\u0144sk. A graduate of the Faculty of Sculpture of the Academy of Fine Arts in Gda\u0144sk, where she received a diploma from the studio of Prof. Franciszek Dusze\u0144ko. Honoured with the \u201cPassport\u201d Award of the Polityka<\/em> weekly (2012) and the Royal Scottish Academy Award (2013). Holder of multiple scholarships of the Minister of Culture (1995\/6, 2001, 2003, 2005, 2007), as well as the Culture Foundation (2001), City of Gda\u0144sk (2002), and Marshal of the Pomeranian Voivodeship (2003). Resident of Art in General in New York (2006) and the Visegrad Fund (2010), among other programmes. W\u00f3jcik’s works have been presented at numerous exhibitions in Poland and abroad, such as (solo shows) Waver<\/em>, Platan Gallery, Budapest, (2012); The Horsecross Commission<\/em>, Perth, HorseCross (2009), Making Things More Beautiful, <\/em>uqbar, Berlin (2007); At the Very Centre of Attention 8, Ready, Set, Action!<\/em>, CCA Ujazdowski Castle, Warsaw (2006); Peeling Potatoes<\/em>, Zach\u0119ta National Gallery of Art, Little Salon, <\/em>Warsaw (2001) \/ (group shows) State of Life, <\/em>National Art Museum, Beijing, China (2015); Critical Juncture, <\/em>Kochi Muziris Biennale, Kochi, India (2014); Summer in the City<\/em>, Zach\u0119ta National Gallery of Art, Warsaw (2010); Gone to Croatan \u2013 Strategies of Disappearance, <\/em>Hartware MedienKunstVerein, Dortmund, Germany (2011); Gender Check<\/em>, MUMoK, Vienna (2009); Don\u2019t Worry Be Curious! 4th Ars Baltica Triennial of Photographic Art,<\/em> Casino Luxemburg and Kunstraum Kreuzberg\/Bethanien, Berlin as well as CCA Riga (2008); News: Recent Acquisitions in Contemporary Art<\/em>, The Israel Museum, Jerusalem (2006); Under the Red and white Flag. New Art from Poland<\/em>, National Centre for Contemporary Arts, Moscow and Museum of Art, Tallinn as well as CCA, Vilnius (2004); WRO05 Media Art Festival<\/em> (2005); Architecture Of Gender: Contemporary Women\u2019s Art in Poland, <\/em>Sculpture Center, New York (2003). W\u00f3jcik’s temporary actions have been held, among other locations, in Warsaw\/ Saviour Square \u2013 Rainbow<\/em> (2012\u20132015); during the festival Narracje \u2013 Way to the Forest<\/em>, Gda\u0144sk\/ Wrzeszcz (2014); under the Krakus Mound \u2013 A Mound of the Unknown Male Artist, Female Artist<\/em>, Cracow (2012); and at the Creative Work Centre by Lake Wigry, Wigry (2009). Her works belong to the public collections of the Zach\u0119ta National Gallery of Art in Warsaw, Muzeum Sztuki in \u0141\u00f3d\u017a, National Museum in Warsaw, Arsena\u0142 Gallery in Bia\u0142ystok, HorseCross in Perth\/Scotland and the Israel Museum in Jerusalem\/Israel.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Exhibition: 13th May \u2013 3rd July 2016 Place: Gda\u0144sk City Gallery 2, Powro\u017anicza 13\/15 Street Curator: Patrycja Ry\u0142ko Without Views is the first solo exhibition by Julita W\u00f3jcik at the Gda\u0144sk City Gallery, featuring selected works from the period between 2003 and 2016. The show…<\/p>","protected":false},"author":2,"featured_media":27525,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"inline_featured_image":false,"footnotes":"","_wp_rev_ctl_limit":""},"categories":[108],"tags":[97],"class_list":["post-27517","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-ggm2-en","tag-single-photo"],"acf":{"data_rozpoczecia":"20160513","data_zakonczenia":"20160703","miejsce":"GGM2"},"_links":{"self":[{"href":"https:\/\/ggm.gda.pl\/en\/wp-json\/wp\/v2\/posts\/27517","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/ggm.gda.pl\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/ggm.gda.pl\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/ggm.gda.pl\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/ggm.gda.pl\/en\/wp-json\/wp\/v2\/comments?post=27517"}],"version-history":[{"count":5,"href":"https:\/\/ggm.gda.pl\/en\/wp-json\/wp\/v2\/posts\/27517\/revisions"}],"predecessor-version":[{"id":27562,"href":"https:\/\/ggm.gda.pl\/en\/wp-json\/wp\/v2\/posts\/27517\/revisions\/27562"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/ggm.gda.pl\/en\/wp-json\/wp\/v2\/media\/27525"}],"wp:attachment":[{"href":"https:\/\/ggm.gda.pl\/en\/wp-json\/wp\/v2\/media?parent=27517"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/ggm.gda.pl\/en\/wp-json\/wp\/v2\/categories?post=27517"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/ggm.gda.pl\/en\/wp-json\/wp\/v2\/tags?post=27517"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}