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Art Exhibition


POLISH CONTEMPORARY ART POSTER

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UPCOMING EVENTS



CO-ELECTION LESSON

«CO-ELECTION LESSON»

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COLLECTION IN ACTION!

"COLLECTION IN ACTION" IS THE MUSEUM'S FIRST ATTEMPT TO CREATE AN EDUCATIONAL
SPACE BASED ON A COLLECTION OF CONTEMPORARY ART!

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THE LIVING CURRENCY (LA MONNAIE VIVANTE)

VISUAL ARTS ON STAGE AFTER PIERRE KLOSSOWSKI

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ZUZANNA SREBRNA

EXHIBITION FROM THE PROJECT ROOM SERIES

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ART THAT SAVES LIVES

ARTARMOR PROJECT AT THE UJAZDOWSKI CASTLE CENTRE FOR CONTEMPORARY ART

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FANGOR. MULTIFACETED

AN INTIMATE EXHIBITION PRESENTED ON THE CENTENARY OF WOJCIECH FANGOR’S BIRTH
CHARTS THE MULTIFACETED NATURE OF THIS REMARKABLE POLISH ARTIST’S OEUVRE.



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SZTUKA POLITYCZNA

THE EXHIBITION "POLITICAL ART" IS INTENDED TO PRESENT THIS SPECIAL GROUP OF
ARTISTS FROM DIFFERENT COUNTRIES AND CONTINENTS .

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NEVER AGAIN

ART AGAINST WAR AND FASCISM IN THE 20TH AND 21ST CENTURIES

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BIK VAN DER POL

TOO MANY STORIES TO FIT IN SUCH A SMALL BOX.

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Exhibition -
Public presentation of achievements in the field of economy, science,
technology, culture, art and other areas of public life. The term can refer both
to the event itself and to the place where the event is held.


News

______________________________

Scene 2000: Artur Zmijewski
The collective exhibition "Scene 2000" was a broad presentation of the
tendencies that stood out in Polish art at the turn of the century. In the
material we also see works by Anna Baumgart, Marcin Maciejowski, Zuzanna Janin
and Marta Deskur. The exhibition was curated by Ewa Gorządek and Stach
Szabłowski.
Anka Ptaszkowska: Spotkanie z okazji publikacji przekładu „Społeczeństwa
spektaklu” Guy Deborda
Recording of a speech by Anka Ptaszkowska on Guy Debord and the Situationist
movement. The reading and the slideshow were followed by a discussion, in which
Adam Szymczyk, Grzegorz Borkowski and Pawel Polit, among others, took part. The
meeting was one of the events connected with the publication of the Polish
translation of Guy Debord's Society of Spectacles, translated by Anka
Ptaszkowska.
Plein Air Warsaw Group in Serock
Before the beginning of its program activities, the Center for Contemporary Art
"Ujazdowski Castle" carried out its tasks with the help of the Center for
Information and Scientific Documentation, which was created in our institution
to create, collect, develop and exchange documentation of contemporary art and
artistic life in Poland.
Pavel Borovsky . Yes, you can.
Gallery with the works of Pavel Borovsky, which the artist presented during his
personal exhibition "Yes, you can" (05.02.- 07.03.1999). The exhibition
presented the adventures of Bohr, Pavel Borovsky's comic alter ego, who, in a
poetics of nonsense and irony, enters into discussion and dispute with the
surrounding world in every situation depicted in the paintings.



THE FRAGILE LILIES AND ROSES NO LONGER SHINE. THEIR SILKEN PETALS ARE CARRIED
AWAY BY THE WIND; TODAY NO ONE SEEKS BEAUTY... NOT A RHYMING POET...NOT A WOMAN
- NOT A MAGICIAN - NOT AN AMATEUR, TODAY YOU SEEK THAT WHICH BECKONS. AND THAT -
THAT SURPRISES!

Cyprian Kamil Norwid
— A profound understanding of beauty was one of the themes that occupied one of
Poland's most important poets, Kiprian Kamil Norwid. In his 1880 work Piękno
Czasu (The Beauty of Time), beauty appears as something eternal, divine, a
Platonic idea not subject to the erosion of time. The poet contrasts this vision
of beauty with superficial appearances, asking at the end of the poem whether
this is really what one needs.

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«CO-ELECTION LESSON

3 seats left / SUMMARY: 2 hours

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Why do we need contemporary art? Why do we go to galleries and museums? Choices
co-learning is a project dedicated to exploring the ways in which viewers
receive art. This time the audience will take on the role of co-curators and
create an exhibition from the collection of the Center for Contemporary Art
Ujazdowski Castle. Contemporary art brings with it an openness to a variety of
readings. Following this idea, we want to spread access to art and open to the
audience's interpretations. We give the audience a voice, and put their choices
at the center. The co-learning of choices is to learn how to cooperate between
the institution and the audience, to create together and learn about each other
through art. The prefix "ko" takes on a double meaning here: "co-learning" is
not only a participatory selection of works from U-jazdowski's collection, but
also a shared lesson in decision-making.




BIK VAN DER POL

3 spots left / SUMMARY: 2 hours

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Whispered stories are the most interesting. In them facts are intertwined with
gossip, and memories with imaginations. The project O Many Stories Too Many to
Fit in Such a Small Box is based on the collection and archives of the Center
for Contemporary Art Ujazdowski Castle. In the fall, Dutch duo Bik Van der Pol
will tell the whispered history of the institution to celebrate its 30th
birthday.





NEVER AGAIN

8 seats left / SUMMARY: 3 hours and 10 minutes

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Although the exhibition features primarily historic materials and iconic
artworks that shaped the form of anti-fascist and anti-war resistance, the
questions posed by the show concern the contemporary era. We search the rich
anti-fascist history for answers to the question about the significance and
force of this tradition today. We ask why anti-fascism – as a universalised
experience and a peaceful foundation of social life – has lost its consolidating
power? Do we no longer fear wars and violence as a fundamental threat to our
existence? Did anti-fascism come to an end with communism, with which it was
closely linked both in the 1930s and in the 1950s? And can it therefore be
successfully pursued further within democratic traditions: liberalism, social
democracy? Or is the struggle with fascism (neo-fascism, post-fascism) identical
to the struggle with capitalism, which is the essence of the leftist
anti-fascist tradition? Finally, how to recount the history of anti-fascism so
that it inspires today’s social movements that aim to counter violence? The
exhibition concentrates on three moments in history. The first is the decade of
the 1930s: we look at the most renowned anti-war painting, Pablo Picasso’s
Guernica from 1937, presenting the history of its creation and reception, which
reflects in a distinctive and dramatic way the entanglement of art and politics
since the 1930s. We also depict the international anti-fascist movement prior to
the outbreak of World War II and its ties with the workers’ movement on the
example of artists from the Weimar Republic, the Krakow Group and leftist
movements in the United States. The second discussed period is the communist era
in Poland, when anti-fascism and pacifism were given official prominence – this
section of the exhibition concentrates primarily on the “Arsenal” – Polish
National Exhibition of Young Visual Arts “Against War, Against Fascism”, held
within the 5th World Festival of Youth and Students in 1955. The harnessing of
anti-war stances by the communist propaganda apparatus of that era resonates
until the present day in discussions concerning the traps and duties involved in
the civic – or even downright political – engagement of artists. The third focus
of the show embraces today’s approaches to fascism, which ceases to be treated
exclusively as a historical ideological formation responsible for genocide, but
is evoked in the context of the modern-day racist, misogynistic and violent
narratives that prepare the ground for the catastrophes of the first half of the
20th century to happen again. A major role for that matter is also played by the
crisis of the European Union, the greatest peace project in the history of the
continent (a response to the events of World War II, driven by faith in humanism
and universalism in the new political order), and by the sprawling wave of
populisms. “Never Again. Art against War and Fascism in the 20th and 21st
centuries” identifies iconic images and key aspects of the anti-fascist
tradition throughout the above moments in history. We use images as a prism
through which to portray the complexity of the anti-fascist stance and the
variety of approaches to the problem: from political satire and testimonies of
atrocities, to apocalyptic forecasts and visual propaganda, to more ambiguous
abstract articulations of pro-democratic and anti-authoritarian content. We
highlight the moments of self-reflection, the self-awareness of the
entanglements of the anti-fascist movements, which are visible in seminal
artworks, such as Guernica, or at moments of crisis, such as the “Arsenal”
exhibition. We embrace studies on the history of images that accompanied the
anti-fascist movements as a tool to understand today’s stances and activities
that define themselves as egalitarian and pro-democratic. We look at works by
contemporary artists, such as Hito Steyerl, Nikita Kadan and Wolfgang Tillmans,
in search of evidence of the continuity of the anti-fascist tradition, we ask
about its effectiveness in the face of such phenomena as the acceptance of hate
speech, post-truth, the escalation of acts of violence, the return of aggressive
nationalism and populism. At the same time, we discern the weaknesses of such
“safety fuses” of peaceful order as liberal democracy and the European Union.
What images are able to affect the imagination, organise resistance, initiate
constructive community projects? Is it the language of critical art? Are these
strategies that deploy the iconography of popular culture, fashion, enter the
mainstream? We also ask about the role of propaganda – as a manner in which the
work affects the viewers’ emotions and attitudes, but also as a tool of civic
pro-democratic mobilisation. We reconsider the very definition of fascism.
Highlighting the differences between historical circumstances, aware of the
deficits of the anti-fascist tradition, we seek contemporary, communicative and
effective art that speaks against war, against fascism. The exhibition presents
works by such artists as – in the 1930s: Maja Berezowska, Alice Neel, Dora Maar,
George Grosz, John Heartfield, Jonasz Stern, Leopold Lewicki, Sasza Blonder,
Adam Marczyński, Bolesław Stawiński, Bronisław Wojciech Linke, Stanisław
Osostowicz; – in the 1950s: Izaak Celnikier, Alina Szapocznikow, Jerzy
Tchórzewski, Erna Rosenstein, Marek Oberländer, Jan Dziędziora, Jerzy
Tchórzewski, Tadeusz Trepkowski, Waldemar Cwenarski, Wojciech Fangor, Andrzej
Wróblewski, Xavier Guerrero; – today: Alice Creischer, Nikita Kadan, Forensic
Architecture, Jonathan Horowitz, Goshka Macuga, Mario Lombardo, Mykola Ridnyi,
Hito Steyerl, Martha Rosler, Raymond Pettibon, Wilhelm Sasnal, The Society of
Friends of Maxwell Itoya and Wolfgang Tillmans.





COLLECTION IN ACTION!

4 seats left / SUMMARY: 2 hours and 20 minutes

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The selection of works and their demonstration were the result of observations
and experience of our teachers accumulated during the previous exhibitions
devoted to the museum's permanent collection: "In the Heart of the Country" and
"In the Not So Long Future". It is a chance for the museum to summarize the
educational activities that have been conducted since 2013, but it is also an
opportunity to welcome a new audience, one that has yet to be introduced to
contemporary art. The exhibition is an invitation to get acquainted with works
of art created by contemporary artists - films, sculptures and installations -
presented in an interactive space where learning about art is fun. The
educational program is implemented as part of the Ministry of Culture and
National Heritage program "Kultura Dostępna". The works presented are taken from
the museum's collection, the Film Library's archives or provided by the artists.




THE LIVING CURRENCY (LA MONNAIE VIVANTE)

8 seats left / SUMMARY: 2 hours and 30 minutes

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LA MONNAIE VIVANTE (LIVING CURRENCY) FINE ART ON THE SCENE AFTER PIERRE
CLAUSSOWSKI La Monnaie Vivante (Living Currency). "La Monnaie Vivante is a
nomadic and evolving exhibition with an unstable form and open content. It
describes past and contemporary approaches to the human body in the visual and
performing arts. Created in 2006 in a dance studio in Paris, the exhibition was
presented in 2007 at the Stuk Theater in Leuven and in 2008 at the Tate Modern's
Turbine Hall in London. The new edition was created in collaboration with the
Museum of Modern Art in Warsaw for the stage of the Drama Theater. The title of
the exhibition refers to La Monnaie Vivante (1970), a text by Polish-born French
writer and artist Pierre Klossowski (1905-2001). Klossowski's text develops an
alternative model of economic exchange that places the body at the center of our
everyday relationship to the economy as the only valid form of currency. Living
Currency thus brings together artistic practices that explore this theme in
several contrasting, innovative and provocative ways: in terms of living
objects, inanimate bodies, human presence, use and manipulation. Moreover, the
project inverts the typical forms and ways of presenting and attending the
exhibition. The "theatrical environment" features performances by visual artists
lasting 5-6 hours, which goes beyond the duration of a theatrical production,
while the audience is free to "visit" the exhibition, following its own rhythm.




ZUZANNA SREBRNA

6 seats left / SUMMARY: 2 hours and 30 minutes

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Zuzanna Srebrna's exhibition is the fourth instalment in the 22/23 {Project
Room} series, as part of which young artists are given the opportunity to
present their work in an individual exhibition at one of the most important
contemporary art institutions in Poland.





ART THAT SAVES LIVES

6 seats left / SUMMARY: 3 hours and 30 minutes

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The exhibition of the art project ArtArmor is moving from Lviv to Warsaw. The
art objects of the exhibition will be on view at the Ujazdowski Castle Centre of
Contemporary Art. ArtArmor is a unique project in which art saves lives not
figuratively, but literally. Armor plates get a second life in the form of art
objects, the implementation of which will allow volunteers to spend the
collected funds on the needs of the army.





FANGOR. MULTIFACETED

5 seats left / SUMMARY: 2 hours and 50 minutes

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The show opens with Fangor’s 1942 portrait of prof. Szczęsny Kowarski, with whom
the artist took private painting classes during the war. As it later transpired,
this education provided the artist with a solid foundation in traditional
painting techniques and wall painting. Thanks to these skills, Fangor quickly
found his footing in socialist realism, known for its preference for academic
painting. In the exhibition, this is represented by Fangor’s early canvas,
January 1945 from 1949. Moving away from traditional forms and, simultaneously,
socialist realism in the 1950s is evident in Fangor’s posters presented at the
exhibition, which today belong to the canon of the Polish poster school. An
extremely important, perhaps even groundbreaking, stage in Fangor’s work
involves the artist’s collaboration with the Artistic and Research Departments
of the Warsaw Academy of Fine Arts, directed, from 1954, by Jerzy Sołtan. It
resulted, among other things, in the designs for SKS Warszawianka and the Polish
Pavilion at Expo’58 in Brussels, created by Wojciech Fangor together with Jerzy
Sołtan, Zbigniew Ihnatowicz and Lech Tomaszewski. We also present a selection of
these projects in the exhibition. Collaborations with architects and engineers
led Fangor to the now most recognized, abstract stage of his work. Dynamic,
colourful canvases featuring circular and rippling forms were shown, among
others, at the famous exhibition The Responsive Eye held in 1965 at New York’s
MoMA and the solo exhibition at the Solomon R. Guggenheim Museum in New York.
This period is represented by the 1971 canvas, MA3A, currently held in the
Collection of the Ujazdowski Castle Centre for Contemporary Art. Photographs by
another eminent émigré artist, Czesław Czapliński, depicting Fangor not only as
a painter, but also as a lover of astronomy, as well as video recordings from
the process of preparing a site-specific exhibition in 2003, preserved in the
archives of Mediateka at the Ujazdowski Castle Centre for Contemporary Art,
complement the exhibition.





SZTUKA POLITYCZNA

8 seats left / SUMMARY: 2 hours

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The exhibition "Political Art" is an attempt to solve the problem of the new
alignment of differences in the political life of the West, which in recent
years has come to the forefront of public debate. In universities, corporations,
media, cultural institutions and cultural life there is a struggle for hegemony
in the public sphere. Terms such as de-platforming, abolitionism and the culture
of silence describe currents, methods and passions that ultimately seem at odds
with the basic ideas of democracy and the values of Western civilization. In
this situation it is worth recalling the need for a free and active public
sphere . Art and artists advocating free expression and anti-mainstream ideas
become important social assets but also the object of various attacks. In this
situation art can become a real voice of opposition. Artists often pay a high
price (they are personally attacked and even repressed) for testing the limits
of tolerance and opposing political dogmas. Many are deprived of the opportunity
to function and be recognized in the art world.





ЧЕЛОВЕК ИЗ ПОДОЛЬСКА

Осталось свободных мест / ПРОДОЛЖИТЕЛЬНОСТЬ: 1 час 40 минут

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Обычный полицейский участок. Задержанный — молодой человек (лет тридцати) житель
подмосковного Подольска. Причина задержания не ясна — трезв, аккуратен,
документы в порядке, личность установлена. Но служители порядка всё равно
устраивают ему эмоциональный допрос, угрожают подбросить наркотики или пару
«висяков», чтобы улучшить показатели. Типичная ситуация из криминальных сводок и
детективных сериалов... но стоит ли так недооценивать родную полицию?

Вопросы полицейских абсолютно не соответствуют протоколу и законам здоровой
логики. Допрос превращается в сеанс интенсивной психотерапии: его цель —
заставить задержанного заново посмотреть на свою бессмысленную жизнь. Сами
полицейские примеряют роль эрудированных интеллектуалов с великой миссией —
объяснить, как интересен и прекрасен мир рядового жителя московского спального
района.

Это спектакль для тех, кто постоянно чем-то недоволен — сырым климатом, скучной
работой, безучастным мужем или женой, унылой жизнью. Возможно, именно им стоит
побывать в том самом отделении полиции, куда попал «Человек из Подольска».




ПРОСТЫЕ ФОРМЫ

Осталось свободных мест / ПРОДОЛЖИТЕЛЬНОСТЬ: 2 часа 40 минут

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СПЕКТАКЛЬ СЫГРАН БОЛЕЕ 150 РАЗ!

На сцене — легендарная бродвейская мелодрама. Разведенная танцовщица и брошенный
женой адвокат — смогут ли они найти друг с другом свое долгожданное счастье?
Возможно, ли сделать правильный выбор, если в сердце мужчины борются
несчастливая любовь к одной женщине, и нежность, стремление помогать и опекать —
к другой? Отношения их складываются не просто, но нахлынувшее чувство позволяет
вновь обрести вкус к жизни. Героям придется серьезно пересмотреть взгляды на
жизнь, чтобы найти ответ на этот вопрос.

Известный режиссер Вениамин Фильштинский поднимает пьесу до мифологических
высот, рифмуя ее с сюжетом о любви Дидоны и Энея.




ЭТИ СВОБОДНЫЕ БАБОЧКИ

Осталось свободных мест / ПРОДОЛЖИТЕЛЬНОСТЬ: 2 часа 45 минут

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История любви юноши из богатой семьи и взбалмошной экстравагантной девчонки,
мечтающей стать актрисой, — сентиментальная сказка из современной жизни,
знаменитая бродвейская комедия, полная ярких реприз и задорных диалогов,
разыгранная мастерами сцены. Жизнь не кончена, если даже ушла любимая девушка...

27 декабря 2014 года сыгран 500-й спектакль.

14 августа 2017 года сыгран 600-й спектакль.

2 ноября 2019 года сыгран 650-й спектакль.


Polish contemporary art poster | 2024
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